Week by week

Week 2

This week the cast have been exploring how to use the space. They have also been adding music into the production. You can keep up to date with what is going on in rehearsals though our Assistant Director, Tom, in our blog down below. We also show you a glimpse with some behind-the-scenes photos.

Why not visit the language page and take a closer look at some of the key scenes in the play? And don't forget to take part in our first creative brief and design a poster for Much Ado About Nothing. 

Week 2 Blog

Day One

The actors are on their feet now and Michael, the director, is staging the play. It’s great to see last week’s conversations really paying off in the choices that actors are making. Etta Murfitt,, our choreographer has been working with Michael and the actors on some of the movement and some of the dance. Music, dance and inventive staging are important for any production, perhaps all the more so for this audience, but it’s great to feel character and narrative being really informed by these moments, particularly Benedick (Ben Mansfield) and Beatrice’s (Fiona Hampton’s) verbal sparring.

Tom Davey, Assistant Director

Day Two

It’s a privilege for me, in my capacity as assistant director, to watch the play taking shape. I’m learning the job too, this being my first go at it. This week I’ve been helping some of the actors with their lines, discussing various moments with Michael and making cups of tea. It’s my responsibility to prepare the rehearsal call for the following day to keep us on track.  In addition to this, last week, I was asked to share with the cast some of my recent experiences as a Learning Consultant for Globe Education. Over the last couple of months, I have been planning and running workshops with teachers and pupils, most of whom will see the play once it’s up.  It’s been fascinating to explore the play’s themes with young people, particularly, issues of honour, shame and truth. I was surprised at just how resonant Hero’s experience in the play, (false accusation, public shaming) seems to be to the school communities I’ve visited. False accusation in a public arena, and the fear of it, is all the more potent in the internet age. Teachers and pupils had a lot to say about the subjective nature of honour. In our play Claudio’s powerful sense of what is right, or honourable, leads him to forget other important things with disastrous consequences. Watching Philip Correia’s performance take shape, I’m fascinated to see what our audiences make of Claudio and whether they, like Hero, find it possible to forgive him for what he’s done.

Tom Davey, Assistant Director

Day Four

This ‘comedy’ has the capacity to challenge us to reflect on troubling aspects in today’s world. It is also VERY funny. The photographer came into our rehearsal and took some great shots. The photos really capture the sense of fun and enjoyment in the room. Etta’s movement is contributing to this but all the actors are finding and exploring the purely entertaining moments and it’s fascinating how Shakespeare balances sadder moments with comic relief.  Hilarious moments are directly linked to the plays bitingly sad events. Watching Charlotte Mills’ Dogberry trying to capture Borachio (or ‘comprehend him’ as Dogberry would say) with a spool of police tape is delightful but if she had been able to make herself understood by Leonato, before the disastrous wedding ceremony, then that event would never have taken place and perhaps the crisis moment of the play would have been avoided.

Tom Davey, Assistant Director

Day Five

We’ve now staged the entire play! Today, we’ve come from our rehearsal room near Elephant and Castle to the Globe so that the actors can spend time on stage with Glynn Macdonald, head of movement at the Globe. Now the cast are enjoying a session with Alex Bingley our voice coach. Over the next couple of weeks I’m really looking forward to reflecting with Michael and the actors on the opportunities and challenges  that this stage and the entire space present. Unlike other theatres the Globe is round and, thanks to the hole in the roof, light.  An audience is invited by those aspects to behave in a very different way, perhaps more animated and willing to make their presence felt.  As a company we have to be up to that and ensure that the story is clearly told. I’ll be back next week to let you know how we’re getting on!

​​​​​​​Tom Davey, Assistant Director



A creative brief is given to each member of the creative team. The brief is intended to focus on the director's intended vision for the production. Why not be creative yourself by designing your own poster using our creative brief.

When a play is planned by a theatre they need to prepare an eye-catching poster. Download the early versions on the right to look at how the design changed. One of the posters has been annotated to show the links between the design and the themes of the play. 

Here are our top tips to think about when designing a poster:

1. Make it stand out so that it immediately grabs the attention of the viewer.

2. Be as bold and creative as possible so that it is different to the competition.

3. Make sure that all the information can be read clearly and that no important details about dates or times are lost.

4. Think about who the poster is aimed at and target it for that particular audience.

5. Consider the subject matter for your poster. Research the topic, and understand it, before you begin designing.

You can download the poster brief, these tips and inspiration from our designers on the right. Once you are done, email your creations to us at digital.i@shakespearesglobe.com so that we may feature it on the site.