Continuing a tradition of excellent craftsmanship from when Freemasons’ Hall was first built, the new washroom area outside the Grand Temple has received a special mention for the tiling
This recognition was given at the 2017 Tylers and Bricklayers Triennial Awards, which were held at Grocers’ Hall on 6th July.
Run by the Worshipful Company of Tylers & Bricklayers, the awards are held every three years to recognise projects within the area bounded by the M25 motorway that demonstrate all-round excellence in brickwork, roof slates and tiling, and wall and floor tiling.
The renovation to the washroom area at Freemasons’ Hall was completed in late 2016, with large format porcelain tiles and feature walls including stone vanity and credenza tops.
The overall winner in the Tiling category was Tottenham Court Road tube station for its Paolozzi mosaics.
Brethen of Valour
Special paving stones outside Freemasons’ Hall pay tribute to English Freemasons awarded the Victoria Cross in World War I
A set of paving stones commemorating the 64 English Freemasons who were awarded the Victoria Cross (VC) during World War I was unveiled outside Freemasons’ Hall on 25 April.
The VC is the highest award for gallantry that can be conferred on a member of the Armed Forces regardless of rank or status – and almost one in six of the 633 VC recipients during the First World War were Freemasons.
Of these, 64 were under UGLE and 43 were under other Grand Lodges in the British Empire. Freemasons’ Hall itself is a memorial to the 3,000-plus English Freemasons who gave their lives in World War I.
The Grand Master, HRH The Duke of Kent, attended the ceremony for the stones’ unveiling and blessing, together with Lord Dannatt, a Deputy Lieutenant for Greater London; the Mayor of Camden; senior officers from the military services; a group of Chelsea Pensioners; and representatives from the VC and George Cross Association as well as some of the regiments in which the VC holders had served. Specially invited were the families of those who were being commemorated.
The event was open to the public, with Great Queen Street and Wild Street closed to traffic. The crowd included representatives from many of the service lodges as well as passers-by.
Music was provided by the Band of the Grenadier Guards and the North London Military Wives Choir. Radio and television presenter Katie Derham narrated the first part of the ceremony, which opened with Chelsea Pensioner Ray Pearson reading an extract from AE Housman’s A Shropshire Lad, followed by the President of the Board of General Purposes, Anthony Wilson, welcoming those attending.
Derham set the scene at the outbreak of war in 1914 with the aid of archive film showing how young men ‘flocked to the flag’ in the expectation that the war would be over by Christmas – and how the reality set in that it was not to be a short war but one that would affect every community in the country.
Simon Dean OBE paid tribute to his grandfather Donald John Dean, who, at the age of 21, was awarded the VC in 1918. Col Brian Lees LVO OBE, chairman of the Rifles, Light Infantry and KOYLI Regimental Association, and Lt Col Matt Baker, Commanding Officer of 1st Battalion, The Rifles, paid tribute to Oliver Watson, who was posthumously awarded a VC in 1918.
The horrors of the war were brought vividly to life by Sebastian Cator, a pupil at Harrow School. He read extracts from the diaries of Major Richard Willis, who had also been a pupil at Harrow, in which he described the carnage resulting from landing his men on W Beach at Gallipoli on 25 April 1915. For his part in that action he was one of the famous ‘six VCs before breakfast’ of the Gallipoli landings.
The Grand Secretary, Brigadier Willie Shackell CBE, gave an exhortation that was followed by the last post, a one-minute silence and reveille. The memorial stones were then unveiled and blessed by the Grand Chaplain, Canon Michael Wilson. The Grand Master and Lord Dannatt then inspected the stones, after which family members and other invited guests had an opportunity to view them before entering Freemasons’ Hall for a reception in the Grand Temple vestibule area.
