Shakespeare’s Globe is one of the most distinctive performance venues in the world, known for its unique acoustic and architectural design. A faithful reconstruction of the original Elizabethan playhouse, the open-air theatre was built using traditional materials and methods, including English oak and mortise and tenon joinery. It remains the only building in London permitted to feature a thatched roof since the Great Fire of 1666.
Designed for unamplified performance, the Globe places audiences in close proximity to the stage, with a circular structure that wraps spectators around a wide thrust platform. Approximately 600 standing ‘Groundlings’ occupy the open pit, while a further 1,000 audience members are seated across three steep gallery tiers. The space is intentionally configured to prioritise the natural projection and clarity of the human voice, forming a core part of the Globe’s identity and audience experience.
In December 2025, the Globe staged a new musical adaptation of Pinocchio as part of its festive programme. Aimed at family audiences, the production introduced additional technical requirements, including a live band and reinforced vocals. While amplification is not standard practice at the venue, it has been used selectively for specific performances. For Pinocchio, the challenge was to enhance intelligibility and musical balance without compromising the theatre’s historic character or its reputation for acoustic performance.
The brief was clear: any sound reinforcement needed to be as transparent as possible. The audience should remain immersed in the performance, without being aware of the technology supporting it. To achieve this, the production team turned to L-ISA Hyperreal, an object-based spatial audio solution designed to create a more natural and immersive listening experience by aligning sound sources with their position on stage.
The project brought together L-Acoustics and Autograph, working alongside Olivier Award-winning sound designer Tony Gayle. Gayle’s previous work on My Neighbour Totoro, which earned him an Olivier Award for Best Sound Design, informed the approach taken for Pinocchio, particularly in achieving clarity and natural vocal reproduction.
The Globe’s structure presented several technical challenges. As an open-air venue, it is exposed to environmental factors such as wind and temperature, both of which can affect sound propagation. Its circular layout also differs significantly from conventional theatre environments, making it more complex to deliver consistent coverage across all audience areas. Ensuring even sound distribution between the pit and the upper gallery levels was a key consideration.
Visual impact was equally important. The Globe’s timber construction and historic aesthetic leave little room for visible technical infrastructure. Any solution needed to integrate seamlessly into the building, avoiding disruption to sightlines or the overall appearance of the space.
To address these requirements, the team used modelling tools to simulate the venue and test multiple system configurations before installation. Physical equipment was also brought on-site to assess scale and placement within the theatre. The final design centred on a discreet multi-array system, with speakers selected and finished to blend into the surrounding architecture.
The main system comprised compact loudspeakers positioned across the front of the stage, supported by low-frequency elements to maintain control in the open-air environment. A significant aspect of the design was the inclusion of a spatial fill system distributed throughout the gallery boxes. Each box was equipped with multiple compact speakers, ensuring that audience members in elevated or partially obscured positions received a consistent and intelligible audio experience.
In total, more than 100 small-format loudspeakers were deployed across the venue, forming one of the largest spatial fill systems of its type. For some seating areas, particularly those where the main system was less directly visible, these fills carried the primary audio signal. The system was managed using advanced processing and networked audio infrastructure, allowing precise control over distribution and redundancy.
Multiple discrete sound zones were configured to tailor the listening experience throughout the theatre. This approach enabled adjustments based on audience position, particularly for those seated closer to the stage who could naturally hear more of the acoustic performance. By balancing reinforced and natural sound, the system maintained consistency without overpowering the Globe’s inherent acoustics.
Efficiency was also a consideration. The use of modern amplification and control systems reduced overall power consumption and equipment footprint, an important factor in a venue with limited technical space. Pre-configured systems and streamlined networking also helped to simplify setup and operation.
The result was a sound design that met the production’s objectives while respecting the venue’s heritage. Feedback from both the creative team and audiences was positive, with particular praise for the clarity of vocals and the overall balance of the mix. Importantly, the technology remained unobtrusive, supporting the performance without drawing attention to itself.
For the Globe, the project demonstrated how carefully implemented audio solutions can enhance modern productions within historic settings. While the theatre continues to champion unamplified performance, Pinocchio highlighted the role that discreet, high-quality reinforcement can play in expanding programming and reaching new audiences.
More broadly, the installation reflects a growing trend towards spatial audio in theatre environments. By distributing sound more naturally across a venue, these systems offer improved localisation and immersion compared to traditional left-right configurations. In complex spaces such as the Globe, this approach provides a practical way to address coverage challenges while maintaining a natural listening experience.
The collaboration between the Globe, L-Acoustics, Autograph and the production team illustrates how technical innovation can be applied sensitively within heritage environments. By prioritising transparency, integration and audience experience, the project successfully balanced modern production demands with the unique character of one of London’s most iconic theatres.
