All you need is Love: The Love Band’s Johnny Echols at The Crescent, York
LOVE inspire something close to religious fervour. Seeing how The Crescent’s full house of all ages responded to the closing track of Forever Changes, You Set The Scene, is now an indelible memory: music, message and audience marching as one.
Love has become the story of Arthur Lee, a protean, iconic figure who fell far before enjoying a belated blast of recognition before leukaemia cruelly stole him away. Bryan Maclean, also now dead, is less feted, but his contrasting songs are essential to Love’s ensuring appeal. One listen to Andmoreagain reveals Maclean as every bit as much of a rule breaker as Lee.
“The Love Band” as they are now known were originally called Baby Lemonade, and they toured with Lee as Love before he died. Taking up the mantle of keeping the music alive, since 2005, four have become five thanks to guitarist Johnny Echols, the other key original member coming back into the fold.
You can debate at what point a group becomes a tribute act, but this concert was about far more than nostalgia. Echols provided a key focal point for the concert, providing occasional between-song stories
Forever Changes has, decades after its release, climbed in regard to nestle among the very best albums of all time. Deservedly so. It captures a glorious burst of creativity that neither Lee and Love, nor arguably anyone else, has matched.
The tension and disharmony that surrounded its recording provided a prescient, apocalyptic but ultimately life-affirming set of songs. However transported by visions Lee may have been, the musicianship keeps pace, full of variety, twists, turns and hooks, psychedelic but still retaining the band’s LA garage roots and a disregard of the rulebook that would become the spirit of punk.
The Love Band is very familiar with the music’s twists and turns, and second guitarist Mike Randell is able to fill some of the key spaces left by the absence of strings and brass. Singer Rusty Squeezebox (born David Ramsey) was a gracious host and carried Lee’s words with skill.
The audience knew in advance this would be good – this band had previously blown the roof off the same venue in 2019. Their Sunday setlist centred on Forever Changes but also included some lesser-sung parts of Love’s catalogue. Tunes like Softly To Me weren’t as strong, but Singin’ Cowboy from Four Sail was a glorious first encore, before bowing to 7 And 7 Is (from De Capo), a powerful song about nuclear war that sounds like nothing else.
There was no way to follow that, but the crowd could certainly face the coming days with a smile after this wonderful show.
Julie Lomas directing a rehearsal for 1812 Theatre Company’s production of Jeklly & Hyde The Musical
JULIE Lomas directs Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, in their first ever musical production, Frank Wildhorn and Leslie Bricusse’s Jekyll & Hyde, from tomorrow.
In Robert Louis Stevenson’s story, a devoted man of science, Dr Henry Jekyll, is driven to find a chemical breakthrough that can solve some of mankind’s most challenging medical dilemmas. Indeed, he is trying to discover cures for what now would be recognised as dementia and Alzheimer’s disease.
Rebuffed by the powers that be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons along with the man the world would come to know as Mr Hyde.
1812’s cast features husband and wife Joe and Amy Gregory in the lead roles of Jekyll/Hyde and Emma Carew. John Atkin is the musical director; Michaela Edens, the choreographer.
Here Julie discusses 1812 Theatre Company’s 30th anniversary production with CharlesHutchPress.
How did you land this directing gig? Were you head-hunted or did you pitch for it?
“An 1812 Theatre Company member suggested that the company should do a musical at the annual general meeting. Apparently, others had been talking about wanting to do it for some time.
“The committee discussed this and I said that if they would like to go ahead, I had experience as a director in musical theatre and would love to do it.”
What attracted you to directing Jekyll & Hyde The Musical?
“I love musicals that dramatic enough to ‘move’ an audience emotionally. There are not many of these that are available for amateurs to perform. I feel that there are several opportunities for this in Jekyll and Hyde.
“With its dramatic strengths and less choreographic content, it is a suitable choice as a first musical for this company.
“Plus, I’ve directed it before for the Grange Players in Walsall. This actually made me think very carefully as I prefer not to repeat anything, but this was a musical that I was driven to do again. My concept this time is different, a contemporary treatment but still in a Victorian setting.”
What is your directing background?
“Having performed in several plays for The Grange Theatre, Walsall, I was asked if I would like to direct. My first play was Kindertransport by Diane Samuels, and after that I never looked back.
“I directed several plays there, including Rebecca, Accrington Pals and The End Of The Affair but my favourite by a long way was Peter Schaffer’s Amadeus.
“I think it was being able to bring together my love of music, fabulous period costume, make-up and wigs plus the wonderful tragic plot line and enigmatic characters. I was fortunate enough to win a regional NODA (National Operatic and Dramatic Association) award for that production, which I treasure.
“I moved into directing a musical there and then directed one professionally for Brownhills Musical Theatre Company, Sweet Charity.”
Do you now specialise in musical theatre?
“I’m keento embrace many types of theatrical productions. I’ve been a soloist singer since the age of eight and have been lucky enough to have had many fantastic principal roles in musical theatre. My favourites were Mrs Lovett in Sweeney Todd: The Demon Barber Of Fleet Street, Dorothy Brock in 42nd Street and Sally Bowles in Cabaret.
“So, although I cannot say that I specialise in musical theatre, there’s absolutely nothing that compares with the feeling of being part of a musical, as a performer, director or crew member.”
What brought you to Helmsley?
“I moved to North Yorkshire to be geographically close to my son and his wife and see more of my grandchildren. My eldest son and his family live in Sheffield, so I can commute there too.
“However, it’s a great place to live in its own right, the peaceful countryside around here is a sheer delight and Helmsley is the prettiest town in which to rehearse and perform! I was looking for a theatre company that would feel like ‘home’ to me and I felt welcomed from the start. The theatre itself is lovely, providing an intimate theatre space, modern studio bar and leafy courtyard.
“I live in Westow, a village just outside the Howardian Hills area. I now consider the Helmsley Arts Centre to be my base. In a few years, even with the lockdown, I have already performed there, worked backstage for a production and I’m also a member of the management committee.”
