Origins of the Canterbury Festival at the Cathedral explored
Canterbury Festival 2026: 16 - 31 October
Bringing people from all parts of the UK and beyond to Canterbury, the annual Canterbury Festival promises two weeks of world-class art, from classical concerts to theatrical performances, free community events and exhilarating circus acts.
Some of these wonderful events will be staged at Canterbury Cathedral; a concert by Anna Lapwood, the inaugural organist of the Royal Albert Hall, special Evensong celebrations, and a dazzling display of acrobatics in the nave and even from its ceiling with Circa: Eternity.
But what some may be unaware of is how the Festival began at the heart of the cathedral almost 100 years ago with the first organisation of its kind, The Friends of Canterbury Cathedral, and a theatrical revival not seen since the Middle Ages.
The Head of Archives and Library at Canterbury Cathedral, Cressida Williams, as well as the Chief Office of The Friends of Canterbury Cathedral, Caroline Plaisted, have been researching the origins of the Festival and its history inside the Cathedral’s storied walls.
A year after the Friends of Canterbury Cathedral formed, the author Margaret Babington became its Steward, holding this post for over 30 years until her death. A local legend and indefatigable supporter of the arts and of the cathedral, Miss Babington was planning her next fundraising trip to the United States when she was found unconscious at her desk at the age of 70. A plaque in the nave of the cathedral shows her in profile – this was sculpted by Mary Gillick who was also responsible for Elizabeth II’s portrayal on UK coinage.
With Babington at the helm, the Friends put promotion of the arts at the heart of their mission, and this led to a unique event on the 28th May 1928 with the first theatrical production inside a cathedral since the reformation.
John Masefield’s (1878-1967) dramatic and lyrical play The Coming of Christ was staged inside the cathedral, along with music by Gustav Holst (1874-1934). This landmark event was observed as a religious service, and therefore no photographs of the performance exist.
It was not without controversy, as there were criticisms of staging the Nativity-based drama in a cathedral. But almost 100 years on it is now seen as a pivotal cultural moment, where the play that casts the Kings as tyrannical capitalists and the shepherds as war veterans ushered in a new way of understanding drama in a religious context.
And this led to a whole series of “Canterbury Plays” as part of the Friend’s Festivals of Music and Drama. Key figures in the worlds of drama, music and literature became involved, including T.S Eliot (1888-1965) who was commissioned by the Dean of Canterbury George Bell to write a play for the festival.
The result was the celebrated Murder in the Cathedral (1935). A verse drama with chorus singing, sermons and contemporary speeches, it chronicles the lead up to the martyrdom of Saint Thomas Becket and was first performed in the Chapter House in 1935. A great success, it went on to be performed across the country, broadcast on the BBC, and adapted for film and opera.
Figures in Canterbury’s history continued to be mined for new dramas. The following year staged Thomas Cranmer of Canterbury (1936) by “inkling” and supernatural thriller writer Charles Williams (1886-1945). While the crime novelist Dorothy L Sayers (1893-1957) wrote the well-received The Zeal of thy House (1938) for the festival, centred on William of Sens who rebuilt the Cathedral Choir after the 1174 fire.
And beyond drama there was also music, with Sir Adrian Boult bringing his BBC Symphony Orchestra to the Cathedral with the concerts broadcast on radio. And opera first featured in the Festival in 1939 with The Children of the Chapel.
And it wasn’t just these literary-famous names that were involved in the festivals, but a true community event where local people performed alongside the star billings. Lectures and exhibitions filled the Cathedral Library during the festival. And the Friends’ Festival tea was an integral part of the running of the festival.
But the Friends’ Festival had to be paused following the outbreak of the Second World War and when it resumed in 1946, the attendees at the cathedral included King George VI and Queen Elizabeth, as well as the future monarch Princess Elizabeth. A service of thanksgiving for the preservation of the Cathedral during the war was held, and the signatures of all three members of the royal family can still be seen in the visitor’s book that is now held in the Cathedral Archives.
The post-War Friends' Festivals tended to be on a more intimate scale for several years until 1951, when Canterbury was chosen as one of the centres for the Festival of Britain, and the former Cathedral Chorister and internationally renowned countertenor Mark Deller took part in a performance of The Man from Tuscany. And in 1970, The Friends were back, organising in collaboration with the City Council for a larger-scale festival marking the 8th centenary since Saint Thomas’s murder.
The Canterbury Festival was established as an independent organisation in the 1980s, presenting its first Canterbury Festival in October 1984 and every year since. Mark Deller would then go on to be the Director of the Canterbury Festival for many years.
The present Canterbury Festival retains a close connection to the cathedral which still remains a key venue throughout the fortnight of entertainment.
For more details about the 2026 Canterbury Festival programme, including ticket sales, please visit: https://canterburyfestival.co.uk/
NOTES TO EDITORS
HIGH RES IMAGES FOR MEDIA USE CAN BE REQUESTED VIA [email protected]
Canterbury Cathedral is a global landmark — part of a UNESCO World Heritage site at the heart of the city, and one of the world’s most iconic cultural and spiritual institutions.
Founded by St Augustine in 597 AD, Canterbury Cathedral is a unique place of worship, a major pilgrimage destination, a masterpiece of art and architecture, and one of the UK’s most visited historic sites. The Cathedral has been at the centre of momentous events and upheavals, as well as a resting place of royalty and saints, for more than 1400 years. Its rich history intrinsically is linked to the nation’s story.
Canterbury Cathedral’s vision is rooted in faith, welcome, care and hope. As the seat of the Archbishop of Canterbury, Mother Church of the Anglican Communion and Church of England, the Cathedral exists for many people in many ways. It is a place of worship, pilgrimage, learning, heritage, sanctuary and community. A place where people can encounter history, beauty, stillness, music, prayer and one another. Yours, faithfully.
The work of the Cathedral – a registered charity - is supported by over 750 staff and volunteers.
More at www.canterbury-cathedral.org
Facebook: @CburyCathedral
Instagram: @cburycathedral
TikTok: @canterburycathedral
YouTube: @CanterburyCathedralOfficial
The Friends of Canterbury Cathedral are the Cathedral fan club: admirers of the building, its history, and its community. Founded in 1927, the organisation was the first of its kind in the UK and we work with our Cathedral to help ensure it is here for visitors and pilgrims today, tomorrow, and for centuries to come. Since our foundation, we have given the equivalent of over £20 million to support varied and vital projects.
Canterbury Festival
- Images for Canterbury Festival 2026 highlights can be found here. To request any additional images please contact Rob at [email protected] / 01227 452853.
- Click here to download a digital copy of the programme.
- Canterbury Festival is enthusiastic about reaching new audiences, encouraging participation, providing opportunities for learning and making sure everyone can be a part of the biggest arts festival in the region. For more information on our participatory activities, click here.
FOR MORE INFORMATION, INTERVIEWS AND IMAGES
Tracy Jones, Brera PR – [email protected] / 01702 216658 / 07887 514984 / www.brera-london.com