Harriet Burns & Christopher Glynn, Sir Jack Lyons Concert Hall, University of York
THIS was almost the recital that never was. Aboard a train from London that broke down in Peterborough, pianist Christopher Glynn arrived half an hour late by taxi. There was compensatory wine on the house for punters before eventually soprano Harriet Burns opened zestfully with three unaccompanied folk-songs, which I took to be Scottish.
With return trains to be caught, that left barely an hour for the announced programme of Schubert and English settings followed by Strauss’s Four Last Songs. Inevitably this had to be seriously abridged, although no announcement was made about what was to be omitted. The duo warmed in with Schubert’s ‘An Sylvia’, crisply delivered, and hit full stride with his ‘Frühlingsglaube’ (Faith In Spring) where the soprano’s duplets were impeccably counterpointed by the piano’s triplets.
The only other Schubert to survive the butchery was ‘Der Einsame’ (The Recluse), which was beautifully restrained, evoking the pleasures of solitude, not least through the lovely legato produced by Burns.
Otherwise we were left with two cuckoo songs, Ireland’s ‘Earth’s Call’ and Gurney’s neo-Elizabethan ‘Spring’, both of which use the bird to conjure that season. They were the highlight of the evening, voice and piano echoing and embracing one another.
Christopher Glynn: Train broke down en rioute to York
Vaughan Williams’s Four Last Songs, settings of poetry by his second wife Ursula, deserve to be heard in their entirety. Here we had to be content with an effectively intimate account of ‘Tired’. Glynn’s whirlwind pianism in Stanford’s setting of Whitman’s ‘Joy, Shipmate, Joy!’ brought the first half to a suitably ecstatic close.
A very brief interval – the lights remained dimmed – allowed Glynn to change out of his jeans into a full suit. Strauss’s Vier letzte Lieder were not what they should have been. But it was not the fault of the performers. The composer goes to considerable lengths to graduate his response to the first three songs, settings of Hermann Hesse, so that when he reaches the fourth, Eichendorff’s ‘Im Abendrot’ (At Sunset), the analogy between twilight and approaching death is crystal clear.
The soprano’s bravest efforts to build the necessary atmosphere were annihilated by ignoramuses who insisted on applauding after each song. York audiences should know better. Even so, there were some lovely individual moments from both performers, although Burns was inclined to expand and contract her sound too regularly on longer notes. Glynn’s piano was impeccable, not least in the touching interlude before the last verse of ‘While going to sleep’.
Let us hope that this duo will soon be invited back and perhaps even offered beds for the night. We might then hear the Strauss cycle again and the Vaughan Williams one in full, along with plenty of Schubert, of course. They – and we – deserve nothing less.
Will Clark: Former leader of National Youth Orchestra, now studying at Royal Academy of Music
BOTH players of international reputation, this violin and piano duo can truly be claimed as York’s own.
Although based in London, Will Clark grew up and nurtured his talents here. Hilary Suckling has made York her home, so their local connexions are impeccable. Sonatas by Mozart and Brahms framed shorter works by Ysaӱe and Britten and offered satisfying variety.
Will’s appearance is deceptive. Sporting a pseudo-drag persona, with dramatically painted eyebrows above decorated waistcoat and tight black trousers, all evocative of the bull ring, he can be distracting.
It takes the average punter a few minutes to be able to concentrate on his actual playing. But it is worth the effort. Beneath the veneer lurks a thoughtful and highly proficient violinist. Sometimes he is even better than that.
The duo’s Mozart, K.454 in B flat, was unremarkable, but it offered a solidly constructed warm-up for what was to come. Clark used minimal vibrato, but it did not detract from the Andante’s cantabile line.
The closing rondo was light on its toes, occasionally even witty, as Suckling intelligently adjusted her tone after a first movement where balance had been an intermittent problem.
It was good to hear Eugène Ysaӱe’s Poème élégiaque, Op 12 in its original version, rather than the better-known adaptation for orchestra. Although very much a display piece, it remains at heart a lament, apparently in reaction to Romeo and Juliet, and the duo wisely concentrated on this. So the dramatic centrepiece became a display of anger at bereavement and the closing violin recitative conveyed a touching solemnity.