You can watch highlights of the unveiling of the memorial to Freemasons awarded the Victoria Cross during the Great War here
A special commemorative programme for the ceremony, including portraits and brief details of the 64 brethren of valour, can also be viewed here
'Rough to Smooth' exhibition will open on Saturday 24th June
Fans of developing artists will be in for a rare treat at Freemasons’ Hall from Saturday 24th June, when a new collection of art will be unveiled to mark the United Grand Lodge of England’s Tercentenary celebrations
As part of the 300th anniversary of English Freemasonry, The Library and Museum of Freemasonry is organising a unique Open Day on Saturday 24th June, of exhibitions, music and architecture. Jacques Viljoen has been appointed Artist in Residence and has created an exhibition of new artworks to celebrate Freemasonry and its continued role and relevance in society today.
‘Rough to Smooth’, which will also feature nine guest artists, presents works inspired by Freemasonry from the past, present and future, and focuses on the symbolism of Freemasons’ Hall, the themes of ceremony and rites of passage and the experiences of Freemasons in World War 1.
Visitors can tour the impressive and ornate Grand Temple, the Library and Museum and the Three Centuries of English Freemasonry exhibition. Informal music performances will also take place throughout the day: the Occasional Strings quartet in the morning, organ recitals around midday and the Art Deco Orchestra in the afternoon.
The exhibition will be open every day from Saturday 24th June until Saturday 1st July, with the exception of Sunday 25th June. Admission is free and Freemasons’ Hall will be open from 10am to 5pm, with last entrance at 4:30pm. The artwork will be displayed in the Vestibules, Processional Corridor and Corridor to the Library and Museum.
The exhibition and residency has been directed by the Director of The Library and Museum of Freemasonry, Diane Clements, who commented: ‘It has been a remarkable experience working with these talented artists and they have produced a defining set of works, which we hope the general public will come and view.’
Make sure you also follow the United Grand Lodge of England’s Facebook, Instagram and Twitter accounts in the build-up to the exhibition, as we unveil the guest artists and take a detailed look at their artwork.
Over 900 Knights attend the ceremony at Freemasons’ Hall
Paul Raymond Clement GCT has been installed as The Most Eminent and Supreme Grand Master of The United Religious, Military and Masonic Orders of the Temple and of St John of Jerusalem, Palestine, Rhodes and Malta of England and Wales and its Provinces Overseas – better known as the Knights Templar
The installation was conducted by the out-going Grand Master, Timothy John Lewis GCT, who had served in the role since 2011.
Over 900 Knights attended the Chapter of Great Priory, which was held under the banner of The Preceptory of St. George No. 6 in the Grand Temple of Freemasons’ Hall. Also present were a large number of visiting dignitaries from other Great Priories along with Provincial Priors and Knights of our own constitution from overseas, all of whom were personally welcomed by the new Grand Master.
Paul Clement is also the Grand Supreme Ruler of the Order of the Secret Monitor and a Past Provincial Grand Master of the Mark Degree.
14 September 2016
An address by the RW Deputy Grand Master Jonathan Spence
Brethren, I am delighted to see so many of you here today and I hope you have all had a suitably refreshing summer. I am particularly pleased to see a large number of younger masons amongst us, especially the delegations from the Provinces of Cambridgeshire and Durham, members of the Universities Scheme and especially those of the Apollo University Lodge in Oxford.
Many of you will be aware of the excellent work undertaken by the Membership Focus Group over the last two and a half years. I hope that you are all still referring to the UGLE strategy, which was a significant development resulting from the group’s work.
We have now moved to ensuring the timely implementation of the strategy and the Membership Focus Group has been superseded by the Improvement Delivery Group. This group will, rather like a well- known wood treatment product, “do exactly what it says on the tin”. Its remit is to facilitate the delivery of change throughout the Craft in order to secure a successful future for Freemasonry by meeting the needs of “modern man” while retaining our traditional standards; it is chaired by the Assistant Grand Master, the Third Grand Principal is Deputy Chairman and the membership is drawn from London and all the regional groups of Provinces.
This group will be “bedding in” for the next year, but will be reporting to Grand Lodge at the Quarterly Communication in September 2017. There is a considerable amount of work to do and we wish them all well in their endeavours.
Brethren, the Tercentenary celebrations have already begun and I am very pleased to see the variety and breadth of events that are planned to mark this significant milestone in our history. Events are being planned throughout the English Constitution.
