(Sam Wanamaker Playhouse, directed by Jonathan Munby, 3 July 2015)
The Globe’s increasing involvement with early music has been one of the unforeseen consequences (for me) of the Sam Wanamaker Playhouse. As I’ve said before, its intimate atmosphere and warm acoustics have encouraged some truly exciting developments over in Southwark. There’s the exciting collaboration with the Royal Opera House to produce lesser-known early Baroque operas; there are concerts; and, least foreseen of all, new plays which explore the history of music. Last season we had Farinelli and the King, which will transfer to the West End this autumn and which has done so much to introduce a general audience to countertenors (and hopefully, for Iestyn Davies’s sake, to the difference between a countertenor and a castrato).