Although the Britten was described as three pieces from the Suite, Op 6, the composer ultimately distilled it down to just these three, which were the only ones first unveiled in the Wigmore Hall in 1934 (albeit revised the following year).
The opening ‘March’ was jaunty with the succeeding ‘Lullaby’ an extreme contrast, very slow and sad; Clark’s high line was impeccable. The final ‘Waltz’ was exactly right: virtuosically explosive.
Brahms’s third and last Violin Sonata, Op 108 in D minor, opens with a remarkable rhapsodic Allegro. Suckling’s piano here was admirably subdued, especially given the weightiness of the composer’s writing, before the duo became excitingly fiery. There was some lovely rubato in the slow movement.
A feel of Mendelssohnian politeness infused the scherzo, but that evaporated in the thrilling final Presto. Even here Clark allowed his violin to do the talking, rather than indulge in the sort of histrionics his appearance might have suggested.
Clark returns to this hall on March 30 as soloist in the Sibelius Violin Concerto with York Symphony Orchestra: on this showing, strongly recommended.
Alexandra Lowe as Fiordiligi, left, Gillene Butterfield as Despina and Heather Lowe as Dorabella in Opera North’s Cosi fan Tutte. Picture: James Glossop
TIM Albery was back to mastermind his 2004 production, his second Così here, and it retained a good deal of its earlier impact.
Tobias Hoheisel’s camera obscura focused attention nicely, beckoning us to gaze at the frailty of human emotions under the microscope. His setting was otherwise traditional and encouraged teamwork without gimmickry, but always with an eye towards what Germaine Greer was pleased to call comitragedy.
Clemens Schuldt, a new conductor here, encouraged the pathos in the score. Oddly enough, this had a connection to the approach of Quirijn de Lang’s Don Alfonso, beautifully enunciated but always with a wistfulness that foresaw the disappointments. He was not so much a puppeteer as a wise head on old shoulders offering advice, not revelling in winning his wager.
The initial pairings to some extent belied the characters we saw. While Alexandra Lowe’s Fiordiligi was the more circumspect of the sisters, her Guglielmo, Henry Neill, always had a twinkle in his eye, which could imply that he was untrustworthy.
Heather Lowe (no relation) made an adventurous Dorabella, opposite a Ferrando in Anthony Gregory who was a distinctly cool fish. In other words, the couples seemed much better suited when they changed over. What in fact happened was that sharedcircumstances smoothed out the emotions of all four so that any coupling was likely to work – but in this production that was properly left unresolved.
At the final curtain, we could only weep that they had all made such a mess of things, a perfectly legitimate tactic on Albery’s part and one that gave the evening greater depth.
Stir into the mix a Despina in Gillene Butterfield who affected to be on more or less the same social level as her employers: witty enough as doctor or lawyer, she was otherwise too caught up in the fray.
The singing was never less than high quality. Alexandra Lowe’s soprano reflected her emotions excellently, while Heather Lowe’s forthright Dorabella made ‘Il cor vi dono’ the vocal highlight of the show. Neill’s flexible baritone balanced his movements superbly: he is a natural creature of the stage. Gregory’s tenor, dry at first, warmed as the evening progressed, in keeping with his character.
Schuldt was attentive to his orchestra and maintained a good balance with the stage, always favouring his woodwinds. Albery had done it again, teamwork his first concern.
Ellie Leach, front right, as interior designer Annabel Scarlett with fellow cast members Hannah Boyce, Jack Bennett, Edward Howells and Jason Durr in Cluedo 2, on tour at York Theatre Royal fromTuesday to Saturday. Picture: Alastair Muir
WHAT did 2023 Strictly Come Dancing champion Ellie Leach do next?
The answer: Make her stage acting debut as Miss Scarlett in the world-premiere British tour of the comedy whodunit Cluedo 2, marking the 75th anniversary of the Hasbro boardgame.
