Rice wrote: “Here, I have found my fight and my ‘right’, I have stood up for what I believe in and tried to do it with kindness, care and seriousness.
“However, in the wake of recent events, the Globe is wrestling with what, at its core, it now stands for. It is still in the process of deciding and clarifying what its fight and its ‘right’ are.
“I had to choose to leave because I choose myself and my work. Never think that my decision to step down in 2018 was simply about lights and sound, it was about personal trust and artistic freedom.”
She added a warning to the person who follows her: “You must make sure that your own freedom is assured.”
She decided to quit, she said, because the theatre’s board “did not love and respect me back” and “began to talk of a new set of rules that I did not sign up to and could not stand by”.
A list of lessons she has learned included: “I have learnt, never again, to allow myself to be excluded from the rooms where decisions are made.”
The Globe, she explained, is “not a job, it is a vocation and an all-consuming, delicious tangle of histories, hopes, passions and agendas”.
Dromgoole, who was at the Globe from 2005-16, went further in detailing the pressures borne by artistic directors.
The “bile” from external critics “can be disabling”, he wrote.
He went on: “Sadly the negativity doesn’t only come from without, there is also a fair sum within.
“There are structural problems, there are personality problems, there is too much fighting for territory, and there are too many who feel free to comment on work without ever taking the risk of making it.
“It is absurd that out of the mess of last year, the only person to be suffering the consequences is Emma.”
He said he disagreed with Rice’s attempts to move away from the traditional “shared light” – in which the actors and audience are in the same light – which he said was “at the heart of her disagreements with colleagues and the board”.
But he said: “I cannot respect the blocking of her choice.”
He warned her successor to be “exceptionally wary of those who do not want to advise but who want to influence”, adding: “Everybody wants to be artistic director. They can’t all be. Only you can.”
The only people with the “moral strength” to get rid of an artistic director are the audience, he wrote.
“No-one else, not the board, not your supposed colleagues, not the vulture punditry, just the audience. Emma had lost a little of the Globe audience, but all the evidence is that she had gained some as well.”
A spokesperson for the theatre said chief executive Neil Constable and the board would not be commenting on the remarks.
The Globe, which opened in 1997, is a reconstruction of a Shakespearean theatre on London’s Southbank.
We’ll first see how readily they part with their cash when the new series starts this summer.
In the meantime, let’s look at how the new Dragons made their money.
Occupation: Part-owner and executive chairman of Crystal Palace Football Club.
Steve Parish began life as a budding businessman as soon as he left school at 18.
His chosen line of work was a long way from football in advertising and computer graphics. The company was Adplates and while working there Parish was already thinking of creating his own empire, starting by founding a company called Turning Point Technologies. He then went on to buy Adplates itself and gave it his own stamp by renaming it Tag.
Tag grew from a 50 staff-member team making under £4m a year into a big brand promoter, with thousands of employees in 13 offices around the world and making more than £180m annually.
When he came to sell Tag in 2011, Parish made in the region of £150m. And with that money, he bought his passion – Crystal Palace FC – a team he had supported since childhood.
His success with the club in the seven years he’s been there has seen him save it from financial ruin and take it into the Premier League.
On bringing his experience to Dragons’ Den, Parish says: “I’m thrilled to become a Dragon and really excited to meet the entrepreneurs in this series, see what ideas they bring to the Den and how I might be able to help them grow.”
Occupation: Business mentor, charity supporter and speaker
Another early starter, Campbell left school at 16 and aptly began her working life counting cash in a NatWest bank and checking customers’ signatures on cheques.
She soon rose up the ranks and into head office where she had several jobs including being part of the team overseeing the merger of NatWest and RBS.
After 30 years in banking Campbell sought to become an entrepreneur in her own right – in the cash machine business.
Like Parish, she took a failing enterprise, saw its potential and pulled it from the debt quagmire onto the road of pan-European success.
In the height of the financial crash she bought it out, relaunched it as YourCash Europe Ltd and become the majority shareholder.
Ten years later, she sold YourCash for £50m and now dedicates her work time to encouraging and teaching others how to succeed.
Previously awarded Business Woman of the Year, Campbell’s work ethic is “live by corporate standards, but breathe like an entrepreneur”.
