THE IMAGINED STORY OF JOHN DOWLAND, AS HE COMBINES HIS LIFE AS A COURT MUSICIAN/COMPOSER WITH THE ELIZABETHAN ESPIONAGE UNDERWORLD.
This spell-binding new “concert-play” (where music and theatre collide) by Clare Norburn tells the story of composer/lutenist John Dowland’s brush with the Secret Service and how he manages to foil an Italian plot on the life of Queen Elizabeth I. Think Spooks, 16th Century-style! But ultimately, John's fate is in your hands as you'll vote on how the show should end. Plus, ahead of the show, you'll be invited to crack the all-important code.
The drama is directed by Nicholas Renton (BAFTA-nominated Mrs Gaskell's Wives and Daughters, Musketeers, A Room With A View, Lewis, Silent Witness).
The playwright, Clare Norburn, is also the soprano and Artistic Director of The Telling, who are renowned for immersing audiences in a world of music and theatre. They will perform music by Dowland and his contemporaries, alongside Elizabethan tavern, street and courtly masque music.
"What is most impressive about Norburn’s conception is the way that the various strata and elements combine and cohere so effortlessly. Past and present, truth and fantasy, real and imagined come together in a tightly knit and intimate drama." Opera Today
"Inclusive... non-pretentious... I really wish all 'classical' (for want of a better word) concerts were like this" Morning Star
“mesmerising” The Guardian
ABOUT THE WORK
The show is centred around an extraordinary letter which Dowland wrote to spymaster Sir Robert Cecil in 1595. At the time, Dowland was travelling Europe, having taken umbrage in having not secured a court post as a lutenist when one fell vacant. Cecil had signed Dowland’s travel papers and probably told him to “keep his eyes and ears open”. So when, as a Catholic Englishman, Dowland is approached by English ex-Pats living in Florence and Rome, who are plotting to overthrow Queen Elizabeth I, Dowland dishes up the information on the plot and key players to Cecil. I, Spie imagines the gaps in what we know about Dowland‘s life at that time – what led to the moment of his writing that letter - but also what happened in the aftermath.
“Being a Catholic informant in Elizabethan England was a dangerous business – no one entirely trusted you, even if your information was helpful” explains writer/soprano Clare Norburn. “The 1580s has seen a series of Catholic plots and the terrifying threat of the Spanish Armada – and with the Queen ageing without any clear succession, by 1595 there was a febrile sense of panic and suspicion. In that context, it is no wonder that Dowland’s letter reads like a man out of his depths: he sounds scared for his own life - and with good reason. Catholics who informed were not always fully trusted - many ended up on the gallows. But on the other hand, he does dish up the information and effectively foil the plot… Quite how involved in it all was he?”
The Secret Service’s practice of recruiting students from Oxford and Cambridge goes back to this period. It was often seen as fashionable and exciting for students to dabble in Catholicism. So there was a ready supply of potential recruits who had already shown Catholic leanings who could easily be turned as informers.
The origins of the modern Secret Service were formed during Elizabeth I’s rule – initially under the direction of the inspirational Sir Francis Walsingham, who initially had to fund the service out of his own pocket. His death in 1590 caused a vacuum: and a fight for supremacy between Sir Robert Cecil and the Earl of Essex. So there was potential for double dealing between followers of those two key players within the service itself.
“What is fascinating is how contemporary the issues about how far espionage should have freedom to pursue the country’s safety. I was also interested in what happens to a musician/composer who suddenly finds himself caught up in this world? How does informing sit with Dowland being an artist? All through the ages, musicians and writers have been caught up in espionage: the best known example of Dowland’s age is Christopher Marlowe; but there is also Dowland’s exact contemporary at Oxford, the composer Thomas Morley, who also worked for the service. And later on, the playwright Aphra Behn, the writer Daniel Defoe… What does it mean to be a writer/composer/performer and privately also a carrier of espionage secrets….?”
NOTES ON SOCIAL DISTANCING
The safety and comfort of our audience are our top priority. Recent surveys suggest most audience members would feel more comfortable if social-distancing and mask-wearing measures remain in place.
As a result, we will be requesting all members of the audience to wear masks if not medically exempt, and all social bubbles will be 1 meter apart.
For most dates, tickets are available to purchase for single, two-, three- and four-person marked seating areas. If the ticket configuration you need is not available, please get in touch as we may still be able to accommodate you.
If any of these measures change, we will contact you well in advance by email.
Measures for the show at BREMF on Wednesday 20 October are different - please see the event page for details.
FRIDAY 15 OCTOBER 2021, 7.30PM - 8.55PM
St Mellitus Church Hall, Tollington Park, Finsbury Park, London N4 3AG
WEDNESDAY 20 OCTOBER 2021, 7.30PM - 8.55PM
St George's Church, St George's Road, Kemptown, Brighton BN2 1ED
THURSDAY 21 OCTOBER 2021, 7.30PM - 8.55PM
The Mount Hotel Great Hall, Mount Road, Tettenhall, Wolverhampton WV6 8HL
FRIDAY 22 OCTOBER 2021, 7.30PM - 8.55PM
St George's Hall Concert Room, St George's Place, Liverpool L1 1JJ
SATURDAY 23 OCTOBER 2021, 7.30PM - 8.55PM
Victoria Hall, Main Street, Grange-over-Sands LA11 6DP
SUNDAY 24 OCTOBER 2021, 7.30PM - 8.55PM
The Arts Centre, Treaty Centre, High Street, Hounslow, London TW3 1ES
Dominic Marsh as John Dowland
Danny Webb as The Man (Sir Robert Cecil / Philippes / Father Scudamore / Topliffe, the torturer)
Alice Imelda as The Woman (Maria / Future Mrs Dowland / Elizabeth I)
Clare Norburn, soprano
Emily Baines, recorders/bagpipes
Giles Lewin, fiddle/bagpipes
Alison Kinder, viols/recorders
Jamie Akers, lute/cittern
Directed by Nicholas Renton
Written & produced by Clare Norburn
Lighting Designer Natalie Rowland
THANKS TO OUR FUNDERS
The I, Spie tour is supported by a grant from Continuo Foundation, Angel Early Music, a pool of donors and our crowdfunders
The Stroud Green Festival performance is supported by The Marchus Trust
The Grange-over-Sands performance is supported by Sir John Fisher Foundation