Emilia (Modern Plays)

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The unique thing about this show is that it’s entirely the effort of women. The cast, crew, and band are all women, which makes the massively feminist context of the show even more powerful. Every woman has a presence on the stage, and what makes it even greater is the vast diversity of the cast, including several disabled actors (who are cast purely because they’re incredible actors, and not because their disabilities have any bearing on the plot).Following the run at the Globe, the production was announced to transfer into the West End at the Vaudeville Theatre from 8 March 2019. The limited run was due to end on 15 June, however it was announced that it would be closing two weeks early on 1 June 2019. [1]

Four hundred years ago, Emilia Bassano wanted her voice to be heard. It wasn't. Could she have been the 'Dark Lady' of Shakespeare's sonnets? What of her own poetry? Why was her story erased from history? There are three teachers of children: adults, other children, and their physical environment.” - Loris Malaguzzi The play was commissioned for the Shakespeare's Globe where it opened from 10 August 2018 running until 1 September. The production featured an all-female cast and was directed by Nicole Charles. Reggio Emilia-inspired activities allow children to take an active role in their learning, by choosing what they want to explore and discover. With a focus on relationship building and community, these activities can benefit children by:Under Petra Kalive’s direction, the play charts Emilia’s passage into the gentry class: when she was given away at the age of seven to Susan Bertie, Countess of Kent, after the death of her father; and her schooling in the etiquette of being a woman of a higher social standing, communicated in a highly entertaining dance sequence featuring Sonya Suares, Jing-Xuan Chan and Sarah Fitzgerald as noblewomen. In a funny little nod to the unhistorical casting, Suares performs moves synonymous with Bharatanatyam, an ancient Indian classical dance.