Over the weekend, over the course of two productions, I had my first chance to see the Globe Theatre’s controversial new lighting rig and sound system, which it has been all but confirmed will be departing the space along with artistic director Emma Rice. The shows were King Lear, directed by Nancy Meckler, and Much Ado About Nothing, directed by Matthew Dunster. Both were matinees, which turned out to be a key element of my experience.
I could tell that both Lear and Much Ado had a lighting design because I could see the bulbs flashing on and off, see them changing colors, but I couldn’t actually see the effects of the lighting onstage. Because of course, in the daytime, the Globe’s only possible lighting plot is… the sun. You can’t see lighting design without darkness to contrast against. Neither show was noticeably harmed by this omission. If there was something important or particularly interesting that I missed because of the daylight, then frankly, that’s bad design. Because nearly half the performances at the Globe are matinees, and if nearly half your performances are missing an essential element, that’s a problem. And on the other hand, if the lighting matters so little that matinees aren’t materially harmed by not having it… then why have it? Why should the full experience of a show only be possible in half the performances?
This is an element of the controversy I haven’t seen discussed, and which hadn’t occurred to me before I experienced it firsthand. But having seen it, it feels essential. In many respects, the Globe is best approached not as a normal theatre, but a site specific performance space. If a show isn’t going to work with the physical conditions that the Globe imposes, then there’s not really any point in performing that show there. Similarly, if a design is just going to attempt to erase or fight against the facts of the space, then it doesn’t belong. A fact of the space is that matinees will take place in natural daylight, mostly during the summer. Yes, it’s England, and I was blessed with two particularly sunny days, but there aren’t that many summer afternoons where it’s going to be as dark as nighttime at 2pm.
Theatre is unpredictable, and every performance is different. But a design that demands such a fundamental difference between daytime and evening shows can’t really be waved off as merely a quirk of live performance. I don’t think any lighting designer would accept an argument that their work matters so little that it’s just fine if a large percentage of audiences just don’t see it. Setting aside questions of authenticity or historical accuracy or popularity, the simplest fact is that the lighting rig at the Globe Theatre, in the very literal sense of functioning correctly in order to perform its intended artistic role in a production, actually doesn’t work.