So far well over 100 events are scheduled ranging from Cathedral Services, Race Meetings, and Classic Car Rallies; Family Fun Weekends, supporting Youth Activities, to Dinners and Balls, including “The Grand Ball” which will take place here next September and will see this Grand Temple converted into one of the largest dance floors in LondAs the premier Grand Lodge it is appropriate we also celebrate this achievement with the other Sovereign Grand Lodges around the world, which we will do with the event at the Royal Albert Hall. I very much hope there will be a full cross section of our membership, including Master Masons, from London, Provinces and Districts and elsewhere overseas attending the meeting at the Royal Albert Hall.
As you are all aware 2017 will start with the broadcast in January of the Sky observational documentary. I have been fortunate enough to have been part of the small group that has seen all the programmes and whilst, for confidential reasons, I am unable to say more about their content, I can assure you our privacy has been respected entirely for those matters that ought to remain private for our members.
Brethren, it has become very noticeable that the times in which we live are described with some use of either uncertain or uncertainty, or a variation thereof. Uncertainty is used to describe many aspects of our national life almost as a default mechanism. In many ways our predecessors who were there at the foundation of the Grand Lodge would have felt a certain affinity and seen possible parallels with their own time, although they would probably have used the word turbulent to describe the second decade of the eighteenth century.
In their case the uncertain times included significant change with a new ruling dynasty following the accession of King George I in 1714, a significant rebellion from supporters of the old dynasty defeated in 1715 and an incipient share scandal with the South Sea Bubble gently inflating until the spectacular bust. In those and, indeed , in the intervening uncertain times of the subsequent three hundred years, the principles of the Craft have withstood the test of time and are as relevant today as they were then.
We may now restate them in more modern language as integrity; honesty; fairness; kindness and tolerance, but their essence is unchanged and we should all be justly proud of them and, needless to say, act in accordance with them.
To finish, I will quote King Frederick II, or The Great, of Prussia who said his support of the Craft came from its objectives being, “ the intellectual elevation of men as members of society and making them more virtuous and more charitable”. I do not think that his view can be bettered.
Freemasons’ Hall organ concerts
The next in the series of organ concerts on the newly inaugurated Willis organ in the Grand Temple of Freemasons' Hall is being given by international concert organist, Jane Parker-Smith.
She will be playing works by Elgar, Vierne, Langlais, Cochereau, Bowen and César Franck.
14th December 2016, 5pm
60 Great Queen Street
Book your free tickets now at: http://bit.do/TempleConcert
Jane Parker-Smith biography
Described as ‘the Martha Argerich of the organ’ (Paul Driver, The Sunday Times), Jane Parker-Smith is internationally recognised by the critics and public alike for her musicianship, virtuosity, entertaining programmes and electrifying performances. An innate interpretative ability, prodigious technique and flair for tonal colour are the hallmarks that make Jane Parker-Smith one of the most sought-after organists in the world.
Her studies at the Royal College of Music in London were crowned with a number of prizes and scholarships, including the Walford Davies Prize for organ performance. After a further period of work with the eminent concert organist Nicolas Kynaston, a French government scholarship enabled her to complete her studies in Paris with the legendary blind organist Jean Langlais, perfecting the knowledge and understanding of twentieth-century French organ music for which she is today internationally renowned.
She made her London debut at Westminster Cathedral at the age of twenty, and two years later made her first solo appearance at the BBC Promenade Concerts in the Royal Albert Hall. She has since performed in concert halls, cathedrals and churches throughout the world.
She has recorded a wide range of solo repertoire for RCA, Classics for Pleasure, L’Oiseau Lyre, EMI, ASV, Collins Classics, Motette and AVIE. In addition, she has collaborated with the renowned Maurice André in a duo recording of music for trumpet and organ. She has performed numerous times on radio and television with special feature programmes on the BBC, German and Swiss television.
