Pop-up Globe

About Us

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“Walking through the doors is actually a heart stopping experience for any audience member” - Theatreview

Pop-up Globe® is a multi-award winning New Zealand company that produces spectacular Jacobean theatre, particularly the works of Shakespeare, in the world's first full scale temporary working replica of the second Globe.

At Pop-up Globe we believe Shakespeare’s masterworks performed in the space of the second Globe - the theatre Shakespeare and his company built and in which his plays were being performed when he died - is an extraordinary, transformative experience.

Pop-up Globe, the three-storey dimensionally-accurate 900-person theatre, popped up for the first time in Auckland in February 2016 with a twice-extended debut season that sold over 100,000 tickets including 20,000 to school students.

Pop-up Globe returns to Auckland this summer with four new productions of Shakespeare's masterworks by Pop-up Globe's critically acclaimed company, staged in a new and improved theatre, set in the beautiful gardens at Ellerslie Racecourse.

The Pop-up Globe Theatre Company

Theatre Department
Miles Gregory - Artistic Director, Director Henry V
Tobias Grant - Commercial Director
Ray Kingston - Chair
Anne Barrowclough - General Manager
David Lawrence - Head of Production, Consultant Head of Research & Development
Kelly Gilbride - Producer
Alice Pearce - Producer
David Rutland - Construction Project Manager
Kevin Hill - Locations Manager
Chantelle Brader - Enrichment Co-Ordinator
Ella Jullienne - Head of Sales & Marketing
Nikki Dorrington - Sales, Sponsorship & Marketing
Tessa Mitchelson - Marketing Executive
Susie Earle - Box Office Manager
Daniel Rowe - Playhouse Manager

Production Team
Ben Naylor - Director Othello
Miriama McDowell - Director Much Ado About Nothing
Tom Mallaburn - Director As You Like It
Edward Bijl - Senior Assistant Director Henry V
Chamolie Thomson  - Production Manager, Queen’s Company
Indigo Paul  - Production Manager, King’s Company
Charlotte Hall (Bubbles) - Senior Stage Manager, Henry V
Audrey Morgan - Stage Manager, As You Like It
Liam Murray -  Stage Manager, Othello
Jesse Hilford - Stage Manager, Much Ado About Nothing
Kasina Campbell - Associate Director & Movement Choreographer - Much Ado About Nothing
Ania Upstill - Assistant Director - Much Ado About Nothing
Hannah Schneider - Assistant Director - Othello
Emma Carr - Assistant Director - As You Like It
Alexander James Holloway - Fight Director
Paul McLaney - Director of Music
Brigid Costello - Director of Movement & Choreography
Megan Adams - Director of Movement & Choreography
Sylvia Rands - Vocal Coach


Wardrobe
Chantelle Gerrard - Designer Othello, Much Ado About Nothing / Head of Wardrobe
Bob Capocci - Wardrobe Consultant & Construction / Designer Henry V, As You Like It
Sabrina Brookfield  - Deputy Head of Wardrobe / Screen Printer
Anna Stuart - Wardrobe Assistant (Royal Seamstress)
Rhianna Crawford - Wardrobe Assistant
Rose Miles-Watson - Wardrobe Assistant
Pearl Si - Wardrobe Assistant
Jessica Zammit - Wardrobe Assistant
Michelle Johansson - Wardrobe Assistant
Josiene van Maarseveen - Wardrobe Assistant
Ben King - Wardrobe Assistant
Kate Harris - Wardrobe Assistant
Sarah Burren - Wardrobe Assistant
Brendon de Silva - Wardrobe Assistant
Paul Sayers - Wardrobe Assistant
Jodi Walker - Wardrobe Intern
Crystal Easton - Wardrobe Intern
Ashley Sattler - Wardrobe Intern
Brhiannon Fritz-Hammond - Wardrobe Intern
Katherine Meeten - Wardrobe Volunteer
Melanie Duff - Wardrobe Volunteer
Kate Percival - Wardrobe Volunteer
Catharine Littlejohn - Wardrobe Volunteer
Mike Brookfield - Master Screenprinter
Karen Newborn - Hat Construction
Nadia Benton - Hat Construction
Samantha Quigley - Hat Construction
Robyn Spencer - Headwear Construction
Bob Bain - Chopine Construction
 