Any thoughts on why 1812 Theatre Company has not staged a musical in its 30 years until now?
“I would imagine it’s because when the company was set up, the idea was for members to perform plays. However, it’s so much more diverse now. In the past 12 months alone we’ve performed plays, a rehearsed reading, an indoor/outdoor production in Helmsley Walled Garden, a hugely successful pantomime and now a musical!
“We’re hoping that this variety will both entice new members, who are always welcome, and encourage retention of existing members.
“The other more sombre answer is that to produce a musical is expensive and we’re hoping to have good audiences, not only to see the amazing performances, but also from a financial perspective.”
What are the strengths of Bricusse and Wildhorn’s songs?
“As we’re repeatedly told by our musical director, John Atkin, this is not an easy musical score. However, it’s such a beautiful one with melodies that linger long after the show is over.
“It allows performers to do just that: perform the music, rather than just sing it, and we have worked hard to bring that to the stage. It provides a tour de force for the eponymous actor, Jekyll, which climaxes with him singing a duet with himself, as Hyde. Joe [Gregory] has excelled in the role and I’m sure audiences will appreciate his performance.”
Is this the first time you have worked with musical director John Atkin?
“It is, and I’m hoping it will not be the last. As soon as I met him, I knew the production was in safe hands. He’s an extremely talented musician and wonderful to work with.”
A husband and wife, Joe and Amy Gregory, will lead your cast as Jekyll/Hyde and Emma Carew. What does their personal relationship bring to their stage partnership?
“It’s rare for there to be such chemistry between the two romantic leads – even if they do happen to be married! Joe and Amy have such a special relationship, and in their case, this comes across immediately.
“They’re also both lovely people and in all my time directing, I have genuinely never met anyone more joyous to work with. They are committed, passionate performers who will work hard to deliver what you’re aiming for as a director yet also contribute actively to the creative process.”
What is the message of Jekyll & Hyde in our 21st century world, where tampering with science may well have led to Covid?
“Good question. I suppose the message is that research does not always deliver the desired results. Sometimes though, even the unexpected results can turn out to be beneficial. There are many drugs that are used for things for which they were not intended in development.
“As a hospital pharmacist by profession, I was interested in this angle of drug research in psychiatry with Dr Jekyll. Even today, we still know comparatively little about the causes of mental illness and effective drug therapy is limited.
“Also, if you consider the possible effects of hallucinogenic drugs, the concept of a ‘Dr Jekyll’ and ‘Mr Hyde’ characterisation after injection is not so far-fetched.”
What will be your next theatrical project?
“My next project for 1812 Theatre Company is to mentor a first-time director, Sarah Barker, as she directs ’The Kitchen Sink [Hull playwright Tom Wells’s tender comedy of big dreams and small changes in a Withernsea, East Yorkshire family].
“We like to encourage members to consider directing and have a few people that are interested, but it’s important that they have someone to support them through the process.
“I think the big question is, will I ever direct another musical for 1812. Who knows? This production has consumed every moment of my life for the past six months, and a fair few moments in the months before that.
“I’d like to think so. What I do know, though, is that my passion for musicals will never die, unlike a number of Jekyll’s victims!”
1812 Theatre Company in Jekyll & Hyde The Musical, Helmsley Arts Centre, July 5 to 9, 7.30pm. Tickets: £15, under 18s, £7.50, from the arts centre, on 01439 771700 or helmsleyarts.co.uk. Age guidance: Suitable for 13 plus.
Wildish curator Jo Walton with a pot by Julie O’Sullivan and one of her own metal paintings at Pyramid Gallery
MUSIC festivals and mystic femininity in art, comedy antics and bucket list stunts, a scary scientist and a madcap whodunit spark Charles Hutchinson’s interest.
Exhibition launch of the week: Wildish, Pyramid Gallery, Stonegate, York, today until August 13
CURATED by Rogues Atelier Studios artist and interior designer Jo Walton, Wildish unites six women – five artists and a poet – through a theme based loosely on deep and sensual mystic femininity.
Taking part will be Jo Walton, Julie O’Sullivan, Christine Pike, Izzy Williamson, Zoe Catherine Kendal and York poet Nicky Kippax. Meet them at today’s 11am opening for a drink, nibbles and a chat.
Niall Ransome, left, and Dave Hearn in rehearsal for The 39 Steps at the Stephen Joseph Theatre, Scarborough. Picture: Tony Bartholomew
Revival of the week: The 39 Steps, Stephen Joseph Theatre, Scarborough, until July 29
ARTISTIC director Paul Robinson revives his hit 2018 production of Patrick Barlow’s fast and frenetic stage adaptation of John Buchan’s juicy spy novel and Alfred Hitchcock’s film in tandem with the Theatre by the Lake, Keswick.
Barlow adds a dash of Monty Python to the winning combination of whodunit and old-fashioned romance as Mischief Theatre founder member Dave Hearn’s Richard Hannay is joined by fellow Mischief alumnus Niall Ransome, reprising his Clown role from 2018, Lucy Keirl and SJT debutante Olivia Onyehara. Cue the iconic chase on the Flying Scotsman, the first-ever theatrical biplane crash and a death-defying (well nearly) finale. Box office: 01723 370541 or sjt.uk.com.
Paul Heaton: Performing with special guest singers rather than regular partner in song Jacqui Abbott at Scarborough Open Air Theatretonight. Picture: David Harrison
Outdoor gig of the week: Paul Heaton, Scarborough Open Air Theatre, today, gates open at 6pm
PAUL Heaton, former frontman of Hull bands The Housemartins and The Beautiful South, heads up the Yorkshire coast for a headline gig in Scarborough. Special guests supporting the self-styled “Last King Of Pop” will be Ian Broudie’s Lightning Seeds.
