Good Sometimes Queen
Opera and music
Ola Ince directs a new staging of two dramatic song cycles drawn from Elizabethan sources by Brett Dean. Lotte Betts-Dean and Jennifer France star in this new work of theatre exploring the fates of Mary, Queen of Scots and Shakespeare’s Ophelia, alongside the Doric String Quartet.

Tickets
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Dates
Location
Approximate timings
More information available soon
Accessibility
- Audio Described
- BSL Interpreted
- Touch Tour
Expand all dates
Saturday 23 January, 7:45 pm
Sunday 24 January, 2:00 pm
Monday 25 January, 7:45 pm
Guidance
More information available soon
Please note that, as this is a new production, age guidance and content warnings may be subject to change.
Language
Sung in English and French with English surtitles, which are displayed on screens above the stage and around the auditorium.
Programme
GOOD SOMETIMES QUEEN combines two powerful song cycles by composer Brett Dean and librettist Matthew Jocelyn, exploring the fates of Mary, Queen of Scots, and Shakespeare’s Ophelia. In Madame ma bonne Soeur, we witness the words and letters of Mary Stuart in five haunting musical portraits. And once I played Ophelia is a musical tapestry of words uttered by, and about, the heroine of Shakespeare’s Hamlet. OIa Ince directs this new production – the world premiere of a new arrangement for the Doric String Quartet.
Creatives
The artists and creatives behind the production
Discover
The title of the production is a quote from Shakespeare’s Richard II, when the King addresses Mary Stuart (who ruled Scotland for only 6 years): ‘Good sometime queen, prepare thee hence for France:/ Think I am dead and that even here thou takest,/ As from my death-bed, thy last living leave.’
Madame ma bonne soeur
The inspiration: Mary Queen of Scots
Librettist Matthew Jocelyn writes: ‘The core of this 5-song cycle are 3 letters dating from Marie’s [or Mary’s] return to Scotland, age 19, to take up her role as queen in 1561...; her plea to Elizabeth, 5 years later, to disregard the fallacious claims of the Scottish rebel forces trying to disempower her...; and, in 1582, her cry of despair after more than 14 years of imprisonment in England. To these have been added, at the beginning of this song cycle, a succession of introductory salutations from Marie’s letters to Elizabeth over a 27-year period (Madame ma bonne sœur, 1559-1586) and, at the end, elements from her final will and testament, written in the wee hours preceding her above-mentioned execution. Not a life portrait, nor a full depiction of Marie’s complex and oft-changing relationship with Elizabeth I, but a small window onto the words she crafted, at various moments, to give shape to her quests. Words now begging to be sung.’
And Once I played Ophelia
The inspiration: Shakespeare’s Ophelia
Librettist Matthew Jocelyn writes: ‘Through a suite of five movements performed without a break, a concise portrait of Shakespeare’s troubled and elusive young character emerges... Perhaps, just perhaps, she drowns not from a romantically-fed whim or madness, but simply because of the pure weight of the words others say about her... Hence, I sensed that the drama of strings, complemented by a high soprano voice, at times in combat with the forces around her, at times lulled, accompanied, even defeated by them, formed a suitable musical metaphor for this “ministering angel” and the strange, beguiling spell she casts over us.’
Accessibility and resources
For step free-access and wheelchair spaces in the Linbury Theatre, you will need to book seats on the right-hand side of the auditorium.
We have an assistive listening system available to use. Surtitles, captions and translations in English are displayed on screens above the stage and around the auditorium.
Join our Access Scheme for priority access to tickets and to inform us of your access requirements.
See our Accessibility page for more information or view a visitors guide (PDF, 12.0 MB).
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