Armoury
Derek Tomes - Armourer/ Armour Consultant
Kara Jensen - Leather work/Armour/Soft Costume/ Wardrobe Assistant
Nick Pitt - Leather work/Armour/Soft Costume/ Wardrobe Intern
Dave McIsaac - Leather work/ Leather work Consultant
Liz McCombe - Armour volunteer

 
Scenic Design
Malcolm Dale - Head of Scenic Construction
John Charles - Scenic Designer, Lead Artist
Duncan Milne - Lead Construction, Lighting Designer
Bill Lehmann - Construction and Painting
Scott Thomas - Construction and Painting
Melissa Schwalger - Construction and Painting
Alison Charles - Construction and Painting
Robert Hansen - Volunteer
Catharine Littlejohn - Volunteer
Sarah Jensen - Volunteer
Mark Allen - Volunteer
Marcus Lawson - Volunteer
Ann Macdonald - Volunteer
 
Special thanks to:
Sandra Roberts
Boom Boom Fireworks
CP Solutions
McCarthy Design
Peter Meecham
Jordan Arts
Our Pop-up Globe volunteer ushers
 
 
The second Globe theatre

The second Globe was one of the most famous and important theatres in history.

The first Globe was built in 1599 on the South Bank of the River Thames. It stood for just fourteen years until, during a performance of Henry VIII on 28 June 1613, a fire caused by a cannon used in the play burnt the playhouse to the ground.

Shakespeare and his company, the King’s Men, promptly rebuilt it on the same site. The second Globe was open by June of the following year.

The design of the second Globe theatre took advantage of everything Shakespeare and the King’s Men had learnt from the operation and design of the first Globe and 20 years of working together.

The second Globe, with its distinctive roof and ‘onion dome’, stood for three decades, until the closure of all public playhouses in 1642 during the English Civil War.  

The experience of Shakespeare’s work performed in the space of the second Globe was so remarkable that ever since the late nineteenth century, actors and academics – and sometimes a mixture of the two – have sought to recreate as much as is possible the ‘original’ staging conditions of Shakespeare’s own theatres.

Yet the second Globe theatre, the theatre Shakespeare and his company built and in which his work was being performed at the time he died, has never been accurately reconstructed, until now.

Pop-up Globe replicates for the first time the exact dimensions of the second Globe theatre.

From second Globe to Pop-up Globe

Pop-up Globe's dimensions and 2016 design were the result of ground-breaking research from Sydney University that unlocked many of the secrets of the second Globe.

“Our research answers important questions around the shape and size of the Globe, and challenges some of the fundamental assumptions made in the past about this fascinating theatre" says Tim Fitzpatrick, Associate Professor at Sydney University and world expert on the second Globe Theatre.

Professor Fitzpatrick has spent years studying the archeological data and contemporary sources that describe the second Globe theatre and his research has come up with some startling results.

Pop-up Globe matches the dimensions put forward by Professor Fitzpatrick to within six inches.

Pop-up Globe is different in size and shape to the reconstructed Globe on the South Bank, London, which is a conjectural reconstruction of the first Globe Theatre (London, 1599 – 1613).

 

Reviews

“Pop-Up Globe opens with triumphant production of Twelfth Night” - stuff.co.nz
“Hands down Pop Up Globe is a thrilling theatre experience for Aucklanders” - Theatreview
“The production is rich, full, lively and hilarious.” - Theatreview
“There was a group of four girls up the front, virtually leaning on the stage, and they were in the play. They hung on every word, thrilled to the actors, lived the falling in love breathlessly and looked to be having the time of their lives. And those are the cheapest tickets.” - stuff.co.nz
“Even those with only a passing interest in Shakespeare are bound to be captivated by the whole experience.” - Theatreview
“There is an indescribable magic to seeing the play performed in a space such as this.” - Tearaway
“The cast is opalescent on stage until the very last jig and bow. - Tearaway
“This is an experience not to be missed.” - Tearway
“Adorned in the spectacular costumes designed by Bob Capocci.” - Tearaway
“A truly ensemble production with some outstanding performances” - Theatreview
“We are...privileged to have the brilliant Pop-up Globe concept come to life here in Auckland” - Theatreview
“Walking through the doors is actually a heart stopping experience for any audience member” - Theatreview
“The groundlings probably have the most excellent view.” - Theatreview
“The level of authenticity is exceptional” - Theatreview
“You should travel from far and wide to experience of the Pop-up Globe.” - Theatreview
“The concept is one of sheer genius and you should engage with this once in a lifetime opportunity whether you are a Shakespeare nut or not.” - Theatreview
 
Our Artistic Vision (2016 - 2018)

We make spectacular Jacobean theatre, particularly the works of Shakespeare, for Pop-up Globe, the world’s first full scale temporary working replica of the second Globe, the theatre Shakespeare and his company built and in which his work was being performed when he died. 

