RAH Jurassic Park Programme by TGDH

Royal Albert Hall presents

Thursday 26 and Friday 27 October 2023 Royal Philharmonic Concert Orchestra Anthony Gabriele, Conductor A STEVEN SPIELBERG Film

SAM NEILL LAURA DERN JEFF GOLDBLUM and RICHARD ATTENBOROUGH _____

BOB PECK MARTIN FERRERO B.D. WONG SAMUEL L. JACKSON WAYNE KNIGHT JOSEPH MAZZELLO ARIANA RICHARDS Live Action Dinosaurs STAN WINSTON Full Motion Dinosaurs by DENNIS MUREN, A.S.C. Dinosaur Supervisor PHIL TIPPETT Special Dinosaur Effects MICHAEL LANTIERI Music by JOHN WILLIAMS Film Edited by MICHAEL KAHN, A.C.E. Production Designer RICK CARTER Director of Photography DEAN CUNDEY, A.S.C. Based on the Novel by MICHAEL CRICHTON Screenplay by MICHAEL CRICHTON and DAVID KOEPP Produced by KATHLEEN KENNEDY and GERALD R. MOLEN Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

Tonight's program is a presentation of the complete film Jurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. © Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved. All film stills courtesy of Universal Studios. Jurassic Park is a trademark and copyright of Universal Studios and Amblin Entertainment, Inc. All rights reserved.

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A Note from the Composer In his highly successful book, Jurassic Park, author Michael Crichton enabled us to imagine what the return of the great vertebrates of 150 million years ago might be like. In his thrilling 1993 film adaptation, Steven Spielberg brought these fascinating and terrifying creatures to life, and in so doing captivated movie audiences around the world.

I must say that I greatly enjoyed the challenge of trying to tell the film’s story musically. And while we can luxuriate this evening in the magnificent sound produced by the Royal Philharmonic Concert Orchestra as they perform the entire score live to the picture, it’s nevertheless tempting to imagine what the trumpeting of these great beasts of the distant past might have been like… I know I speak for everyone connected with the making of Jurassic Park in saying that we’re greatly honoured by this event… and I hope that tonight’s audience will have some measure of the joy we experienced while making the film 30 years ago.

John Williams R OYA L A L B E R T H A L L

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The World Premiere of Jurassic Park in Concert at the Royal Albert Hall in 2016 © Christie Goodwin

Welcome

James Ainscough, CEO Royal Albert Hall The Royal Albert Hall is best known as a music venue, hosting concerts for all since 1871. But at times, our auditorium has also been transformed into a cinema, and we have been bringing movies to life with live music since 1905, when orchestras accompanied silent films.

Welcome to the Royal Albert Hall for Jurassic Park in Concert, with John Williams’ iconic score performed live by the Royal Philharmonic Concert Orchestra.

Our ‘Films in Concert’ series brought orchestra-accompanied films into the 21st Century. In 2016, we hosted the world premiere of the ‘live in concert’ screening of Jurassic Park, giving fans the chance to experience Steven Spielberg’s 1993 masterpiece like never before. We welcomed the film again in 2018 to celebrate its 25th anniversary, and now we are delighted to celebrate its 30th anniversary with this very special concert. Titanic, Interstellar, Black Panther, Harry Potter and Jaws are just a drop in the cinematic ocean of classics that we have screened as Films in Concert

since 2009; all introducing more audiences to contemporary orchestral music concerts. Our commitment to reaching people of all ages and backgrounds goes beyond staging extraordinary performances. As a charity, we continue to enrich lives through our Engagement programme, which allows us to reach even more people through projects like music workshops in local schools; Friendship Matinees, where performances can be enjoyed in a relaxed environment; Young Producers, which provides the first steps into a career in the performance industry; and Future Makers, which supports emerging artists.

James Ainscough Chief Executive Officer, Royal Albert Hall

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Welcome to Jurassic Park An adventure 65 million (and 30) years in the making

It should not have worked. When Steven Spielberg began shooting Jurassic Park in August 1992, he knew his work on the film would immediately precede the production of Schindler’s List, a deeply personal project intended to honour the ancestors he lost during the Holocaust. One could have forgiven the director for having one eye on the movie that would prove, once and for all, he was far more than just a populist entertainer. Some might have thought Spielberg had bitten off more than he could chew, but when Jurassic Park and Schindler’s List were released within six months of each other in 1993, what could have been a disastrous year for the filmmaker, turned out to be a banner one. Indeed, Spielberg’s annus mirabilis is an almost unique achievement in the annals of cinema, resulting in two masterpieces with almost nothing in common beyond the director credit. 6

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Jurassic Park is the pinnacle of the entire blockbuster experiment made by a master craftsman at the very top of his game. With the most enjoyable films, the ones you can’t bear to switch off when surfing through the channels on TV and keep you up later than is entirely sensible, everything just works. When rewatching plenty of films, one can be forgiven for secretly hoping it will hurry up and get to the good bit. In the case of flawless films like Jurassic Park, it's all good bits, just one memorable set-piece after another and, like facing a Tyrannosaurus rex whilst sat on the toilet, resistance is futile. Spielberg is responsible for more of the most beloved films in the history of the medium than perhaps any other filmmaker, and yet he has never cracked the Sight and Sound list, published once a decade, of the greatest films ever made. Critics have tended to take his work for granted and yet he’s inarguably the most

famous living director, the Family

Fortunes top answer behind Jaws,

E.T., Raiders of the Lost Ark and that immortal 1993 one-two punch.

One by-product of the snobbery

regarding the man behind the camera is that Jurassic Park has occasionally been dismissed as little more than a spectacle, a showcase for the

groundbreaking computer-generated imagery that, combined with the life-

sized animatronics, allowed us to truly believe dinosaurs had been brought back from extinction. The idea that a film with as many iconic scenes

and lines as this one is remembered primarily for the special effects is a patent fallacy and does a huge

disservice to Spielberg and writers

Michael Crichton and David Koepp. The screenplay, something rarely

mentioned in relation to the film, is

a miracle of economy. Spielberg was open about the fact that this was

a spiritual sequel to his first great

creature feature, Jaws, and thus we

open, like that picture, with an attack by a predator shrouded in mystery. The director held back on showing his antagonist in 1975 because

he felt verisimilitude was key and

the technology wasn’t quite there.