Of joining the Dragons, she says: “As a fan of Dragons’ Den I’m very excited to be taking my seat in the line-up and bringing my own unique style to the Den. I’m looking forward to using my extensive business skills to spot the next generation of entrepreneurs and help them realise their business dreams.”
A Rimmel mascara advert starring Cara Delevingne has been banned for using tricks to exaggerate the look of her “dangerously bold lashes”.
Delevingne was seen using Scandaleyes Reloaded mascara as the ad promised “extreme volume… extreme wear.”
But it didn’t say Delevingne had also been given individual lash inserts to fill in gaps and that some lashes had been re-drawn in post-production.
The Advertising Standards Authority (ASA) has said the ad was misleading.
It must not appear again in its current form, the watchdog said.
In the advert, a voiceover said: “Rimmel introduces Cara Delevingne for new Scandaleyes Reloaded mascara. Dangerously bold lashes. New max-density brush for clump free lashes. Extreme volume… extreme wear.”
Rimmel’s owner Coty UK said the ad accurately represented the product, and that Delevingne’s lashes looked “full and long” before they used their extra production techniques as well as after.
Coty said it used individual lash inserts “only to fill in gaps and to create a uniform lash line”, which was “in accordance with industry practice”.
And some lashes were re-drawn in post-production “where they were not visible due to the model’s dark eyeshadow”. But that process didn’t lengthen or thicken the lashes, Coty said.
But the ASA took a different view. It concluded that the effect of the lash inserts or the post-production – or both – was to give the appearance of “longer lashes with more volume”.
The ASA ruling said: “Because the ad conveyed a volumising, lengthening and thickening effect of the product we considered the use of lash inserts and the post-production technique were likely to exaggerate the effect beyond what could be achieved by the product among consumers.
“We therefore concluded the ad was misleading.”
Coty said: “While we regret the decision of the ASA, we will of course comply with the ruling and not air the TV commercial again in this state.”
Megan Mullally, who plays Karen in Will and Grace, has suggested that the presidency of Donald Trump will be mentioned in the new series.
Speaking to BBC Radio 5 live Afternoon Edition, Mullally said: “The show was not only funny but topical, so the elephant in the room that has now burst out of the room and is now straddling the earth will be mentioned from time to time.”
NBC announced the comedy would be returning for a 10-episode series in 2017.
Who wants a copy of a 16-year-old compilation album? Quite a lot of us, it seems.
Sales of Now That’s What I Call Music 48 surged last week, after the double CD (“featuring 41 top chart hits!”) provided the soundtrack to the BBC sitcom Peter Kay’s Car Share.
It even entered Amazon’s compilation chart, despite being out of print, on the strength of second-hand sales.
Prices shot up too, rising from as little as 11p to more than £20.
In the show, supermarket employee Kayleigh Kitson (Sian Gibson) announces it’s her favourite album, much to the horror of her curmudgeonly carshare partner John Redmond (Kay).
He prefers Fleetwood Mac’s Rumours: a classic, no doubt, but one which lacks Now 48’s impressive roster of six number one hits (not to mention two solo singles by former members of the Spice Girls).
Music from the 2001 compilation permeated the first episode of the show’s second series, prompting that unlikely interest in hand-me-down copies.
Ahead of the broadcast of episode two on Tuesday, we take a look at some of Now 48’s more interesting moments.
Hear’Say – Pure And Simple
At the end of the first series of Car Share, Kayleigh moves house, meaning her lift to work (and burgeoning romance) with John is no longer necessary.
She gives him a copy of Now 48 as a parting gift. “I’ve got two copies,” she explains, “our Kieran used to fiddle Britannia*”.
Inside is a note reading: “Track two is from me to you, you’re a star. Love always, Kayleigh.”
Series one ended and series two began with that song – Pure and Simple – which brings a tear to John’s eye.
Famously, the song was the UK’s first ever talent show number one, emanating from the awkwardly-punctuated Hear’Say, who were cobbled together by ITV’s Popstars series in late 2000.
To watch the show now, it’s unbelievably clunky, with none of the sheen and polish of X Factor or The Voice. There isn’t even a live audience, as the show (like a lot of the early reality shows) presented itself more as a documentary than a competition.
The single is similarly laborious, borrowing heavily from All Saints’ Never Ever, and displaying none of the cartoonish energy you’d associate with co-writer Alison Clarkson – aka Betty Boo.
Bet you can still sing it, mind.
