British Museum blog

Easter Island (Rapa Nui): a new narrative

Moai staues on Rapa Nui
Jago Cooper, curator, British Museum

Small island communities represent some of the most vulnerable people on the planet to the impacts of climate variability and environmental change. This is why their voices are so powerful when heard above the clamour at international meetings designed to tackle these issues at the global scale.

Government of the Maldives hold a cabinet meeting underwater to raise awareness of global sea level rise. © Mohamed Seeneen

Government of the Maldives hold a cabinet meeting underwater to raise awareness of global sea level rise. © Mohamed Seeneen

From an archaeological perspective these island communities are particularly interesting as they have commonly been populated relatively late in the great human colonisation of our planet, often only arriving in these archipelagos in the late Holocene (past 5,000 years). Therefore archaeological studies in the North Atlantic, Caribbean, Pacific and elsewhere have revealed some fascinating narratives of how human communities have lived with the impacts of climatic variability and environmental change in these archipelagos. In particular these comparative island studies demonstrate how different decisions that people have taken have directly affected their relative vulnerability through time.

Within this context Rapa Nui (Easter Island) has often been heralded as a warning to the world, an example of a remote island community’s inability to live within their means, chopping down all the trees on the island, over-exploiting the island’s resources and self-inflicting their own demise. However, recent evidence offers a very different picture of what actually happened on Rapa Nui.

Recent archaeological excavations have revealed that the current treeless landscape of Rapa Nui has often been misinterpreted. © IWC Media

Recent archaeological excavations have revealed that the current treeless landscape of Rapa Nui has often been misinterpreted. © IWC Media

This new perspective to Rapa Nui’s past is the focus of a documentary that I have worked on for BBC4, Easter Island: Mysteries of a Lost World. It uses the latest scientific and archaeological evidence to reveal a compelling new narrative, one that sees the famous Moai as only part of a complex culture that thrived in isolation. To this end, I argue that there are indeed important lessons to learn from Rapa Nui but they don’t begin by blaming its inhabitants for their own downfall.

Iconic Moai standing on the slopes of Rano Raraku. © IWC Media

Iconic Moai standing on the slopes of Rano Raraku. © IWC Media

Easter Island, Mysteries of a Lost World is on BBC4 on Thursday 30 January at 9.00 pm. Watch clips from the programme on the BBC website.
If you would like to leave a comment click on the title

Filed under: Archaeology, What's on, , , , ,

Facing Enlightenment: a musical conversation with the past

Peter Sheppard Skӕrved performing in the Enlightenment Gallery
Peter Sheppard Skӕrved, violinist

On Friday 13th December between 18.30 and 20.00, I am performing in a concert in the Enlightenment Gallery, setting up a musical conversation between past and present, one that is reflective of the ideas of renewal and rediscovery summed up in the word ‘Enlightenment’. Music of the 1600s and 1700s, by Giuseppe Torelli, Nicola Matteis, and Johann Jakob Walther will be played alongside brand new works, including one by leading composer David Gorton, responding to the challenge of the past.

Peter Sheppard Skӕrved performing in the Enlightenment Gallery

Peter Sheppard Skӕrved performing in the Enlightenment Gallery, 2006, photo courtsey of Richard Bram

David Gorton played a central role in my 2006 intervention in the Enlightenment Gallery, when 11 international composers created new work in conversation with my ideas about the space and the collection. Gorton’s new work takes a bold imaginative leap, inspired by the Enlightenment’s ‘discovery of the past’: how might we, in 2013, re-imagine musicians of the Enlightenment reviving, exploring, the music and the works of earlier epochs?

Gorton’s first work for the Enlightenment Gallery was inspired by the copy of the Rosetta Stone made for George III. The resulting Rosetta Caprice has been played hundreds of times worldwide, recorded and filmed, and most recently, I presented it at a TED Conference in Norway. Follow the link to see a short film of its first appearance in the British Museum, in 2006.

Some of the composers working with me were inspired by the layers of history, the ‘false leads’, overlaying some of the most ancient man-made objects in the Enlightenment Gallery. Nashville-based composer Michael Alec Rose was inspired by the Grays Inn Handaxe, at one time thought to have been a Roman weapon. The title, Palimpsest, is a reflection of these layerings.

