The Essay

A story about how not even superpowers can escape ecological context.In this episode Bathsheba Demuth looks at how reindeer are deeply sensitive to the climate, and how that sensitivity thwarted plans to make them part of capitalist and socialist economies. Bathsheba Demuth is an environmental historian and writer who spends much of her time in Arctic communities across Eurasia and North America. Her work draws on archives, ecology, and experience of the landscape to ask how places and people change each other.Her interest in northern environments and cultures began when, at 18, she moved to the village of Old Crow in the Yukon. For two years, she mushed huskies, hunted caribou, fished for salmon, tracked bears, and otherwise learned to survive in the taiga and tundra.In this essay series she brings us into the intertwined pasts of people and animals of the lands and waters around the Bering Strait - the ice-studded stretch of ocean between Alaska and the Russian far east.She shows how dogs, whales, walruses,

Environmental historian Bathsheba Demuth travels to the Arctic ice and tundra to show how humans and animals together have shaped its landscape and history.In this episode she looks at how the human relationship to walruses has changed and changed again, from seeing them as ancestors to part of the socialist future, offering an example of how what we value can endanger—or save—a species. Bathsheba Demuth is an environmental historian and writer who spends much of her time in Arctic communities across Eurasia and North America. Her work draws on archives, ecology, and experience of the landscape to ask how places and people change each other.Her interest in northern environments and cultures began when, at 18, she moved to the village of Old Crow in the Yukon. For two years, she mushed huskies, hunted caribou, fished for salmon, tracked bears, and otherwise learned to survive in the taiga and tundra.In this essay series she brings us into the intertwined pasts of people and animals of the lands and waters arou

A story of how animal cultures come to matter. In this episode Bathsheba Demuth heads to the country of bowhead whales to examine how different people in the Arctic have valued these creatures. She shows how these whales responded to commercial hunting by changing their culture and how their choices pushed into the domain of people. Bathsheba Demuth is an environmental historian and writer who spends much of her time in Arctic communities across Eurasia and North America. Her work draws on archives, ecology, and experience of the landscape to ask how places and people change each other.Her interest in northern environments and cultures began when, at 18, she moved to the village of Old Crow in the Yukon. For two years, she mushed huskies, hunted caribou, fished for salmon, tracked bears, and otherwise learned to survive in the taiga and tundra.In this essay series she brings us into the intertwined pasts of people and animals of the lands and waters around the Bering Strait - the ice-studded stretch of oce

Bathsheba Demuth is an environmental historian and writer who spends much of her time in Arctic communities across Eurasia and North America. Her work draws on archives, ecology, and experience of the landscape to ask how places and people change each other.Her interest in northern environments and cultures began when, at 18, she moved to the village of Old Crow in the Yukon. For two years, she mushed huskies, hunted caribou, fished for salmon, tracked bears, and otherwise learned to survive in the taiga and tundra.In this essay series she brings us into the intertwined pasts of people and animals of the lands and waters around the Bering Strait - the ice-studded stretch of ocean between Alaska and the Russian far east. She shows how dogs, whales, walruses, caribou, and salmon have helped make history—and in turn, how people have changed how they value and relate to creatures finned and furred.From shifts in the culture of whales to how reindeer flummoxed Soviet plans and dogs’s emotions mattered to the Briti

A very personal essay series about communication, listening, performance and British Sign Language (BSL).Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots.Each essay describes a formative stage in Sophie’s life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 5: Unspoken Communication Sophie eloquently speaks about being the child of addicts and finding a safe place to express emotions in the theatre. She talks about her relationship to her absent father and her unspoken grief held in silence after his death. Listen Harder broadcast on BBC Radio 3 will be accom

A very personal essay series about communication, listening, performance and British Sign Language (BSL).Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots.Each essay describes a formative stage in Sophie’s life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 4: Ownership of Communication Sophie talks about finding and owning her authentic voice. She discusses her years as an actor in a profession that sadly lacked space for disabled actors to own their own experiences without being seen as less than able. Sophie explores a brief history of Sign Language from a

