Interviews

Interview: A Fresh Perspective on Shakespeare’s Legacy?

Valentina Ceschi’s What Dreams May Come with English Touring Opera.

Valentina Ceschi, a seasoned theatre-maker and director with nearly two decades of experience, is set to debut What Dreams May Come with English Touring Opera. Premiering at New Diorama Theatre before embarking on a UK-wide tour, this production weaves Shakespeare’s immortal words with music from across the centuries to craft a deeply moving narrative about love, memory, and the human condition.

Ceschi shares her creative process and inspirations, the transformative magic of puppetry, and her hopes for the audience’s experience.


Lovely to meet you Valentina! So what can you tell us about your new project?

Photo Credit @ Ben Wulf

My name is Valentina Ceschi, and I am a theatre maker and director. I trained at the Jacques Lecoq School in Paris and have been working across the industry for nearly 20 years.

English Touring Opera approached me to develop a concept for a studio show to run alongside their main house production of I Capuleti e i Montecchi this spring. They wanted to keep with the Shakespeare theme, so they invited me to devise a show using Shakespeare Songs. Shakespeare has inspired composers throughout history, and my role was to gather these diverse, eclectic pieces and craft a story around them.

What first drew you to this project?

What I loved about this project was the challenge to come up with something that could encompass the entire Shakespearean oeuvre in just over an hour—which, if you think about it, is a pretty huge (if not impossible) undertaking! Shakespeare wrote 39 plays and 154 sonnets, with incredible characters, worlds, and themes ranging from love to the meaning of life.

But I also didn’t want the show to be a romp through the complete works. So, I moved far enough away from that for it to feel fresh and new—its own thing—and let the music, images, and story resonate with the audience just as much as any Shakespeare poem or play.

Photo Credit @ Manuel Harlan

How did What Dreams May Come take shape?

I’ve been working on creating this show since June last year. Selecting the songs took some time—Shakespeare has inspired so many composers, and there are hundreds to choose from! I wanted to find enough variety to take us on a journey and give a satisfying arc to the characters. The songs fell naturally into a structure, starting at dawn with the lark’s song and ending at sunset, with two lovers finally finding each other.

Working with Erika Gundesen, our musical director, was fascinating. I love the older material, while Erika prefers more modern art songs. It was so interesting to see how these eclectic styles could meet and follow one another without jarring.

What was your inspiration behind the production?

Apart from Shakespeare himself, I was inspired by the early montage sequence in the Disney Pixar movie Up. In it, we see a couple fall in love, marry, try to start a family, fail, and then grow old together. It’s such a beautiful portrait of companionship, love, and loss—it moved me to tears the first time I saw it.

Another inspiration is Italian director Romeo Castellucci’s On the Concept of the Face, Regarding the Son of God. Part of it shows a man caring for his sick and elderly father in real-time. It’s hard to watch, but it celebrates the care, love, and messiness of life.

What role does puppetry play in the show?

Our protagonist is an older man in a hospital bed, brought to life by a puppet designed by the incredibly talented Matt Hutchinson. We see this man cared for by nurses, visited by family, and haunted by ghosts from his past.

Puppetry and music together create something alchemical—allowing the music to animate the puppet adds an emotional depth that helps audiences connect to the songs. It’s incredibly moving, especially when combined with the beautiful music.

How does this production reflect on themes of care and compassion?

I recently visited a palliative care unit, and I was struck by the thought and care that had gone into the gardens outside each patient’s window. Windows, like art, are portals to other worlds where our dreams come alive. This production is a tribute to the love, care, and dedication that NHS staff and community volunteers bring to those at the end of life.

What was the most magical moment during the creative process?

When Matt brought in the puppet prototype and invited the cast to move and interact with it. The room’s atmosphere transformed immediately—there was a hush and delicacy in the air. Some people were moved to tears, saying the puppet reminded them of an elderly loved one. It was incredibly powerful.

If you could have any special guest attend the show, who would it be?

I would invite all the NHS staff and community volunteers working with the elderly, whether at home, in hospitals, or in palliative care units across the country. They are the unsung heroes, and I hope this production pays homage to their work and the comfort they bring.

What’s your favourite element of the production design?

The muted pastel colours in Lily Arnold’s gorgeous set design are so peaceful and calming to the eye. If budget weren’t an issue, Lily and I would have loved to include a real tree and lush tropical garden outside the patient’s window.

Is this the first time the show is being performed?

Yes, this is the show’s premiere. While the songs may have been performed countless times, I believe this narrative approach offers something new and revelatory for audiences.

What do you hope audiences take away from the performance?

I hope they find the show both uplifting and poignant, a celebration of life and love. Seeing the audience’s reactions and hearing their thoughts will be invaluable—I always learn so much from them.

What’s the most valuable advice you’ve received in your career?

The brilliant Kathryn Hunter once told me, “Know when to leave the stage!” I interpret that as leaving the audience wanting more. Restraint has always been important to me—showing less so the audience can imagine more. This is a principle I’ve carried with me since my training at the Lecoq School in Paris.

If you had to describe What Dreams May Come as a colour, what would it be?

For me, it’s like the huge bunch of multicoloured balloons in Up. I want the show to feel like a celebration of life, as much as it is a reflection on its fragility.


Thank you Valentina for connecting with us.

What Dreams May Come with the English Touring Opera, premieres at New Diorama Theatre on 15 February before embarking on a UK-wide tour. Further details and booking are available here.

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