The Enlightenment was as much a revolution of technology and science as ideas and discovery. One of its most enduring legacies proved to be the instruments of the violin family, pioneered and perfected in the Italian cities of Cremona and Brescia across this period. This concert will be performed on a beautiful early example by the ‘father of the violin’, Andrea Amati, whose grandson Niccolo, would later teach Antonio Stradivari.

Peter Sheppard Skӕrved is the dedicatee of over 400 works for violin, and has recorded over 70 critically acclaimed albums of works from the 17th century to the present day. He regularly performs in over 30 countries, and has a unique record of collaboration with museums, working regularly with the Victoria and Albert Museum, the Library of Congress, Washington DC and the National Portrait Gallery, where he curated a major exhibition, Only Connect, in 2011-12. To see more of his work, visit www.peter-sheppard-skaerved.com

The performance Facing Enlightenment is in the Enlightenment Gallery, Friday 13 December, 18.30–20.00, Free, just drop in.

Filed under: At the Museum, Collection, Uncategorized, What's on, ,

Filling the British Museum with sound

A recent musical performance by Anna Neale, as part of the 'Up Late in Pompeii' event. Image: Benedict JohnsonDaniel Ferguson, Head of Adult Programmes, British Museum

The Royal Northern College of Music (RNCM) first approached us in July 2012 with the proposal that eventually became Sound Histories. It was an enticing proposition from the very beginning.

A recent musical performance by Anna Neale, as part of the 'Up Late in Pompeii' event. Image: Benedict Johnson

A recent musical performance by Anna Neale, as part of the ‘Up Late in Pompeii’ event. Image: Benedict Johnson

We are open late every Friday evening at the Museum and it is our chance to host events that explore our permanent collection and temporary exhibitions. As well as a high profile lecture programme, we aim to shed new light on the Museum’s material and bring the collection alive for new audiences.

The idea of inviting students to compose original pieces directly in response to objects from the Museum collection, and for these pieces to be performed as part of a larger programme across the space of one evening, was exactly the interesting interpretive approach and scale of ambition that we aspire to.

Part of the attraction of this idea was the sense that the music would ‘take over’ the Museum for an evening, challenging our visitors with how they engage with the incredible objects displayed across the ground floor, while showcasing contemporary art works that have been inspired by them.

This is emphatically not a recreation of a concert performance in a Museum. There is no comfortable seating for the audience, no sense that someone has planned your programme for you. On 5 July something far more unique will occur. Musical interpretations will be performed across the ground floor galleries over two-and-a-half hours and it will be for the visitor to choose whether they drop in on a piece inspired by one of the Easter Island statues, the Sutton Hoo helmet or one of the Benin plaques.

Our partnership with the RNCM has meant we can bring a whole new layer of interpretation to our collections for one evening; an unforgettable experience for both new audiences and those who have known the Museum for much of their lives. Sound Histories showcases the very best of what is possible and unique in live events programming and I’d like to thank Toby Smith, all staff at the RNCM and, most importantly, the composers and musicians, for making this project possible.

If you would like to leave a comment click on the title

Read more about Sound Histories on the Royal Northern College of Music blog

Filed under: At the Museum, What's on, , ,

Creating sound histories at the British Museum

Students at the Royal Northern College of MusicToby Smith, Director of Performance and Programming, Royal Northern College of Music (RNCM)

Sound Histories is the latest and largest yet in the RNCM’s series of site-specific installations created to animate iconic public spaces with music. Having previously collaborated with the Imperial War Museum North, Manchester Piccadilly Station and Victoria Baths, Sound Histories sees us working in London for the first time, our stimulus and partner being the British Museum, our national museum and home to the most visited collection in the UK.

Students at the Royal Northern College of Music

Students at the Royal Northern College of Music. Image courtesy RNCM

For me, Sound Histories is all about using music to tell some of the stories of the objects and the galleries of the British Museum; bringing to life in sound the interweaving histories of cultures across the world and drawing upon almost two million years of human history.