A very personal essay series about communication, listening, performance and British Sign Language (BSL).Sophie Stone considers her own life, career as an actor and identity as a Deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots.Each essay describes a formative stage in Sophie’s life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 3: Visibility of Communication Sophie talks candidly about the fear and isolation she felt as a deaf child, how seeing other deaf people, finding a community experiencing the world in similar ways, encouraged her to realise she was not alone. In challenging limiting beliefs and fighting for Deaf rights, So

A very personal essay series about communication, listening, performance and British Sign Language (BSL).Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots.Each essay describes a formative stage in Sophie’s life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 2: Forms of Communication Sophie looks at different forms of communication, and how her relationship to sounds and her other senses and has shaped her work as a deaf actor. She talks about the challenges and possibilities of shaping a more authentic representation of disability on stage and screen. The ess

A very personal essay series about communication, listening, performance and British Sign Language (BSL).Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots.Each essay describes a formative stage in Sophie’s life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 1: Communication Withheld Sophie talks candidly about her early years as a deaf child, denied access to language and communication through an inadequate education system teaching oralism above any other form of communication. Sophie describes her rebellious teenage years and how through finding BSL and the

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In his final essay, Kenyon looks at how in the early 1970s, the popularity of medieval and renaissance music increased hugely with the success of the Early Music Consort led by the dynamic David Munrow. He became a key figure in the BBC’s broadcasting on Radio 3 with his eclectic series of short programmes called Pied Piper, and his colleague Christopher Hogwood presented The Young Idea, similarly mixing new and old. Then the emphasis in the revival of early music shifted from simply rediscovering the music of the past and playing it on modern instruments, to reinventing the ways of playing that music in line with historical evidence. Hogwood’s Academy of Ancient Music led the way with many broadcasts, and recordings in period

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century.Today Kenyon explores how in the creative years of the 1950s and 1960s, the revival of early music had a sense of adventure; new orchestras were established like the Academy of St Martin-in-the-Fields which explored the repertory in broadcasts and recordings. He highlights the work of three contrasted pioneers: Imogen Holst, who programmed concerts of medieval music at Aldeburgh, promoted by the BBC Transcription Service; Denis Stevens, the musicologist and conductor who broadcast and worked for the BBC Third Programme but became a hugely controversial figure because of his argumentative nature; and William Glock, who became the BBC’s Controller of Music in 1959 and transformed the repertory of the Proms, welcoming in a whole r

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In his third essay, Kenyon explores how the launch of the BBC’s cultural Third Programme in 1946 rapidly advanced the revival of early music on the BBC. From Alfred Deller singing Purcell in the opening concert of the network, to huge and difficult undertakings like the History in Sound of European Music, the Third supported the scholarly exploration of earlier repertories. Leading figures on the staff were experts in early music, and worked with a new generation of emerging performers who were interested in performing the music of the past: Julian Bream on the lute and George Malcolm on harpsichord, Neville Marriner on the violin, and Arnold Goldsborough conducting chamber orchestras. In the title of one 1948 series featuring

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In five programmes he looks at the rare repertory which the BBC broadcast, from its small beginnings in the 1920s to its acceptance in the mainstream during the 1970s. Drawing on entertaining and illuminating extracts from the BBC archives, with original music recordings, Kenyon shows the way in which early music and period-style performance gradually became part of our musical consciousness and an essential part of our listening. In his second essay, Kenyon explores how by the 1930s the BBC had become a powerful influence on national taste and there were strong voices urging it to do more for British music. In 1934 it broadcast a 13-week series of English music ‘From plainsong to Purcell’ curated by the scholar, conductor an