Busy week ahead for Scarborough OAT: Hollywood Vampires, Alice Cooper, Johnny Depp, Joe Perry and Tommy Henriksen’s American rock supergroup, play a sold-out show on Wednesday, followed by The Cult on Thursday, Tom Grennan on Friday and Pulp (sold out) next Sunday. Box office: scarboroughopenairtheatre.com.
Chris Lynam: Topping tonight’s Laugh Out Loud Comedy Club bill at The Basment, City Screen Picturehouse
Comedy gig of the week: Laugh Out Loud Comedy Club presents Chris Lynam, Patrick Monahan, Dean Coughlin and Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm
HEADLINER Chris Lynam has been feverishly subverting the traditions of the stand-up comic for more than 30 years with his grasp of crazy antics. Patrick Monaghan holds the world record for Longest Hug at a time of 25 hours and 25 minutes, set at the 2013 Edinburgh Fringe Festival.
Dean Coughlin has worked on the comedy circuit since 2017. Master of ceremonies and club organiser Damion Larkin will be improvising his set as ever. Further LOL Comedy nights are in place for August 5 and September 2. Box office: lolcomedyclubs.co.uk.
Amy Gregory in rehearsal for her role as Emma Carew in 1812 Theatre Company’s Jekyll & Hyde The Musical
Musical of the week: 1812 Theatre Company in Jekyll & Hyde The Musical, Helmsley Arts Centre, Wednesday to Sunday, 7.30pm
JULIE Lomas directs Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, in their first ever musical production, Frank Wildhorn and Leslie Bricusse’s Jekyll & Hyde, based on Robert Louis Stevenson’s story.
Marking the venue’s 30th anniversary, the show features husband and wife Joe and Amy Gregory in the lead roles of Jekyll/Hyde and Emma Carew. John Atkin is the musical director; Michaela Edens, the choreographer. Box office: 01439 771700 or helmsleyarts.co.uk.
Mezzo soprano Helen Charlston: Performing Battle Cry: She Speaks with theorbo player Toby Carr at York Early Music Festival on July 10
Festival of the week: York Early Music Festival 2023, Friday until July 14
THIS summer’s York Early Music Festival takes the theme of Smoke & Mirrors with a focus on William Byrd, a practising Catholic composer working for a constantly threatened Protestant queen.
The City Musick, Ensemble Jupiter & York countertenor Iestyn Davies, The Sixteen, violinist Rachel Podger, The Marian Consort and Rose Consort of Viols and mezzo soprano Helen Charlston are among the week’s musicians. Full festival details and tickets: ncem.co.uk; 01904 658338.
Tom Figgins: Showcasing new songs at Stillington Mill on Friday
Solo gig of the week: Tom Figgins, At The Mill, Stillington, near York, Friday, 7.30pm
SINGER and songwriter Tom Figgins, programmer for At The Mill’s summer’s season of music, comedy and theatre, plays the Stillington garden for a third time this weekend. Noted for his vocal range, distinctive guitar playing and complex lyrics, he numbers radio presenter Chris Evans among his fans, appearing on his BBC Radio 2 show. Expect songs old and new at one of his favourite spots. Box office: tickettailor.com/events/atthemill/925897.
Steve-O: Working through his bucket list of stunts at York Barbican
Stunts of the week: Steve-O, York Barbican, Friday, 7.30pm
EVERY idea on American entertainer Steve-O’s bucket list was so ill advised, he never expected to go through with any of them. Until it was time to prepare for this tour. Not only are the stunts even more ridiculous than Steve-O pulled off on MTV’s Jackass, but now he has made a highly XXX-rated, multimedia comedy show out of them too. Not for children or the faint of heart, he warns. Box office: yorkbarbican.co.uk.
The Magpies: Curating and playing at their festival at Sutton Park in August
Heading to the park: The Magpies Festival, Sutton Park, Sutton-on-the-Forest, near York, August 11 and 12
TRANSATLANTIC folk trio The Magpies have confirmed the line-up for their two-day open-air festival of music, activities, stalls and food and drink. The Friday main stage acts will be Laura Cortese & The Cards, Chris Difford and Holy Moly & The Crackers, followed by the Saturday bill of Liz Stringer, Honey & The Bear, Blair Dunlop, Rachel Sermanni, The Magpies and Edward II.
Friday acts on the Brass Castle Stage will be The Dicemen, Thorpe & Morrison, The Often Herd and New York Brass Band; Saturday will welcome Jack Harris, Megan Henwood, Tom Moore & Archie Moss, Gilmore & Roberts, and Bonfire Radicals, concluding with a Ceilidh with Archie Moss. Box office: themagpiesfestival.co.uk.
Guitarist Mickey Moran hits the histrionic heights in Bat Out Of Hell’s Dead Ringer For Love, the first-half climax to Musicals In The Multiverse. Pictures: Holly Brighton
JOSEPH Rowntree Theatre Company’s summer show is restricted to only two performances. Big cast, bags of energy and enthusiasm, fun idea for a show, and it would surely have merited a longer run.
Decent house last night, and an even bigger audience is expected tonight, with all proceeds going to the JoRo Theatre, as is the case with all JRTC productions.
This one is directed by Helen ‘Bells’ Spencer, who played the lead in Hello, Dolly! in February and now pulls the strings with aplomb.
Steven Jobson welcoming the audience to the Multiverse
She pops up in two numbers too (Beauty And The Beast’s Tale As Old As Time with Catherine Foster and an amusing pyjama party revamp of City Of Angels’ What You Don’t Know About Women with Foster, Connie Howcroft, Nicola Strataridaki, Jennie Wogan-Wells and Tessa Ellis).
Meanwhile, her children, Tempi and Lao Singhateh, enjoy a sweet, humorous cameo in Matilda’s When I Grow Up, where adults sing the children’s lines.
The show’s concept is playful, radical too, and has the potential to be rolled out again. Imagine alternative worlds – a multiverse – where musical favourites take on a new life with a change of gender, era, key or musical style, arranged with glee, joy and flourish after flourish by musical director Matthew Peter Clare for his smart band.