We are currently weeks away from the show, which will take place between 18.00 and 21.00 on Friday 5 July, as part of the British Museum Lates series. We’ve been working for over a year now with the British Museum’s Adult programmes team to create an ambitious evening of music to be performed across most of the ground floor, embracing the collections focusing on Greece, Assyria and Egypt, Asia, Africa, North America, Mexico and much of the Pacific Rim. 200 musicians will be involved, together performing over 120 pieces, with music for strings, winds, chorus, guitars, harps and saxophones, including solos, duos, chamber music and ensemble pieces that span the last six centuries.

Spear thrower made from reindeer antler, sculpted as a mammoth. Found in the rock shelter of Montastruc, France. Approximately 13,000–14,000 years old

Spear thrower made from reindeer antler, sculpted as a mammoth. Found in the rock shelter of Montastruc, France. Approximately 13,000–14,000 years old

Over the next weeks I’ll be looking in more detail on the RNCM blog at just a few of the elements that will make up Sound Histories. I’ll look at just some of the 50 pieces that RNCM composers have written in response to a particular object in the collection, from an Ice Age spear holder carved in the form of a mammoth to El Anatsui’s cloth sculpture for the Africa gallery. I’ll also pick out just a few of the highlights from the rest of the programme – music ancient and modern, and most things in between as well. And we’ll take a look at how we will draw everything together with a specially-commissioned finale for the Great Court, a space that sits at the heart of the British Museum site, and at the heart of the world cultures that surround it.

The Enlightenment gallery at the British Museum

The Enlightenment gallery at the British Museum

We’ll start by looking at the Enlightenment gallery, a space we will be programming with music from the year 1828 to reference the creative world of the men who drew together the British Museum collection at this time.

In the meantime, do spread the word – as with all the Museum’s Lates, the event is free, and as it will only be happening once it’s certainly worth saving the date – Friday 5 July, 18.00 – 21.00.

If you would like to leave a comment click on the title

This post was first published on the Royal Northern College of Music blog.
Find out more about the RNCM

Filed under: At the Museum, What's on, , , , , , ,

Exploring the lost kingdoms of South America

Tortora reed boat, Lake Titicaca, 1970sLeonora Duncan and Jago Cooper, British Museum

South America has witnessed the emergence of some of the most intriguing and diverse ancient cultures in the world.

Four of these dynamic and fascinating cultures are being explored in a BBC Four series, Lost Kingdoms of South America, which starts broadcasting on Monday 14 January at 21.00. The series explores the different pathways to social complexity taken in four cultural regions of South America long before Europeans arrived over the horizon.

Here at the British Museum, the South American collection includes over 50,000 objects collected over the past 350 years. These treasures reveal some fascinating stories about the diverse cultures that existed for over 12,000 years before the arrival of Columbus and many of which continue to thrive today.

Tunjo, Muisca, AD 600-1600

Tunjo, Muisca, AD 600-1600

We wanted to draw attention to some of the amazing objects in the collection that can help tell the stories of the four cultures featured in the BBC Four series. New thematic content on the Museum website takes a look at how the Chachapoya, Tiwanaku, Muisca/Tairona, and Chimu lived in completely different environments, from the Amazon to the Andes, from desert to the Caribbean coast and yet all had in common the highest of cultural achievements.

Tortora reed boat, Lake Titicaca, 1970s

Tortora reed boat, Lake Titicaca, 1970s

However, what is particularly interesting is that they all took different routes to developing social complexity building on trade, agriculture, craftsmanship and warfare respectively. Each of the objects we’ve chosen contributes its own individual story to this narrative revealing in all their wonderment the truth behind the rise of the Lost Kingdoms of South America.

If you would like to leave a comment click on the title

Explore the featured kingdoms and related objects in the British Museum collection, or for more information contact Leonora Duncan or Jago Cooper in the Department of Africa, Oceania and the Americas

Lost Kingdoms of South America is on BBC Four at 21.00 on Mondays from 14 January

Filed under: Archaeology, Collection, What's on, , ,

Shakespeare’s legacy: the Robben Island Bible

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace TrustMatthew Hahn, playwright

I first heard about a copy of the complete works of William Shakespeare known as the ‘Robben Island Bible’ when a good friend was reading Anthony Sampson’s wonderful biography on Nelson Mandela in 2002. I was fascinated by the story and found online the subsequent article that Sampson wrote ‘O, what men dare do’ in the Observer from 2001.