Necessity is the mother of invention, though, and by the 1990s he could

make a film lauded for its SFX and still have the foresight not to show his hand too soon.

The first draft of the script was written by Crichton, adapted from his own

novel, and his major contribution to proceedings is that unimprovable

premise. Indeed, Universal Pictures paid Crichton $2 million for the

rights to his novel before it was even

published. Koepp used Spielberg’s idea of a cartoon to explain the science and cut down on exposition, an inspired

choice that feels like exactly the kind of thing that would be shown to visitors

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in a theme park of cloned dinosaurs. Spielberg inherently understood that, unless everything else feels real, we are unlikely to buy into the conceit, however impressive the effects. The other thing he has always understood is that, for the jeopardy to have any meaning, we need to care about the characters.

The first time Sam Neill’s Dr. Alan Grant, like the audience, sees the dinosaurs in all their glory, it is a moment of pure movie magic. He removes his glasses and we are treated to a kind of benign companion piece to the infamous Jaws reverse zoom when Brody suspects a child is in danger. This man who has devoted his life to palaeontology is presented with a scene far beyond his wildest dreams and, at the advent of the era of digital filmmaking, it felt the same for those of us in the cinema. Grant’s stuttered, “It’s… it’s a dinosaur” gave a voice to the similarly incredulous audience but the clincher comes at the end of the scene as he tells Laura Dern’s Dr. Ellie Satler, with tears in his eyes and to the glorious strains of John Williams’ score, “They’re moving in herds. They do move in herds.” It is a genuinely moving moment R OYA L A L B E R T H A L L

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highlighting the difference between

rock star mathematician acts as the

words of producer Kathleen Kennedy,

as well be speaking to Spielberg when

about the dangers of playing God.

a sudden a T. rex would come alive.

theory and practice and Neill might

he follows it up by asking Sir Richard

Attenborough’s Dr. John Hammond, “How did you do this?”

Jurassic Park was a turning point in

the history of cinema and that scene perfectly encapsulates the appeal

of a work that was both the highest

grossing film in history up to that point

voice of reason, warning Hammond

Attenborough, in front of the camera for the first time in 14 years, is

perfectly cast as a decent man with a destructive vision. In the novel,

Hammond is far more of an antagonist but, on screen, he is an avuncular,

nuanced figure worthy of sympathy as well as scorn.

“We'd be, like, eating lunch, and all of At first we didn't know what was

happening, and then we realised it

was the rain. You'd hear people start screaming.” With Jaws the major

issue was that the shark wouldn’t

work but with Jurassic Park it was the opposite problem as the dinosaur unexpectedly would.

and one the critics largely agreed was

Wayne Knight, in his Seinfeld pomp, is

The issues with the T. rex were not the

and every shot and line of dialogue has

villain and yet even he has a legitimate

weather. Jackson was supposed to

a masterpiece. Spielberg is meticulous been expertly honed. Action cinema

has become dominated by big budgets and huge spectacle in recent years but there is a reason Jurassic Park

is honoured with a 30 anniversary th

rerelease. In terms of pure, unalloyed entertainment, this is the zenith of a genre.

It is the human touch that elevates this beyond the kinds of pleasures one would associate with what we

might consider rollercoaster cinema.

Dern’s character wants children whilst

the closest the film has to an outright grievance given there seems to be a

no expenses spared approach to the island except with regards the wages of the employees. A pre–Pulp Fiction Samuel L. Jackson and post Edge

of Darkness Bob Peck round out the supporting cast, while even Richard Kiley was roped in to provide the

voice for the Jurassic Park tour guide. The cast list is a veritable murderers’ row because Spielberg knew the

impressive visuals on their own would not be enough; we need to care.

Neill’s does not and thus the stakes

While the film’s shoot was not as

to protect Hammond’s grandchildren

debacle, it was not without its

are higher when the latter is forced

over the course of a weekend on the island. Jeff Goldblum’s oxymoronic

troubled as the infamous Jaws,

complications. The T. rex occasionally malfunctioned due to rain and, in the

only problems caused by inclement

travel to Hawaii to film his character’s death scene but Hurricane Iniki

destroyed the set and ultimately his

chain-smoking chief engineer dies off screen. This was the most powerful

hurricane to strike Hawaii since records began and it occurred while Spielberg and 130 cast and crew members

were staying in a hotel on the island. For safety reasons, all guests were required to move to the hotel’s

ballroom. One notable exception was

Attenborough, who slept soundly in his bedroom for the duration. When asked how he could possibly have done this, the icon of British cinema replied, “My dear boy, I survived the blitz.” In other words, life finds a way.

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Ultimately even a hurricane couldn’t

The filmmaker is able to combine

There is nothing left to add once the

a behemoth. There is a story about

family entertainment and thus, for

credits roll. The final lines of dialogue

prevent Jurassic Park from becoming Spielberg on a long-haul flight with

Hitchcockian suspense with

generations of film lovers, Jaws and

his young family, possibly apocryphal

Jurassic Park are the first legitimately

director’s children were bored and

ones that cast the longest shadows.

but probably not. It is said that the

asked their father to tell them a story, at which point Spielberg was able to

effortlessly improvise a tale that kept the kids entertained for hours. The

man has an innate understanding of

how to tell a tale whether it concerns aliens or Auschwitz.

Spielberg’s own childhood was fraught, not least because of the events

depicted in last year’s roman à clef, The Fabelmans. His fears were manifold

and included but were not limited to

dark clouds, wind and water. The latter phobia was most notably mined in

Jaws, but the plastic cup of water in

Jurassic Park is perhaps the film’s most iconic moment and, tellingly, it alerts

the children to the imminent threat of

danger preceding the notorious attack at the film’s halfway stage.