Connie Howcroft: A major transformation of Frozen’s Let It Go in a foreboding minor key
The opening ensemble number Pure Imagination, from Charlie And The Chocolate Factory, is an invitation for the audience to use exactly that, as songs are freed from the chains of their usual presentation.
Blood Brothers’ That Guy, without a change of lyrics, is now sung by two females, Ashley Ginter and Scarlett Rowley, who later thrives on Jennie Wogan-Wellss’ choreography in the dance number Electricity from Billy Elliot.
In His Eyes, from Jekyll & Hyde The Musical, makes the reverse switch, given to James Willstrop and Ryan Richardson in a stand-out first half duet.
High point: Scarlett Rowley is held aloft in the Billy Elliot dance number Electricity
Porgy & Bess’s Summertime blossoms anew in a barbershop setting, Jennifer Jones leads the dance ensemble in a swish Luck Be A Lady from Guys And Dolls, and Nicola Strataridaki has the last word in her slick duet with Chris Gibson in Lady Is A Tramp.
In a shift from major key to foreboding minor, Connie Howcroft deep-freezes Frozen’s Let It Go, the closing line, “The cold never bothered me anyway”, now so chilling.
In the oh-so-right choice of first-half climax, Rosy Rowley rivals Meat Loaf’s braggadocio in Dead Ringer For Love (from Bat Out Of Hell), while a series of men take on Cher’s swaggering responses. Always an over-the-top number, it becomes a company pile-on as everyone joins in, beer bottles in hand, and heavy metal-haired guitarist Mickey Moran strides to the front for a rock god solo. Moran, by the way, is outstanding throughout.
A mother’s plea: Jennie Wogan-Wells sings Les Miserables in a First World War setting
The second half opens in Matilda’s classroom before Jennie Wogan-Wells delivers the night’s most moving solo: transforming Les Miserables’ Bring Him Home into a mother’s prayer for her son to return safely from the First World War trenches.
Nick Sephton’s It’s All Coming Back To Me Now (from Bat Out Of Hell) is powerfully, sombrely reflective, Rachel Higgs’s Part Of Your World, from The Little Mermaid, is the second belter to benefit from the switch from major to minor; Steven Jobson and Richardson make you know I Know Him So Well in a new way and Rosy Rowley and Abi Carter likewise transform La Cage Aux Folles’ Song On The Sand.
The most impactful reinvention of all, made all the punchier by Wogan-Wells’s choreography, is Cell Block Tango, where Richard Goodall, Gibson, Richardson, Jack James Fry, Jobson and Willstrop’s murderers in toxic orange prison overalls brag about their deeds, as the dancers strut around them in familiar Chicago style.
Murdering a song…most entertainingly: the orange-overalled prisoners (Richard Goodall, Chris Gibson, Ryan Richardson, Jack James FRy, Steven Jobson and James Willstrop) brag of their crimes to the Dancers in Chicago’s Cell Block Tango
Tessa Ellis turns Beauty And The Beast’s Evermore into a Sixties ballad in Dusty Springfield or Petula Clark style; Howcroft, superb again, and Wogan-Wells vie for centre stage in The Wild Party’s Let Me Drown, and Rosy Rowley has the audience on its feet, after some insistent cajoling, for the finale, as she deepens Frankie Valli’s lead vocal in Jersey Boys’ Who Loves You?
Musicals In The Multiverse turns out to be out of this world. A sequel will surely follow.
Joseph Rowntree Theatre Company in Musicals In The Multiverse, Joseph Rowntree Theatre, York, tonight (30/6/2023) 7.30pm. Box office: 01904 501395 or josephrowntreetheatre.co.uk.
Helen Spencer directing a rehearsal of Musicals In The Multiverse. Picture: Jenny Jones
Coming next from Joseph Rowntree Theatre Company
JOSEPH Rowntree Theatre Company will present a full-scale production of the musical whodunit Curtains, from the creators of Cabaret and Chicago, Fred Ebb and John Kander, at the Joseph Rowntree Theatre, York, from February 7 to 10 2024.
British-American composer, singer-songwriter, dramatist and author Rupert Holmes wrote the book for this 2006 comedy mystery set in the 1950s. Ebb ebbed away (RIP September 11 2004) before its completion.
The song What Kind Of Man? attacks theatre critics. Ouch!
Wildish curator Jo Walton with a pot by Julie O’Sullivan and one of her own rusted works at Pyramid Gallery
GUEST curator Jo Walton and her invited exhibitors will launch their Wildish exhibition of paintings, pots, jewellery, poetry, artist-designed wallpaper and ceramic sculpture over drinks and nibbles at Pyramid Gallery, Stonegate, York, tomorrow, from 11am to 3pm. Everyone is welcome.
When Rogues Atelier Studios artist and interior designer Jo approached gallery owner Terry Brett, offering to curate an exhibition in the two first-floor galleries, he had no hesitation in saying yes.
She has exhibited her “rust prints” and rusted or treated steel paintings at Pyramid Gallery on several occasions already.
Now she has selected five artists and a poet to contribute to a joint show based loosely on the theme of deep and sensual mystic femininity.
Taking part will be Jo, Julie O’Sullivan, Christine Pike, Izzy Williamson, Zoe Catherine Kendal and York poet Nicky Kippax.
A close-up of Christine Pike’s Precious
Terry has been assisting with setting up the show. “It’s very refreshing for me to return from a short holiday and be able to watch Jo and the Pyramid team of Fiona, Sarah, Ali and Angela, set up a complete show,” he says.
“And the show looks good, based on wild country scenes and imaginary creatures in materials that have a big impact through texture or colour.”
Jo’s work is primarily abstract, often combining rusted metal with oil painting, and using wax, gold, silver and copper leaf to create imaginary, colour-scapes, seascapes and earth-scapes. Her art on wooden panels, metal and textured surfaces ranges in size from 20cm to 1m square.