*Note to younger readers: The Britannia Music Club was a company that used to send CDs through the post, usually offering an unbeatable introductory offer (“get six CDs for a pound”) before fleecing you dry for the rest of your subscription period. Everyone who joined inevitably ended up with a copy of Meat Loaf’s Bat Out Of Hell, whether they wanted it or not.
Shaggy ft RikRok – It Wasn’t Me
The top-selling single of 2001, beating even Kylie Minogue’s almighty Can’t Get You Out Of My Head, this was Mr Boombastic’s biggest hit.
No matter how damning the evidence, his advice is to deny everything. “She saw me kissin’ on the sofa (it wasn’t me) / She even caught me on camera (it wasn’t me).”
However, while writing the song, Shaggy worried about alienating his female fanbase.
“It was like, ‘ok but this might offend a lot of people, we’re talking about infidelity and making fun of it,'” he told NBC. “So we came up with a disclaimer at the end that says, ‘I’m gonna tell her that I’m sorry for the pain that I caused.’
“So even though I’m playing the bad guy, at the end of it he [RikRok] is saying, ‘I’m not taking your advice. Everything about it is wrong.’ And that’s how we win the ladies back.”
Martine McCutcheon – On The Radio
A high-energy cover of Donna Summer’s disco classic, this was former EastEnders’ star Martine Kimberley Sherri Ponting’s final chart hit in the UK.
It’s pretty inoffensive stuff, but that didn’t stop the NME giving it zero stars and carping that, “Martine McCutcheon continues to try and convince us she’s a pop star and not just a dead barmaid.”
U2 – Stuck In A Moment You Can’t Get Out Of
One of U2’s most underrated singles, Stuck In A Moment was written in response to the death of INXS singer Michael Hutchence in 1997.
The star had been a close friend and sometime rival to Bono, and they would spend summers together in France before Hutchence took his own life, shortly before INXS’s 20th anniversary tour of Australia.
The song is “a row between mates,” Bono told Rolling Stone in 2005.
“You’re kinda trying to wake them up out of an idea. In my case it’s a row I didn’t have while he was alive. I feel the biggest respect I could pay to him was not to write some stupid soppy song, so I wrote a really tough, nasty little number, slapping him around the head.
“And I’m sorry, but that’s how it came out of me.”
The 2000 Christmas number one, this is somehow the 140th best-selling single ever in the UK.
Fragma featuring Maria Rubia – Everytime You Need Me
The beauty of revisiting the Now albums is that they obliterate pop’s habitual revisionism.
Fragma’s dance hit may have spent five weeks in the top 10 in early 2001, but it’s all been erased from history (it was played once on UK radio last month, by Tamworth’s community radio station TCR FM).
But don’t feel too sorry for them: This is a pretty flimsy affair, from the generic trance beat to the throwaway lyrics – “You know I will be there / You know I really care.”
In fact, Now 48 has more than its fair share of forgettable also-rans. Bonus points to anyone who can hum Kaci’s Paradise, or Joe’s Stutter.
Coldplay – Don’t Panic
Coldplay’s third appearance on a Now… compilation (after Trouble and Yellow) is something of a rarity for the series: as Don’t Panic never officially charted in the UK.
One of the band’s earliest songs, it was performed at their first ever gig, and was included on their Blue Room EP before being re-written and re-recorded as the opening track of their debut album, Parachutes.
At just 2 min 17 secs, it is one of the shortest songs ever to feature on a Now album. Oasis’s Songbird is shorter, though, clocking in at 2 min 04 secs.
Mya – Case of the Ex
A slinky R&B number that’s notable as the first UK chart appearance of writer-producer Christopher “Tricky” Stewart – who went on to create Rihanna’s Umbrella, Beyonce’s Single Ladies and Justin Bieber’s Baby.
Eva Cassidy – Somewhere Over The Rainbow
Almost unknown when she died of skin cancer in 1996, singer Eva Cassidy posthumously took the charts by storm with this fragile, haunting cover of Somewhere Over The Rainbow.
Recorded years earlier, it was ignored upon its release – until Terry Wogan heard it, and immediately played it on Wake Up To Wogan, his Radio 2 breakfast show.
“The e-mails, phone calls and faxes flooded in”, said his producer Paul Walters. Subsequent plays brought the same response: people told how they had to stop their cars because they were in tears.