More often than not, children are

at the heart of Spielberg’s films and thus it should come as no surprise

that they appeal to younger viewers. 12

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scary movies they experience and the Spielberg films are often shot from

the viewpoint of children because he

does not look down on them but rather sees things from their perspective. He overcame his fears by scaring others

helicopter flies over the ocean and the showcase the self-contained nature of the story as well as the darkly

comic streak present throughout: Grant tells Hammond that, after

careful consideration, he’s decided

not to endorse the park and the man who’s watched his dream turn into a

nightmare can only respond, “So have I.”

and it is telling that very few other

Everything about the success of

a way that is accessible to children.

blockbuster cinema forever and led

filmmakers have dabbled in horror in There is, unfortunately, only one Steven Spielberg.

Not for nothing did Alan Partridge use the title of this film as an expression of joy when receiving good news.

Jurassic Park seems unlikely. It changed to a record increase in the study of palaeontology. It turned Goldblum into a Hollywood heartthrob and Dern, a David Lynch regular, into

an international star. The first time

There are just 63 computer-generated

Spielberg went to the cinema as a child

just six minutes of CGI dinosaurs yet

film with a title that would work just as

manifold previously unfilmable ideas

Park does the very thing that hooked a

effects in Jurassic Park and it contains

he saw The Greatest Show on Earth, a

it kickstarted a revolution in cinema as

well for this one. Above all else, Jurassic

suddenly became possible. Nothing could speak more to Jurassic Park’s

lasting genius than the fact that there

have been countless remakes, reboots and pretenders, but while the film has been often emulated, it has never been duplicated.

susceptible child on movies that day in

the early 1950s and he would ultimately devote his life to emulating; it makes us believe anything is possible. - Darren Richman

Home Alone in Concert � ElfTM in Concert � La La Land in Concert � Carols

Life Finds a Way The Music of Jurassic Park

Only John Williams could have met the gargantuan expectations set by Jurassic Park – a Steven Spielberg spectacle that convincingly staged the resurrection of dinosaurs in a presentday theme park, a feat brought to life by a technology that changed the way film fantasy was made. And only Williams could have written music that was as instantly memorable and permanent as his previous scores for Jaws, Star Wars, Indiana Jones, and E.T. Our modern Mozart is an astoundingly deep well of melodies that soar at the same sublime altitude as the spaceships and boys on bicycles and towering brontosauruses they accompany – themes that hook first into the ear, then the heart, and have become the anthems and folk tunes of the blockbuster era. In 1993, Williams already had four Oscars. He’d already given a catchy identity to the Star Wars and Indiana 14

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Jones trilogies – not to mention Superman, E.T., and Home Alone, as well as more serious fare like Empire of the Sun and Born on the Fourth of July. He had just completed his 13-year post as conductor of the Boston Pops Orchestra, where his film music permeated pop culture even deeper through concerts and recordings heard around the world. He was 60 years old and had truly nothing left to prove. He could have coasted, he could have “phoned it in” with a serviceable, straightforward score mimicking the larger-than-life action onscreen. But that’s not what he did. The opening strains of the Jurassic Park score are almost deceptive: foreboding choir and a lone shakuhachi, snarling like a bird of prey, promise mystery and danger in an exotic locale. Those promises are delivered, of course – before long,

Alan Grant, Ellie Sattler, Ian Malcolm,

and Lex and Tim will be cowering and

running for their lives from bloodthirsty behemoths. “It pumps away all the

time,” Williams said in 1997, describing his score in typical understatement.

“It’s a rugged, noisy effort – a massive job of symphonic cartooning. You

have to match the rhythmic gyrations of the dinosaurs and create these

kind of funny ballets.” But this isn’t a

monster movie score in any traditional sense. Instead of simply responding

to the menace and mayhem, Williams endowed the film with a real sense of

majesty and almost religious awe, and

he wrote one of the most tune-packed masterpieces of his career.

The film about an amusement

park is, in many ways, crafted like an

amusement park – and the first thrill ride is the helicopter journey to Isla

Nublar, which climaxes with a waterfall, some sudden drops, and a missing

seatbelt. Williams introduces his first

fanfare as soon as the arriving party

majesty of these ancient creatures,

for the park that, like so many of his

across the island, with a sunny

the brachiosaurus serves as a pleasing

major theme on this ride: an anthem

themes, sings with a wordless lyricism. Dr. Hammond’s grinning, portentous “welcome” to Jurassic Park – as if to

say, “You’re not going to believe your

hops into their jeeps and rumbles

countermelody for the bright calm

before the storm. This theme, cleverly, is how Hammond feels about his park.

eyes” – is validated by Williams’ musical

Then... the moment of revelation.

if announcing a great conqueror or

at their first sight of living dinosaurs,

declaration, a solemn pageant as

king. He starts playing around with

the melody and its opening, leaping

As Alan and Ellie gape, dumbstruck, Williams unfurls the score’s other

key theme: a hymn for the might and

newly risen from the dead. (The call of grace note). For the first appearance

of these “benign creatures,” Williams said in 1993, he wanted to compose “some gentle religioso cantilena

lines, music that tries to capture the

awesome beauty and sublimity of the

dinosaurs in nature.” This theme starts

with short, reverent phrases on strings, harmonised like church music, then R OYA L A L B E R T H A L L

gradually accelerates and flourishes

the main hymn. Meanwhile, a darker,

One of the reasons Jurassic Park fires

wonder and glittering enchantment.

underscores Hammond’s weary

of the scares and serenity, it’s often

into a triumphant, ornate salute full of This theme is how Alan and Ellie feel about the park’s occupants.

Armed with these two unforgettable, very adaptable tunes, many film composers would have happily

stopped there – but Williams was just warming up. When the disappointed tour party gets out of their cars

and comes upon a sick triceratops, the beast receives its own theme:

another serene chorale for strings. Through this music, we again

experience the animal the way Ellie does, with sympathy and profound respect. It’s a masterstroke of

subtlety emotionally bonding us to

these creatures, so that when they begin to hunt humans our feelings are a complicated cocktail of fear and love.

