Can we believe what a man says about himself when he cannot tell the truth to anyone else?

We asked Georghia Ellinas, Head of Learning why we have chosen to stage Othello for this year’s Playing Shakespeare with Deutsche Bank production.


"In Othello Shakespeare presents us with one of his most complex and frightening villains - Iago. Here is a man who can outwit everybody else in the play and come very close to achieving all that he wants. His great skill is his ability to read and understand other people’s characters and use their weaknesses to destroy them. What triggers Iago to turn on those he has served so well remains debatable because can we believe what a man says about himself when he cannot tell the truth to anyone else?”

Playing Shakespeare with Deutsche Bank is the Globe’s flagship project for secondary and A-level students. Created for young people and designed to support the teaching of English in the National Curriculum, the acclaimed series delivers thrilling 100-minute fully-staged versions of Shakespeare’s plays. Find out more about the project and relaxed, assisted and family productions here

We are very pleased to be the joint winners of The Renee Stepham Award for Best Presentation of Touring Theatre. The other winner is Sadler’s Wells.
Thank you to all the venues we toured to in the UK and internationally for being so supportive and hospitable.

On Saturday 18th October a world of neon numbers, glitter and general fabulousness descended on the Globe for the 13th Alternative Miss World competition. Co-hosted by founder, artist Andrew Logan and former participant and Turner Prize winner Grayson Perry.

Judges included Madness front man, Suggs and daughter of  Globe founder, Zoe Wanamaker. 

Miss Zero+ from Russia was crowned Alternative Miss World 2014.

Today we’re listening to…’Time Takes Its Time’ by Jacqui Dankworth 

Jacqui Dankworth and The Brodsky Quartet - Sunday 19 October.

Virtuosic jazz singer Jacqui Dankworth will join her long time collaborators, The Brodsky Quartet perform a selection of pieces in the sumptuous candlelit Sam Wanamaker Playhouse.

Tickets from £10.

See the pieces to be played and book tickets here:

Today we’re listening to… ‘Hyperballad' by Bjork, performed with The Brodsky Quartet.

Jacqui Dankworth and The Brodsky Quartet - Sunday 19 October.

The Brodsky Quartet will perform this as part of their set with Jacqui Dankworth in the candlelit Sam Wanamaker Playhouse.

Tickets from £10. 

See the pieces to be played and book tickets here:

Sunday 2 November, 2.30pm 

Join The John Langan Band and support Will Varley for a stomping afternoon of funky folk, dancing and a touch of the summer festival feeling. Don’t forget your dancing shoes! 

Standing from £15. 
Seated from £20. 
Book online

Mistaken Murder in The Duchess of Malfi and ’Tis Pity She’s a Whore

PhD Researcher Neil Vallelly compares scenes from The Duchess of Malfi and ’Tis Pity She’s a Whore in preparation for the new season at the Sam Wanamaker Playhouse… 

Crown him a poet whom nor Rome nor Greece
Transcend in all theirs for a masterpiece;
In which, whiles words and matter change, and men
Act one another, he, from whose clear pen
They all took life, to memory hath lent
A lasting fame to raise his monument.

These words are John Ford’s, and they appear in the earliest printed edition of John Webster’s The Duchess of Malfi (1623). Ford and Webster were contemporaries, and both collaborated with Dekker and Rowley on a lost play entitled Keep the Widow Waking (1624), and again in Massinger’s revival of Fletcher’s The Fair Maid of the Inn (1626). Almost 400 years later, Webster and Ford are contemporaries once more. Malfi opened the inaugural season at the Sam Wanamaker Playhouse in January 2014, and later this month (23 October), Ford’s ’Tis Pity She’s a Whore opens the second season at the indoor theatre.

The plays have similar motifs of deception, jealousy, sibling relationships, and murder, with ’Tis Pity treading into more controversial waters with its portrayal of incest and mutilation. Yet, it is not so much the generic similarities that interest me with regards to these plays. Rather, it is two cases of inadvertent murder (one from each play) which raise questions about the capacity (and perhaps, incapacity) of creating darkness in the Jacobean indoor playhouses and the Sam Wanamaker Playhouse.

In the penultimate scene of The Duchess of Malfi (5.4), the fictional space is obviously dark, as the Cardinal makes several references to nighttime, and Bosola manages to sneak onstage without being seen. Moreover, after Antonio enters, his servant tells him: “Here stay, sir, and be confident, I pray. / I’ll fetch you a dark lantern” (41-42). Bosola mistakes Antonio’s entrance for the re-entrance of the Cardinal and fatally stabs him: “Fall right, my sword! [stabs Antonio] / I’ll not give thee so much leisure as to pray” (44-45). When Antonio exclaims in pain, Bosola tentatively asks: “What art thou?” (47)—potentially realising his mistake. Yet, it is only when the servant re-enters with a lantern and moves towards Antonio’s cries that Bosola is fully aware that he has killed Antonio: “Smother thy pity; thou art dead else. Antonio? / The man I would have saved ‘bove mine own life? (51-52).

Alex Waldmann as Antonio, Sean Gilder as Bosola in The Duchess of Malfi
2014 © Mark Douet 

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Live recording of Bjork and The Brodsky Quartet at Union Chapel, London 12th December 1999. 

The Brodsky Quartet will perform this as part of their set with Jacqui Dankworth in the candlelit Sam Wanamaker Playhouse on 19 October.

Details & tickets