Highlights in her concert career have been performances in major venues and international festivals such as Westminster Cathedral, Westminster Abbey, St Paul’s Cathedral, Royal Festival Hall; Royal Albert Hall, London (both solo and concerto performances); Three Choirs Festival, City of London Festival, Bath Festival and Blenheim Palace (Winston Churchill Memorial Concert) in the UK; Jyväskylä Festival, Finland; Stockholm Concert Hall, Sweden; Hong Kong Arts Festival; Roy Thomson Hall, Toronto, Canada; Festival Paris Quartier D’Été, France; Festival Cicio El Organo en la Iglesia, Buenos Aires, Argentina; Festival Internationale di Musica Organistica Magadino, Switzerland; Cube Concert Hall, Shiroishi, Japan; Athens Organ Festival, Greece; Severance Hall, Cleveland, Davies Symphony Hall, San Francisco and Walt Disney Concert Hall, Los Angeles, USA; Sejong Cultural Centre, Seoul, Korea; Esplanade Concert Hall, Singapore, Symphony Hall, Birmingham, UK; Mariinsky Concert Hall, St. Petersburg, Russia and ZK Matthews Hall, University of South Africa, Pretoria.
In 1996 she gave four solo concerts at the American Guild of Organists National Centennial Convention in New York City. She was also a featured artist for the AGO National Convention in Philadelphia in 2002, for the AGO Region II Convention in New York City and the AGO Region V Convention in Columbus, Ohio in 2007, for the AGO National Convention in Nashville in 2012 and most recently for the AGO Regional Convention in Fort Worth, Texas in 2015.
Jane Parker-Smith’s extensive concerto repertoire has brought her performances with many leading orchestras, including the BBC Symphony and the BBC Concert Orchestras, the London Symphony, the London Philharmonic and Royal Philharmonic Orchestras, the Philharmonia, the City of Birmingham Symphony, the Royal Stockholm Philharmonic, the Athens State Orchestra and the Prague Chamber Orchestra. She has worked with conductors of the stature of Sir Simon Rattle, Serge Baudo, Carl Davis, Vernon Handley, Matthias Bamert and Richard Hickox.
Miss Parker-Smith is an Honorary Fellow of the Guild of Musicians and Singers and a member of the Incorporated Society of Musicians. She is listed in the World Who’s Who and the International Who’s Who in Music and in 2014 was chosen as one of ‘The 1000 Most Influential Londoners’ by the London Evening Standard newspaper.
Refurbished Grand Temple pipe organ wins silver industry award
Hayles and Howe are very proud to be able to showcase and highlight their involvement in the installation of a new organ case in the Grand Temple of the Grade II * listed Art Deco, Freemasons' Hall in London
'The organ case takes pride of place and is very well executed,' said the judges. 'One might suggest the enriched mouldings – made of composite resin – is not a plastering award entry, but the skills used in taking copies of existing enrichments and adapting them to make new ones certainly are plastering skills.'
The commission was to create a new organ case in composite resin replicating the detailed enrichments of the two original organ cases situated on the side walls of the temple. The new organ casing though wider and projecting further forward than the originals successfully fulfilled this brief creating a focal point in the Grand Temple.
The Hayles and Howe team took great care in taking over 12 thixotropic moulds from the enrichments on one of the original organ cases. The Bristol workshop replicated the detailing in plaster, remodeling ornament to create master moulds prior to casting all the required positives in composite resin.
The Hayles and Howe project manager and site foreman liaised closely with Laurence Beckford, Carver, Howard Bros Joiners and Adam Architecture to ensure the project was completed on time and within budget.
Charles Grace, the client’s representative said: 'We are very glad to have had the expertise of Hayles and Howe on this important project. I have been most impressed with the skill these craftsmen showed in taking moulds of very intricate and delicate decorations, and we are all delighted with the end result.'
Henry Willis and Sons built the original organ casings in 1933. The new section supplements and greatly improves the sound of the refurbished main organ, thanks to the skills of the organ builders, Harrison and Harrison of Durham.