When Alan hides himself and the kids

high in a tree for the night, unwittingly growing more comfortable in his

fatherly role, Williams plays them

a lullaby on celeste that turns into a tender, twinkling statement of 16

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sadder lullaby (also on celeste)

reflection on Petticoat Lane, the far less dangerous amusement that

started it all. Even when Alan makes

the spine-chilling discovery of hatched raptor eggs, Williams complicates

the emotional response with an eerie choral passage shaded with some of that same piety.

Of course, there’s also plenty of

mystery and mayhem, and Williams demonstrates his mastery of

orchestration and unstoppable lyricism even in the film’s chase sequences and “interstitial” moments. The film starts

on all cylinders is because, amidst all downright funny – and occasionally

the score gets in on the laughs. For

the movie-within-the-movie, Jurassic Park’s animated educational video

that starts the tour, Williams wrote the film’s only real “cartoon” music (a cue he cheekily titled “Stalling

Around,” after the legendary Looney Tunes composer Carl Stalling). In a wink of meta commentary, John

Hammond assures his guests: “This

score is only temporary. It all has very

dramatic music, of course – a march or something. It hasn’t been written yet.”

with that sinister, five-note motto on

The prolifically melodic achievement

shorthand for dino menace, and it

astounding when realising that

shakuhachi that becomes a haunting charges on repeat when the relentless raptors attack. In the aftermath of the T. rex attack, a frantic, spiralling motif (recalling the death-minded “Dies

Irae”) gives musical expression to Ellie’s panic and the intensifying danger, and later picks up worried speed during

the ticking time bomb of the electric fence climb.

of Jurassic Park is that much more Williams went straight into writing Schindler’s List – a score full of

anguished themes that went on to garner him a fifth Academy Award. In fact, Spielberg filmed Schindler

immediately after locking the cut of the former film, and was in Poland during the recording sessions for the Jurassic score. Williams, who

had already (as always) auditioned his main themes on the piano for Spielberg, sent finished cues via

satellite from the stage in Los Angeles, and Spielberg listened to them on a cassette driving to and from the

location sets of Nazi death camps. The scores both became two of Williams’ most beloved and most frequently performed in concert.

“65 million years in the making,”

Jurassic Park surpassed every measure of cinematic success and remains an exemplar of what a summer

blockbuster can be. And the score – a rollercoaster of infectious tunes and a cinematic liturgy to the beautiful

unstoppability of life – immediately and irrevocably found its way into

marching bands and music rooms

around the world, and into the very heart of our culture.

“Sixty-five million years ago, dinosaurs roamed the earth. Now, through the miracle of DNA cloning and John Williams’ talent, we’re back in the Jurassic Era, listening to a score

which I can only call classic, vintage

Williams,” Spielberg wrote in his note

for the original soundtrack album. “John and I haven’t made a movie like this together since Jaws, and it was a lot of fun for us to revisit a genre that we got such a kick out of 18 years ago. When listening to this score, you should pay particular attention to the music of the raptors – as well as the haunting and ennobling sounds of the brachiosaurus – in my opinion some

of the most original writing John has ever done for the movies. Jurassic Park marks the end of our first

dozen films together. It’s the longest personal working relationship I’ve

ever had with anyone in the motion picture industry, and I consider it a privilege to call John my friend.” - Tim Greiving R OYA L A L B E R T H A L L

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Ten things you probably didn’t know about John Williams We take a closer look at the maestro behind some of the most beloved film soundtracks of all time.

Musical talent runs in the Williams family – John’s father, Johnny Williams, was a jazz percussionist with the Raymond Scott Quintet, and later worked for Twentieth Century Fox. John’s brothers Donald and Jerry are also percussionists, while John’s son Joseph is the current lead vocalist for rock band Toto, best known for their 1982 hit ‘Africa’.

While attending the University of California, Williams was tutored by the composer Mario CastelnuovoTedesco, who also taught Henry Mancini. Williams would go on to work for Mancini as a session musician, notably working with him on the soundtrack for private eye television series Peter Gunn.

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Williams has provided the scores for all but three of Steven Spielberg’s 31 films, including Jaws, E.T., and Close Encounters of the Third Kind. The ones he missed? The Colour Purple (Quincy Jones provided the music), Bridge of Spies (Williams

was unavailable and recommended Thomas Newman to Spielberg as his replacement) and Ready Player One, which Williams was supposed to score, but opted instead to compose the music for The Post (also for Spielberg). He was replaced by Alan Silvestri.

The distinctive shark theme from Jaws was played on a tuba – though the musician who performed it, Tommy Johnson, questioned why it wasn’t played on the more suitable French horn. Williams replied that he wanted it to sound “a little more threatening”. When Williams first demonstrated the deceptively simple idea at the piano for Spielberg, the director is believed to have laughed, thinking it was a joke.

Williams has received five Academy Awards, along with five Emmys, four Golden Globes, 24 Grammys and seven Baftas. He received his first Oscar nomination

in 1967 for his Valley of the Dolls score, and his first win in 1971 for his adaptation of the score for Fiddler on the Roof. Perhaps unsurprisingly, Williams is the most Oscar-nominated person alive today, with an astounding 51 nominations. He’s just behind the most Oscar-nominated person ever – Walt Disney – who received 59 nominations during his lifetime. We can only assume Williams has a big mantelpiece.

Not all of his film projects have been winners though. In 1981, he composed a score for Allan Arkush’s Heartbeeps starring Andy Kaufman. The film, which centres on two robots who fall in love and attempt to start a family together, was a commercial and critical flop, but Williams’ score is an experimental delight, featuring electronic keyboards combined with a traditional orchestra.

In a 2002 interview with The Guardian, Williams picked Close Encounters of the Third Kind and Schindler’s List as his favourite Spielberg films. Of Close Encounters, Williams remarked, “It was more than just celluloid going through a projector... it had a kind of life.”

Williams first recorded a score with the London Symphony Orchestra in 1974, for The Towering Inferno. Since then he has recorded 12 of his scores with the LSO, including Star Wars, Superman, and Raiders of the Lost Ark.

When working on Close Encounters, Williams composed over 300 versions of the five-note communication motif – which the scientists use to communicate with the visiting spaceship – before Spielberg chose one, which was then incorporated into the film’s (now iconic) signature theme.