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace Trust

The book’s owner, South African Sonny Venkatrathnam, was a political prisoner on Robben Island from 1972 to 1978. He asked his wife to send him a book of Shakespeare’s complete works during a time when the prisoners were briefly allowed to have one book, other than a religious text, with them. The book’s ‘fame’ resides in the fact that Venkatrathnam passed the book to a number of his fellow political prisoners in the single cells. Each of them marked his favourite passage in the book and signed it with the date. It contains thirty-two signatures, including those of Walter Sisulu, Nelson Mandela, Govan Mbeki, Ahmed Kathrada and Mac Maharaj, all luminaries in the struggle for a democratic South Africa.

These men signed passages within the text which they found particularly moving, meaningful and profound. The selection of text provides fascinating insight into the minds, thinking and soul of those political prisoners who fought for the transformation of South Africa. It also speaks to the power of Shakespeare’s resonance with the human spirit regardless of place or time. But, as he explains it, he just wanted a ‘souvenir’ of his time in the Leadership Section of Robben Island.

After hearing this fantastic tale, I determined to write a play based on interviews with as many of the former political prisoners I could find intertwined with the chosen Shakespearian texts. I first encountered Sonny’s ‘Bible’ in 2006 when it left South Africa for the first time to be a part of the Complete Works Exhibition hosted by the Shakespeare Birthplace Trust in Stratford-upon-Avon. In 2008, I had the wonderful opportunity to meet and interview Sonny and seven other signatories of the ‘Bible’ to form the foundation of the play. I returned to South Africa in 2010 for further interviews and to workshop the research with the Market Theatre Laboratory.

It is an honour to have had the opportunity to spend time with these most gentle of men – each one a lion in the fight against apartheid. Many opened their homes to me, a complete stranger, for a couple of hours, shared with me a cup of tea and what their lives were like under an oppressive regime. As Ahmed Kathrada said, ‘After being locked up for all of these years, when I get a chance to speak to someone who is interested in my story, I find it hard to keep quiet.’

I was, and continue to be, fascinated by the resonance of the chosen texts and the men’s biographies – how life imitates art and; how great art, like holy books, seems to give strength to the oppressed.

Read more about this post and Matthew Hahn’s work on his blog .

Shakespeare: staging the world is open from 19 July to 25 November 2012.

The exhibition is supported by BP.
Part of the World Shakespeare Festival and London 2012 Festival.

Tweet using #ShakespeareExhibition and @britishmuseum

If you would like to leave a comment click on the title

Filed under: Shakespeare's Restless World, Shakespeare: staging the world, Uncategorized, , , ,

Not of an age, but for all time

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Shakespeare Goes Global looks at how Shakespeare’s audience left the Globe and became the whole world.

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace Trust


Barrie Cook, radio series curator, British Museum

Working with Neil on the Shakespeare’s Restless World programmes as series curator, I usually felt I had a pretty good idea of the focus and trajectory of each episode as it reached broadcast point. This was not at all the case for the final programme Shakespeare Goes Global. So many ideas, so many directions, so many locations had been mooted throughout the development of the script that, listening to the final version, my inside knowledge wasn’t that much better than anyone else’s. For this final blog post, we thought it might be interesting to look at some of the ideas that got away, from some that were dismissed in an instant to others that remained for some time through the development process.

For a while, Shakespeare’s impact on popular culture was going to play a big part: a programme that could open with the Beatles (‘Lend me your ears and I’ll sing you a song’, Sgt Pepper’s Lonely Hearts Club Band, 1967) and end with the Arctic Monkeys (‘Oh, there ain’t no love, no Montagues or Capulets/ Are just banging tunes and DJ sets and/ Dirty dance-floors, and dreams of naughtiness!’). En route, we’d maybe call in on foreign-language Shakespeare, from the films of Kurosawa and Kozintsev, and dramatic re-workings like Forbidden Planet (The Tempest), My Own Private Idaho (Henry IV) and Rosencrantz and Guildenstern Are Dead (Hamlet) and of course YouTube hits (Green Eggs and Hamlet; the Star Wars Macbeth).