Next stop, York Theatre Royal, from March 12 to 16, a run that will coincide with Manchester-born Ellie’s 23rd birthday next Friday.
She replaced Helen Flanagan in the five-month tour after her fellow former Coronation Street star was advised to withdraw for medical reasons. “It all happened very quickly,” says Ellie. “I went into rehearsals while I was doing the last week of the Strictly tour. They were already in their second week when I joined.
“It was very hectic, but as soon as I arrived, everyone made me feel so welcome. I’ve been having lots of fun!”
She jumped at the chance to take to the stage in her first role since playing Faye Windass in the ITV soap from 2011 and 2023.
Scarlett fervour: After Coronation Street and Strictly Come Dancing, Ellie Leach is enjoying the new challenge of her stage theatre debut in Cluedo 2. Picture: Alastair Muir
“Cluedo is such an iconic board game, isn’t it. Everyone enjoys playing it,” says Ellie. “I read the script and I loved it. The writers have an amazing track record.”
Those writers are the BAFTA Award-winning stage and screen-writing duo Laurence Marks and Maurice Gran, of Birds Of A Feather, Goodnight Sweetheart and Dreamboats And Petticoats fame no less. Then add a director with comedy clout too: Mark Bell, who directed Mischief Theatre’s alarmingly funny catastrophic capers in The Play That Goes Wrong and The Comedy About A Bank Robbery. “The team behind this show is incredible,” says Ellie. “Who wouldn’t want to work on it?! I feel very lucky to be part of the show’s journey.”
Cluedo 2 – The Next Chapter, the follow-up to the play based on Jonathan Lynn’s 1985 film Clue, is an original comedy whodunit, set in the Swinging Sixties. Cue new house, new bodies, new suspects, in a tale of murder, mystery and secret passageways.
What happens? Fading rock’n’roll legend Rick Black (Liam Horrigan) is broke, desperate for cash to run his expensive new home, Graveny Manor, and prepared to do anything to regain his fame and fortune.
Excited to reveal his long-awaited comeback album, Black has assembled his supermodel wife, the Honourable Emerald Peacock (Hannah Boyce); his manager, Colonel Eugene Mustard (Jason Durr, from Heartbeat and Casualty); long-time roadie “Professor” Alex Plum (Edward Howells), trusted interior designer Annabel Scarlett(Leach) and housekeeper Mrs White (Dawn Buckland), who came with house and who knows all its secrets.
However, someone is missing: Black’s former song-writing partner “The Reverend” Hal Green (Gabriel Paul), who disappeared mysteriously at the same time that Black’s career went downhill. What’s more, where did that butler, Wadsworth (Jack Bennett) come from?
First meeting:Jason Durr’s Colonel Eugene Mustard introduces himself to Ellie Leach’s Annabel Scarlett in the comedy whodunit Cluedo 2. Picture: Alastair Muir
As the bodies start to pile up, the ever-colourful characters move from room to room trying to escape the murderer and survive the night, while PC Silver (Tiwai Muza) and audience alike look for the clues to unravel the secrets, seeking to work out whodunit, with what, and where!
“What’s really fun is playing a character that’s evolved from a board game,” says Ellie. “You can do a lot with it, and there’s so much that’s different about Miss Scarlett from the first play.
“Every Cluedo character is iconic but you can put your own stamp on it; there’s lots of layers to each one and it’s been interesting to delve into them: how they are when they’re together; how they are when they’re on their own.”
Miss Scarlett by name, but is she scarlet by nature? “People may have that perception of her, but she has more to her than that,” says Ellie, as the company continues rehearsals under Bell after opening the tour in Richmond, Surrey, on February 29. “There’s hints of scarlet, but other things too!”
Ellie is “so excited to join the cast of Cluedo 2 after an incredible year”, the year when she waltzed her way to winning Strictly Come Dancing with Italian dancer Vito Coppola last December. “It was an absolute dream come true to take part but for us to lift the Glitterball Trophy with Vito was something I will cherish for the rest of my life,” she says. “I treasure that feeling of joy at the public voting for us each week.”