Williams still holds the record for the highest grossing instrumental-only soundtrack album of all time for 1977’s Star Wars. A

further six of Williams’ scores are certified gold by the Recording Industry Association of America, meaning they have sold over 500,000 copies each. Courtesy of

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Meet Dominic He’s a classically trained concert pianist… and award-winning winemaker. When he’s not tickling the ivories, Dom’s passion is crafting mouth-watering wines that showcase the local vineyards and grapes they’re from.

Dominic Hentall France

Naked Wines backs talented independent winemakers to make the best wines they’ve ever made.

A special treat for RAH visitors Scan me R OYA L A L B E R T H A L L

Cinema at the Royal Albert Hall

The Hall has been putting on film events for more than a hundred years. We’ve dug deep into the archives to uncover fascinating stories about its history as a cinema. . .

1905 Starting with a bang The Hall’s first ever screening was on 21 October 1905. The movie was Our Navy, 1805-1905, and the occasion was the centenary of the Battle of Trafalgar. Directed by Alfred John West, the film included footage of a 92-year-old naval veteran living in Portsmouth, who had served under one of Nelson’s captains. 1922-1924 Fantastic Mr William Fox Some movies played for extended runs, including the epic Queen of Sheba, now thought to be a lost film. Produced by the visionary William Fox – who had brought legendary Nosferatu director F.W. Murnau to Hollywood, and whose company 24

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became 20th Century Fox – it starred silent sensation Betty Blythe as Sheba and played for a week in January 1922.

Another key success of the era was Frank Lloyd’s epic version of The Sea Hawk, which played at the Hall in 1924.

1925 Great Scott! Captain Scott’s last visit to the South Pole was the subject of a major screening at the Hall in 1925, typical of the escapist fare that proved popular here in the interwar years. The Epic of the South Pole – Scott’s Last Great Expedition to the Antarctic was shown in the presence of King George VI (the then Duke of York) before a copy of the film was presented as a gift to Scott himself.

1930s-1990s Spotted on the red carpet From the 1930s until the 1990s, cinema screenings faded from the Hall’s calendar due to an explosion in the number of purpose-built cinemas, like the Odeon Leicester Square, built in 1937. Then, in 1996, Walt Disney Pictures hired the venue for the European premiere of 101 Dalmatians, in aid of four major charities. Dalmatian ‘spots’ were projected onto the Hall’s exterior, and attendees included stars Glenn Close, Joely Richardson and Joan Plowright. Movies were back in a big way.

Brosnan, attended the world premiere of Die Another Day, alongside star Halle Berry and Madonna – who had performed the movie’s theme song, with Queen Elizabeth II and Prince Philip also in attendance. As Brosnan arrived in a Jaguar XKR, 45 vertical jets

2001-2015 Premium Bonds In 2001, former 007s Roger Moore, George Lazenby, Timothy Dalton, and then-current James Bond, Pierce

of flame lit up the environs of the red carpet, while the Hall’s famous interior was fittingly transformed into an ‘ice palace’, thanks to 500, 20ft artificial icicles. 007 returned in 2012, 2015 and 2021 for the world premieres of Skyfall, Spectre and No Time to Die, starring Daniel Craig.

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2009-2010 Lord of the scores Though the Hall had screened

movies with live music in the silent

days, its pioneering Films in Concert

programme, with contemporary movies accompanied live by world-leading

orchestras, was launched in 2009 with two sold-out performances of The Lord of the Rings: The Fellowship of

the Ring, followed by The Two Towers and The Return of the King in 2010.

Widely regarded as one of the best film © Andy Paradise, 2022

scores of all time, Howard Shore’s multi award-winning compositions were an

obvious choice to bring to life with a live orchestra. Following the success of the

concerts, the trilogy returned once again

in 2022, with the final film to be screened in March 2024.

2012-2015 King of the world

Titanic 3D received its world premiere

at the Hall in 2012, the centenary of the

ill-fated vessel’s sinking. Director James Cameron spoke to reporters outside, telling them: “The 3D enriches all of

Titanic’s most thrilling moments and

its most emotional moments – it kicks the whole experience up to another

level.” Cameron returned to the Hall in

April 2015 for Titanic Live, where James © Christie Goodwin, 2012

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Horner’s legendary score was played live in full to a sell-out crowd.

2015 Watch this space In March 2015 The Dark Knight director Christopher Nolan brought Interstellar Live to the Hall. His modern sci-fi masterpiece was preceded by an on-

stage Q&A with the director, physicist Kip Thorne and composer Hans Zimmer. The trio were interviewed by Prof Brian Cox, who was introduced by Prof Stephen Hawking. 2017-2024. Cinematic Wizardry

2017-2024 Cinematic Wizardry The longest running series in the Royal Albert Hall’s Films in Concert programme began in May 2017, with the Royal Philharmonic Concert Orchestra playing John Williams’ immortal score for Harry Potter

and The Philosopher’s Stone. The subsequent films in the Harry Potter series have been staged over the past six years, with the final instalments Harry Potter and The Deathly Hallows Part 1 and Part 2, bringing the series to a spectacular close on 3rd and 4th of November this year, and 1st and 2nd of November 2024.

2016-2023 Welcome to Jurassic Park The world premiere of the ‘live in concert’ screening of Steven Spielberg’s 1993 masterpiece took place in November 2016, and saw a 'dinosaur' and its wrangler roaming the red carpet before VIP guests arrived. The film returned to celebrate its 25th anniversary in 2018, with John Williams' epic score played by the Czech National Symphony Orchestra. Now the Hall marks three decades of the timeless blockbuster, this time with the Royal Philharmonic Concert Orchestra and veteran Films in Concert Conductor, Anthony Gabriele at the musical helm. © Christie Goodwin, 2016

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THE DINOSAURS OF JURASSIC PARK T.rex BREED MEANING FAMILY

TYRANNOSAURUS REX (TIE-RAN-OH-SAWR-US REX) KING TYRANT LIZARD TYRANNOSAURIDAE

The great tyrant dinosaur needs no introduction. Known from over 50 partial skeletons found from southern Canada to New Mexico in rocks from 68 to 66 million years old, Tyrannosaurus rex is probably the best-known dinosaur of all time. This gave InGen scientists a great deal of background in trying to faithfully recreate the carnivore down to the last detail. DID YOU KNOW? These dinosaurs enjoyed family life. Rare Tyrannosaur trackways found in Canada and New Mexico show that these dinosaurs sometimes stalked together in small groups.

