Robert Penny on performing in Playing Shakespeare with Deutsche Bank: Macbeth at Shakespeare’s Globe
Each year in the Playing Shakespeare with Deutsche Bank programme at Shakespeare’s Globe, students from Key Stage 3 upwards can experience a Shakespeare text produced especially for young people. For its nineteenth season this spring, the play chosen to be staged is Macbeth.
Shakespeare’s bloodiest work describes a world turned topsy-turvy by the unnatural murder of King Duncan. It seems fitting, therefore, that this production includes acrobatics and gymnastics! We were delighted to stop performer Robert Penny (who plays Banquo) mid-somersault and ask him what’s going down. Well, up and down…
Hi Rob. Thanks so much for talking to us about Playing Shakespeare with Deutsche Bank: Macbeth. First question is, have you done much Shakespearean acting in the past, or is this a first for you?
Thank you for inviting me to chat! It’s been brilliant having you in to see various shows. I’ve been so grateful to be a part of supporting, and uplifting all things theatre, especially theatre for younger audiences!
I haven’t performed any Shakespearean acting professionally before, so this has been a great challenge – and one to tick off the bucket list!
So this production uses acrobatics and gymnastics to help tell the story. What can we look forward to seeing?
It certainly does! From the initial audition to being in the rehearsal room, we have been exploring how we can integrate what’s amazing about acrobatics, how this can help aid the storytelling, and help the clarity within Shakespeare’s text.
I don’t want to give too much away, as you’ll have to come and see it for yourself! Just know that not everything is as it seems. There are plenty of surprises for sure!
What does your interpretation bring to the role of Banquo?
For me, I like to bring a small bit of myself to a role as a foundation to build upon when exploring characterisation. My interpretation of Banquo brings a level of cool confidence, and he likes to let his actions do the talking.
I don’t know if other actors have brought the skills I have to the role, but I like to think that I bring some of my previous experience in stage combat and gymnastics training to inform some of the choices I make for him. I think that there’s a small part of me in the Banquo you see in the show!
How has it been working with this extraordinary company of talented performers?
This has honestly been a dream! I’m learning new things every single day, soaking up the knowledge, experience, generosity, and sheer talent we all share!
Everyone in this company brings something unique and special to the show and their respective characters. This is a testament to our casting director Nick Hockaday, and director Lucy Cuthbertson for bringing such an amazing company together.
I had an awesome time, especially collaborating and devising with Lucy, Rhiannon, and Victoria on the witches and supernatural scenes. The witches and I share a similar physical working language and all have a ‘yes, let’s try it’ approach.
I think we came up with some lovely acrobatic flourishes that added something visual to the storytelling that we don’t see often enough in Shakespeare. I’ve gotten to grow not just as an actor and performer, but as a choreographer, acrobatics coach and acrobatics captain for this production of Macbeth.
Every day, I get to tread the boards of the Globe stage with an extraordinary cast and company, but the show wouldn’t be possible without also a wealth of offstage prowess and talent in the stage management, WHAM, costume, dressers, access, education and technical teams and our wonderful associate director Roberta Zuric, who all work so hard behind the scenes. It’s a real team effort putting on this production!
What’s it like being on the Globe’s magnificent open-air stage? Has it changed the way you perform?
Every time I open the big oak door that leads to backstage and onto the Globe stage, I feel a sense of its history and magic. It’s amazing to think what you see on stage looking out into the auditorium, is representative of what it was like back in Shakespeare’s time. Stepping out at the Globe Theatre for the first time, I was lost for words.
Has it changed the way I perform? Definitely! Every space is unique and has really amazing qualities that as a performer, you have to adapt to make the space work for you. Whether that be a studio space or a three tier auditorium with a dress circle and balcony. The Globe is no exception and brings a unique set of circumstances to play with.
Probably my favourite part is that as actors we can see the audience when we are on stage! Often in indoor theatre shows, the auditorium is dark, but here at the Globe the sun (most of the time) shines on both performers and audiences alike, so you really get to see what they think!
You’re used to young audiences, with some outstanding performances in the past and award nominations for your work, but how do you find they respond to Shakespeare?
Thank you, that’s very kind to say! A lot of my work has been within theatre for young audiences, which I’m so grateful for.
The Playing Shakespeare with Deutsche Bank project is a truly fantastic way of bringing more people to the theatre and to the Globe who may not have visited otherwise. Its age range is aimed especially at those studying for their GCSES, so generally the average age of the audience in this production is a lot older than the shows I’m used to!
I think the acrobatics and circus elements in the show get a great response as it’s so different and not like what people see day to day. It’s not very often you see aerial cartwheels or flips and somersaults when you’re walking down the road in London or having someone abseiling in from the ceiling!
The fights are also usually well received too, due to how visual stage combat is and how well it evokes the characters’ intentions (probably also the blood splatters!) The stage combat in the show was choreographed by an awesome fight director, Sam Lyon-Behan, and wonderfully looked after by the fight captain in this production, Lucy Johnson!
Do you think there’s space for more Shakespearean productions with acrobatics in them?
100%! What I’ve loved about being a part of this show is how visual our director Lucy wanted to be with this production. To be able to utilise all the amazing characteristics of acrobatics and gymnastics, and then in turn use these attributes to aid the storytelling and help drive the narrative.
I firmly believe this fusion and blend of creative skills can be further investigated and be applied to plenty of other Shakespearean texts! It’s a really exciting time in the theatre world now, with new shows, like this one, exploring blending different disciplines together to tell stories in new, creative, and wonderful ways.
The visual impact of acrobatics cannot be underestimated, but pair that with some wicked Shakespearean text and you have a recipe that the witches of Macbeth would be proud of!
I can’t wait to see where this magical show takes me next; I’ve made some great friends, worked with some brilliant creatives, and have some amazing memories I will cherish. We run until Sunday 20 April, and tickets are from just £5. Don’t miss out!
Thanks very much to Rob for taking time out to chat with us. Playing Shakespeare with Deutsche Bank: Macbeth plays at Shakespeare’s Globe until Sunday 20 April. Further information and booking details can be found here.