Cluedo 2 runs at York Theatre Royal, March 12 to 16, 7.30pm plus 2pm Thursday and Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
In the red: Ellie Leach’s Miss Scarlett looks alarmed in Cluedo 2. Picture: Dave Hogan
The poster for Shôn Dale-Jones’s Cracking, on tour at Theatre@41, Monkgate, York
WHEN the world goes mad, do we inevitably go mad too, asks Welsh storyteller Shôn Dale-Jones in his new dark comedy, Cracking, at Theatre@41, Monkgate, York, on Friday at 7.30pm.
Billed as “a completely made-up true story about loving in the face of hatred”, the uplifting, heartwarming 75-minute comic show was developed originally for BBC Radio 4 and is presented by SDJ Productions.
When Shôn playfully cracks an egg on his mother’s head, he has no idea real-life internet trolls will appear on his doorstep. Cracking duly takes on the battle between love and hate, asking what’s funny and where we draw the line.
Part stand-up, part theatre, Cracking is a humorous, touching and thought-provoking solo performance that “sews together fact and fiction into one seamless whole, making us wonder what’s real, what’s not and what’s gone wrong”.
Tickets for Dale-Jones’s celebration of how searching for connection beats disconnecting are on sale at tickets.41monkgate.co.uk.
BOYZLIFE, the Irish superboyband duo of Boyzone’s Keith Duffy and Westlife’s Brian McFadden, will return to York Barbican on February 1 on their 14-date 2025 tour.
Duffy, 49, and McFadden, 43, will combine hits from both bands, such as Boyzone’s I Love The Way You Love Me, All That I Need and No Matter What and Westlife’s My Love, I Lay My Love On You and Uptown Girl.
Boyzlife will complete a hatrick of York Barbican visits, after playing there on October 17 2021 and October 14 2022 on their Old School tour. Tickets go on sale on Friday at 10am at ticketmaster.co.uk.
YORK gallery curator Terry Brett will mark the publication of his third volume of cartoon rabbit tributes to celebrities and remarkable individuals at a charity event at Pyramid Gallery, Stonegate, on Friday (8/3/2024).
Publishing costs are met by the gallery, enabling copies to be given away from there, but voluntary donations to www.justgiving.com/page/terry-brett will be encouraged in aid of St Leonard’s Hospice, in memory of Terry’s father, who died of prostate cancer.
Terry will be on hand to sign copies from 5.30pm to 7pm outside the gallery, with the books displayed on a table. Inside, visitors can enjoy a glass of wine and buy the original drawings.
Terry Brett puts his stamp on his valedictory to Her Majesty The Queen Elizabeth II. Cartoon: Bertt deBaldock
The 108-page third compendium of death notices, entitled Good Rabbits Gone Volume Three 4 Equality, spans September 2021 to December 2022 with a fourth volume covering the fallen of 2023 on its way.
Among those featured are Queen Elizabeth II (Delivered: 21 April 1926, Post: 8 September 2022); Leslie Phillips (‘Hello-o-o’: 20 April 1924, ‘Ding Dong!’: 7 November 2022); Terry Hall (Special : 19 March 1959, Much Too Young : 18 December 2022), and Kathleen Booth, British computer scientist and mathematician, (Ticking: 9 July 1922, Ticker stopped: 29 September 2022).
The cartoon drawings by “the Scribbler” Bertt deBaldock, the nom d’art of the Pyramid Gallery owner, colour-blind artist, ukulele player and long-ago chartered surveyor, are each drawn in response to an individual’s death and then assembled in a book with Terry’s own witty tributes or poignant memories.
Ellie Leach: Strictly 2023 champ is making her stage acting debut in the British tour of the comedy whodunit Cluedo 2, on tour at York Theatre Royal next week
REVOLUTIONARY teens, rabbit cartoon tributes, mischievous theatre as a team game, food stalls, a whodunit comedy and cocktail-bar waitress tales whet Charles Hutchinson’s appetite.
