Michelle Terry has been in place for a few months now as artistic director of The Globe. Her first productions, Hamlet and As You Like It , are in rehearsal, and they’re both being played by the same ensemble of actors, and are being launched towards the end of April. We plan to attend an early performance of Hamlet, and bring you a review of how it went.
The casting of these two production seems to be a close-kept secret. The question which obsesses people like me, is whether Michelle Terry will play the title role of Hamlet. She’s known to be keen on gender-blind productions; she is the artistic director of The Globe – but she’s not directing the play; she has expressed interest in playing Hamlet.
The Globe has released a YouTube video of the rehearsal process being used (see below), so I watched it to see if there were any clues as to who was playing whom. Clic on the arrow in the image to play the video.
Well, boo!!! Most of the rehearsal recorded is from As You Like It, so there’s little to learn about the Hamlet casting. Except…. did I see a male playing Rosalind in the filmed rehearsals??? If you’re going to have a male playing Rosalind, it seems reasonable, if not obligatory, to have a female playing Hamlet. Well, we’ll find out soon enough. Watch this space for a review.
Actually, I found the rehearsal very interesting. It was clearly fairly early in the rehearsal process, and yet the actors were acting sans scripts, being fed lines by a prompt or “line feeder” so that their engagement with the other actors is stronger, right through the rehearsal process.
Now this is very much part of the Gonzales methodology, as Shakespeare @ Traquair found out when Aileen Gonzalves, the RSC director, ran a workshop for them on their forthcoming production of Much Ado About Nothing (see our Review of the Shakespeare @ Traquair workshop).
It would be interesting to know more about the new rehearsal process being followed by Michelle Terry’s ensemble of actors at the Globe. How closely does it reflect Aileen’s methodology? Is there a general move towards reactive acting (one doesn’t say “Ouch” until you’ve been pinched)?
We shall try and find out more. Incidentally, if you’re interested in Aileen’s approach, we’ve published a number of articles by her now. Click on any of the following links to find out more:
- Objectives are essential to good acting
- Objectives, Stakes, Entitlement Tactics
- An RSC Director’s approach to The Dream
- A Dream of many colours
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