The Great Escape
Adrian Dunbar and Jade Anouka perform readings from Shakespeare to Sylvia Plath depicting escapes from battle, prison, love and life. With music ranging from Dowland to Ligeti.
Adrian Dunbar and Jade Anouka with readings which look at escaping life, love, war and family. From the terror of a monstrous battle in Seamus Heaney's Beowulf, to the thrilling Prisoner of War break-out in Paul Brickhill's novel The Great Escape. There's also the more existential desire to escape one's gender or relationship, dealt with by the likes of Christina Rossetti and Sylvia Plath. Then there's the escape we find in sleep and eventually death, explored by Shakespeare and Yeats. Mirroring the mood of our escapees is a soundtrack which features everything from Dowland to Ligeti, Elena Kaats-Chernin to Vaughan Williams.
Producer: Georgia Mann-Smith
Timings (where shown) are from the start of the programme in hours and minutes
I Never Hear The Word 'Escape' read by Jade Anouka
Extract from The Great Escape read by Adrian Dunbar
Extract from The Witches read by Jade Anouka
Everyone Sang read by Adrian Dunbar
E. M Forster
Extract from A Room With A View read by Jade Anouka
The Rabbit Catcher read by Sylvia Plath
Escape read by Jade Anouka
Extract from Henry V read by Adrian Dunbar
My Holiday read by Adrian Dunbar
Aubade read by Jade Anouka
Sailing to Byzantium read by Adrian Dunbar
Since There Is No Escape read by Jade Anouka
When I made this programme the summer holidays were almost upon us and the thought of escape was much on my mind. In this edition I’ve tried to explore how the idea of escape frames many of our relationships and fears – as well as our hopes. From Emily Dickinson’s “ flying attitude” at the very mention of escape to Paul Brickhill’s thrilling description of one of the most daring escapes of the second world war; from the claustrophobic relationship described in Sylvia Plath’s The Rabbit Catcher to Margaret Attwood’s sinister The Landlady. Mussorgsky’s Night on a Bald Mountain accompanies two tales of escape from sinister forces: Roald Dahl’s depiction of a boy fleeing the Grand High Witch and Seamus Heaney’s Beowolf escaping the grip of the monster Grendel. Siegfried Sassoon brings a note of euphoria with his description of battle-wearied soldiers escaping the misery of war through song, musically matched by Vaughan Williams’ soaring Let all the world in every corner sing. Lucy Honeychurch from E.M Forster’s Room With a View also uses music as a means of escape, playing Beethoven lifts her out of the polite and constricted society she inhabits. Christina Rossetti and Nina Simone explore the desire to escape the constraints of gender and race while Robert Service takes a rye stance on escaping his offspring during the holidays. Sleep as a means of escape is masterfully dealt with by Shakespeare in Henry IV Part 2 and by Dowland in his song Come Heavy Sleep. The final section of the programme explores the idea of the ultimate escape: from this life into the next, from the bodily life to the spiritual. Larkin’s melancholy reflection on the inevitability of death in Aubade is followed by one of his own Desert Island Discs choices, Bessy Smith’s I'm Down In The Dumps. We finish with Sara Teasdale finding liberation in the escape death provides: “Life is my lover—I shall leave the dead If there is any way to baffle death.” That vital, affirmatory vision finds musical expression in John Adams’ On The Dominant Divide from Grand Pianola Music.
By Georgia Mann-Smith