Notice of the silver award was given in the Magazine of the Finishes and Interiors Sector
Striking the right chord
Freemasonry Today caught up with renowned musician Thomas Trotter as he practised on the Grand Temple’s newly refurbished pipe organ for its inaugural concert
The pipes of the Grand Temple organ positively gleam as Thomas Trotter runs through the programme for a special concert to be held in the Temple the next day. The organ’s restoration has used enough gold leaf to cover the surface of a tennis court and introduced a new organ chamber in the centre of the Temple’s east wall. As he practises, Trotter’s hands dance over the three manuals while his feet expertly work the pedals beneath to create an epic sound from Bach’s Toccata in F.
The concert will not only be the culmination of the organ’s refurbishment but also the first of many celebratory events linked to the 2017 Tercentenary. One of Britain’s most widely admired musicians, Trotter is looking forward to playing to a full house: ‘The Grand Temple is a unique space, it’s incredibly plush and sumptuous. The carpets dampen the sound quite a lot so I’m going to have to work hard.’
A grand history
The organ was built by Freemason Henry Willis III for the inauguration of the Grand Temple in 1933.
It included numerous state-of-the-art developments that Willis had adopted following visits to the US, many of which were designed to help the instrument cope with its setting: a modern, efficiently heated building. Some 80 years of accumulated wear, however, threatened to irreparably damage the tonal accuracy of its pipes.
Thanks to funding from the Supreme Grand Chapter’s reserves, organ builders Harrison & Harrison of Durham have been able to restore the instrument to its former glory, retaining its console, mechanism and pipework. The projection and presence of the sound has been markedly improved by giving a greater degree of opening to the expressive swell enclosures, within which much of the pipework is situated, and also by removing heavy fabric hangings from the east wall.
‘The curtaining would have soaked up the sound like a sponge. Now with the marble walls exposed, the sound is reflected off into the hall. It’s like having your windows cleaned – before it would have been a bit musty and unfocused,’ says Trotter. ‘I’m thrilled that people are still spending money on their instruments and buying new ones. There are far fewer organ builders than there were 50 years ago, but the standard is as high as it’s ever been.’
‘All the comments I have received show that the audience really liked being able to see Thomas’s remarkable dexterity, as well as hear the beauty of his playing.’ Charles Grace
Past in tune with present
The refurbishment has seen the addition of a new case on the east wall, clad to match the original design. It contains a chorus of five stops, balanced to augment rather than dominate the Willis sound, and a solo stop for special occasions – the Grand Tuba. ‘In the recital I’m going to use some of the old pipes and compare it with the new stops, which have made a big difference and are quite striking.’
The Grand Temple is in good company, with the organs at Westminster Cathedral and Liverpool Cathedral also built by Henry Willis III. ‘Every organ is different, but there are certain characteristics that follow through all the Henry Willis III organs and I can hear them here,’ says Trotter. ‘There’s a certain brightness about some of the stops that are representative of what Willis was doing in the 1930s.’
As the audience take their seats in the Grand Temple the next day, there is an almost palpable sense of expectation about how the organ will sound. With Trotter hidden behind the organ, a camera positioned behind his shoulder will stream his performance onto the wall of the Temple for the audience to see. He does not disappoint.
‘I was very pleased with the way the concert was received,’ says Charles Grace, Project Manager for the Grand Temple organ restoration. ‘All the comments I have received show that the audience really liked being able to see Thomas’s remarkable dexterity, as well as hear the beauty of his playing.’
In addition to performing pieces by Bach and masonic composers Mozart and Liszt, Trotter plays Reginald Goss-Custard’s Chelsea Fayre. It’s a fitting nod to the instrument’s proud history, with Goss-Custard’s brother Harry the recitalist at the opening of the Temple organ in 1933.
Thomas Trotter has performed as a soloist with conductors Sir Simon Rattle, Bernard Haitink and the late Sir Charles Mackerras, among many others. He regularly gives recitals in venues such as the Berlin Philharmonie; Leipzig’s Gewandhaus; the Concertgebouw in Amsterdam; the Musikverein and the Konzerthaus in Vienna; and London’s Royal Festival and Royal Albert Halls. In 2012 he was named International Performer of the Year by the New York Chapter of the American Guild of Organists.
