LONDON — In the end, one had to wonder which would turn out to be more dramatic: The goings-on in the audience or the actual play unfolding on stage. I’m sure I wasn’t the only theatergoer who arrived at Shakespeare’s Globe on Monday night unsure whether the play would be allowed to be the thing or whether circumstances surrounding the performance would hijack the art.

Across the five weeks of the Globe to Globe festival so far, a mind-bending sequence of productions from around the world in as many different languages as there are Shakespeare plays, 37, the atmosphere had been one of inclusion, conviviality and erudition coupled with fun.

I won’t soon forget the muscularity of the Maori-language “Troilus and Cressida” or the giddiness of the “Romeo and Juliet” from the Brazilian troupe Grupo Galpao, featuring a stilt-walking Romeo and a Juliet performed, ballet-style, on point. Oh, and a Nurse with two pairs of breasts.

Two Asian companies illuminated the comic end of the spectrum, not least a Gujarati-language “All’s Well That Ends Well” that arguably amplified the play’s women beyond the stature allowed them in the text.