Whodunit, with what and where, of the week: Cluedo 2, York Theatre Royal, March 12 to 16, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
STRICTLY Come Dancing 2023 champion and Coronation Street star Ellie Leach is making her stage acting debut as Miss Scarlett in the world premiere British tour of Cluedo 2, marking the 75th anniversary of the Hasbro boardgame. Next stop, York.
This follow-up to the original play (based on Jonathan Lynn’s 1985 film Clue) is an original comedy whodunit, set in the Swinging Sixties, with a script by Laurence Marks and Maurice Gran (Birds Of A Feather, Goodnight Sweetheart and Dreamboats And Petticoats) and direction by Mark Bell (from Mischief Theatre’s The Play That Goes Wrong and A Comedy About A Bank Robbery). Box office: 01904 623568 or yorktheatreroyal.co.uk.
1812 Youth Theatre’s poster for this week’s run of Jmes Fritz’s Start Swimming
Young performers of the week: 1812 Youth Theatre in Start Swimming, Helmsley Arts Centre, tomorrow to Saturday, 7.30pm
HELMSLEY’S 1812 Theatre Company presents Start Swimming, a play about occupation, revolution and what the future holds for today’s youth. One step away from disaster, there is only one option left: start swimming.
First staged by the Young Vic Taking Part department, James Fritz’s play was performed at the 2017 Edinburgh Fringe too. Suitable for age 12+. Box office: 01439 771700 or helmsleyarts.co.uk.
Terry Brett with his Good Rabbits Gone banner for display outside Pyramid Gallery at his book-signing charity event on Friday evening
Book signing of the week: Terry Brett’s Good Rabbits Gone Volume Three, Pyramid Gallery, Stonegate, York, Friday, 5.30pm to 7pm
YORK gallery curator Terry Brett marks the publication of his third volume of cartoon rabbit tributes to celebrities and remarkable individuals at a charity event at Pyramid Gallery, York. Copies are given away but voluntary donations are encouraged in aid of St Leonard’s Hospice, in memory of Terry’s father, who died of prostate cancer.
Terry, who draws the cartoons under the artist alias of Bertt deBaldock, will be on hand to sign copies outside the gallery, with the books displayed on a table. Inside, visitors can enjoy a glass of wine and buy the original drawings.
Hoglets Theatre’s Gemma Curry, left, Claire Morley and Becky Lennon in A Midsummer Night’s Mischief at York Theatre Royal Studio
Children’s show of the week: Hoglets Theatre in A Midsummer Night’s Mischief, York Theatre Royal Studio, Friday, 4.30pm and Saturday, 10.30am
EVERYTHING is kicking off as the fairies in the forest start a fight, but which side will you be on? Team Titania or Team Oberon? York company Hoglets Theatre presents an interactive, fun, larger-than-life production for young children (ideally aged two to nine, but everyone is welcome), based on Shakespeare’s comedy A Midsummer Night’s Dream.
Expect wild characters, raucous singalong songs, puppets, stunts and some frankly ridiculous disco dancing from director/writer Gemma Curry and fellow cast members Claire Morley and Becky Lennon. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Feelgood event of the week: Malton Food Market, Malton, Saturday, 9am to 3pm
THE monthly Malton Food Market returns for the 2024 season this weekend with specialist stalls, street food, live music and “bags of foodie fun”, set against the backdrop of St Michael’s Church.
Billed as “popular with all those who care about where their food is sourced”, the market will be held on April 3, May 11, June 8, July 13, August 10, September 14 and November 9 with free admission. Malton’s Harvest Food Festival will take place on October 5 and 6; Malton Christmas Festival, December 7 and 8. For two hours of free parking, go to: visitmalton.com/plan-your-visit.
Lazy Sunday Sessions at the Milton Rooms, Malton
Talent initiative: Lazy Sunday Sessions, Milton Rooms, Malton, March 17 and April 14, 3pm to 6pm
THE Milton Rooms has launched an initiative in the updated bar area to promote upcoming Ryedale musicians and find the next generation of performers. After George Rowell and Maggie Wakeling featured in the first session last month, Patrick Robertson and Friends plus Nick Thompson have been booked for a special Irish jam session on St Patrick’s Day, March 17, followed by Phil Hooley and Abbey Follansbee on April 14. Entry is free; a small fee is paid to musicians and audience members can show their appreciation in a tip bucket.