From her studio in Leigh-on-Sea, Essex, Julie O’Sullivan presents a body of work shaped by living alongside the transient beauty of the Thames Estuary. This leads to her incorporating found sea-glass, seaweed, shells and pebbles taken from the shoreline.
Julie uses a coarse-textured stoneware clay, yet there remains a sensuous delicacy or fragility to her work.
The poster for the Wildish exhibition at Pyramid Gallery
Izzy Williamson specialises in making original, limited-edition relief prints rooted in nature and stories from her childhood in Whitby, where the narratives within her work express feelings of playfulness and wonder. She also produces designs for interiors, packaging and branding.
Zoe Catherine Kendal makes jewellery and sculptural objects from mixed precious and non-precious materials such as ancient and antique beads, ceramics, and metals. Her one-off creations reflect a playful exploration of form and aesthetics, while revealing craftsmanship and a passion for ancient and contemporary adornment.
Christine Pike, who holds an MA from Norwich University of the Arts, makes works that tell stories. They vary in subject and scale, but with one central theme: a joyful appreciation of nature and our relationship with it, viewed through the lens of folk tales and myth. She works in paperclay, ceramic and mixed media.
York poet Nicky Kippax’s work can be found in anthologies and magazines, such as Poetry News, The Rialto and The Alchemy Spoon, and has been shortlisted for the Bridport Prize. Her first collection will be published soon. For Wildish, she will weave her wordy magic among the artworks.
The gallery opening times until September 1 are 10am to 5pm, Monday to Saturday.
Seven Drunken Nights – The Story Of The Dubliners: Matinee and evening performances at Grand Opera House, York next March
SEVEN Drunken Nights – The Story Of The Dubliners will return to Grand Opera House, York for two performances on March 10 2024.
In its sixth year, after a Scandinavian tour, the celebration of the Irish music of Ronnie Drew, Luke Kelly, Barney McKenna, John Sheahan, Ciaran Bourke and Jim McCann will be on the road for 79 British and Irish dates.
Further Yorkshire performances on the biggest ever Seven Drunken Nights tour will be at Sheffield City Hall on March 20, Cast, Doncaster, March 21 and 22, Bridlington Spa, April 6, St George’s Hall, Bradford, April 12, and Hull City Hall, May 15.
Much more than a jukebox musical celebration of The Dubliners, the show is steered by its writer and director Ged Graham, whose narration charts the band’s path from their first gig at legendary Dublin pub O’Donoghue’s in 1962. The Irish Rover, The Leaving Of Liverpool, Belle Of Belfast City, Dirty Old Town, The Banks Of The Rose, Star Of The County Down and The Town I Love So Well and many more Irish favourites will be performed by Graham’s cast of musicians and singers, who last filled the Grand Opera House on April 23 this spring.
Graham is delighted to have received the backing of the families of The Dubliners. “It was very nerve-racking meeting their relatives, as I didn’t know how they would react,” he says. “But meeting Luke Kelly’s brother, Paddy, early on during the first tour was just brilliant.
“He and his family have been so supportive of the show. Likewise, Barney McKenna’s sister came to see the show when we toured Ireland and was very complimentary of how we told the story. Their support means so much to everyone involved with the show.”
In addition to glowing reviews, Seven Drunken Nights has also received praise from the families of The Dubliners. Ged Graham said, “It was very nerve-racking meeting relatives of The Dubliners, as I didn’t know how they would react. But meeting Luke Kelly’s brother, Paddy, early on during the first tour was just brilliant. He and his family have been so supportive of the show.
Likewise, Barney McKenna’s sister came to see the show when we toured Ireland and was very complimentary of how we told the story. Their support means so much to everyone involved with the show.”
Looking ahead, Seven Drunken Nights is set for its record year internationally, performing nearly 300 shows during 42 weeks on the road.
The show’s popularity has been a life-changing experience for Graham, who says: “I can’t quite believe it. Seven Drunken Nights seems to have touched so many people who have become real fans of the show, reigniting their love of The Dubliners.
“It’s had a massive impact on my life, giving me the confidence to write more and be involved in many other productions, including the runaway success Fairytale Of New York. It truly is a great privilege to bring the music of The Dubliners to the stage every night and keep their legacy alive.”
York tickets for the March 10 matinee and evening shows are on sale at atgtickets.com/york. Tickets for all venues on the 2024 tour can be booked at sevendrunkennights.com.
The magnificent seven in York Light’s I Love You, You’re Perfect, Now Change: Sanna Jeppson, left, Mark Simmonds, Monica Frost, Emily Hardy, James Horsman, Emma Dickinson and Richard Bayton. All pictures: Matthew Kitchen Photography
LOVELY show to finish off York Light’s 70th anniversary. Something a little different. All about love. That adds up to three reasons espoused by director Neil Wood to see the American musical comedy with the tripartite title.
I Love You, You’re Perfect, Now Change has its place in musical history as the second longest-running off-Broadway musical revue, premiered by the American Stage Company in 1996.
Now it swaps New York for York while retaining its American accents for 20 vignettes of universal resonance, each delving into a different aspect of love and relationships, their joys and their challenges.
Those vignettes, humorous, honest, heartfelt, heartwarming and heartbreaking, are full of life, lust and love’s labours lost and found, charting the path from dating to marriage, parenthood to ageing.
Richard Bayton at the wheel, with passengers Emily Hardy, Monica Frost and Mark Simmonds in the On The Highway Of Love vignette
Writer and lyricist Joe DiPietro and composer Jimmy Roberts bring momentum, mischief, romance, frankness, sauce, familiarity, delight, jaw-dropping awkwardness, pathos and passion, surprise and shock, to savvy, soulful, sweet, sour, salacious scenes ranging in length from five to eight minutes, diverse in style, tone and content.
Updated in 2018 to reflect changing times and fads, some take the form of dialogue or a monologue; some are songs; others combine the two. Like a taster menu, there is always another juicy morsel coming along to savour in each 55-minute half.
