Page 42 - Alison Balsom Quiet City FULL BOOK
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it would be really cool to play it somewhere that didn’t feel like a
               concert hall. I immediately thought of the Globe in London because

               it’s a wooden, oval-shaped building. The stage is actually covered, so

               the strings would be fine. But I just thought that the dramatic side of
               this music shouldn’t be ignored. At the time, composers such as

               Purcell knew exactly how to integrate drama and spectacle and all

               sorts of other entertainment ideas. I then went to the artistic director of

               the globe with my idea. I told him that it should be more than one

               performance — perhaps two or three… And he said back to me,
               “What if I give you the full company of actors and twenty

               performances? And you find the money to pay the orchestra for the

               whole summer.” So I basically worked harder than I had ever worked
               in my entire life to raise money for that summer to pay for the whole

               orchestra! But the experience was totally glorious. We had a few

               previews which were half sold, but then we had the press night, and it
               was so well-reviewed that it was completely sold out and packed for

               the rest of the run, which was just the most satisfying thing ever!

               It was impossible to describe what it was: it wasn’t a play, it wasn’t a

               musical. All I could say was that it was just really expensive! But
               somehow, the journalists and press had managed to put into words

               what it was, and people then thought it sounded fun and decided to

               go. And of course, I knew it could only fail so far because it had

               amazing musicians, it had The English Concert, it had Trevor at the
               helm, it had a great director, brilliant actors, a beautiful setting, and

               Purcell and Handel! How far can you go wrong with that? Sam

               Adamson wrote a very quirky, complicated set of tableaux to illustrate
               seventeenth-century London through the prism of the trumpet. It was

               a really unique project. People actually still ask me if I’ll do something

               else like that, and they don’t understand that this was a one-off in my
               life! But it was a wonderful way to celebrate the trumpet for people

               who are not normally interested in the trumpet. The trumpet was a
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