In addition, on the last Sunday of each month, a 3pm to 6pm Open Mic session has been launched, designed to give anyone a chance to bring their own instrument and show off their musical skills. Entry is free; the PA system and microphones are provided.
Rowntree Players’ Sophie Bullivant, Abi Carter, Holly Smith and Laura Castle in Jane Thornton and John Godber’s Shakers at the JoRo Theatre
Comedy play of the week: Rowntree Players in Shakers, Joseph Rowntree Theatre, York, March 14 to 16, 7.30pm and 2.30pm Saturday matinee
WELCOME to Shakers, the worst bar in town where everyone wants to be seen. Carol, Adele, Niki and Mel are about to work the shift from hell! The lights are neon, the music is loud, and shoes must be smart only. No trainers.
Jane Thornton and John Godber’s 1984 comedy exposes the sticky-floored world behind the bar on a busy Saturday night. Here come the girls, the lads, the yuppies and the luvvies, all played by Sophie Bullivant, Laura Castle, Abi Carter and Holly Smith under the direction of Jamie McKeller, who worked previously with Bullivant and Castle on Godber’s Teechers in 2022. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Boyzlife’s Keith Duffy, left, and Brian McFadden: Heading to York Barbican next February
Gig announcement of the week: Boyzlife, York Barbican, February 1 2025
BOYZLIFE, the supergroup duo of Boyzone’s Keith Duffy and Westlife’s Brian McFadden, will return to York Barbican on their 14-date tour in 2025. The Irishmen will combine hits from both bands, such as Boyzone’s I Love The Way You Love Me, All That I Need and No Matter What and Westlife’s My Love, I Lay My Love On You and Uptown Girl. Tickets go on sale on Friday at 10am at ticketmaster.co.uk.
Hoglets Theatre’s Gemma Curry, left, Claire Morley and Becky Lennon in A Midsummer Night’s Mischief
EVERYTHING is kicking off in the forest as the fairies start a fight, but which side will you be on in the York Theatre Royal Studio on Friday and Saturday? Team Titania or Team Oberon?
Be prepared for York company Hoglets Theatre’s interactive, fun, larger-than-life production for young children – ideally aged two to nine, but everyone is welcome – spun around Shakespeare’s daftest romantic comedy A Midsummer Night’s Dream.
Expect wild characters, raucous singalong songs with lyrics by Andy Curry and Lara Pattison, puppets, stunts and some frankly ridiculous disco dancing from director/writer Gemma Curry and fellow cast members Claire Morley and Becky Lennon.
Costumes by Julia Smith, set design by Andy Curry and choreography by Charlotte Wood – who appeared in earlier performances – all add to the magic of Hoglets Theatre’s tenth show, one that requires no previous experience of Shakespeare.
“It’s the most accessible of his plays – with fairies in it – and definitely the easiest to get into,” says Gemma. “We first did it five years ago with Lara Stafford, Rachel Wilkinson and me – all of us with two-year-old children at the time! – and children would hear the name ‘Bottom’ and laugh, and we thought, ‘oh yes, we’ve got it with this one’!
“We always have so much fun when we do it: for a morning or an afternoon, I can pretend to be a fairy, not a grown-up!”
Each performance starts with the cast – in this instance Curry, Morley and Lennon – covering their fairy wings in the cloaked guise of Macbeth’s three Witches, arguing over which play they should do.
“One says ‘Macbeth’, one says ‘Hamlet’, one says ‘A Winter’s Tale’,” Gemma says. “They have this huge argument and then decide that Shakespeare should decide via a version of [The Human League’s] Don’t You Want Me Baby?, changing the lyrics to take in all of Shakespeare’s plays as they perform in coats, wigs, moustaches and bald caps.
Claire Morley, left, choreographer Charlotte Wood and Gemma Curry in an earlier Hoglets Theatre performance of A Midsummer Night’s Mischief
“The last words to the song are Midsummer Night’s Dream, so we decide to do that one. Then we ask, ‘do you want to be involved?’, and that’s gone really well, apart from in Skipton, where this older chap ended up having to do all the roles!”