On an end-on stage with tables and chairs on one side, a sofa bed on the other, those vignettes are in the hands of a cast of seven – spreading the roles wider than the original production’s quartet of actors – and each of York Light’s magnificent seven takes on at least six parts, some as many as eight.
Neil Wood, directing York Light for the first time, put his company through Laban technique rehearsals to settle on characterisation and movement, giving each scene due weight with an emphasis on exposing the vulnerability in so many of the lovers’ tales.
He is rewarded with performances that are truthful and comedic, moving and candid, playing to both individual and collective strengths in a whirl of costume and character changes relished by Richard Bayton, Emma Dickinson, Mark Simmonds and especially the chameleon Sanna Jeppsson and James Horsman.
Mark Simmonds in Whatever Happened To Baby’s Parents?
Look out for Jeppsson’s arthritic hands when playing an old woman discussing love in a funeral parlour opposite Horsman in arguably the most affecting vignette, Funerals Are For Dating.
Emily Hardy and Monica Frost graduate from the York Light ranks to principal roles for the first time, Frost being particularly impressive, whether in the country pastiche Always A Bridesmaid or her confessional online dating monologue, The Very First Dating Video of Rose Ritz.
Not since Lloyd Webber and Rice’s Joseph And The Technicolor Dreamcoat in their fledgling days has a musical pulled off so many pastiches, from country weepie to Luther Vandross soul, Ratpack smoothie to boastful rap, power balladry to Lloyd Webber and Rice themselves, demanding much of keyboardist Martin Lay’s resourceful band (with Rosie Morris on bass, Katie Maloney on reeds and Jez Smith on drums).
Billed as “riotous, rude and relevant”, I Love You, You’re Perfect, Now Change is indeed those three Rs, but it is also real, relatable and richly rewarding. We’ve all been there, done that, now watch love’s highs and woes from the safety of a ringside seat. You will laugh, you will cringe, you may well cry too.
Performances: Tonight (Thursday) and Friday, 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: tickets.41monkgate.co.uk.
Emily Hardy’s bride, James Horsman’s groom and Sanna Jeppsson’s priest in Wedding Vows
Clarke Joseph-Edwards, left, Sarah Palmer, Benedict Hastings, Jane Crawshaw, Vinnie Monachello and Kaidyn Niall Hinds in Hey Duggee The Live Theatre Show. Picture: James Watkins
LOVABLE big dog Hey Duggee is touring for the first time, bounding into York Theatre Royal from tomorrow to Sunday.
Best Family Show winner at the 2023 Olivier Awards,Hey Duggee The Live Theatre Show features Duggee, the Squirrels and many more favourite characters from the CBeebies series.
Betty wants to make costumes, Happy wants to sing, Tag wants to make music, Norrie wants to dance, Roly wants jelly and they all want you to join them at the Clubhouse.
There is so much to do, but luckily Clubhouse leader Duggee has his theatre badge. Will you get yours too in a show full of puppetry and storytelling, fun, laughs, music, singing and dancing?
Produced by Cuffe & Taylorand Kenny Wax Family Entertainmentunder licence from BBC Studios, Hey Duggee – The Live Theatre Showwill be on stage in York tomorrow at 10.30am and 2pm; Friday, 1pm; Saturday, 10am, 1pm and 3.30pm, and Sunday, 10am and 1pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Here the stage show’s lead creatives, director Matthew Xia and his co-adaptor, musical supervisor and arranger Vikki Stone, discuss how they translated 156 episodes of the hit television series – 18 hours in all – into the all-new, 55-minute, interactive stage show for pre-schoolers.
Matthew Xia, director of Hey Duggee The Live Theatre Show
“WHEN the producer, Kenny Wax, first approached me, he said: ‘I’m not sure if you’ve heard of Hey Duggee…’, and I said ‘it’s one of my favourites’,” recalls Matthew (artistic director of the Actors Touring Company, by the way).
“My daughter was born in 2014, the same year Hey Duggee started, so we’ve really grown up with the show.”
By contrast, Vikki had never seen a single episode. “I didn’t know Hey Duggee at all when I was approached. So, I spent a long time getting very closely acquainted with the show and now I love it!” she says.
“I very quickly got pulled into it and caught up in the world of Duggee, the Squirrels and their friends. It’s very funny and full of joy and laughs.
“And I very soon realised how special Hey Duggee is, that it sits in the realm of co-viewing; the adults are watching it with their children, not just putting it on to entertain them while they’re doing something else.”
How did they tackle creating Hey Duggee The Live Theatre Show? “The first day, Matthew and I sat in an office and had our own lists of our favourite bits – and we had chosen a lot of the same things,” Vikki explains.
“Kenny had given us pretty much free rein,” says Matthew. “That also made the challenge even greater. Taking 156 episodes, each one seven minutes long, and turning them into a complete theatrical experience for children.
“Series one and two I knew really well – I’d seen those episodes a lot. Any parent knows what it’s like! So, I kind of knew where the hits were.
“We had to keep the big format of the show, you know – where the Narrator says to the Squirrels ‘Do you know what time it is?’. That’s the start of the adventure, and that had to be the same on stage.”
Matthew and Vikki have a wealth of experience between them as co-adaptors. As well as working in theatre, Matthew was known as DJ Excalibah and was in the original line-up on BBC Radio 1Xtra, as well as DJing for the London Paralympic Games opening ceremony.
Alongside her work as a composer and musician, Vikki is a stand-up comedian. She made history last year as the first female musical director of a house band on British television in more than 20 years with her appearance on ITV’s Romeo And Duet.
Matthew and Vikki have worked closely with the CBeebies show’s creator, Grant Orchard, and the rest of the team behind Hey Duggee at Studio AKA, to create the live experience.