SPOILER ALERT – please be aware that major plot details are revealed in the following story
Broadchurch fans took to social media to post their reactions as the ITV crime drama reached its shocking finale on Monday night.
The third and final series ended with cab driver Clive’s 16-year-old son Michael (Deon Lee-Williams) revealed as Trish Winterman’s rapist, having been forced into it by his friend Leo Humphries (Chris Mason).
Humphries also admitted raping three other women previously.
The final episode attracted the drama’s biggest audience ever, with an average of 8.7 million viewers tuning in and a peak of 9.3 million, according to overnight figures.
The average figure also includes the number of viewers who switched on to watch the episode on ITV+1 an hour later.
The highest figure enjoyed by the show previously was the 8.6 million who tuned in to the series one finale back in 2013.
This final series – written by the show’s creator Chris Chibnall – has been widely praised for how it has handled its harrowing subject matter.
Critics were broadly positive about the finale, but many criticised certain elements of the series as the whole.
In his four-star review in The Telegraph, Michael Hogan wrote: “After a disappointing second series, this third chapter in Chibnall’s trilogy represented a return to the fine form of the debut run.
But he added that the dialogue during Leo’s confession “didn’t quite ring true – a rare misstep in a series which has strived for authenticity and procedural accuracy”.
Metro‘s Claire Rutter said: “While it didn’t quite surpass the original series, Chris Chibnall and his team should take a bow as it did reaffirm that British crime drama can be at the top of its game and really keep you in suspense week by week.”
But, she added, in her three-star review: “This series didn’t live up to the intensity and suspense of ‘who killed Danny Latimer?’ stopping abruptly at the cusp of rabbit holes rather than exploring the warrens like season one leading to believable red herrings.”
Tom Eames praised the show but also sounded a dissenting note in his review for Digital Spy.
“Broadchurch at its best was one of the best crime dramas the UK has ever produced,” he said.
“But conversely, it can also be one of the most frustrating. Series three was much better than its disappointing predecessor, but it never quite caught the public’s imagination like its first run.”
The Independent‘s Sally Newall gave the series finale four stars, adding that the show leaves behind “a legacy Chibnall should be proud of”.
“As cameras panned along those now familiar cliffs, it was hard not to feel a twinge of sadness for the end of Hardy and Miller, for now at least,” she said.
“David Tennant and Olivia Colman as the duo have managed to make us cry, laugh and really think – and left us wanting more.”
Writing in The Daily Mail, Jan Moir said some devotees may feel slightly cheated by the ending.
“I was convinced ex-husband Ian Winterman was the guilty party – but DS Miller’s rage and fury at the ghastliness of some men were majestic to behold.
“Her stellar performance was just one of the many things that made Broadchurch a hit – along with the magical location.”
Rapist and groomer Humphries, played by actor Chris Mason, was seen in shocking scenes in the police interview room coldly telling detectives Ellie Miller and Alec Hardy (Tennant) that he was “proud” of his crimes and that rape was “beautiful”.
Somerset and Avon Rape and Sexual Abuse Support, a charity that advised writers on the ITV series, said the show performed “excellent work” in portraying the reality of rape.
And Avon and Somerset Police deputy chief constable Gareth Morgan said: “That was harrowing viewing but vital message landed. Rape is not sex. It’s about power and control.”
The series also focused on the prevalence of porn and charities such as UK Says No More lauded the series for highlighting such issues.
“#Broadchurch offered a powerful portrayal to the aftermath of rape and leaves the audience to start the conversation about porn & consent,” the charity posted on Twitter.
Julie Hesmondhalgh – best known for playing Hayley in Coronation Street – was also singled out for praise.
This series has seen many twists and turns as Hardy and Miller strove to find the perpetrators.
The main suspects for the attack on Trish included her ex-husband Ian (Charlie Higson), her best friend’s husband Jim Atwood (Mark Bazeley), cab driver Clive Lucas (Sebastian Armesto) and Trish’s boss, shop owner Ed Burnett (Sir Lenny Henry).
“In the end, my love for Rocket, Groot, Gamora, Star-Lord, Yondu, Mantis, Drax, and Nebula – and some of the other forthcoming heroes – goes deeper than you guys can possibly imagine, and I feel they have more adventures to go on and things to learn about themselves and the wonderful and sometimes terrifying universe we all inhabit,” he told fans in his post on Tuesday.