Two east of Scotland treasures will host a series of outdoor theatre performances, allowing visitors to enjoy both Shakespeare beneath the stars and the classic Treasure Island.
This summer, the National Trust for Scotland is hosting outdoor theatre and music shows at a number of their properties across the country, including Falkland Palace in Fife and Newhailes near Edinburgh.
Families and theatre lovers are invited to bring their blankets and chairs and enjoy the open air shows, set within the gardens and grounds of two of Scotland’s iconic properties.
Fans of Shakespeare can see Henry V at Falkland Palace on Sunday 15 August. Against the dramatic backdrop of one of the former homes of Mary Queen of Scots, the stirring tale of the charismatic king will be brought to life over a summer’s evening.
The Palladian country house of Newhailes will host The Tempest on Saturday 17 July and a production of Treasure Island on 21 July, will see pirates descend on the Musselburgh estate.
Open-air theatre goers are encouraged to bring blankets, rugs and picnics along to enjoy the alfresco entertainment.
All events can be booked through each of the individual properties on the National Trust for Scotland website at www.nts.org.uk
All events have been prepared to be as safe as possible and will follow COVID-19 guidelines and safety measures. The National Trust for Scotland is urging anyone planning to visit the events to check the latest government guidance around COVID-19 restrictions.
LISTINGS
Falkland Palace
Shakespeare’s Henry V at Falkland Palace & Garden Date: Sunday 15 August
Time: 7pm
Festival Players International bring you Shakespeare’s most popular history play: Henry V.
After a rebellious and spirited youth, carousing in the taverns of London, Prince Hal takes on the responsibility of kingship and leads his troops across the Channel to do battle with the French at Agincourt. Follow the charismatic King Henry V in this stirring tale of leadership, bravery, humour and love; two hours of exhilarating entertainment for a summer’s evening!
120 young people from Edinburgh create multi-artform production
Strange Town, one of Scotland’s leading theatre companies for young people, is delighted to announce that their large scale multi-artform project – theatre, movement, spoken word, film, sound – ‘Generation Z: The Future is Unwritten’, will culminate in a live promenade performance and video installation event at Out of the Blue Drill Hall, Dalmeny Street on Friday 18 and Saturday 19 June.
Despite the challenges of Covid-19 restrictions throughout the five-month project, Strange Town’s most ambitious production to date has involved more than 120 of Edinburgh’s young people (aged 8 -18), with support from the company’s emerging playwrights (aged 18-25) and directors; and guided and mentored by industry professionals.
Using the stimulus, ‘Can Young People Change the World?’, ‘Generation Z: The Future is Unwritten’ has been created by, and will be performed by, members of the eight Strange Town Youth Theatre Groups from across the city.
The members of Strange Town Youth Theatre responded to the stimulus with work addressing a range of topics including isolation, technology, identity, generational division, Black Lives Matter, climate change, ideal society/world, protest, kindness, having your voice heard and Covid-19.
In order to maximise the opportunities audiences will have to experience the live performance and video installation, the 60-minute promenade event will be presented to 20 socially distanced audience members three times a night in three separate spaces.
The whole audience will come together to experience a live performance from just six actors before being split into two separate groups to watch film and listen to audio material.
Additionally, a site specific eight-minute video will be projected on a wall next to the St. Andrew, Ukrainian Catholic Church of Our Lady of Pochaev, on Dalmeny Street, which will include a specially choreographed movement piece. This will also be be a ticketed event for socially distanced audiences.
On 26 and 27 June there will be an opportunity to pay to view a film of the live event together with a variety of additional video, audio and written material developed by the groups.
The eight groups have met for weekly online digital drama workshops and face-to-face creative sessions, where possible, to explore the question and to create, write, film and record material. The groups have also worked together with members of the new Strange Town Young Writers Group who have both developed the work the groups have devised and written their own additional scenes.
As well as theatre, choreography and movement has played a big part in the project. 70 young people from the company got involved in a professionally choreographed movement piece, reflecting on the stimulus. This involved Zoom rehearsals and everybody recording their final performance on their mobile phones.
Rehearsals for the live performance are now underway with a drastically reduced number of actors working to strict guidelines, while video and sound design and editing is nearing completion
The Creative Scotland funding has also enabled Strange Town to employ a full technical team and additional production staff that include film editors, projection mappers, sound designers, a choreographer and production designer.
Steve Small, co-creative director of Strange Town and producer of ‘Generation Z: The Future is Unwritten’, said: “The Gen Z project is a testament to the hard work put in by everybody involved in the company.