“It has been really interesting working alongside the Hey Duggee TV team,” says Vikki. “Duggee is effectively Grant’s baby. They are new to theatre and are amazed at what we can do that TV can’t, or how we translate things from TV into a live setting.
“With the animated series, the script has to be locked in and cannot be altered from that point. The dialogue is recorded, and then it’s animated to fit. Whereas, in theatre it’s almost the opposite – we can tweak the script all the way through the process.”
What can fans of Hey Duggee expect from the live theatre show? “We had to think about what an audience member would want and expect to see from Hey Duggee on stage. Badges, songs, jokes, in-gags. It’s all there,” says Vikki.
Jane Crawshaw, left, Sarah Palmer, Kaidyn Niall Hinds, Clarke Joseph-Edwards, Vinnie Monachello and Benedict Hastings in Hey Duggee The Live Theatre Show. Picture: James Watkins
“Essentially, we have created a big quest story,” adds Matthew. “The Narrator’s voice has been really important, it’s that big question setting up each episode: ‘Hey, Duggee, what are you doing?’.
“Without spoiling it, the Squirrels have never been to a show before, and they set out to learn about all the things that go into making a show and earn the relevant badges.
“We’ve brought in some of our favourite Hey Duggee stars to help the Squirrels – Mrs Weaver, Hennie and Chew Chew, who I can mention, as well as several more that I can’t…
“And the children and families in the audience are very much going to be part of the Squirrel gang. They will have important things to do!”
Some of the biggest moments in Hey Duggee have been marked by music. “We were spoilt for choice with the songs!” says Vikki. “I wanted to treat Hey Duggee The Live Theatre Show as a musical, where the songs could move the story along – and the songs we’ve pulled from the TV series do that brilliantly.
“We’ve taken those songs, added harmonies and dance breaks, made them longer, done all the things which would make them work for stage rather than TV. And there is a brand-new song, unique to the stage show, which is just fantastic.”
Since the tour was first announced in June 2022, a further 13 venues – and more than 100 shows – have been added to the schedule, such is the popularity of the CBeebies show.
What makes Hey Duggee so popular, Matthew? “There are so many brilliant references in it, for the adults, and then this exceptionally strong look and style that’s so instantly recognisable,” he says.
“When adults enjoy a kids’ programme, that’s a very sweet spot to hit. Hey Duggee as a TV show is just so playful. It’s really non-judgemental in a most beautiful way – just as children are.”
Vikki adds: “There’s a lot of activity in the Duggee world that just exists, with the wonderfully subtle light touch. You know, Happy is a crocodile and his parents are elephants.
“You see that in the show’s titles, and straight from the off it is subtly stating that families come in all shapes. But there’s never any question or issue made of it.
“There’s so much social commentary within the show, but it all just ‘is’. The modes of transport that the Squirrels come to the Clubhouse in, where they travel from, it’s all there but without any fuss.
“The TV show is just so brilliantly inclusive, without being virtue signalling – and that’s a beautiful thing for children and families.”
Have they felt pressure in re-creating such a well-loved TV show? “I do feel slightly petrified of letting people down as Hey Duggee is such a very special TV programme,” says Matthew. “It’s a huge responsibility to take such well-known characters and to meet all the expectations.
“Added to that, for many of the children coming to Hey Duggee The Live Theatre Show, it will be their first theatrical experience. How exciting is that? I can’t wait to see the children’s responses – that’s why I make theatre, to see the effect it has on audiences.
“The biggest thing I want to achieve, though, is that children leave the theatre and say ‘I can’t wait to go back’.”
Vikki Stone: Musiocal supervisor and arranger for Hey Duggee The Live Theatre Show
Quickfire questions for Matthew Xia and Vikki Stone
What is your favourite Hey Duggee moment?
Matthew: “In The Super Squirrel Badge, the Squirrels are naming their superhero characters. Norrie says something like ‘Super Mouse’ or ‘Fast Mouse’, and the Squirrels all look to Roly, who doesn’t quite get it (as he often doesn’t), and say ‘What’s yours, Roly?’.
“He says ‘Roly’, and they say ‘No, you need a different name’. Roly punches the air and shouts ‘Steven’! It’s just so simple, so typical of the character, and so funny.”
Vikki: “I love eggs, so The Omelette Badge and The Egg Badge both really hit the mark for me. And you might find some reference to them in the stage show…”
Who is your favourite Hey Duggee character?
Matthew: “I love Roly. He’s a lot of fun, full of energy and slightly louder than everyone else.”
Vikki: “A lot of the secondary characters. Mrs Weaver, Hennie and Chew Chew are brilliant, so I’ve loved working them into the show. And then there are characters like Mr and Mr Crab just woven into it and existing with no commentary that they are two males.”
Which Hey Duggee character are you most like?
Matthew: “I’m torn between Roly and Betty. Roly reminds me of myself. At the same time, I can be quite like Betty too, in my introverted side, with my head in a book trying to understand the universe.”
Vikki: “Roly. I get easily excited and I like to shout.”
Hey Duggee The Live Theatre Show also plays Leeds Grand Theatre, July 19 to 22, 10am and 1pm. Box office: 0113 243 0808 or leedsheritagetheatres.com.
Charlotte (Emmeline) North’s mural on the Fishergate side of York Barbican
LOOK out for Charlotte (Emmeline) North’s new mural at York Barbican, celebrating the city’s music and culture.
The work has been commissioned by the York BID as part of an ongoing programme to introduce more street art to York.
Yorkshire mural artist and designer North won the commission to design a mural based on the “York Narrative”, representing what York means to the people who visit and live in the city.
Charlotte says: “I think it’s great that businesses are invested in art for the city. I’m thrilled to be creating a mural in York; my mum’s side of my family are from here. We’ve had a great response so far, and it’s been lovely to hear that gentle York accent while chatting to people.”
Featuring Charlotte’s signature bright and abstract style, reflecting movement, rhythm and connection, the mural is the largest to be commissioned by the York BID so far at 14m long and 2m high.