Letters to the Editor - No. 33 Spring 2016
Among your readers there may be many who enjoyed the inaugural organ concert given by Thomas Trotter last September.
This year, again as part of the UGLE Tercentenary celebrations, there will be two further hour-long concerts.
The first will take place at 5pm on Wednesday, 8 June, featuring Ian Tracey, organist at Liverpool Cathedral, in a wide-ranging programme.
As before, you will be able to see what the organist is doing, with a filmed display on the walls of the Grand Temple. Tickets (for which there is no charge) can be booked at https://goo.gl/zHW67w, and I do hope that many will take advantage of what should be another great occasion.
Charles Grace, Project Manager for the Grand Temple Organ, Freemasons’ Hall, London
11 November 2015
An address by the ME Pro First Grand Principal Peter Lowndes
Companions, I am very pleased to see so many of you present today to witness the Installation of Most Excellent Companion Russell Race as Second Grand Principal. On behalf of all of you I wish him a long and happy tenure in this important role.
It is to the future that we should now look, but I would like to repeat my thanks to Most Excellent Companion George Francis for his many achievements and tireless work in raising the profile of the Holy Royal Arch since his own Installation in November 2005.
Companions, today, apart from celebrating the Installation of a new Second Grand Principal you will all be aware that it is also Armistice Day when we commemorate those who gave their lives in two World Wars. The observant amongst you will have noticed that a poppy wreath has been laid at the memorial shrine in the first vestibule to this Grand Temple, in front of the casket which holds the roll listing over 3,000 of our members who gave their lives on active service in the First World War.
I think it is worth reminding ourselves, however, that it is not just the shrine which is the memorial but the whole of Freemasons’ Hall itself. Indeed, during the planning stages in the 1920s and the first years of its existence, the building was known as the Masonic Peace Memorial.
As a memorial it was originally intended that the building should be reserved solely for masonic purposes but time and economics and the fact that the building is now Grade 2* listed both internally and externally have gradually led to the building being opened for non-masonic events and filming.
I would assure you however, companions, that our excellent and hard-working in-house events team take great care to ensure that outside events, especially filming, are consistent with the building’s origins and core purpose. We have a building of which we can be justifiably proud which is recognised as one of the landmark buildings of London.
Today we remember not only those in whose name the building was raised but also the many other thousands of our members who gave their lives during the Second World War and the other conflicts that have taken place since then. Although we have already stood in memory of recently departed members, in particular Most Excellent Companion Iain Bryce, Past Second Grand Principal, I believe that on this special day we should stand again to remember those who gave their lives to preserve those ideals which allow Freemasonry to flourish.
Companions, on September 30th this year, a packed Grand Temple enjoyed a magnificent Inaugural Concert to celebrate the refurbishment of our organ and when Supreme Grand Chapter is closed I am sure you will enjoy the talk by Ian Bell, Organ Consultant entitled ‘Achieved is the Glorious Work or Proof of the Pudding’, with musical illustrations played by Excellent Companion David Cresswell, Grand Organist.
Thank you, companions.
When Freemasons’ Hall welcomed actors Benedict Cumberbatch, Sir Ian McKellen and Tom Hiddleston into the Grand Temple, Jessica Hopkins was in the audience to listen to messages of love and anguish in Letters Live
Without words we’d be forever fumbling in the dark; letters throw light wherever they are cast.’ And so opens a night of extraordinarily moving literary entertainment at Freemasons’ Hall.
It began as a simple idea: a website dedicated to photos of remarkable letters from the past, accompanied by transcriptions and introductions. Letters of Note then became something of a Twitter sensation before becoming a hardback anthology and then morphing into Letters Live. This year’s five-night live performance spectacular at London’s Freemasons’ Hall in April saw a glittering line-up of performers read against the glorious Art Deco backdrop of the Grand Temple.
While events at Freemasons’ Hall do tend to be bespoke, one-off occasions, Letters Live offered the chance to do something quite different. ‘It was unique and like nothing we had done before,’ explains Karen Haigh, Head of Events at the Hall. ‘Even though I knew we could do it, I also realised that we had never done anything on this scale.’
