Free tickets to all London and Birmingham secondary schools for 2016’s Playing Shakespeare

"Playing Shakespear with Deutsche Bank", PSWDB, at the Globe Theatre. School children get the chance to see a Shakepear play "The Merchant of Venice" performed at the Globe. Date: 12 March 2014 Photograph by Amit Lennon

Last year’s Playing Shakespeare with Deutsche Bank production, The Merchant of Venice (Credit: Amit Lennon)

Shakespeare’s Globe has announced that 2016’s Playing Shakespeare schools’ production will be Twelfth Night, running from 25 February–18 March 2016. Secondary state schools in London and Birmingham are eligible for an unlimited number of free tickets for weekday performances at 2pm during the period 25 February–10 March, and for the 7pm performance on 1 March.

State schools outside the London and Birmingham areas, as well as independent schools and colleges, can book reduced rate tickets ranging from £5 to £15 for weekday performances at 2pm during the period 11–18 March.

Supporting the production will be free schools’ workshops, launching in December, CPD sessions for teachers, classroom resources, and a dedicated Twelfth Night website which will launch in January next year.

London, 26th February 2015: Othello at Shakespeare’s Globe, directed by Bill Buckhurst, as part of Globe Education’s Playing Shakespeare with Deutsche Bank 2015

Othello was 2015’s Playing Shakespeare production (Credit: Cesare DeGiglio)

The play, specially designed for GCSE and A-level students, will fit the National Curriculum specification for KS3 (where students are required to study two of Shakespeare’s plays) and KS4 (where students are assessed on one of the Bard’s works).

The Playing Shakespeare initiative will celebrate its tenth anniversary in 2016. Through Globe Education’s partnership with Deutsche Bank, Playing Shakespeare has presented over 117,000 free tickets to schools, with over 70% of schools taking part from every London borough.

Booking for Playing Shakespeare’s production Twelfth Night opens in September; www.shakespearesglobe.com/playing-shakespeare.

Drama Online to add filmed theatre productions to its resource collection

The-Duchess-of-Malfi--001

Stage On Screen’s filmed production of The Duchess of Malfi will be available to watch via Drama Online from October

Drama Online, a subscription study resource available to schools, colleges and higher education institutions, is expanding its resource offering this autumn with video content. Partnerships with organisations such Shakespeare’s Globe and Stage On Screen will see more than 60 hours of material added to the site.

Drama Online’s partnership with Shakespeare’s Globe will add 21 productions to its collection, with further shows to be added. Shakespeare’s Globe’s artistic director, Dominic Dromgoole, says: ‘In Drama Online, Bloomsbury and Faber & Faber have created a fantastic portal for students, and we’re delighted that Globe productions will be some of the first video content on offer there.’

Stage On Screen will be contributing high-definition filmed productions from Greenwich Theatre of The Duchess of Malfi, Doctor Faustus, School for Scandal, and Volpone; and Manchester Royal Exchange’s Hamlet starring Maxine Peake will also feature among the new content.

As well as the filmed productions, Drama Online will be adding a six-hour Shakespeare acting masterclass with Guildhall School of Music and Drama’s head of voice Patsy Rodenburg, featuring movement, speech, body and warm-up exercises.

The new video content will be available for trial in October; for more information, visit www.dramaonlinelibrary.com.

Shakespeare’s Globe appoints Emma Rice artistic director

Emma-Rice Credit Steve Tanner

Kneehigh’s Emma Rice will take up her new role at Shakespeare’s Globe in 2016 (Credit: Steve Tanner)

Emma Rice has been named Shakespeare’s Globe’s third artistic director and is the first female to take up the role. Shakespeare’s Globe’s chief executive Neil Constable said of the news: ‘I can think of no one better placed to take on the Globe, and I look forward to working with her at what continues to be a particularly exciting time in the Globe’s history.’

Rice is currently joint artistic director of Kneehigh with Matthew Shepherd. Following the announcement of her appointment, the theatre company tweeted their congratulations, saying they were ‘proud’ of Rice ‘taking on a new adventure’. Rice herself said she is ‘delighted and honoured’ to be named the Globe’s artistic director.

Following current artistic director Dominic Dromgoole’s departure after a ten-year tenure at Shakespeare’s Globe, Rice will take up the position in April 2016. Dromgoole described the Globe’s choice of his replacement as ‘an excellent appointment’.

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The full version of this news story features in Teaching Drama Summer 2 – out next week. Subscribe to the print or digital edition for more news, features and information. Single issues are also available in print and digital from just £2.49.

Shakespeare’s Globe: The Merchant of Venice – performance review

The Merchant of Venice (Credit: Ellie Kurttz)

The Merchant of Venice (Credit: Ellie Kurttz)

Star rating
***
By Rachel Creaser, TD editorial assistant

Currently playing at Shakespeare’s Globe is The Merchant of Venice – part of the theatre’s Playing Shakespeare with Deutsche Bank season, now in its eighth year. It provides 17,000 free tickets to state-funded London secondary school students. Subsidised tickets for schools from outside London have also been made available – 8,400 for this particular production.

This production of The Merchant of Venice has been specifically created with an audience of 11 to 16 year olds in mind. The Playing Shakespeare initiative allows students the opportunity to experience Shakespeare live, and for some this may be the first time they’ve seen the Bard’s work in action: and it’s a great first experience.

There was lots of energy in the production right from the off – as I made my way to my seat, I was accompanied by live musicians (who were fantastic throughout), watching the cast dance on stage, and move round the space interacting with the audience. This initial connection and atmosphere helps to ward off any feelings that Shakespeare and his ‘olde worlde’ language are off limits to young people.

The story follows Bassanio who is hoping to win the heart of wealthy heiress Portia, who is looking for a suitor. Lacking funds, Bassanio turns to his good friend Antonio for help with money to pursue his love interest. Antonio, acting as a guarantor, secures a loan for Bassanio with Jewish moneylender Shylock, who agrees to charge no interest – but, if the debt cannot be repaid, Antonio must repay Shylock with a pound of his flesh. When Antonio’s ships are reported lost at sea – his only source of income to repay his loan to Shylock – he is brought before a court of law to plead his case.

Both Bassanio and Antonio look as if they’ve stepped out of an episode of Made in Chelsea in their sharp suits, and Portia is also decked out in stylish dresses and heels. These modern flecks help to make what is a relevant story to this era seem even more pertinent.

Catherine Bailey as Portia was enjoyable to watch – both confident and commanding, while still providing moments of wit. Mark Kane also had a great stage presence; particularly as the rather goofy clown-like Launcelot Gobbo – he received the biggest laughs of the evening.

This production is a great jumping off point for exploring the themes of the play further: Ognen Drangovski’s portrayal of Shylock sought audible sympathy from the audience, so it would be interesting to discuss with students how they felt Shylock was treated by the other characters. And what implications they felt his Jewish faith brought to the story. Also, what did they think was more important to Shylock:  money or his daughter Jessica?

The show’s microsite is just as user friendly and enjoyable as the Globe’s usual offerings, so take a visit to make the most of the resources available: http://2014.playingshakespeare.org.