“Despite the challenges and difficulties of the pandemic, watching the enthusiasm, skill and pride with which the production team has undertaken this task and having seen how the young people have adapted and risen to the challenge, as well as the range and quality of the work they’ve produced, it’s impossible not to feel massively encouraged. Despite the dark days of the lockdown restrictions, we hope better days are coming. People will always find a way to be creative.
“Thanks to the funding from Creative Scotland, Generation Z: The Future is Unwritten’s mix of indoor and outdoor and digital work means that everyone will be able to enjoy it wherever they are. We hope it will create some much-needed hope and enjoyment for 2021.”
Live Music Now Scotland (LMNS) puts musicians centre stage with launch of new website
Heralding a return to live music and in person performance post pandemic the website features a roster of musicians available to book, alongside public performance listings
Live Music Now Scotland (LMNS) is putting musicians centre stage with a brand new website aimed at bringing live music back to venues across Scotland as we come out of lockdown.
Key to the redesign is a new and improved roster of the many and varied musicians that LMNS represents. Whether you’re looking for a jubilant jazz quintet, or a scintillating string ensemble, this comprehensive catalogue of artists includes the very best musical talent the country has to offer, and it is the only place to start your search.
Live Music Now Scotland is committed to giving access to music for all, including older people and vulnerable audiences, as well as children with additional support needs.
The musicians now listed on the LMNS website are specially trained and experienced in playing for these audiences and the LMNS team can support in planning such events, including in settings such as care homes and special schools.
The new website will also feature a performance page listing live and online events, including live public performances, that are beginning to take place across the country as things start to open up. Updated as and when new events are booked you can check upcoming performances and events here.
Instrumental in turning the ambition for the new LMNS website into a digital reality were the Scottish Tech Army and Mull based creative studio think.in.form. Set up in early 2020 to help bring creative, digital solutions to businesses and individuals across Scotland in the wake of the pandemic, the Scottish Tech Army supported LMNS in putting a website brief and tender together, which is when creative studio and consultancy think.in.form came on board.
Carol Main MBE, Director at Live Music Now Scotland, said:“We are delighted to be in a position to share our new website with everyone from audiences through to musicians, and we hope it enables everyone to get back to enjoying live music again, as soon as possible.
“We wanted our website to facilitate this return to live performance and music, which is why we have included have both an updated roster of the musicians we work with and a programme of upcoming performances.
“Whether you are looking to host a summer garden party for friends and family, or an event for care home residents in their own home, we encourage you to check it out and get in touch.”
A brand new production of The Cher Show will open next year, with book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family, Peter andthe Starcatcher), direction by Arlene Phillips (Saturday Night Fever, Starlight Express, Grease), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights, Spice World 2019 Tour).
The tour will open at Leicester’s Curve on 15 April 2022 and will continue through to 1 April 2023.
Arlene Phillips said of directing The Cher Show, “I have been a fan of Cher since I first heard I Got You Babe in the mid-sixties and cannot wait to direct her musical. I love stories about strong inspirational legends like Cher and I am proud to be joined in the creative team by two women who have already made a huge impact in their careers: Oti Mabuse as choreographer of the many different genres in the show and Gabriella Slade for the iconic costume designs.
“This exciting show will be a non-stop journey of Cher’s rollercoaster life, bringing to the audience Cher’s iconic songs, glorious dance numbers, unique costumes and her epic drama. All they need to do is come along and Believe!”
Oti Mabuse said, “I cannot WAIT for audiences to see what we’re doing with The Cher Show. Cher’s music covers so many styles, genres and rhythms, which makes it so exciting to choreograph.
“Every song in the show is a hit and we are going full out with exciting routines and movement. It’s going to be a party! Cher has been such an inspiration to so many people and this musical is going to be a celebration of everything people love about her.”
Gabriella Slade added, “Cher is quite literally a style icon. Her fashion moments pushed the boundaries of the time and continue to do so. I’m so excited to be taking huge influence and inspiration from these looks as I embark on creating the costume design for this new production of The Cher Show.”
From a young child with big dreams, the shy daughter of an Armenian American truck driver, to the dizzying heights of global stardom, The Cher Show tells the incredible story of Cher’s meteoric rise to fame.
Cher takes the audience by the hand and introduces them to the influential people in her life, from her mother and Sonny Bono, to fashion designer and costumier Bob Mackie. It shows how she battled the men who underestimated her, fought the conventions and, above all, was a trailblazer for independence.