We believe Shakespeare’s work performed in the original space of the second Globe is an extraordinary, transformative experience. 

Our mission is to share it with as many people as possible.

This is what we believe.

We believe in the primacy of the space rather than in using it to present historical or political directorial interpretations or ‘concepts’. 

We value clear, unfussy storytelling that places Shakespeare’s work front and centre. 

We create a sense of shared storytelling, and foster an interactive relationship with our audience during every performance. 

We embrace direct address and seek to address the majority of the text to the audience. Clear, skilled verse-speaking, by brilliant actors who project and articulate their voices to suit the space, is crucial. 

We use flat lighting of both actors and audience to replicate as closely as possible the original conditions of Jacobean performance. To maintain the honesty and integrity of this relationship, we do not use sound amplification.

We have a sense of humour, and our productions do too. We will not be over reverent. 

We always use live musical content and original scores commissioned by us for our productions. 

We believe in the power of spectacle. We excite our audience and draw them into an experience they cannot find anywhere else. Impressive stage combat sequences and special effects occur in our shows, and because we believe in the cathartic effect of the dance or jig, an impressive jig finishes every performance.

We believe that the more we know about Jacobean stage practice, the more fascinating the theatre we create will be for our audiences.  Our productions are built on the solid ground of historical research. We use carefully researched Jacobean stage practice to create new living theatre, and Jacobean special stage effects, where appropriate, are incorporated into each. 

We believe that because Shakespeare originally wrote his plays for an all-male company, and because we perform our work in a replica of a Jacobean theatre, part of our artistic output should incorporate single-sex productions performed in historically accurate costume. We believe that single-sex productions continue to offer new insights into Shakespeare’s plays, particularly those that focus on gender and identity, and provoke constructive debate and lively discussion around gender, sexuality and our contemporary society. 

We recognise the importance of reflecting contemporary society on stage. Accordingly part of our artistic output will be delivered by a mixed company of men and women, working with directors who are free to tell the story as they choose, while working within the framework of this Artistic Vision. 

We are actor focussed. We are committed to the practice of actors working in an ensemble of equals. 

We are committed to repertory theatre, where one company of actors makes two productions. This gives our audiences interesting insights in performances across two productions by the same company, and means that all members of the ensemble have a range of parts during a season.

We believe that amazing things happen when people from different backgrounds, cultures and nations work together. We always look to recruit actors, support and creative team members from New Zealand and all around the world. 

We are proudly independent. 

Most of all, we believe the most important group in the theatre is our audience. 

All of our work is audience-centric and we seek to give every member of our audience an engaging, enjoyable/entertaining and extraordinary experience. 

 

Dr. Miles Gregory

Artistic Director 

 

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About our Artistic Vision

The Pop-up Globe Theatre Company brings together experts from many fields to make an annual season of new theatre productions for Pop-up Globe. 

At the heart of the company is our professional acting ensemble, supported by voice, movement and stage combat specialists, designers, scenic artists, production and stage managers, directors, academics and creative teams. In 2017 this will comprise over 90 people.

The company creates new productions of Shakespeare’s work that respond to the unique performance conditions of Pop-up Globe as a replica of the second Globe Theatre (1614-42).

Our work is informed by our Artistic Vision, which is determined by our Artistic Director and reviewed every three years. Our next review is in 2018.

The theatre we make is entirely focussed on the Pop-up Globe space in which we perform, and responds directly to its demands and opportunities.

Some of the factors that influence our Artistic Vision are:

The nature of Pop-up Globe as the only working replica of the second Globe Theatre in the world

The large capacity of Pop-up Globe (900 seats)

The independent status of Pop-up Globe, as we receive no state funding 

The needs of our many different audiences

 

 

 

 

 

 

 

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