Terry won critical acclaim for her work at Shakespeare's Globe Theatre, for her performance of Rosalind in As You Like It. London's Financial Times wrote "I'm not sure it's possible to see Michelle Terry on a stage without falling a little in love with her. She has the intelligence, inventiveness and vivacity to play the character and the show simultaneously, not setting herself above the material but relishing her immersion in the role and inviting us to share it with her."[9] She also appeared in productions of Love's Labour's Lost and A Midsummer Night's Dream at that venue, both of which were released on DVD. On 24 July 2017 she was announced as its fourth artistic director, to succeed Emma Rice in April 2018.[1]
Hamlet, 2018
Terry starred in the lead role in a 2018 gender fluid version of Hamlet.[10]The Spectator said in their review "No one but Ms Terry would have hired Ms Terry for this role. She's a decent second-tier actress without any special vocal or physical endowments."[10]
The Guardian called the play "a perfectly decent production and a welcome relief from the work of the previous Globe regime, which seemed to assume that the plays were a bit boring unless jazzed up."[11]
The Stage said: "It's a production that places clarity of verse and emotion over directorial fireworks. One of the most striking elements is Terry's costume. When she assumes her antic disposition, she also dons a white clown suit with a jagged lipstick grin. By making Hamlet a jester, it licenses her to behave in different ways. It shifts her status in the family. It grants her power and marks her apart. Laughter can be a weapon after all. It's an interesting idea that is under-explored."[12]
In The Globe's 2024 production of Richard III, Terry cast herself in the lead, which generated backlash and controversy over a non-disabled actor casting themselves as a disabled character and historical figure. The script was also edited in an attempt to make Richard non-disabled which subsequently led to 281 disabled actors and allied art professionals, and 35 organisations including several theatre companies, under the name of this Disabled Artists Alliance speaking out against this casting and "theerasure and rewriting of Richard’s core disabled identity".[14]