The musical is packed with 35 of her biggest hits, including ‘Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’.
With over 100 million record sales, an Academy Award®, an Emmy®, a Grammy®, three Golden Globes® and an award from The Council of Fashion Designers of America, Cher has influenced popular culture more than most.
Her on-screen career started in 1971 with her weekly television show that attracted 30 million viewers a week, and went on to include starring roles in iconic films from Moonstruck, for which she won the Oscar for Best Actress, to Mamma Mia: Here We Go Again!, which prompted the New York Magazine to realise “every single movie—no matter how flawless—would be infinitely better if it included Cher.”
Her ‘Farewell Tour’ became the highest grossing music tour in history – in true Cher fashion, she followed up her ‘Farewell Tour’ with two further sell-out, worldwide arena tours. She is the only artist in history to have a number one hit in the Billboard chart for six consecutive decades; an achievement that caused Vogue to deem her “eternally relevant and the ruler of outré reinvention”. She became known as the Queen of Reinvention.
In the 1990s, she established The Cher Charitable Foundation to support causes around the world. She has been a long-time donor and supporter of Habitat for Humanity, The Intrepid Fallen Heroes Fund and Keep A Child Alive, an organisation that helps to combat the AIDs epidemic. Most recently, she co-founded Free the Wild to help rescue Kaavan the Asian elephant from Islamabad zoo.
Written by Tony Award-winning Rick Elice, The Cher Show made its debut on Broadway in 2018 in a production that earned two Tony Awards and delighted fans from around the world. This new production will be the European premiere.
The Cher Show UK & Ireland Tour will have lighting design by Ben Cracknell and sound design by Dan Samson.
Smith and Brant Theatricals and Ambassador Theatre Group Productionsare today delighted to announce a new production of Fatal Attraction, based on the classic Paramount Pictures Corporation film.
The thrilling new play will embark on a major UK Tour in 2022, opening at the Brighton Theatre Royal on Tuesday 14th January 2022, before touring to Theatre Royal, Newcastle; King’s Theatre, Edinburgh; Theatre Royal, Bath; Theatre Royal, Nottingham; Alexandra Theatre, Birmingham; New Theatre, Cardiff; Everyman Theatre, Cheltenham; Richmond Theatre, Richmond; Royal and Derngate, Northampton; Waterside Theatre, Aylesbury; Theatre Royal, Glasgow and York, Grand Opera House.
Fatal Attraction is the latest grip-the-edge-of-your-seat thriller from the producers of the acclaimed tours of Patrick Hamilton’s Gaslight and Patricia Highsmith’s Strangers on a Train.
Fatal Attraction is written by James Dearden, who based the stage play on his Oscar-nominated screenplay, which in turn was adapted from his 1980 short film, Diversion.Loveday Ingram will direct the production with a full casting announcement to follow.
One of the most iconic films of the era, Fatal Attraction was one of 1987’s highest grossing US Box Office release, securing six major Oscar nominations at the following year’s Academy Awards, including: Best Actress for Glenn Close’s mesmerising depiction of urbane sophisticate Alex Forrest, Best Supporting Actress (Anne Archer), Best Writing Adapted Screenplay (James Dearden), Best Director (Adrian Lyne), Best Editing, and Best Picture.
Michael Douglas – at the peak of his Hollywood powers – was omitted from the list only as he was nominated elsewhere in the Best Actor category for his role as Gordon ‘greed is good’ Gecko in Wall Street, which he went on to win.
Fatal Attraction’s success was such that the film inspired a generation of psychosexual thrillers in the years that followed.
When happily married New York attorney Dan Gallagher, meets charming editor Alex Forrest on a night out in the city, they both commit to a night of passion they can’t take back. Dan returns home to his family and tries to forget the mistake he has made, but Alex has different ideas. Dan’s about to discover that love is a dangerous game, and Alex has only one rule; you play fair with her, and she’ll play fair with you.