VELOCIRAPTOR (AKA RAPTOR) BREED MEANING FAMILY

VELOCIRAPTOR (VEL-OSS-IH-RAP-TOR) SWIFT THEIF DROMAEOSAURIDAE

There’s no dinosaur that strikes fear in the heart of humans quite like Velociraptor. Tyrannosaurus might have the size and strength, but the deadly, cunning intelligence of raptors cannot be matched. The “swift thief” was given its name in 1924 from fossils found in the 73 millionyear-old rock of Mongolia. Paleontologists have found that the long-snouted dinosaur wasn’t very large, about the size of a turkey, so to make the more impressive specimen for visitors to Jurassic Park, InGen scientists drew inspiration from a similar, larger dinosaur called Deinonychus that has been found in Montana. The resulting dinosaur was not only the most intelligent the geneticists had ever created, but one of the few predatory dinosaurs that relies on a pack mentality to hunt and take down prey. DID YOU KNOW? An adult Velociraptor can bite with a force of over 8,000 Newtons, or equivalent to a large American alligator.

TRICERATOPS BREED MEANING FAMILY

TRICERATOPS (TRY-SER-A-TOPS) THREE-HORNED FACE CERATOPSIDAE

Maintaining Triceratops health was a full-time job in the Jurassic Park film. These dinosaurs have a habit of accidentally eating West Indian lilac berries, which made them ill. Despite being a herbivore Triceratops is an aggressive animal that doesn’t back down from confrontation. They have specialized jaws packed with teeth that act as enormous pairs of scissors, allowing them to slice through most plant material.

GALLIMIMUS BREED MEANING FAMILY

GALLIMIMUS (GAL-IH-MIME-US) CHICKEN MIMIC ORNITHOMIMIDAE

These dinosaurs form flocks and run freely across Isla Nublar. In Jurassic Park, Dr. Grant, Lex & Tim get caught in a Gallimimus stampede and have to run for cover. Gallimimus uses speed to its advantage and can run at speeds over 20 miles per hour. DID YOU KNOW? Gallimimus is among the largest of the ornithomimosaurs, or what experts call the ostrich mimic dinosaurs.

DID YOU KNOW? The first fossils of Triceratops to be studied by scientists were initially confused for the horns of a giant bison.

DILOPHOSAURUS BRACHIOSAURUS BREED MEANING FAMILY

BRACHIOSAURUS (BRACC-EE-OH-SAWR-US) ARM LIZARD BRACHIOSAURIDAE

Brachiosaurus was the very first dinosaur that Ellie Sattler, Alan Grant, and Ian Malcolm saw upon being welcomed to Jurassic Park. The size of Brachiosaurus is its protection. Only a starving or insane carnivore would attack such a huge mountain of muscle. Brachiosaurus was able to reach its neck over 30 feet above ground, along it to feed on levels of foliage most other dinosaurs can’t reach. DID YOU KNOW? The humerus, or upper arm bone, of Brachiosaurus is over six feet long. That’s taller than most people!

BREED MEANING FAMILY

DILOPHOSAURUS (DY-LOHF-O-SOR-US) TWO-CRESTED LIZARD DILOPHOSAURIDAE

A Dilophosaurus was implicated in the death of nefarious InGen employee Dennis Nedry when he broke park safety protocols attempting to steal dinosaur DNA from Isla Nublar. Dilophosaurus primarily hunt by ambush, trying to catch victims unawares. Their jaws and poison aren’t the only parts of the dinosaur you have to worry about either; this carnivore often uses her arms and claws to grip prey and manipulate a better bite. DID YOU KNOW? The Dilophosaurus is approximately 7 M (23.0ft) long and 1.3 M (4.2 ft) tall. Jurassic Park is a trademark and copyright of Universal Studios and Amblin Entertainment, Inc. All rights reserved.

How much do you know about the dinosaurs of Jurassic Park?

At the beginning of the film, what type of dinosaur are Alan Grant and Ellie Sattler digging up in The Badlands? A. Velociraptor B. Triceratops C. Tyrannosaurus Rex D. Dilophosaurus

The velociraptor claw Alan Grant uses to scare a kid in the Badlands is how long? A. 4 Inches B. 5 Inches C. 6 Inches D. 7 Inches The DNA of what animal was used to fill in the gaps of the extracted dinosaur DNA? A. Turtles B. Birds C. Lizards D. Frogs

What is the first living dinosaur the group encounters upon their arrival to Jurassic Park? A. Tyrannosaurus Rex B. Triceratops C. Pterodactyl D. Brachiosaurus

What is the first dinosaur enclosure the group encounters on the tour? A. Micropachycephalosaurus B. Albertosaurus C. Dilophosaurus D. Stegosaurus What animal is used to lure the T.rex to the fence? A. Cow B. Goat C. Donkey D. Sheep

According to the Jurassic Park vet, the sick triceratops is experiencing all of these symptoms except: A. Fever B. Disorientation C. Imbalance D. Laboured breathing What brand of shaving cream is used to smuggle the dinosaur embryos? A. Gillette B. Edge C. Noxzema D. Barbasol

Dr. Sattler thinks the sick dinosaur was poisoned after eating what? A. West Indian Lilac B. American Cranberry Viburnum C. Dogwood D. Poison Ivy What does Muldoon call the velociraptor that ends up killing him? A. Nice girl B. Smart girl C. Wise girl D. Clever girl

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QUIZ ANSWERS 1: A – Velociraptor, 2: C – 6 inches, 3: D – Frogs, 4: D – Brachiosaurus, 5: C – Dilophosaurus, 6: B – Goat, 7: A – Fever, 8: D – Barbasol, 9: A - West Indian Lilac, 10: D - Clever girl

THE CHARACTERS OF JURASSIC PARK JOHN HAMMOND

Dr. IAN MALCOLM

SIR RICHARD ATTENBOROUGH

JEFF GOLDBLUM

When John Hammond dreamed, he dreamed big. After discovering that InGen was capable of successfully cloning dinosaurs, Hammond first planned a park in San Diego before deciding on an even grander venture on Isla Nublar. Four years after the disaster, Hammond passed away, but not before meeting Simon Masrani who went on to acquire InGen and create Jurassic World.

