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.’
As Parade's End becomes the latest high-profile production to shoot at Freemasons' Hall, Oscar-winning producer David Parfitt tells Luke Turton why he enjoys filming there
Benedict Cumberbatch is in earnest conversation with a colleague as he hurries down a long corridor that leads to the huge bronze doors opening into the Grand Temple at Freemasons’ Hall. Cutting a dash in an Edwardian three-piece suit, the actor abruptly stops when a small woman with a big voice bellows, ‘Cut!’
Cumberbatch is shooting a scene for the BBC adaptation of Ford Madox Ford’s Parade’s End novels. Set between the twilight of the Edwardian era and the end of the First World War, the tetralogy charts the love triangle between English aristocrat Christopher Tietjens, played by Cumberbatch, his beautiful but cruel wife Sylvia, and Valentine, a young suffragette he falls in love with. The two central novels follow Tietjens’ exploits in the army in France and Belgium, as well as Sylvia and Valentine in their separate paths over the course of the war.
An imposing art deco building in Covent Garden, Freemasons’ Hall has had a close working relationship with Film London, which aims to grow the capital’s film industry, since 2001. Today, it is doubling up as – among other things – the Department of Statistics for Parade’s End. ‘This is supposed to be the lobby of one of the most modern government offices and that’s meant to be the outside world,’ laughs Oscar-winning producer David Parfitt as he points behind the camera to the Grand Temple. ‘The novels are set between 1912 and 1918, so we’re slightly ahead of ourselves with Freemasons’ Hall. But the architecture is classic enough for it to look like a modern building from about 1910.’
With a career that has seen him working alongside Kenneth Branagh and Robert De Niro in 1994’s Frankenstein, and Gwyneth Paltrow and Dame Judi Dench in Shakespeare in Love in 1998, Parfitt has recently finished post-production on My Week With Marilyn. ‘The scale of the shoot is not dissimilar to Marilyn but that was eight weeks and this is nearly seventeen. We’re on day seventy now, which is tough,’ says Parfitt. ‘We’ve shot in the Home Counties, in Yorkshire, Belgium for six weeks, and chose Freemasons’ Hall when we got back.’
Next to the Department of Statistics, in the Grand Temple’s entrance hall, builders are putting up a mini set of a Belgian drinking club for a scene to be shot later in the day. Parfitt explains that the crew didn’t get all that they needed at the end of a very busy shoot in Belgium. ‘But it’s a fairly close-up shot and we’ve brought along one piece of the set. We’ll patch the sequence together in post-production.’ The builders are politely but loudly requested to stop hammering and drilling while Parfitt and his crew shoot the corridor scene again.
finding the right fit
‘Stand by to shoot. Rolling. And action!’ Cumberbatch strides down the corridor with Stephen Graham, who currently plays Al Capone in Boardwalk Empire. Pulled along on a trolley by a frantic assistant, the camera hurtles down the passage in front of Cumberbatch and Graham, but something isn’t right. ‘Reset, go again!’ The camera is rolled back and the scene starts once more, with the two actors hitting their marks perfectly for what must be the twentieth time that morning. Finally, the director is happy and it’s time for a break. The actors retire to the Grand Temple, now a temporary changing room.
Having shot at Freemasons’ Hall over 1994-95 for The Wings of the Dove, which starred Helena Bonham Carter, Parfitt is keen to make as much use of the building as he can. ‘We’ll make the upper balcony into a grand opera box,’ he says pointing upwards enthusiastically in the entrance hall. ‘The Hall is unique architecturally – it’s in London so it’s accessible and there’s always a part of the building you can use. We were looking at Victoria House, up the road, as a possible location but you can only use that at weekends,’ says Parfitt, adding that experience has taught him to view buildings like Freemasons’ Hall in a very different way. ‘You’ve got to stand back and not be fooled by the geography of the building. When we first came into the Hall, we all had to come up the stairs into this area. We’ve now decided that, for the purposes of Parade’s End, this is ground level so you don’t have to worry about shooting the stairs. It’s all about making those leaps and using specific elements rather than being slavish to the layout.’
Adapted for television by British playwright Tom Stoppard, the five-hour series is due to air in the second half of 2012 on BBC2. We can look forward to a stunning rendition of the novel, with Cumberbatch joined on screen by the likes of Rupert Everett and Miranda Richardson. Viewers can also get extra points for spotting Freemasons’ Hall in
its many supporting roles.