Loveday Ingram trained with John Barton at the RSC and was previously Associate Director at Chichester Festival Theatre. Loveday’s credits include: The Rover, The Merchant of Venice (Royal Shakespeare Company); Henry V, Julius Caesar (Storyhouse); Baskerville: A Sherlock Holmes Mystery (Liverpool Playhouse/National Centre for the Performing Arts, China); My One and Only (Piccadilly Theatre/Chichester). Nominated for 4 Olivier Awards and Evening Standard Award); The Blue Room (also Chichester), When Harry Met Sally (Theatre Royal Haymarket); Bedroom Farce (Aldwych Theatre); Three Sisters, Pal Joey (nominated for TMA and Barclay Best Musical Awards), Dead Funny, Insignificance (Chichester Festival Theatre); Macbeth (Theatre Severn); Richard III (Nottingham Playhouse/York Theatre Royal); These Shining Lives (Park Theatre); Rockabye (Beckett Centenary Festival/Gate Theatre Dublin/Barbican); Boston Marriage, Hysteria (Irish Times Award) (Project Theatre Dublin); Outlying Islands, Lettice and Lovage (Bath Theatre Royal); The Messiah (National Theatre of Brent/Bush Theatre). Opera credits include All About Love (Linbury Studio); Brittain’s Rape of Lucrece (BAC) and Barber’s Vanessa (Lyric Hammersmith). Music Video includes This Time It’s Forever (Women’s Aid).
Tipped to be provocative and gripping in equal measures, Fatal Attraction is a tale of seduction and suspense that asks the question; what happens when desire becomes deadly?
Renowned talent management and theatre training programme, Stagebox, will be hosting its Edinburgh auditions at Dance Base, Scotland’s National Centre for Dance, on Sunday (16th May 2021).
If you know a young performer aged 8-18 years old who is looking to take their talent to the next level, Stagebox is inviting auditionees to take to the stage at this weekend’s in-person audition workshops.
Successful talent will enjoy the exclusive award-winning performance training programme during the school holidays, as well as benefitting from the talent management at Stagebox.
For the first time, auditions are free of charge, with Stagebox founders keen to encourage everyone with a love of theatre to come along and audition.
Stagebox recently released a video featuring its Edinburgh cast performing an original medley from Disney’s The Little Mermaid on YouTube, so hopeful auditionees can envision just what it’s like to be part of the Stagebox world. The video has already amassed an impressive 5,000 views in less than a week.
With Stagebox alumni starring on stage and screen, many securing lead roles for Disney, Netflix, in the West End and beyond, Stagebox offers rising stars the chance to train smart, build industry connections and gain unrivalled opportunities in theatre, television and film.
Stagebox’s General Manager, Jasmine Quinlan Gardner, said: “It’s been a turbulent period for the performing arts industry to say the least, and we’re so delighted to be holding the free auditions in Edinburgh.
“Stagebox is about opportunity, and we’re thrilled to be celebrating the country’s budding talent.”
Kirsti Bagger, Head Agent at Stagebox said: “We’re looking to meet new performers with passion, ambition and star quality.
“We’re very passionate about accessibility and inclusivity which is why we’re removing audition fees this May – we welcome children from all backgrounds, from newcomers all the way up to advanced level and we can’t wait to see what the young people of Edinburgh have to offer!”
These auditions are guaranteed to fill up fast and limited spaces apply. To register your spot for the Edinburgh audition date, please visit Eventbrite.
Last week, we announced to Fringe participants that we’ll be opening show registration – for both online and in-person performances – on Wednesday 05 May, in advance of the Fringe taking place from 06 – 30 August.
This is an exciting moment for the Fringe Society; it means all the preparatory discussions we’ve been having – with artists, venues, government and all members of the Fringe community – can finally be translated into action, with visible results.
The positive response we had to last week’s announcement only confirms what I knew in my heart – that there are many people out there who are just as excited and eager as we are to see the Fringe return!
Of course, opening registration is only the start of this process – we are acutely aware of how difficult the last year has been for artists, and we’re doing everything we can to support them in making work this year and beyond.
We’ve reduced registration fees across all tiers by 25%, and removed the top tier entirely.
We’ve also announced the opening a Fringe Artist and Venue Recovery Fund: a £75,000 funding pot which is available to Fringe companies, creatives and venues to support projects that will enable a return to the Fringe in 2021 or 2022.
The fund will prioritise projects that seek to improve opportunities for access on the Fringe by underrepresented groups – you can find out more at edfringe.smartygrants.com.au/recoveryfund.
There’s certainly a lot more still to be done, but we feel this is the first of many steps we can take to support artists returning to the Fringe.
I recognise that any eagerness to restart the Fringe must be tempered by a sense of caution and responsibility.
We continue to work closely with Scottish Government and the City of Edinburgh Council, and keep a close eye on official guidance as it emerges and develops, using it to inform every decision we make.
The most recent news indicates some easing of restrictions by the end of June, which is definitely encouraging, but if the last year has taught us anything it’s that things can change at very short notice, so for those dreaming fervently of a fun-packed summer in Edinburgh, we strongly recommend an attitude of cautious optimism at this stage.
