Is choreography easier or harder at the Globe?
Paris and Juliet dancing at the masked ball.
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I think the opportunities here at the Globe are wonderful. It’s important to be less presentational in a way. Although it’s lovely to see the spectacle of the dance – that’s a pleasure in itself – there’s something very all-embracing in the idea that you’re dancing and people want to take up the rhythm themselves. A lot of the audience are standing and, if they want to move to the music, they can; I really noticed that last year. In The Frontline for instance, the people standing were really enjoying moving to the music. I think you learn a lot from doing things at the Globe. You want that spirit to go into other kinds of theatre work you might do.
The challenge that this the coordination on stage, there are two magnificent pillars and I have to make sure things work around them. Do you want dances to happen within them or outside of them? It’s quite a challenge to get all the movement that’s possible in that lovely big space. So things like that are distinctive about the Globe space, but it suits the physical very well and is a lovely space to listen to language too.