Curry, Morley and Lennon take on the role of three of Shakespeare’s four fairies in A Midsummer Night’s Dream, Mustardseed, Moth and Peaseblossom, who will spilt the audience down the middle to take sides as Team Titania (Queen of the Fairies in Shakespeare’s play) and Team Oberon (King of the Fairies).
“In the years we’ve done the show, Peaseblossom was done originally by Lara Pattison, then by Charlotte Wood, and now in comes Becky, and it’s lovely how everyone brings their own personality to it,” says Gemma.
“We change characters with the change of a hat, so whoever wears Titania’s hat is Titania; the same for Puck. We skim over the young lovers, but we do have a little song about who loves whom that gets quicker and quicker, sillier and sillier, and becomes more and more exhausting for us.”
Hoglets Theatre’s show revels in Puck’s final speech in Shakespeare’s play – “If we shadows have offended, think but this, and all is mended” – in the lead-up to a variation on Taylor Swift’s Shake It Off. “We do it as Shake A Spear with a disco ball and flashing lights, and the children love it,” says Gemma.
Children have plenty of opportunities to be involved, inviting them to play the four lovers, four fairies and four ‘mechanicals’ towards the end. “So many schools don’t do music or drama now or don’t have a creative outlet, so it’s lovely to involve them,” she says.
Away from her Hoglets productions, Gemma is working on a project in tandem with York Theatre Royal on the theme of children’s mental health, developing a piece called The Girl Who Stole Smiles.
“I wrote the original story seven years ago, when I had post-natal depression after the birth of Berowne. To explain how I felt to Berowne, I wrote a story about a girl who was unhappy, who stole smiles by building a machine that sucked smiles off people’s faces,” she says.
Hoglets Theatre’s poster for A Midsummer Night’s Mischief
“I had this story for ages and arranged to meet Juliet [creative director Juliet Forster] at the Theatre Royal, knowing she was heavily involved with a mental health charity. Last year Becky, Charlotte and I spent three months working with Knavesmire, Dunnington and Westfield primary schools with funding from city council ward funding.
“We did three 90-minute workshops for children aged four to nine, asking them what they understood about their mental health and the mental health of people around them. Then we looked at the commonalities and recurring themes between the three schools, working with the NHS Wellbeing In Mind team that goes into a number of York primary and secondary schools.
“We now have a 50-page report on children’s mental health in primary schools, highlighting what affects them most. I thought that after the pandemic the answer would be ‘depression’, but no, it’s ‘anxiety’.”
A week of research and development followed at York Theatre Royal. “We adapted the script so that the girl now had a worry that no-one took seriously until finally her smile broke, and so shew builds the machine to steal smiles,” says Gemma.
“We’re now going back into the Theatre Royal for more research and development with Juliet co-directing it. She’s been so supportive, but the Arts Council has turned us down three times for funding, so we’re looking at different avenues.”
Hoglets Theatre in A Midsummer Night’s Mischief, York Theatre Royal Studio, Friday, 4.30pm and Saturday, 10.30am.Box office: 01904 623568 or yorktheatreroyal.co.uk.
Did you know?
HOGLETS Theatre’s last show was a spectacular Christmas performance of The Nutcracker at York Minster, accompanied by the cathedral organ no less.
Did you know too?
HOGLETS Theatre performed A Midsummer Night’s Mischief at Bradford Literature Festival to 1,000 children. “That was the most terrifying day of my life,” says Gemma. “I had to give an opening speech about Shakespeare to all these children, and loads of academics were there too.”
Tristan Sturrock’s Blue Beard versus Katy Owen’s Mother Superior in Wise Children’s Blue Beard
PRESS night for Wise Children’s Blue Beard coincided with Thursday’s release of the findings of Lady Elish Angiolini’s inquiry into the murder of York-born Sarah Everard by Met Police officer Wayne Couzens.