It’s also important to remember that this year’s Fringe won’t be the same as it was. Even as restrictions relax, we still expect to see some form of social distancing and other safety measures in Edinburgh this August.
Again, we’ll work with venues and other partners to figure out how best to use this information as it develops, creating clear guidance for audiences and participants. We also know that it will not be possible to produce our usual printed programme this year, though we are exploring alternatives.
While it is right and appropriate that we manage our expectations about a return to live performance, I am full of positive anticipation to see how Fringe artists channel their extraordinary creative energy into digital work at this year’s festival.
As happens with any seismic change in society, artists have responded to online life in brilliant and inventive ways, and I think it entirely correct that the Fringe – with its longstanding reputation for unleashing the creative spirit – showcases the best in digital inspiration as well.
Silver linings to the past year’s events are few and far between, but the increased availability of innovative, imaginative work – work that can be accessed virtually anywhere – is surely among them.
With this in mind, we’ve put a lot of time and energy into developing our digital infrastructure for this year’s Fringe. We’ve ensured that, whichever online platforms artists and venues want to use, we can support them to do it; they’ll also have access to our own innovative Fringe Player.
In addition, we’re creating an exciting new online events programme and meeting space to help artists and industry connect and collaborate, which we’re hoping to launch in summer.
With the seeds of carefully laid plans now blooming into life, our goal – as ever – is to support Fringe participants.
As mentioned above, registration (and the wide range of benefits and services that come with it) will open in May, and will remain open right through to the end of the Fringe with no deadlines attached.
We’re also continuing to invest in our website so that audiences can search, browse and book shows as easily as ever, helping them find the artists whose work will resonate with them for years to come.
All of our plans are being made cautiously but optimistically, and as ever, public health will be our priority. But we can take heart in the fact that the Fringe is happening. And, whether online or in a venue, I can’t wait to see you there.
From today, Thursday 10 December 2020, applications are invited from the dance, theatre and multi artform sector for a share in £600K National Lottery funding through Creative Scotland, for live performance tours from Spring 2021.
In this latest round of theTheatre and Dance Touring Fund, applications are invited from Scotland-based dance and theatre artists, companies and organisations, independent dance and theatre producers and venues, for the making and touring of new work or the restaging of previous work for presentation to live audiences under Covid-19 restrictions, in a minimum of three locations across Scotland.
Iain Munro, Creative Scotland’s CEOsaid: “Supporting Scotland’s theatre and dance touring infrastructure is important, helping high quality theatre in Scotland to flourish and creating opportunities for more people across the country to experience and enjoy it.
“Made possible by the generosity of National Lottery players who raise £30 million for good causes across the UK every week, this round of the Theatre and Dance Touring Fund responds directly to the challenging position that theatres, venues, producers, artists, companies and their audiences are in due to the Covid-19 pandemic.”
Creative Scotland is also seeking five external panel members to work alongside Creative Scotland staff to decide the successful applications in this round of the Fund.
Panel members will be expected to hold credible professional knowledge and expertise of the Theatre and Dance Touring sector in Scotland, either from a programming perspective or as a maker/producer of touring work.
The Deadline for applications is 12 noon, Thursday 7 January 2021 through the Scottish Government e-Tendering System, Public Contracts Scotland.
To mark Human Rights Day tomorrow (Thursday 10th December), composer Max Richter’s groundbreaking recording project VOICES, inspired by the Universal Declaration of Human Rights, will be broadcast for the first time on BBC Radio 3 and 35 international radio stations in Europe, the US, Australia and beyond, in collaboration with the European Broadcasting Union.
Max Richter and his creative partner Yulia Mahr will also participate in a global Q&A with the United Nations to mark the day.
Also on 10th December, Decca Records will release a brand new EP featuring four international language narrations of ‘All Human Beings’ (the opening part of VOICES) in French, German, Spanish, Dutch and English.
At the heart of VOICES is a profound sense of global community, born out of Richter and Mahr’s career-long stance that creativity can play an activist role in our world. The album provides a place to think about the questions facing us through the prism of the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope.
Richter and Mahr invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. They received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.
Max Richter and Yulia Mahr say, “We are thrilled to have this opportunity to present VOICES once more. In these strange and challenging times it is more important than ever to keep the music playing and the message of the Universal Declaration alive. Thinking back now to the premiere of VOICES in February feels like visiting another world. In these strange and anxious times it is a great privilege to be able to mark Human Rights day by presenting the work again, in spite of the pandemic.”