Chaos theorist, Ian Malcolm was among the group of consultants that visited Jurassic Park in order to assess the park’s viability before opening. Despite incurring a significant injury and public shame upon attempting to publicly reveal the dangers of the park, Malcolm travelled to Isla Sorna to search for biologist Sarah Harding with whom he had an ongoing relationship. He later published the book, ”God Creates Dinosaurs.” A cautionary voice among opportunists, Dr. Malcolm continue to warn against the irresponsible wielding of genetic power and the irreversible damage it will go.

Jurassic Park The Lost World: Jurassic Park

Jurassic Park The Lost World: Jurassic Park Jurassic World: Fallen Kingdom

“WELCOME TO JURASSIC PARK.”

“LIFE FINDS A WAY.”

DR. ELLIE SATTLER

DR. ALAN GRANT

LAURA DERN

SAM NEILL

Ellie Sattler has a Ph.D in Paleobotany, and was working at a dig with Dr. Alan Grant when John Hammond invited them to Jurassic Park in an effort to gain their professional endorsement. Initially awestruck by what she saw, her tempered enthusiasm turned to concern when she realized the designers had made grave errors in establishing the plant life needed for the dinosaurs to survive. Dr. Sattler was instrumental in saving a number of lives during the tragic events that prevented the park’s opening – at one point using herself as bait. She eventually started a family with Mark Degler, a State Department employee, and moved to Washington D.C. She remain a loyal and valuable resource to Dr. Grant and a respected Paleobotanist.

When John Hammond invited him to preview Jurassic Park, Dr. Alan Grant was already an acclaimed palaeontologist. Following the Isla Nublar incident, Grant was faced with not only his own trauma but a world more interested in his experiences than his research. Eight years later, he was manipulated into a trek to Isla Sorna an forced to content with dinosaur threats once more. Jurassic Park Jurassic Park III

“HAMMOND, AFTER CAREFUL CONSIDERATION, I’VE DECIDED NOT TO ENDORSE YOUR PARK.”

Jurassic Park Jurassic Park III

“DINOSAURS EAT MAN… WOMAN INHERITS THE EARTH.”

SUPPORTING CHARACTERS

LEX MURPHY ARIANA RICHARDS

Jurassic Park The Lost World: Jurassic Park

TIM MURPHY JOSEPH MAZZELLO

Jurassic Park The Lost World: Jurassic Park

JOHN RAYMOND ARNOLD SAMUEL L. JACKSON

DENNIS NEDRY WAYNE KNIGHT Jurrasic Park

Jurassic Park

ROBERT MULDOON ROBERT “BOB” PECK Jurassic Park

DONALD GENNARO MARTIN FERRERO Jurassic Park

John Williams In a career spanning more than six

more than 200 television films for the

American Academy of Arts & Sciences,

one of America’s most accomplished

Alcoa Theatre, Kraft Television Theatre,

Arts, the highest award given to artists

decades, John Williams has become and successful composers for film and for the concert stage, and he remains one of our nation’s most

distinguished and contributive musical voices. He has composed the music and served as music director for

more than 100 films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born

on the Fourth of July, Memoirs of a

Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book

Thief. His 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s

most acclaimed and successful films, including Schindler’s List, E.T. the

Extra-Terrestrial, Jaws, Jurassic Park,

Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving

Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG, The Post

and The Fabelmans. His contributions to television music include scores for 34

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groundbreaking, early anthology series Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News

(“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great

Performances. He also composed

themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. He

has received five Academy Awards

and 53 Oscar nominations, making

him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA),

and he received the National Medal of by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film

Institute – the first time in their history that this honor was bestowed upon a

composer. In 2020, he received Spain’s Princess of Asturias Award for the Arts as well as the Gold Medal from the

prestigious Royal Philharmonic Society in the UK, and in 2022 he was awarded an honorary knighthood of the British Empire as one of the final awards approved by Her Majesty Queen Elizabeth II.

25 Grammys, four Golden Globes,

In January 1980, Mr. Williams was

platinum records. In 2003, he received

Boston Pops Orchestra, succeeding

five Emmys, and numerous gold and

the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center

Honors in December of 2004. In 2009, Mr. Williams was inducted into the

named 19th music director of the the legendary Arthur Fiedler. He

currently holds the title of Boston

Pops Laureate Conductor which he assumed following his retirement

in December 1993 after 14 highly

successful seasons. He also holds

the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled “On Willows and Birches”, and in the same year, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama. In 2021, Williams premiered his second violin concerto with the Boston Symphony Orchestra at Tanglewood along with soloist Anne-Sophie Mutter, for whom he composed the work. R OYA L A L B E R T H A L L

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Anthony Gabriele Conductor

Anthony has established an international reputation for conducting with tremendous passion born of a profound knowledge and understanding of the repertoire. He has worked with orchestras and companies as diverse as the Royal Philharmonic Orchestra, Royal Philharmonic Concert Orchestra, Royal Liverpool Philharmonic Orchestra, Royal Northern Sinfonia, Philharmonia Orchestra (London), Britten Sinfonia, Zürcher Kammerorchester, Orchestre de Paris, Gulbenkian Orchestra (Lisbon), Jerusalem Symphony Orchestra, Lahti Symphony Orchestra, Oulu Symphony Orchestra, Aalborg Symphony Orchestra, Basel Symphony Orchestra, City Light Symphony Orchestra (Lucerne), Bulgarian State Opera, Abai State Kazakh National Opera & Ballet Theatre, RTÉ Concert Orchestra, National Symphony Orchestra (Ireland), Oviedo Filarmonía, Barcelona Symphony & Catalonia National Orchestra, Bilbao Symphony Orchestra, Opéra Orchestre National Montpellier, and the Orchestre Symphonique de Mulhouse.