That murder was among the triggers for Wise Children writer-director Emma Rice deciding to write her version of the fairy tale Blue Beard, a gruesome tale of controlling women that she had previously avoided and never liked, “not wanting to add to the number of dead women scattered throughout our literature and media”.
Haunted by “the regular and painful chime of murdered woman in the news”, Rice woke one morning with the story knocking powerfully at her dreams. She duly wrote what she calls a wonder tale of vibrant, flawed, joyful living women, working together to turn the tables on the violent aggressor, “taking down the ones who threaten us” in a revenge story of female friendship, intellect and survival that is both defiant and hopeful.
The review to this point is quoting in depth from Rice’s interview, outlining her need, brought on by anger, to use her craft, platform and experience to make a small difference. Her motive was not to understand or excuse Blue Beard but to breathe life into the women he sought to control, celebrating them in “all their wild and surprising glory”, saying “enough is enough; we will not be afraid anymore.”
Emma Rice: The snap, crackle and pop of modern theatre
“It certainly won’t be boring,” she promised. Boring? Has any Emma Rice production, whether for the pioneering Kneehigh Theatre or now Wise Children, ever been boring, whether Brief Encounter, Malory Towers or Wuthering Heights?!
Blue Beard, her fifth supernova of a Wise Children show, is everything modern theatre should be: intelligent, topical, provocative, surprising; full of music, politics, “tender truths”, mirror balls and dazzling costumery; comedy as much as tragedy; actors as skilled at musicianship as acting and dancing to boot; embracing the Greek, Shakespearean, cabaret, kitchen sink and multi-media ages of theatre.
Seamless scene changing too by designer Vicki Mortimer, with a combination of furniture on wheels, doors centre stage, and curtains being closed and opened to conceal and reveal as if by magic. That’s how to stage a show. Then add Rice’s Blue Beard (Tristan Sturrock) now being a magician. Cue knife-throwing with a real point to it.
Emma Rice makes audacious theatre, full of mischievous imagination and stylish innovation in her vow to “entertain, move and transport”. She does so with a bravura flourish that means broad comedy and terror, a potty-mouthed nun and a filmic slow-motion climactic fight, a dig at Jamie Oliver cookbooks and CCTV film footage of the lead-up to a murder can collide and elide in one play, replete with gutteral physicality and grace.
Welcome to the Convent of the Fearful, the F****d and the Furious, where the nuns all wear shades and the terrific Katy Owen’s blue-bearded Mother Superior rules with waspish wit, fearless frankness, frightening zeal and a shrill referee’s whistle.
Revenger’s tragicomedy: Patrycja Kujawska’s Treasure wreaks vengeance on Tristan Sturrock’s Blue Beardin Wise Children’s Blue Beard
Into Rice’s overlapping stories are woven the young, modern-day Adam Mirsky’s Lost Brother and Mirabelle Grimaud’s guitar-playing Lost Sister, and the timeless triumvirate of sisters Lucky (Robyn Sinclair), Trouble (Stephanie Hockley) and their mother, Treasure (Patrycja Kujawska), reminiscent of the Witches in Macbeth. Enter Blue Beard, whom Trouble will marry – and if he’s looking for Trouble, he’s in the right place, as he meets his match.
All the while, be beguiled by the playing of Stu Barker’s Sister Susie of the Dulcimer and the superb movement direction and choreography of Etta Murfitt.
In the words of Rice: “Using music, dance, and storytelling, I want the production to seduce with high comedy, tragedy, magic, romance and just a sprinkle of spine-tingling horror. It’s a blockbusting rollercoaster!”
Couldn’t put it better! Rice’s Blue Beard is bloody funny, but shocking; violent, furious, dark yet enlightening; as romantic and joyful as it is fearful; empowering in its feminism, pulling reality from fantasy, haunting yet hopeful at the last. Remarkable, breathtaking theatre for today yet rooted in the ages, demanding a better tomorrow. You MUST see Blue Beard. It’s certainly not boring, Emma.
Wise Children presents Blue Beard at York Theatre Royal until March 9, except Sunday and Monday. Performances: 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