HUMAN RIGHTS DAY
Human Rights Day is an opportunity to reaffirm the importance of human rights in rebuilding the world we want, with global solidarity, interconnectedness and shared humanity.
As part of Human Rights Day 2020, Max Richter and Yulia Mahr will collaborate with the UN to amplify the message of the Declaration of Human Rights. The Office of the United Nations High Commissioner for Human Rights (OHCHR) will host a Q&A with Richter and Mahr to discuss VOICES, as part of their digital Human Rights Day events and Mahr’s breathtaking video of ‘All Human Beings’ will also be shown on the OHCHR website.
The powerful themes of humanitarianism running through VOICES were informed by Yulia’s own upbringing.
She explains, “I was born in Hungary at a time when it was a Communist country. I have such vivid memories of our street, where the buildings were still peppered with bullet holes from the revolution in 56, and where some were still in ruins from World War Two.
In those days each person was allocated a certain predetermined amount of living space, so every flat would contain multiple generations or sometimes even different families. I lived with my great grandfather, my grandmother, aunts, father and mother in three rooms.
My grandmother had fled persecution by the Nazis to the safety of Chile for 20 years – and so in the confines of our flat I was raised on stories of escape, persecution, community and hope. My grandmother remained a humanitarian throughout her life – helping refugees and being part of an international movement towards peace.
In the end my own convoluted story saw my mother and I replicating the large scale migrations of the 20th century and I arrived in the UK aged eight – lonely, confused and desperate for security.
While I could rarely see my grandmother after that – her spirit has never left me and it is this spirit that informed the conception and writing of VOICES.”
INTERNATIONAL NARRATIONS OF ‘ALL HUMAN BEINGS’
The voice of Eleanor Roosevelt, who served as the first chairperson of the UN Commission on Human Rights and played an instrumental role in drafting the Universal Declaration of Human Rights can be heard at the start of ‘All Human Beings’, the opening track of VOICES.
Richter incorporates Roosevelt’s 1949 preamble reading of the Declaration into the piece alongside a narrator to convey a sense of youth and the future. On the album the narrator is acclaimed actor Kiki Layne (If Beale Street Could Talk, The Old Guard).
To mark Human Rights Day, Decca Records will release an exclusive EP of five new versions of ‘All Human Beings’ featuring multiple language narrations performed by acclaimed global artists.
Actor Nina Hoss (Yella, Homeland) reads in German, Iranian-born actor Golshifteh Farahani (Extraction, Paterson, About Elly) in French, author Marieke Lucas Rijneveld (winner of the 2020 International Booker prize or The Discomfort of Evening) in Dutch and María Valverde (Cracks, Exodus: Gods and Kings, Broken Horses) in Spanish. Olivier Award-winning actor Sheila Atim MBE, who will also perform in the BBC Radio 3 broadcast, narrates the new English version.
Richter says, “When I started thinking about how to present the Declaration, I came across a recording of Eleanor Roosevelt from 1949 reading the preamble. She’s so fundamental to the writing of the Declaration, it was really important to start with her.
“The narrators bring a sense of youth and potential in that performance because the Declaration is really about the future; it’s about the world we haven’t made yet. While the past is fixed, the future is yet unwritten, and the Declaration sets out an uplifting vision of a better and fairer world that is within our reach if we choose it. VOICES is a musical space to reconnect with these inspiring principles.”
BBC RADIO 3 AND GLOBAL EBU BROADCAST
The momentous global broadcast of VOICES will be recorded at BBC’s Maida Vale studios, presented by Elizabeth Alker. It will be presented in a new version for a 24-piece ensemble including strings, 4-member choir, electronics, solo soprano and narrator.
The BBC Radio 3 broadcast of VOICES features violinist Viktoria Mullova as soloist, soprano Grace Davidson, members of London-based vocal ensemble Tenebrae, the Max Richter ensemble – with Richter himself on keyboards and electronics – and Sheila Atim as the narrator.
36 European Broadcasting Union-associated radio stations in 34 countries will join the unique broadcast of VOICES, providing listeners across the globe with a renewed moment of hope and a moment of reflection in unprecedented times.
Max Richter and Yulia Mahr conclude, “We are thrilled about the partnership with the UN Human Rights Office, and the collaboration with BBC Radio 3 and the EBU which have made it possible to perform VOICES once more.
“In this challenging time in human history, the text of the Declaration is more important than ever.”