Anthony's career has taken him around

Superman, Spectre, Moby Dick, and Les

percussionist Dame Evelyn Glennie;

Vertigo, An American in Paris, Singin' in

the world working with artists such as tenors Fabio Armiliato and Noah

Stewart; accordionist Ksenija Sidorova; Irish singer/songwriter Ronan Keating; and violinist Daniel Hope.

Anthony's life-long fascination with story-telling in music has always

Choristes. Other titles include Psycho,

the Rain, The Wizard of Oz, E.T.: the ExtraTerrestrial, Home Alone, Jurassic Park,

Raiders of the Lost Ark, Disney’s Fantasia, Disney's Beauty and the Beast, Apollo

13, Back to the Future, West Side Story,

The Nightmare Before Christmas, Casino

informed his choices. As a Musical

Royale, Skyfall, GameOn!, the silent ﬁlm

internationally, his credits include

ﬁlms The Adventurer, The Circus and

Director on London's West End, and The Lion King, CATS, The Phantom of the Opera, Grease, The Wizard of Oz,

Funny Girl, Jesus Christ Superstar, The Sound of Music and Evita. As a past

prize winner in the international opera conducting competition Blue Danube

Blancanieves and Charlie Chaplin’s silent City Lights.

Highlights of Anthony’s 2023/2024 season will include a return to The

Retro Festival in Lucerne to perform with double Grammy Award winner,

Musik Impresario (Vienna), Anthony's

Michael Bolton. At the Llais Festival

traviata, La bohème, Don Giovanni and

renowned vocalists Charlotte Church,

opera credits include Don Carlo, La

in Cardiff, Anthony will perform with

Madama Butterﬂy.

Laura Mvula, ESKA and Gwenno, as

However, it is as one of the ﬁnest

conductors of 'Film with Orchestra'

concerts, that Anthony has achieved greatest acclaim with performances

of 25 titles and the World Premieres of

they showcase fully-orchestrated masterpieces of iconic singersongwriter, Joni Mitchell.

Anthony is represented by Femke Lenau at IMG Artists.

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Royal Philharmonic Concert Orchestra The Royal Philharmonic Concert

Orchestra (RPCO) is a dynamic and versatile ensemble that performs a wide range of styles and genres of music in shows across the UK and

around the world. The Orchestra’s repertoire includes film music,

video game scores, music from the musicals, and symphonic

arrangements of classic rock and pop songs, as well as new commissions and the traditional core classical

repertoire, reaching an audience

of over 170,000 live listeners per year. The Orchestra’s creative

partnerships with artists, promoters and producers have resulted in

ambitious performances in venues from vast arenas and main concert venues around the UK to smaller and more intimate settings. The

RPCO aims to reach as wide and diverse an audience as possible and is unafraid to explore new orchestral experiences.

The Orchestra is a regular visitor to the Royal Albert Hall where it has premiered many films ‘Live in Concert’ such as The English Patient, Brassed Off! in a collaboration with the Grimethorpe Colliery Band, Skyfall, and the blockbuster Bollywood film Baahubali’ screened in the original language of Tamil. This season will see the next instalments of the Harry Potter series and Lord of the Rings trilogy. In 2023, the RPCO made its debut at the British Summer Time Festival in London’s Hyde Park, giving the Festival’s first orchestral concert since it began in 2013. The Orchestra has toured the UK with the music of Roy Orbison, featuring the late artist in ground-breaking hologram format, and further developed this concert format to perform at the London Coliseum alongside the hologram of Maria Callas. 2023 also sees the RPCO’s fourth national arena tour

with Elvis In Concert, accompanying the King of Rock and Roll up close and on screen. Further recent highlights for the RPCO include multiple performances with the hugely popular Italian tenor, Andrea Bocelli, as well as concerts with José Carreras, Anna Netrebko and the stars of the West End stage, such as Kerry Ellis, Alfie Boe and Ruthie Henshall. The Orchestra undertook a major tour of South East Asia, including Thailand, Cambodia, Laos, Malaysia and Vietnam, where it reached out to new audiences in these territories, incorporating songs and artists from these countries into each concert, making the tour all the more special for audience and Orchestra alike. Recent international touring has also seen the RPCO visit Gibraltar, Athens, Saudi Arabia and Abu Dhabi, as part of the UAE National Day celebrations – yet another new territory for the Orchestra. R OYA L A L B E R T H A L L

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Jurassic Park in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Katherine Miron Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Alan Cox Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe

The score for Jurassic Park has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of the Royal Philharmonic Concert Orchestra.

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Engagement As a charity, the Royal Albert Hall believes in providing an Engagement programme that enriches people’s lives and offers fairer access to the arts. The programme offers subsidised or free arts activities, which enable specific groups to access the Hall in a way that suits them. We work alongside specialist partner organisations to create a programme that is informed by inclusive practice and takes inspiration from the Hall’s architecture, history and events.

In 2022, we launched Future Makers as part of our drive to develop and support new musical talent. The concert gives young musicians the opportunity to perform their own music in front of a live audience, and the chance to receive a tailored package of support from the Royal Albert Hall and industry partners. 42

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In October last year, we welcomed young people with multiple and profound learning disabilities on a Sensory Journey around the Royal Albert Hall. Produced in support of the West London Inclusive Arts Festival, the experience was led by a specialist facilitator and gave participants the opportunity to explore the Hall through a range of multi-sensory and immersive environments. Find out more: royalalberthall.com/engagement

“Where the Royal Albert Hall have been truly remarkable is...they very

much came to the schools and said we want to be led by you. To bring our students, who do find accessing the arts very difficult, into a setting that is safe...you can really see the very best in them. And to do that in the Royal Albert Hall was arguably one of the most remarkable things that any pupil could ever experience.” – James Rigby, Teacher QEII Jubilee School

about our Sensory Journeys project

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