With 7,500 tickets sold, more than 40 performers treading the boards and some 100 letters read aloud – not to mention an unexpected fire blazing beneath the streets of nearby Holborn – it was no small feat to pull off. When the Holborn fire forced Freemasons’ Hall to cancel the Wednesday performance, many of those scheduled to read that night came along to the Thursday show instead, creating a dream playbill: a who’s who of the stage and screen scene.
The audience didn’t know who was performing until the moment they appeared on stage, so whoops of surprise and delight were heard as Sir Ian McKellen, Benedict Cumberbatch, Andrew Scott, Sir Ben Kingsley, Simon Callow, Sophie Hunter and Clarke Peters stepped up to the podium, to name but a few.
With opening and closing music by newcomer and one-to-watch Kelvin Jones, as well as a passionate solo cello performance by Natalie Clein, the evening – like the whole run – had been thoughtfully curated to match performers to letters. Subjects spanned the arts and politics, love and loss, family and friendship, longing and rejection.
There were letters filled with advice and encouragement, such as Kurt Vonnegut to Xavier High School, read with McKellen’s wise drawl: ‘Practice any art… no matter how well or badly, not to get money and fame, but to experience becoming, to find out what’s inside you, to make your soul grow.’
There were letters filled with furious rejection, like Hunter S Thompson’s to Anthony Burgess on receipt of a ‘50,000 word novella about the condition humaine…’ instead of the Rolling Stone thinkpiece he had commissioned. Performed by Dominic West and full of language far too colourful to reproduce here, it was one of the more spirited readings of the evening.
The Grand Temple buzzed with energy from the performers, while the splendour of the venue was equally captivating – visually beautiful and acoustically fantastic, it became an enhancer when it could have been a distractor. Those attending were left with the feeling of having witnessed something truly magical. It’s an effect Karen was keen to achieve: ‘We wanted people to enjoy the experience of going to the theatre but also be somewhere completely unique,’ she enthuses.
It certainly didn’t disappoint.
Evocative and emotional
For Virginia Woolf’s suicide letter to her husband, Leonard, the Grand Temple turned to darkness with only a single spotlight on reader Greta Scacchi: ‘I feel certain that I am going mad again. I feel we can’t go through another of those terrible times. And I shan’t recover this time… Everything has gone from me but the certainty of your goodness. I can’t go on spoiling your life any longer.’ A visceral, desolate performance.
Benedict Cumberbatch drew on his best David Bowie impression to read a letter written from the musician to his first American fan in 1967, when he had no sense of how famous and renowned he would become, which added to its innocent excitement and humility. In a duologue performance, Cumberbatch and Louise Brealey – facing one another across the Grand Temple and very much in-the-round – read letters from Chris and Bessie: two everyday British civilians who fell in love via ink and paper while separated during World War II. The collection showcased quite beautifully how letters written by ordinary people with passion and something to say can contain just as much poetry within their pages as those written by thinkers, artists and academics.
Perhaps the performance of the evening came from 87-year-old actor Joss Ackland, who read a letter he’d written to his future wife Rosemary, who was engaged to another person at the time. Either side of the reading he performed the part he was rehearsing when he first met her: Act II, Scene 2 of Romeo and Juliet, Romeo’s soliloquy from the Capulet’s orchard, ‘But, soft! What light through yonder window breaks?’
‘I might be a trifle old, but I think this is the way I played it,’ he told the audience before reciting from memory a speech full of lust and longing. And then, after the letter: ‘This is how I would play it now, with Rosemary no longer with me.’ In a breathtaking performance, the longing remained, but it was cloaked in sorrow rather than driven by lust.
With considerable media coverage, Letters Live has been one of the more high-profile events hosted at Freemasons’ Hall, generating only positive sentiment according to Karen. ‘Events such as this are a way of saying to people that we’re not what you think we are,’ she explains. ‘Because when we open our doors people’s preconceptions are completely blown away.’