Created in environmentally friendly paint, it runs along the Fishergate side of York Barbican, a busy route for those accessing the city by car, bicycle and on foot.
Made by Graphenstone, the paint is free of plastic and other harmful toxins and uses natural materials developed into a formula proven to absorb CO2 from the environment, creating a “living” mural that acts as an adult tree.
Rachel Bean, projects and finance executive at York BID, says: “I love the energy and flow of Charlotte’s work. York is bursting with creative talent and this piece beautifully captures that. Our ambition with this project is to create new destination points in the city and hopefully encourage residents and visitors to explore new areas.”
York Barbican manager Sam Ryder says: “Arts and culture is in the bloodstream of the city of York. At York Barbican, we continue to strive to bring the best live entertainment to York, and we are very grateful to be a part of this cultural transformation of the city. Now everyone will take in a piece of the incredible atmosphere that’s created inside the Barbican as they travel past”.
Mural artist Charlotte (Emmeline) Scott
Charlotte (Emmeline) North: the back story
Studied Printed Textiles and Surface Pattern Design at Leeds Arts University with a focus on materials and sustainable design.
Began her first exterior installation in 2018.
Firm believer in the concept of turning art galleries inside out, having work for all people to see, and hopefully enjoy, as they go about their day.
Her work can be spotted in York, Leeds, Dewsbury, Batley and Birmingham.
Her studio is at Red Brick Mill, Bradford Road, Batley.
Leeds Lieder Festival 2023: Royal, Rice & Drake/Keenlyside & Middleton,The Venue, Leeds Conservatoire, June 15 and 17
KATE Royal’s soprano and Christine Rice’s mezzo blended happily in their recital with Julius Drake, who bounced straight into Brahms’s Zigeunerlieder Op 103, setting a jovial tone.
These gypsy songs were so popular when first published as vocal quartets in autumn 1888 that Brahms reissued eight of them for solo voice the following spring. These latter made a delightful start to the evening.
Four genuine duets followed. As two sisters, identical in their tastes, they giggled along – until realising that they loved the same man. Cue pouting dissent and a piano lament. Die Meere, translated from the Italian, was a gently rocking barcarole, with another evocative minor-key piano postlude as the little boat sank.
Goethe’s Phänomen, describing the effect of a rainbow, was gently consoling, while mother (Rice) and daughter (Royal) enjoyed their enigmatic dialogue in Walpurgisnacht.
Two quieter duets concluding four by Schumann made a strong impression. The heat-haze of Sommerruh, the voices taking their cue from Drake’s delicate introduction, came to a lovely, peaceful conclusion.
In the same vein, In der Nacht (originally for soprano and tenor), with love’s power banishing sleep, was deeply elegiac, conjuring the romance between Schumann and his eventual wife, Clara.
A concluding group of Weill songs, split between the singers, was altogether more light-hearted – but with genuine emotion. Rice’s rueful Nanna, thrown onto the love market at 17, and the Cocteau song Es Regnet (Weeping Together) followed her multi-coloured description of Berlin’s illuminations.
Royal’s tango-based Youkali, drifting into oblivion, and her cabaret lilt in Buddy On The Night Shift were topped by the slowly ironic Je Ne T’aime Pas, building to an impassioned climax, the title line shouted defiantly.
Alabama Song, from Mahagonny – a Lotte Lenya original that caused a riot at its premiere – allowed the pair to alternate as a drunken prostitute with equal measures of wit and pathos. All evening the group was truly a trio, so smoothly integrated was Drake’s piano into the ensemble.
For its closing gala, the festival was able to substitute one titled singer with another. Dame Sarah Connolly was indisposed, but Sir Simon Keenlyside stepped in with Schubert’s Winterreise, no less. With Joseph Middleton in support, he offered a painful journey through the snow and ice, voiced in excellent German. The text could not have emerged more clearly.
But there were distractions along the way, not least that Keenlyside himself seemed distracted. From the start he was fidgety, rarely maintaining a posture more than a second or two and pacing about nervously.
Perhaps this was a deliberate part of the act; it was impossible to be sure. But with his downward gaze, which he raised only to sight the crow or the phantom suns, he rarely made eye contact with his audience. This made our task the harder: the cycle must surely tell a tale and listeners need to be engaged.
None of this affected the quality of his tone, which was superbly varied; his baritone is a flexible instrument indeed. His disconsolate opening was well-judged, reaching a peak in a firmer third stanza. It slightly came undone when Middleton made a rare miscue, understating the change to the major key for the consoling last verse, the vital third of the chord being virtually inaudible.
Elsewhere he was with Keenlyside every step of the way. Together they conjured fake respite in the middle of Erstarrung (Numbness) and covered their tone while lamenting their distance from the linden tree.
We felt the warmth of the thaw in Wasserflut (Flood), and after the slow plod along the river (Auf dem Flusse), the piano’s taut chords boiled into the singer’s anger in the final verse. It was truly a duo.
Frühlingstraum (Dream Of Springtime) abounded in contrasts: the imagined flowers in bloom against the privations of winter, all culminating in a pianissimo ending, quite without vibrato, desolation personified. It was not all bleakness. There was the joy of anticipation in hearing the postman’s horn and the bleak friendship with the crow.
The travellers’ gradual derangement was aptly symbolised with much rubato in Letzte Hoffnung (Last Hope), with calm achieved only in the final major chord on Grab (Grave). Piano and voice mirrored one another in Täuschung (Delusion), as they had during the stormy morning.
There was tangible irony in the graveyard ‘inn’ with a martial tempo in Mut (Courage) to follow. The phantom suns brought on deep despair and the organ-grinder marked the end of the traveller’s life-road, again completely without vibrato in the voice.
As a picture of mental breakdown, this was about as harrowing as it gets. Perhaps, in retrospect, the mental break-up should not have been quite so evident in the earlier part of the cycle. But the duo offered plenty of food for thought, for which we may be grateful.
