of Shakespeare’s work and the theatre for which he wrote. From modest beginnings, Shakespeare’s Globe has become one of the most popular visitor destinations in the UK, at the heart of the regeneration of London’s Bankside. Shakespeare’s Globe is a UK registered charity and continues to operate without annual government funding.
Under the leadership of Artistic Director Dominic Dromgoole, the Globe Theatre has gained an international reputation for performance excellence, welcoming over one million visitors annually.
Pitcairn is one of four new plays to be staged in 2014, with Doctor Scroggy’s War by Howard Brenton, Holy Warriors by David Eldridge and Simon Armitage’s The Last Days of Troy.
Sam Wanamaker Playhouse This year saw the completion of the new indoor Jacobean theatre, which opened with The Duchess of Malfi and which will continue to stage Jacobean dramas, new plays, opera and candlelit concerts.
Globe to Globe The Hamlet tour opened at the Globe on 23 April 2014 – the 450th anniversary of Shakespeare’s birth. Over the course of the two-year project, the company will travel to hundreds of unique, atmospheric venues across seven continents by boat, sleeper train, jeep, tall ship, bus and airplane. As part of the Globe’s ongoing commitment to the international celebration of Shakespeare the Bankside theatre hosted All’s Well That Ends Well in Gujarati in May, and A Midsummer Night’s Dream in British Sign Language in June.
Globe Education Each year, more than 100,000 people of all ages and nationalities participate in Globe Education’s programme of public events, workshops and courses. Globe Education also runs an extensive programme in the Southwark community and creates national and international outreach projects for students and teachers.
Globe Exhibition & Tour Open all year round, the Globe Exhibition & Tour provides an opportunity for all ages, families and groups to learn more about Shakespeare, his London and the theatre for which he wrote. Live demonstrations explore stage-fighting, Elizabethan clothing, and printing on a traditional press.
shakespearesglobe.com
UTOPIAS | by Tom Wicker
Taylor Camp, Kauai, Hawaii, by John Wehrheim. His book of photographs and interviews, Taylor Camp, is published by Serindia Contemporary; he has also produced a documentary of the same name.
Early on in Richard Bean’s Pitcairn, Ned Young surveys the work of his fellow Bounty mutineer William Brown, who has been appointed the island’s ‘gardener’. Upon finding Brown, Young exclaims: “Look at this! William, you have turned the Garden of Eden into… Norwich.”
It’s a funny line, and seemingly glib, but neatly encapsulates the provinciality of even our grandest ideals. Whether it’s British hedgerows or greed and desire, it can be hard to shake off the things we believe we have left behind – however far we travel.
But yet we keep searching for ‘utopia’ – a fairer, usually simpler place, free from the failings of whichever society has let us down. And throughout history, this quest has blended the literal with the metaphorical. When Bean has one character marvelling that “we find ourselves at the beginning of time,” he’s tapping into a longstanding tradition of locating paradise abroad.
From the earliest travel reports to Thomas More’s hugely influential book of 1516, in which Utopia is an island, our notions of a better place have been anchored to the idea that it is somewhere else. Oscar Wilde once wrote that “a map of the world that does not include Utopia is not even worth glancing at, for it leaves out the one country at which Humanity is always landing.”
Utopia as a place carved out far from civilisation is a pervasive idea throughout art and literature, glimpsed in everything from The Swiss Family Robinson to Alex Garland’s The Beach. It’s usually an unspoilt space – like somewhere from before The Fall, whether that’s the Garden of Eden or pre-capitalism. It’s about wiping the slate clean and starting again by getting back to nature.
Equating moral goodness with a return to life in a ‘state of nature’ gained huge traction in the eighteenth century. It was popularised by the French philosopher Jean Jacques Rousseau, who argued that the advent of modern society, with its focus on private ownership and self-advancement, had destroyed the natural bonds of community that provide true freedom.
But what we laud as a ‘state of nature’ is often just a sublimated version of our own values and principles disguised by pretty foliage. Bean makes this point with black humour in Pitcairn. Grand talk of “Man and Woman in a natural state,” living “without prejudices” and “knowing no other god but love”, is followed by utter incredulity at the notion that the island’s females might receive equal property rights.
Religion has been central to real-life attempts to build new societies. It’s pivotal to the narrative of modern-day Pitcairn’s history and helped to propel The Mayflower into the New World more than a century before the mutiny on The Bounty. But utopia-like origin myths tend to sweep tricky truths beneath the carpet – for every celebratory Pilgrim Fathers story there are displaced Native Americans.
In Bean’s take on Pitcairn, religion is a tool to be exploited. Talk of the will of God is used to subjugate others on the island after a revolt. In this sense, utopia and a repressive, Orwellian 1984-style dystopia are not separate states – the latter is the dark side of the coin when an ideology is threatened or someone’s survival is at stake. When disease or hunger strike, the rhetoric of harmony and equality tends to disappear.
In the end, it’s all relative, however you dress it up. But the urge to create utopia is enduring. People continue to cleave to the idea that things will be better if they can recreate an imagined ‘start’ or an earlier time. This desire is particularly acute when times are tough – when we feel that an existing society has let us down, whether financially, politically or culturally.
In the increasingly secular western world of the past century, religion as the driving force for returning to an idealised origin point has been translated into nostalgia for a past in which everyone left their doors unlocked and neighbours helped each other out. One of the most literal manifestations of this is Celebration, the purpose-built town developed by the Walt Disney Company – pure Americana with white picket fences, piped music and even artificial snow-falls.
Barring one murder, Celebration has been praised for its safety. But many have found this picture-perfect idyll – which opened its gates in 1996 – unsettling. Its neatness and order seem inimical to real life. And the homogeneity of such master-planned communities, with their manifestoes and rules, can feel exclusionary. Perhaps unsurprisingly, a 2010 census revealed that 91% of Celebration’s population was white.
A very different kind of utopia-building was Taylor Camp, on the Hawaiian island of Kauai. Started in 1969 by 13 hippies on land given to them by the brother of actress Elizabeth Taylor, it grew into a community that lasted for eight years. As detailed in John Wehrheim’s absorbing eponymous photographic history of the camp, this complex of treehouses was filled by those who had rejected mainstream society’s values.
Now, it would be easy to scoff at Taylor Camp’s clothes-optional, flower-power set-up. The ‘dippy-hippy’ stereotype has had decades to take root. But the camp was a response to a time of huge social upheaval, as the fight for civil rights intensified and America reeled from the Vietnam War and then Watergate. It offered both a refuge and an alternative way of life to a deeply disillusioned younger generation.