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In five programmes he looks at the rare repertory which the BBC broadcast, from its small beginnings in the 1920s to its acceptance in the mainstream during the 1970s. Drawing on entertaining and illuminating extracts from the BBC archives, with original music recordings, Kenyon shows the way in which early music and period-style performance gradually became part of our musical consciousness and an essential part of our listening. In his first essay, Kenyon explores how in the 1920s there was a new approach to performing the music of past, which tried to recreate the scale and sound of the music when it was written. Pioneers on the radio included Percy Warlock (pen-name of the composer Philip Heseltine) who broadcast ‘Old Ayr

Once upon a time, a Shakespeare play on BBC Radio would inevitably feature actors with perfect received pronunciation. Now that has all changed. Actor Samuel West, no stranger to Shakespearian roles, is joined by Dr Andrea Smith to hear how horizons have widened and productions enriched by new voices and new settings for the plays. We'll hear about plays set in India, plays recorded in Welsh, those with characters clearly from Africa or the Caribbean and voices that are far from the cut glass of RP.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

By the time the BBC had come of age in the 70s and 80s, radio production had become a creative art. The Radiophonic Workshop could famously transport listeners to imagined worlds and this was certainly the case with productions of Shakespeare. Actor Samuel West and Dr Andrea Smith celebrate the creativity that gave us everything from the magic of Puck and Oberon in A Midsummer Night's Dream to battle scenes and the horrors of the gouging of eyes in King Lear.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Actor Samuel West, who has played many Shakespearian roles - some of them on the radio - is joined by Dr Andrea Smith as they take a trip through 100 years (nearly) of Shakespeare on the 'wireless'. Today they focus on one returning character - Juliet from Romeo and Juliet. This is without doubt the most popular play and there are wonderful very early clips of actors such as Fay Compton taking the role in 1944. We hear how sometimes the part of 14-year-old Juliet was taken by an actor old enough to be her grandmother and about the snobbery attached to the idea of how exactly Shakespeare should be spoken.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Actor Samuel West is joined by Dr Andrea Smith in a journey through 100 years (nearly) of Shakespeare on the radio. You might think that the years of the Second World War would have given listeners a thirst for history plays and great stirring speeches such as those in Henry V. But in fact it was pastoral comedy that was most popular - a reminder perhaps of the idealised, imagined Britain that people were fighting to protect. We hear too how production techniques gained sophistication and that theatricality slowly gave way to realism.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Soon after the BBC was born came the ambition to broadcast Shakespeare plays on 'the wireless'. Theatres refused to allow recording of stage versions so the BBC had to go it alone. The BBC's first Director-General, Lord Reith, thought radio well suited to the task of producing Shakespeare: ‘The plays of Shakespeare fulfil to a great extent the requirements of wireless, for he had little in the way of setting and scenery, and relied chiefly on the vigour of his plot and the conviction of the speakers to convey his ideas. It is not at all unlikely that wireless will render a highly important service in popularising Shakespeare.’Our series looks at how well Reith's ambition was realised. We have brilliant clips from some of the country's best loved actors who have performed Shakespeare on the radio as productions grew more sophisticated, as acting styles changed and as radio's production values allowed the listener to experience Shakespeare's world in the most imaginative way.Presented by Samuel West and Dr An

Five writers and artists not normally associated with classical music, discuss a specific example of Vaughan Williams’s work to which they have a personal connection, and why it speaks to them.Following on from the successful Five Kinds of Beethoven Radio 3 essay series in 2020, where a wide range of Beethoven fans shared their personal relationship to the composer and his work, this new series gives similar treatment to Vaughan Williams. Our essayists share their unexpected perspective on Vaughan Williams’s work, taking it outside the standard ‘English pastoral’ box, in a series of accessible essays, part of the Vaughan Williams season on Radio 3. Essay 5: Amanda Dalton – poet/dramatistAs a teenager in a 1970s working-class Coventry family, Amanda Dalton had a flamboyant favourite Uncle Gordon. He introduced Amanda to Vaughan Williams through embarrassing trips to the record shop after school. Amanda remembers the utter mortification of walking through Coventry city centre in her school uniform, Uncle Gordo