As the actors withdrew, they left the wooden stage strewn with roses. They bowed and bade farewell not only to an adoring audience but also to a run of almost four months of All’s Well that Ends Well. Night fell on Shakespeare’s open-air theatre, and I was spellbound.
Sunday couldn’t come quickly enough. We’d booked to go and see the last performance of this Shakespeare comedy at The Globe Theatre on the South Bank in London. We met up with our friends at a great Turkish restaurant next to the Thames River, and enjoyed a relaxing late afternoon meal before wandering down the South Bank – under a beautiful summer sky – ahead of our planned feast of Shakespeare.
According to their website, The Globe Theatre is a faithful reconstruction of the open-air playhouse, first built in 1599, where Shakespeare worked and for which he wrote many of his great plays. It is an outstanding and totally special venue. The courtyard of the theatre complex is paved with stones that bear the names of benefactors to the beloved project of American actor, Sam Wanamaker, whose dream resulted in this amazing theatre project overlooking St Paul’s. He caught the vision to recreate Shakespeare’s theatre, on his first visit to the UK in 1949; he died in 1993 and the theatre was officially opened by Her Majesty the Queen in 1997. His life’s work breathed life into this modern-day shrine to Shakespeare.
I love that The Globe Theatre describes itself as being “designed with the 21stcentury in mind. An additional exit, illuminated signage [health and safety is king in the UK], fire retardant materials [Shakespeare’s own theatre burnt down in two hours during a 1613 production of Henry VIII, when some stage cladding caught alight], and some modern backstage machinery are all concessions to our times. The reconstruction is as faithful to the original as modern scholarship and traditional craftsmanship can make it, but for the time being this Globe is – and is likely to remain – neither more nor less than the ‘best guess’ at Shakespeare’s theatre.”
The season runs annually from April to October, and features productions of Shakespeare’s work, and the work of his contemporaries and modern writers. We were four of the 350,000 audience members annually who experience the ‘wooden O’. We sat in the gallery, while many stand “as a groundling” in the yard, just as they would have done 400 years ago.
The tickets for the standing area – where peasants would have stood centuries ago – cost a fiver and, honestly, if I’d been 20 years younger, I would have done that. However, we’re not 20 years younger, and nor are our friends, so we all sat in the relative comfort of the gallery on wooden seats with the luxurious addition of hired cushions. I felt sorry for that poor dear old lady who stood in the bard’s mosh pit and clutched on the corner of the wooden stage for, what seemed, dear life. She also appeared to droop lower and lower as the play went on.
Before the play began, the actors came on to the stage, singing, and we were welcomed to the theatre. The play was set in France, so one actor engaged us in a lesson in basic French: “les telephones portables?” he ventured and, with wildly flailing arms, shouted, “Non! Les cameras videos et les cameras flashy-flashy ou non flashy-flashy? ABSOlument pas! Parapluies? [here he mimed an umbrella opening up] PAS du tout!” He closed his lesson with, “D’accord?” before apologising to anyone in the audience who might actually be French-speaking. And then the play began.
It was a delightful play and the actors were fabulous. They took us on a typically fast-paced romp through mistaken identity, cowardice, lust, war, greed, miracle cures, covetousness and that rarest of elements: true love. Each character carved his place in the creation of the tale, and they took us along for the hilarious ride.
As dusk fell over the open-air theatre, and pigeons landed on the stage roof, the play grew ever more complicated (ingewikkeld, as you would say in Afrikaans). Inevitably, all the knots were loosened, true identities revealed and each character predictably came face to face with himself. And, as the play drew to a close, all was indeed well that ended well.
An actor stepped forward and reminded us that as the play ended, the King was again a beggar and all the actors had resumed their own identities. He thanked us for our patronage, and with that the actors began their closing routine. They stepped forward in time to the live music, they whirled and they twirled in dancing delight, they screamed and they laughed and they stamped and they clapped. The audience watched in adoring, reflected enchantment and soon, as the actors disappeared behind the scenery, it was just the roses that remained on the wooden stage.
I’d heard that The Globe was amazing. I had no idea just how special it would be. I’m hooked and I can’t wait to experience another evening enjoying the bard’s art there. Our red box has a few more tickets in it and London – once again – has revealed another jewel in its formidable crown. What a privilege.
Sunshine signing off for today!