Shakespeare and the Stage
John Kerrigan, 21 April 1983
Plans have been laid, the land is bought and later this year contractors will start to build, at Southwark, on or near the original site, a replica of Shakespeare’s Globe. It’s an exciting scheme, and everyone interested in drama must be grateful to Sam Wanamaker and his academic accomplices for advancing it – especially since the space will apparently be used not only for More Shakespeare but for neglected works by his contemporaries. But whatever the merits of the Globe Theatre Project, it’s a scheme attended with insidious dangers. For the temptation to assume that, with careful research, Shakespeare’s theatre can be reconstituted in lath and plaster is almost irresistible, when everything essential to that theatre actually lies beyond archaeology. As Michael Hattaway reminds us in his eloquent new study of Elizabethan Popular Theatre, the Rose, the Curtain, the Globe and the rest did not define the drama that they housed. Far more important than the ‘wooden O’ and ‘cockpit’ were those shared attitudes to language and illusion, spectacle and narrative that generations of actors and audiences worked out in Tudor halls, inn yards and bear gardens. In other words, when the last piece of marbled timber is slotted into place at Southwark, the real work must begin, with the elaboration of a mode of performance which, open to Elizabethan influence (appropriate, indeed, to a replica playhouse), can nevertheless be read without anxiety by modern audiences.–