Shakespeare himself began as a purveyor of a vulgar form of entertainment, using understandable language full of references to the world he and his audience inhabited; he used clowns and caricatures and lots of jokes, good, bad and dirty. He wrote song and dance into his plays, some of which were virtually musicals well before Kiss Me Kate and West Side Story, and he set his own words to the pop hits of the day. He revisited other playwrights’ work and was happy to collaborate with co-authors, like a Hollywood screen-writer. So perhaps he wouldn’t have minded if, in turn, his own words and characters were adopted and adapted by generations of artists and entertainers. Even The Klingon Hamlet.

The core object for this final episode is one from the 20th century, a book of Shakespeare’s complete works annotated by prisoners from Robben Island. However, to keep in with the spirit of the series, we felt strongly that we also needed a firm root in the time of Shakespeare. Therefore the impact of the First Folio, the first Collected Works of Shakespeare, would inevitably loom large. Shakespeare himself, it seems, had next to no interest in publishing his plays (unlike Ben Jonson), so it was left to his friends to do it for him after his death.

There is so much to say about the First Folio – how many plays survive only through it, especially for the later part of his career; how important it was in creating the idea of the celebrity author and the cult of Shakespeare; how it changed attitudes to the importance of drama in English. For a while the story of the First Folio in the Bodleian Library, Oxford (acquired hot off the press in the 1620s and with a fascinating history), was going to be the focus of this approach, but it was too much of a digression. A little of this remains in the programme, now focussed on the British Library’s First Folio, but much does not.

The Eric Gill sculpture of Prospero and Ariel on the front
of BBC’s Broadcasting House

The interaction of Shakespeare with the BBC from the first broadcast of his work on 16 February 1923 was always going to be important, and remains in the final version of the programme. Inevitably dropping away was the bizarre controversy over the size of Ariel’s genitals on the Eric Gill sculpture of Prospero and Ariel on the front of Broadcasting House, arbitrated by a committee of eminent Shakespeareans and medical experts. Any reader of Shakespeare knows that prudery was not one of his characteristics and he would presumably have found this whole business in equal parts baffling and hilarious.

From the 2012 commemorative coinage to the opening ceremony of the Olympics (to take its cue from The Tempest’s ‘Be not afeard: the isle is full of voices’), Shakespeare is inescapable this year. Yet he always is; we just don’t usually focus on his importance so consciously.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Shakespeare Goes Global

Filed under: Shakespeare's Restless World, What's on

The legacy of a gruesome death

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode The Theatres of Cruelty considers spectacles of torture both on and off the stage.


Jan Graffius, Curator, Stonyhurst College

Relics like this one would be probably the most moving testament to the bravery of those priests who were working undercover in England. Although the contents are rather gruesome, it would have been a very beloved reminder of their faith and a powerful inspiration to the English Catholics to hold firm because men had given blood for their faith. It might even be an inspiration to young boys to follow in their footsteps and become priest themselves.

Relics served as a reminder of what was in front of you. For many priests, the crown of martyrdom was the ultimate sign of God’s favour. Jesuit priests who served in England and came back to Europe without having been caught often describe themselves as too unworthy to share the crown of martyrdom.

Martyrdom wasn’t something they sought but it was something that was a huge honour if it occurred to them. This small relic is a reminder of the brutality, the courage and also the rightness of the faith because if somebody is willing to lay down their life in the most horrible way, the most dreadful form of execution, they have to be absolutely certain that they are doing it for good, strong and true reasons.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme The Theatres of Cruelty

Find out more:

Stonyhurst College

Filed under: Shakespeare's Restless World, What's on

Description of the Arches

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode London Becomes Rome looks at the grand and theatrical coronation of King James I.


Ruth Levis, British Museum

The illustrations of the triumphal arches featured in today’s programme were published in a book, The Arches of Triumph, ‘invented and published’ by Stephen Harrison, the man behind the arches’ creation. Here is his description that accompanied The Temple of Janus (the Roman god of beginnings and transitions), the final arch in the procession.

