Outdoor theatre is on the riseby Michael Coveney / June 20, 2012 / Leave a comment
Published in July 2012 issue of Prospect Magazine
The predominant image of outdoor theatre in the British summer is of students or amateurs shouting their heads off in Shakespeare or a forgotten French classic while the audience shifts about in deck chairs fiddling with blankets and thermos flasks.
This is still undisturbed in many parks and castle keeps from Lancaster to Ludlow, and all the way down to Porthcurno in Cornwall, where the Minack Theatre, carved in stone and perched above the ocean, provides a breathtaking elemental setting for King Lear, Peer Gynt or indeed Gilbert & Sullivan.
But in London, recent upheavals at the Regent’s Park Open Air Theatre and at the Globe Theatre have ensured that each venue has become a major player in the capital’s cultural calendar, not just a diversion for visitors at a loose end.
Both theatres rely on sponsors and box-office income, and receive no core funding from the Arts Council. In that sense, they are—because they have to be—irredeemably populist, as indeed was their patron saint, Shakespeare.
And they seek a modern, contemporary way of capitalising on the Shakespearean model of shared light between actors and audience, an open roof (“this majestical roof fretted with golden fire” in Hamlet is the night sky) and utter fluidity of staging.
The Globe, where Dominic Dromgoole is artistic director, having succeeded Mark Rylance in 2006, has prefaced its summer season with an astonishing “Globe to Globe” project of all 37 Shakespeare plays performed in 37 different languages by companies from the Balkans to South Africa to the Sudan. And after this month’s new versions of Henry V and The Taming of the Shrew, Dromgoole magnanimously welcomes back Rylance as both Richard III and Olivia (yes, he makes a lovely countess) in Twelfth Night.