Celebrating its fifth fantastic year Shakespeare’s Globe on Screen returns in 2015 with a brand new season of sell-out performances and captivating theatre, offering audiences a ticket to the best seat in the house from the comfort of your local Picturehouse Cinema.
Click on the production titles for booking information
Titus Andronicus – From 9 April
Returning to Rome from a war against the Goths, the general Titus Andronicus brings with him the queen Tamora and her three sons as prisoners of war. Titus’ sacrifice of Tamora’s eldest son to appease the ghosts of his dead sons, and his decision to refuse to accept the title of emperor, initiates a terrible cycle of mutilation, rape and murder. And all the while, at the centre of the nightmare, there moves the villainous, self-delighting Aaron.
Grotesquely violent and daringly experimental, Titus was the smash hit of Shakespeare’s early career, and is written with a ghoulish energy he was never to repeat elsewhere. This production revisited Lucy Bailey’s spectacular Globe production of 2006 and caused a stir throughout the UK media with staged violence so realistic that throughout its run the play saw audience members fainting in the stalls. The 2015 cinema release will have audiences on the edges of their seats from start to grisly end.
Julius Caesar – From 30 April
When Caesar returns to Rome from the wars a virtual dictator, Brutus and his republican friends resolve that his ambition must be curbed – which in Rome can mean only one thing: the great general must be assassinated. But once the deed is done, the idealistic conspirators must reckon with the forces of a new power bloc, led by Mark Antony and Caesar’s nephew Octavius. When their armies close at Philippi, will Caesar’s ghost be avenged?
Opposing dictatorship and republicanism, private virtue and mob violence, Shakespeare’s tense drama of high politics reveals the emotional currents that flow between men in power with themes that still resonate even today. This sell-out production employed authentic Renaissance costumes and staging, and Dominic Dromgoole’s impassioned interpretation of one of Shakespeare’s classic plays showcased “a rapport between the performers and the audience that feels genuinely magical” (Daily Telegraph).
Antony & Cleopatra – From 18 June
Cleopatra, the alluring and fascinatingly ambiguous Queen of Egypt, has bewitched the great Mark Antony, soldier, campaigner and now one of the three rulers of the Roman Empire. When Antony quarrels with his fellow leaders and throws in his lot with Cleopatra, his infatuation threatens to split the Empire in two.
The third of our Roman Tragedies, Antony & Cleopatra picks up Antony’s story many years after Julius Caesar. Virtue and vice, transcendent love and realpolitik combine in Shakespeare’s greatest exploration of the conflicting claims of sex and power, all expressed in a tragic poetry of breath-taking beauty and magnificence. The Globe’s 2014 envisioning of this iconic play encapsulates these themes whilst deftly threading a sense of comedy throughout, and Olivier Award-winner Eve Best’s Cleopatra ‘kisses the audience’ (Guardian) with her ‘magnetically humorous’ (Evening Standard) performance.
The Comedy of Errors – From 14 July
Take one pair of estranged twin brothers (both called Antipholus), and one pair of estranged twin servants (both called Dromio), keep them in ignorance of each other and throw them into a city with a reputation for sorcery, and you have all the ingredients for theatrical chaos. One Antipholus is astonished by his foreign hospitality; the other enraged by the hostility of his home town. The Dromios, caught between the two, are soundly beaten for obeying all the wrong orders.
Basing his plot on a farce by Plautus, Shakespeare caps the mayhem of his Roman original to build up a hectic tale of violent cross-purposes, furious slapstick and social nightmare.
The final Globe On Screen film for 2015 brings the perfect light relief to close an epic season of war and tragedy. This sell-out production employed authentic Renaissance costumes and staging and will have cinema audiences roaring with laughter as it crams in “more hilarious anarchy than you can shake a fish, cat or identity-confused servant at.” (London Theatre Guide).