The Temple of Janus. © Trustees of the British Museum

The seventh and last Pegme (within the Citie) was erected at Temple-barre [Temple Bar], beeing adioyned close to the Gate: The Building was in all points like a Temple, and dedicated to Janus Quadrifrons.

Beneath that Foure-fac’d head of Janus was advancd the Armes of the Kingdome, with the Supporters cut out to the life: from whence being remoude they now are placed in the Guild Hall.

The wals and gates of this Temple were brasse; the Pillars silver, their Capitals and Bases gold: All the Frontispice (downeward from those Armes) was beutified and supported by twelve rich Columnes, of which the foure lowermost, being great Corinthian pillers, stood upon two large Pedestals, with a faire Vaux over them in stead of Architriue, Frieze and Cornice.

Above them, eight Columnes more, were likewise set, two and two upon a large Pedestall; for as our worke began (for his Maiesties entrance) with Rusticke, so did wee thinke it fit, that this out Temple, should end with the most famous Columne, whose beauty and goodlinesse is derived both from the Tuscane, Doricke, Ionicke and Corinthian, and received his full perfection from Titus Vespasin, who advanced it to the highest place of dignitie his Arch Triumphall, and (by reason that the beauties of it were a mixture taken from the rest) he gave it the name of Composita or Italica: within the Temple stood an Altar, with burning Incese upon it, before which a Flamin appears, and to the Flamin comes the Genius of the City.

The principall person in this Temple, was Peace. At her feete lay Warre groueling. At her right hand stood Wealth. On the same hand likewise, but somewhat remote, and in a Cant by her selfe, Quiet was seated, the first hand maide of Peace, whose feete stood vpon Tumult. On the left hand (at the former distance) Liberty the second hand-maide of Peace had her place, at whose feete Seruitude lay subiected. Beneath these (on distinct degrees) sate two other hand maides of Peace, Safey and Felicity, Safety trampling upon Danger and Felcity upon Unhappinesse. Genius and Flamin spake thus much.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme London Becomes Rome

Filed under: Shakespeare's Restless World, What's on

Avoiding the plague

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Plague and the Playhouse looks at impact of the plague on Shakespeare’s London.

Plague proclamations from King James I. © The British Library Board


Dr Richard Barnett, Wellcome Trust Public Engagement Fellow and Honorary Research Fellow, UCL

The most common kind of plague and the kind most associated with historical plague is bubonic plague. The bacterium gets into the body and into the lymph nodes, generally found in the neck, shoulder, armpit, and groin. The bacterium reproduce in these lymph nodes and swell up and go black. In some cases they burst open and you get really nasty abscesses.

With bubonic plague you fall into a deep fever, you get multiple organ failure, your body starts to shut down and it has about 30 – 60% mortality rate. A period of about a week is the period in which you would either die or recover from the disease.

Certainly in modern terms it is treatable and there are various interventions with drugs and organ support that can be done. In terms of the medicine available in Shakespeare’s time, it was widely acknowledged by physicians and priests and the state that by far the best thing to do was just not to get this disease.

Most of the interventions that people make are about prevention and then about isolating people when they do get the disease. The classic image of prevention is the pictures of doctors wearing these very striking, rather beak-like masks which are filled up with herbs and the idea is that if you breathe through these masks you will purify the putrescent air that is causing the plague so you won’t suffer it yourself. One reads of aristocrats carrying around pomanders and nose-gays and walking through poor areas with these things held to their faces to try and purify the air.

There is also a very strong emphasis on keeping yourself healthy and this isn’t just about physical health, this is as much about what we would now call a spiritual and emotional and religious health. It is about confessing your sins, making sure you have a good relationship with God, so that God doesn’t decide to strike you down with this disease.

Going to the theatre was a very bad idea for your health, not only physically because you were crammed into a space with all these other terrible, dirty groundlings, but because the theatre was an immoral pastime.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Plague and the Playhouse

Filed under: Shakespeare's Restless World, What's on

Receive notifications of new posts by email.

Join 8,182 other followers

Categories

Follow @britishmuseum on Twitter

Follow

Get every new post delivered to your Inbox.

Join 8,182 other followers

%d bloggers like this: