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REVIEW: Steve Crowther’s verdict on Yorkshire Baroque Soloists & Rose Consort of Viols, York Early Music Festival

Helen Charlston: “Alto voice so clear in both quality and volume in the lower range”

York Early Music Festival: Yorkshire Baroque Soloists & Rose Consort of Viols, Body And Soul, St Lawrence Church, York, July 11

THIS was excellent. Real refinement and clarity was the order of the day, both in texture and line. The balance was impeccable, the instrumental playing was crisp, articulate, and the singers a joy.

They seemed at ease as soloists, in ensemble engagement and comfortable too in their own vocal range: this was particularly true of Helen Charlston. Not that she was the pick of an excellent quintet, but I haven’t heard an alto voice so clear in both quality and volume in the lower range. The church acoustic was excellent, and it behaved itself too.

However, my role isn’t just to soak the performance with appreciation and blessings but to review it, so here we go. 

The concert was descriptively labelled Body And Soul, which was particularly appropriate for the first-half performance of Buxtehude’s vocal masterpiece, Membra Jesu Nostri Patientis Sanctissima. The work is a set of seven short, beautifully crafted cantatas for Holy Week. The text is a medieval hymn cycle in which the author looks in wonder at the body of the crucified Christ.

We experience the mystical contemplations of different parts of his body: the feet in the first cantata, to the knees, hands, side and breast, and the heart to the face. Quite extraordinary.

Buxtehude’s music has a gentle, austere beauty to it, and this was enhanced by the economy of performers: five soloists, six instrumentalists, including Peter Seymour on organ, plus the Rose Consort of Viols.

The soloists teased out every nuance of the text. They lingered deliciously on every expressive dissonance and suspension, while the players added warmth, colour, as well as crisp commentary.

There was a gorgeously intense, yet poignant concerto Quid Sunt Plagae Istae. Maybe it was just me, but I thought the dramatic percussive opening of this third cantata suggestive of the nails being hammered into Christ’s hands. Perhaps not.

The dramatic focal centre of the work was the fourth movement Ad Cor. The Vulnerasti Cor Meum had a tortured intimacy, the singers embracing the honesty and humanity of the text. The precision in the agitated off-beat accents of the concluding Amen worked well.

Nevertheless, in the concluding four movements of Ad Faciem there is a relaxing of the tension, a meditative closure.

The performance captured a fascinating subtle layer of creative tension between the Catholic mysticism of the text and Buxtehude’s Lutheran faith. Maybe. We don’t seem to dwell on the sufferings of the crucified Christ but celebrate the “graces that flow from that suffering”, its humanity. 

In short, the performance was both radiant and illuminating. A triumph for Peter Seymour, who must have been delighted.

Two little grumbles. Firstly, although it did have the intended dramatic effect, change of colour and so forth, the introduction of the excellent Rose Consort of Viols did temporarily break the spell. But then again, I wasn’t ready or expecting the changing of the guard.

Secondly, although I invariably find (composer and) performer biographies tedious essays in vanity, I would have expected some biographical acknowledgement of these superb performers in the programme: sopranos Bethany Seymour and Helen Neeves, alto Helen Charlston, tenor Jonathan Hanley and bass Frederick Long. Violins, Lucy Russell and Gabriella Jones; cello, Rachel Gray; violone, Rosie Moon; theorbo, Toby Carr and organ & director, Peter Seymour. Take a bow.

Finally, the concert was dedicated to the memory of Klaus Neumann, an important figure in the York Early Music Festival. Mr Seymour gave a touching tribute and kept the programme photo on the organ next to the Buxtehude score. It summed the evening up nicely.

P.S. Bach’s Jesu, Meine Freude was very good too.

Review by Steve Crowther

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REVIEW: Steve Crowther’s verdict on The City Musick at York Early Music Festival

The City Musick: Twenty, rather than seven, played at York Early Music Festival last Friday in a Renaissance Big Band line-up

York Early Music Festival: The City Musick, The Count and The Duke: A Renaissance Big Band, Sir Jack Lyons Concert Hall, University of York, July 7

IN the YEMF brochure, director William Lyons said: “With a band of 20 musicians, The City Musick presents a homage to the iconic recordings made by David Munrow in the 1970s, but with a modern twist”. Which is exactly what we got, with a jazzy title too. The Count and The Duke: A Renaissance Big Band.

Praetorius’s opening rustic welcome was indicative of what was to come: gorgeous sounds, ripples of florid decoration, music of such intimacy and balance. Balance, I think, is key here.

The Renaissance Big Band was arranged into groups of soft instruments:  strings (the splendid Monteverdi String Band) and woodwind, plus the (not very) loud instruments – brass, keyboard, lute and theorbo, and percussion.

This also gives us a link to the ‘big band’ set-ups of the great Duke Ellington and Count Basie that were also grouped into instrumental sections: saxophones, trumpets, trombones, and rhythm.

The way the instrumental groups engaged with each other throughout the concert was especially rewarding. Firstly, the alternating loud and soft instrumental groups meant that these contrasting exchanges were inherently employed to gentle dramatic effect.

They also reinforced the Renaissance dance music, adding another (gentle) dramatic layering. For example, the second-half collection of Masque arrangements of Robert Johnson, John Adson and William Brade.

Not only did the opening string section pass on the musical baton to the brass section, but there was also role play involved in these courtly dances. The strings asked the brass players to join the courtly dance; the music was seductive and invitational. And readily accepted.

We were also able to enjoy the musical moment as the individual ensembles embellished their own musical offerings before the exchanges and then collectively signing off. We could also savour the timbres, the instrumental tone colour.

Like the delightful intimacy of strings and theorbo in Praetorius’s Courante, the woodwind and percussion in the Suite des Bransles arrangement and the extraordinary wind sound when joined by the uniquely rasping racket in Susato’s Suite des Rondes.

The arrangement of Thoinot Arbeau’s Suite des Branles was arguably the most memorable contribution of the first set, with its ground-bass ushering in other instrumental players, metric (hemiola), syncopated gear changes and infectious foot-tapping music designed to put a smile on your face. Or as Count Basie put it: “If you play a tune and a person don’t tap their feet, don’t play the tune.”

Then there were the John Skene English Country Dances arrangements. They were performed by bagpipes and a hurdy gurdy. Bagpipes, surely not! But music for the original country dances of the (English) villages were indeed played by a bagpipe. Don’t know about the hurdy gurdy. The pastoral, chocolatey tunes were a delight.

And then we had the promised modern twist, notably in William Lyons’s arrangement of Maurizio Cazzati and Tarquinio Merula’s Ciaccona. Here a simple ground-bass is joined by weaving lines of string variations, then by the other players in a sound world reminiscent of Pachelbel’s Canon. Maybe. There also seemed to be echoes of the Penguin Café Orchestra and minimalism: the signing-off with striking woodblock hits and pizzicato strings recalled music by John Adams. Well, it did for me anyway.

Review by Steve Crowther

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Wanted! York artists sought for Navigators Art’s Punk/Jazz show, plus musicians and poets for live events in The Basement

Navigators Art’s poster seeking artists for the Punk/Jazz exhibition

YORK community collective Navigators Art & Performance is inviting York artists to submit work for its next show, Punk/Jazz.

“We’ll select the pieces we think work best and they’ll be exhibited in two bar venues in York – one small, the other, average size –from August 16 until October 17, with an official launch night on August 18,” says co-founder Richard Kitchen.

Submissions must be made by 9am on Monday, July 17. Full details can be found on Navigators Art’s Facebook and Instagram pages, @navigatorsart, or send an email to navigatorsart@gmail.com.

Maps, Some Heads, by Nick Walters, from Navigators Art’s newly extended Hidden Treasures exhibition at York Explore

Explaining the exhibition theme, Richard says: “Positive vibes or no future? Are Punk and Jazz at odds or two sides of a coin? Both can be controversial, uncompromising, confrontational. Both can be healing.

“The best of each is groundbreaking, seeking to push the limits of what’s possible. The differences are interesting too! How does the music channel your own feelings? Can your art reflect all or some of this?

“The show will be a creative exploration of the two genres, so be imaginative with your response. Whatever your experience in making art, we encourage submissions from all areas of society. No sculptures, installations or screen-based work this time, sorry.”

York Minster floorscape, by Richard Kitchen, from the Hidden Treasures exhibition

A related themed live event at The Basement, City Screen Picturehouse, on October 14 will complement the exhibition. “We’d like to hear from interested musicians, as well as visual artists for the exhibition, with the same deadline for submissions of 9am next Monday,” says Richard.

Updating on Navigators Art & Performance’s projects in 2023, Richard says: “At present we’re stripping down the Navigators engine and doing a bit of retuning. Our Hidden Treasures exhibition, which ran at York Explore library until July 6 as part of the York Festival  of Ideas, has  now expanded and will extend its run there  to early September.

“The Living Treasures performance event, featuring writers, musicians and performers in  an evening of original music and words at The Basement on June 10, was a big success, leading to us being offered a regular slot there. We’ll be able to do all kinds of music, spoken word and art events there and we’ll soon have some ideas in place.”

Hidden Treasures: Expanded and extended show at York Explore until early September

For this Basement project, Navigators Art & Performance is issuing a call-out to “team-spirited creatives”:  musicians (bands, solo, indie, jazz, punk, folk, world, hip-hop, electronica and more), plus poets/spoken-word performers, dancers and comedians.

“We’ll be organising a series of live events between now and December at The Basement,” says Richard. “We often link themed live events to our art exhibitions, but this is an additional showcase for emerging acts as well as for experienced artists who may want to try out some new material. Of course, you may just love an opportunity to play somewhere!”

Richard continues: “We’ve built a friendly, talented, enterprising team, and there’ll be opportunities for creative collaborations and other activities in the future.

Peter Roman Visualises York-born W H Auden’s Poetry, from the Hidden Treasures exhibition

“These events are like an open mic but with a prearranged line-up and costs to cover. Because of the nature of the occasion and our ethos, we try to keep prices down and affordable to all.

“We aren’t funded so we aren’t employers. We have to ticket events to pay for venue hire and a sound engineer’s fee. Anything over gets split between performers and group funds to subsidise future occasions.”

Outlining the performance strategy for these live events, Richard says: “We want to present original music rather than cover versions or tribute acts, plus new poetry, dance, etc. We’d like the audience to feel they’ve discovered something new and exciting.

Gillygate Deconstruction (detail), by Timothy Morrison, on show at York Explore

“If interested in taking part, please give us a follow and message us @navigatorsart (Facebook and Instagram) or email navigatorsart@gmail.com. Tell us what you do and include a link to a performance of some kind, especially if we don’t know you already. And be sure to list your available Saturdays. We aim to kick things off in late-July and we’ve already had some interest, so don’t delay.”

Looking ahead, Richard says: “We’re planning a live show for the Christmas festive season, inspired by ancient traditions and folklore. Then, looking into 2024, we’ll be taking over York Barbican for an all-day festival, expanding on the Living Treasures show we did for York Festival of Ideas.

“This will feature musicians of all kinds, along with spoken-word artists, comedians and York stallholders, all celebrating aspects of York life and culture in fresh and creative ways.”

Navigators Art & Performance’s billboard for the Living Treasures line-up on June 10

Navigators Art & Performance: the back story

THIS York collective of artists, writers and performers engages in community activities.

A three-month residency at the StreetLife hub in Coney Street featured an exhibition and a live event.

This summer, the collective programmed three events – an exhibition, a live performance and a film screening – for the 2023 York Festival of Ideas.

The collective is keen to mentor young and emerging artists and offers a platform to those who are underrepresented for reasons of social and cultural background or health issues.

Crazy Kate, from a series by Navigators Art artist Katie Lewis, at York Explore

What artists need to do to apply to exhibit in the Punk/Jazz exhibition

SEND high-res images or scans of up to three original works to navigatorsart@gmail.com.

Subject heading: your name, then ‘Punk’ or ‘Jazz’ or ‘Both’.

Give details of:

1. The medium and size of each piece plus its title and price (this doesn’t need to be exact).

2. A bit about yourself as a person and your experiences/achievements in making art.

3. How you relate to the exhibition theme and why Punk or why Jazz? If there is a crossover, explain how and why.

If selected, you must:

1. Transport your own work and instal and take down on the specified dates (times TBC) or arrange an alternative.

2. Commit to sharing promotional activities and responsibilities, such as online posts and physical flyer distribution.

3. Agree to share promo costs and necessary expenses: this should not be more than the price of a few pints each.

No submission fee applies. No commission will be charged on sales.

The venue will take 25 per cent commission, so factor that in when deciding prices.

Navigators Art & Performance will decide on selections by August 1. “If you’re in, we’ll tell you which of your submissions we’ve chosen,” says co-founder Richard Kitchen.

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REVIEW: 1812 Theatre Company in Jekyll & Hyde The Musical, Old Meeting House, Helmsley Arts Centre, July 5 to 9 ***

Natasha Jones’s Lucy Harris and Joe Gregory’s Dr Jekyll in 1812 Theatre Company’s Jekyll & Hyde The Musical. All pictures: Helmsley Arts Centre, Joe Coughlan Phtography

IN their 30th anniversary year, Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, staged a musical for the first time.

The Old Meeting House stage is not the biggest, yet still Julie Lomas’s cast could accommodate 22 players in that compact space, with the full company number Murder! Murder! being one of the highpoints for cast and choreographer Michaela Edens alike.

Lomas is an experienced directorial hand from her days at The Grange Theatre, Walsall, where she directed Frank Wildhorn and Leslie Bricusse’s Broadway musical for the Grange Players. Likewise, musical director John Atkin had filled the same role for York Musical Theatre Company in May last year.

Know-how and experience duly combined with fresh ideas to good effect in this musical retelling of Robert Louis Stevenson’s novella of love, betrayal and murder.

Sarah Barker’s brothel madam, Aunt, in Jekyll & Hyde The Musical

Two keyboards, guitar and drums took care of business with panache, Atkin and cohorts Cameron McArthur, Paul McArthur and Joe Brooks being equally at home with big ballads in the Lloyd Webber mode and the sly wickedness shared with Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.

Sue Elm, Michael Goslin and Peter Ives’s set was built on two levels, both of them busy with human traffic in the ensemble numbers but best suited to the duets and profusion of solo numbers. Dr Henry Jekyll’s laboratory had to be rather squeezed in at the back but thankfully Joe Gregory is whippet slim.

The Gothic colour scheme of red walls and black doors was particularly effective when matched by the attire of the Victorian prostitutes of the Red Rat, and the use of masks was striking too.

This was CharlesHutchPress’s first encounter with Joe Gregory, and what an impressive lead performance he gave as the handsome/devil conflation of the upstanding, urbane but obsessive Jekyll and vengeful, sadistic, deranged alter ego Hyde welled up from within, once the doctor dares to dabble in reckless scientific experimentation in the cause of research for mental illness.

Joe Gregory’s urbane but obsessive Dr Jekyll

No Hammer Horror histrionics to report here on the journey to the dark side and an inner struggle between good and evil, scientific learning and carnal carnage. Instead, Gregory became more forceful of voice and manner, his movements staccato, stealthy and seductive, his actions ruthless, as brisk and lean as a bull fighter beneath a cocked hat.

The contrast was greater in his singing of the largely narrative songs, where notes would be deliberately strained in Hyde’s more urgent, guttural delivery, never more so than in The Confrontation, the Act Two vocal wrestling match for control in this dangerously dual personality.

It cannot be every arts centre where the artistic director (and youth theatre director to boot) happens to be the stand-out singer and actress for the resident company too. Step forward Natasha Jones, who was a knockout as Lucy Harris, the love-struck but self-protective prostitute, at once feisty but fearful and vulnerable.

What a voice; what expressiveness.  Each and every one of Lucy’s solo songs was better for her singing it, having first teased and tantalised provocatively among the saucy prostitutes in Bring On The Men.

Natasha Jones’s Lucy Harris: “What a voice. What expressiveness”

Her duets with both Gregory’s Jekyll and Hyde fizzed with electricity and, in between, her duet with Amy Gregory’s Emma Carew, Dr Jekyll’s trusting, unknowing fiancée, was Amy’s peak moment too.

As befits a romanticist scientist, Gregory’s Dr Jekyll had chemistry with both women, one relationship tender if preoccupied, the other tactile and voracious, as the chemically altered Hyde gradually prevails, both possessed and possessive.

John Lister’s John Utterson, Kristian Gregory’s Simon Stride, Richard Noakes’s Sir Danvers Carew, Barry Whitaker’s Bishop of Basingstoke, Sarah Barker’s brothel madam, Aunt, and Esme Schofield’s Newsgirl all had their moments in a show best known for Dr Jekyll’s belter This Is The Moment.

It was enjoyable too to spot Rowntree Players’ riotous pantomime dame, Graham Smith, in a deliciously wicked cameo as Sir Archibald Proops QC, a law unto himself indeed.

Joe Gregory’s Dr Jekyll finds peace at last in the arms of Amy Gregory’s Emma in the finale to Jekyll & Hyde The Musical
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REVIEW: Steve Crowther’s verdict on The Sixteen, Choral Pilgrimage, York Early Music Festival, York Minster, July 9

The Sixteen: “Perhaps a tad too reverential,” says reviewer Steve Crowther

THIS thoughtful, intelligent and on the whole rewarding concert was part of The Sixteen on tour, or to give the term official dignity, a “Choral Pilgrimage”.

Sunday’s concert marked the 400th anniversary of William Byrd’s death. Harry Christophers’ programme was thoughtfully laid out, focusing not only on the English Renaissance composer himself, but his engagement and connections with the music of his contemporaries.

For example, there were pairings of Byrd’s famous motet Ne Irascaris, Domine with Philip van Wilder’s superb madrigal O Doux Regard and the settings of Tristitia et Anxietas by both Byrdand Clemens non Papa.

These works not only influenced Byrd, but he also “openly borrowed” from them. No such thing as copyright in those days. Throw into the mix two specially commissioned tribute pieces by Dobrinka Tabakova and we have a strong contextual identity.

What struck me throughout was the absolute fluency of the choir, the clarity of line and infectious enthusiasm for this familiar territory. But I also felt that it was perhaps a tad too reverential; I didn’t always feel the real urgency or vitality I would normally be experiencing from this terrific choir.

To be sure, the opening Arise Lord Into Thy Rest was impeccable with excellent balance, the part-singing in Civitas Sancti Tui was sublime and the concluding Vigilate, with its contrapuntal density, was a great way to sign off. But I found the detail of Jacobus Clemens non Papa’s Ego Flos Campi hard to hear, perhaps a little imprecise.

Harry Christophers conducting The Sixteen at Sunday’s concert at York Minster

The Minster acoustic didn’t help. Certainly, it loves vowels: the opening of de Monte’s O Suavitas et Dulcedo was blessed with an other-worldly quality. But consonants, articulated consonants like the Ts and Ss in Byrd’s (smaller forces, choir down to 12 performers) Tristitia et Anxietas were just irritating.  So were the hanging cadences that drifted sharp-wards as in the Amen closure of de Monte’s O Savitas.

The new works were not particularly standout pieces, but pieces with standout moments. There was a richly melismatic soprano solo (an excellent Julie Cooper) in Arise Lord Into Thy Rest. The opening of Ms Tabakova’s Turn Our Captivity, O Lord, the stronger of the two works, was both distinct and beautiful.

The high unison soprano line decorated with ornamental, quite eastern-influenced decoration was simply gorgeous and persuasively delivered. I did think that composer’s decision to go for a “distinctly homophonic texture, to contrast with the layered polyphony of Byrd’s exquisite settings” was the correct one. The juicy chordal dissonances not only delivered contrast, but also distance.

Also gorgeous was the visual: The Sixteen gathered in front of the magnificent Great East Window. The glow was illuminating. Which brings me to conductor Harry Christophers. Not only is he a joy to watch, being so obviously immersed in the music he clearly loves, but also he seems to physically blend into the musical performance itself.

Review by Steve Crowther

York Early Music Festival runs until July 14 with the theme of Smoke & Mirrors. Full details and tickets at: ncem.co.uk/whats-on/yemf. Box office: 01904 658338.

More reviews will follow.

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Fergus Rattigan plays the ‘Tudor Poirot’ in Henry VIII thriller Sovereign at King’s Manor

Lead actor Fergus Rattigan with a copy of C J Sansom’s novel Sovereign. Pictures: Simon Boyle

AS the poster pronounces, expect intrigue, conspiracy and a thrilling night out when York Theatre Royal’s 120-strong community cast stages Sovereign on location at King’s Manor, Exhibition Square, York.

Leading the company in this open-air world premiere of York playwright Mike Kenny’s adaptation of C J Sansom’s Tudor-set thriller will be Irish actor and stage combat fighter Fergus Rattigan.

From July 15 to 30, Fergus plays disabled lawyer Matthew Shardlake, working in tandem with assistant Jack Barak (fellow professional Sam Thorpe-Spinks, late of the University of York). This “detective” duo is in York awaiting the arrival of Henry VIII, only to be plunged into a murder mystery that could threaten the future of the crown.

“I’m a Plantagenet/Tudor nut, right through to this period, and I’ve worked at Shakespeare’s Globe on occasion,” says Fergus. “When I came to York in the summer of 2021, when the Covid restrictions were softened and we were allowed to travel, I did a Viking tour, visited the Minster and walked the City Walls, reciting bits of Richard III. My partner is a historian, by the way.”

The role of Shardlake is made for Fergus. “I read the script and thought, ‘well, yes, I know this world, I know these characters, I know what’s happening, and even the way the character is described as a ‘hedgehog’ and ‘brothel spider’: one of those insults that echoes Shakespeare’s hunchbacked Richard III – and I’ve played Richard III on Zoom for the company Shake-Scene Shakespeare.

Actors Fergus Rattigan, left, and Sam Thorpe-Spinks with Sovereign adaptor Mike Kenny

“I’ve also directed bits of Richard III for the Dublin Shakespeare Festival in the Tudor crypt at Christ Church Cathedral, when we did scenes all around the city.”

Fergus’s agent informed him of the York Theatre Royal production. “The minute I learned about it, I was, ‘yes, yes, I’m very interested’!” he recalls. “I was auditioned by Juliet Forster and co-director John R Wilkinson on Zoom and then I came for an interview with all three co-directors [Mingyu Lin is the third] to see if I would be comfortable working with a community cast and whether I’d be comfortable with my disability being portrayed on stage.”

The answer was an emphatic “yes”. He cherished both the “juicy role” role and the performing opportunity. “Not only do I love and study the Tudor period but Shardlake has my mindset. He’s a bit of an outsider, which is something I can relate to both as a disabled person in a world not designed for disabled people but as a foreigner from another country. I’m very used to that outsider nature.

“I see myself very much reflected in him. When he’s in front of the King, there’s a moment of embarrassment. I’ve felt that. I’ve been in public where everyone is staring at me for just being myself. As a short man I’ve had people laugh at me for no reason, things like that. Or have judged me when I turned up for a job and I’m half the size they thought I was going to be.

“Shardlake’s situation is surprisingly relatable. He keeps a lot of it to himself, which is quite true to life with a lot of disabilities. The amount people are going through internally is always worse than what’s happening externally.”

Fergus Rattigan, centre, in the rehearsal room for Sovereign

Fergus’s condition is dwarfism, or dwarf syndrome, to quote the medical term. He notes how pantomime productions are increasingly not using dwarf actors, some preferring puppets, for Snow White And The Seven Dwarfs.

“I’ve worked with a group of seven actors for some time in Snow White. We were at the Festival Theatre in Edinburgh last Christmas and I’ll be working with the same company next Christmas. But you see some theatres not doing that now – and it’s not the dwarf actors being asked about it. It’s people being offended on our behalf – and now on the poster it’ll still say ‘The Seven Dwarfs’ but in the script it’ll say ‘The Magnificent Seven’.

“I’d say the term ‘dwarf’ is fine. Everyone knows what you mean. There’s no confusion. There’s nothing derogatory about it. People think they are generic characters but it’s just more clear than it is for other characters that it’s our characteristic.”

Fergus had not read C J Sansom’s novels before Shardlake came his way. “But I don’t know how I hadn’t because I’ve read historical novels and fictional stories of the period, especially by Philippa Gregory, who happens to live in Yorkshire,” he says.

Before auditions began, he read Sansom’s source novel, first quickly, then more thoroughly to add Post-It notes. “You can tell he has researched the period thoroughly, and likewise Mike Kenny’s script refers loyally to the book,” says Fergus.

Fergus Rattigan at King’s Manor, where he will play the disabled lawyer Matthew Shardlake

What stirred his interest in such novels and works of fiction? “It’s a weird thing. I got into Shakespeare very early on, but in Ireland we don’t have the focus on history the way you do over here, particularly not studying the War of the Roses,” says Fergus.

“So, I didn’t know what people were referring to when I came over here. I thought, ‘I must read about it’, and then I started to read historical novels and fictional works .”

Now he is at the centre of one such story, Sovereign. “It’s fiction and conspiracy on top of history, where Shardlake gets to step in as the Poirot of his period. He just tends to be in the right place – or the wrong place! – at the right or wrong time, depending on how you look at this little ‘hedgehog’ man,” says Fergus.

“There’s pressure to get the performance right, but you can also make it your own. You’re not trying to find your unique slant on Hamlet but to find the character, seeing how big or small to make his character, how proud he is as a proper lawyer or ashamed of his disabilities.

“For me, acting is about reacting to those around me and responding to that – and this time it’s a cast of 120.”

York Theatre Royal presents Sovereign outdoors at King’s Manor, York, July 15 to 30. Tickets update: SOLD OUT. Box office for returns only:  01904 623568 or yorktheatreroyal.co.uk

Copyright of The Press, York

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REVIEW: Robert Gammon’s verdict on Iestyn Davies & Ensemble Jupiter, York Early Music Festival, July 8

York countertenor Iestyn Davies: “Inhabiting this repertoire so completely”

York Early Music Festival 2023: Iestyn Davies & Ensemble Jupiter, Sir Jack Lyons Concert Hall, University of York, 8/7/2023

ENSEMBLE Jupiter’s seven instrumentalists teamed up with leading countertenor Iestyn Davies to immerse themselves in the music of Handel, mainly arias from his late secular oratorios.

From the mellifluous opening of Eternal Source Of Light Divine, everything sounded perfectly natural, and Davies and Ensemble Jupiter seemed in tune throughout, in every sense.

Some brilliant violin virtuosity from Louise Ayrton and Magdalena Sypniewski was underpinned by classy continuo playing from lutenist Thomas Dunford and harpsichordist Benoît Hartoin, which provided percussive vitality at just the right moments; Hartoin shifted to chamber organ for music requiring less bite. Instrumental numbers were rhythmically pointed and sharply characterised.

Davies inhabits this repertoire so completely, with such dedication and beauty of voice, that the audience was willingly drawn into his musical world. His tone in Yet, Can I Hear That Dulcet Lay was as sweet as the honeydew the text alludes to.

In Despair No More Shall Wound Me, such vocal virtuosity is called for that his further decorations on its reprise were a marvel. On the surface, the lyrics of Mortals Think That Time Is Sleeping appear commonplace, but here they were invested with mortifying meaning.

The ovation demanded two encores, the second being the song We Are The Ocean by Thomas Dunford, Ensemble Jupiter’s director. Its jazzy, improvisatory episode was a jammy middle to a delicious confection and showed further evidence of these musicians’ enjoyment of each other’s company.

This year’s York Early Music Festival is already in full swing!

Review by Robert Gammon

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North York Moors Chamber Music Festival ventures Into The Looking Glass for fantastical fortnight with 30 musicians

Jamie Walton: North York Moors Chamber Music Festival artistic director and cellist, performing at the 2022 event. Picture: Matthew Johnson

EXPECT the unexpected when the North York Moors Chamber Music Festival invites next month’s audiences to peer into the looking glass.

Now in its 15th year, the summer festival will combine daring programming with an inclusive atmosphere in its fortnight run from August 13 to 26.

This year’s theme, Into The Looking Glass, takes inspiration from Lewis Carroll’s 1872 novel to “explore the psychology of the mind through the prism of music, conveying its various chapters with carefully curated music that takes the audience on an adventurous journey through many twists and turns”.

Having forged ahead to play to live audiences through the height of the Covid pandemic by hiring an open-sided, 5,000 sq.ft marquee, the festival retains the format this year in the grounds of Welburn Manor, near Kirkbymoorside.

Violinist Alena Baeva: Making her North York Moors Chamber Music Festival debut. Picture: Andrej Grilc

In addition, a series of lunchtime concerts will be presented in North York Moors National Park churches at St Michael’s, Coxwold; St Hilda’s, Danby; St Hedda’s, Egton Bridge, and St Mary’s, Lastingham.

From his North York Moors home, the festival’s artistic director, cellist Jamie Walton, has gathered around 30 international artists, such as pianist Katya Apekisheva, French horn virtuoso Ben Goldscheider and violinists Charlotte Scott and Benjamin Baker.

Award-winning Ukrainian pianist Vadym Kholodenko and Russian-born, Luxembourg-based violinist Alena Baeva will make their festival debuts.

Works by Bach, Schubert, Strauss, Schumann, Debussy and Mendelssohn, among others, will be performed.

Walton says: “Although the festival is primarily chamber music in the classic sense, the success of last year’s appearance by folk singer Sam Lee and his band opened up our audiences to new styles and acts, while attracting Sam’s own fanbase to the world of classic music.

Jazz pianist and singer Alice Zawadzki : Undertaking Adventures Through Song at her Wonderland concert on August 19 at 6pm in the Festival Marquee at Welburn Manor

“This year, we’re delighted to welcome eclectic singer/violinist Alice Zawadzki and her jazz-infused trio for a concert entitled Wonderland, specially developed for the festival.

“Throughout this festival, audiences can expect the unexpected in a fantastical fortnight that showcases great talent, sublime music and spectacular locations. There’ll be loads of vitality and we’ll be pushing some boundaries.”

For the full festival programme, head to: www.northyorkmoorsfestival.com. Tickets for each main festival concert cost £15, free for under-30s. A season ticket for all 14 concerts is £150.

To book, email bookings@northyorkmoorsfestival.com, call 07722 038990 or visit www.northyorkmoorsfestival.com. Welburn Manor is sited west of Kirkbymoorside en route to Helmsley, off the A170, at YO62 7HH.

Who will be playing at the 2023 North York Moors Chamber Music Festival?

Daniel Lebhardt on the piano at the 2022 North York Moors Chamber Music Festival. He returns for this summer’s Into The Looking Glass programme. Picture: Matthew Johnson

Violin: Alena Baeva; Benjamin Baker; Rachel Kolly; Emma Parker; Victoria Sayles; Charlotte Scott.

Viola: Sascha Bota; Meghan Cassidy; Scott Dickinson; Simone van der Giessen.

Cello: Rebecca Gilliver; Jack Moyer; Alice Neary; Tim Posner; Jamie Walton.

Double bass: Siret Lust; Frances Preston.

Piano: Katya Apekisheva; Christian Chamorel; Vadym Kholodenko; Daniel Lebhardt; Nikita Lukinov.

Clarinet: Matthew Hunt.

French horn: Ben Goldscheider.

Plus. . .

Alice Zawadski, singer/violinist; Misha Mullov-Abbado, bass, and Bruno Heinen, piano.

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Educated Vandals graffiti artists take over Low Ousegate building to create fund-raising installation for York Mind

York artist Lincoln Lightfoot’s poster for the Educated Vandals installation project in aid of York Mind

ACE graffiti artists from across Britain will be gathering in York for the next three weekends to make Educated Vandals at one of the city’s tallest buildings, 2 Low Ousegate.

In a fusion of art and community, not-for-profit York arts organisation Bombsquad will bring together diverse artists to create a live street installation to raise funds and awareness for mental health charity York Mind while “pushing the boundaries of creativity to elevate your senses”.

Unleashing a whirlwind of colour, imagination, storytelling and urban magic from July 15, the event will showcase the talents of internationally acclaimed artists RoWdY, Mighty Mo, Listen04, James Jessop, Mul, Prefab and Dan Cimmermann.

They will be complemented by York artists Sharon McDonagh, Lincoln Lightfoot, BOXXHEAD, Steve Bottrill, SOLA and Michael Dawson plus special guests.

Last year, a Bombsquad Urban and Contemporary Art Timed Auction raised £20,000 for York Food Bank. Now, at this month’s Educated Vandals event, visitors will experience the transformation of the top two floors of the Low Ousegate building ahead of their redevelopment. Both floors will come alive with vibrant street art at this rare creative union of influential artists in the graffiti world.

“Watch them transform an iconic yet unloved and abandoned space into a living, breathing art gallery that reflects the power of street art in creating positive change,” says York artist Sharon McDonagh, one of the organisers.

York artist Sharon McDonagh

“With permission, we’ve taken over two floors of this big empty office block, where some of the top street artists in the country have given their time to create amazing wall pieces and roof art, collaborating with my crew of York artists.

“We open to the public on Saturday from 10am to 6pm and will be open for three weekends. There’ll be some stunning art on the walls, a gallery, a shop and live DJ for the event too.  I don’t think there’s ever been anything like this in York before, not on this scale anyway, with this many headliners.

“York businesses have been so supportive, giving their time and money to ensure that the event is a success. It’s been an amazing experience so far, and we’ve not even opened yet!”

Some of the art installation may be retained by the new developer to enhance the new apartments planned for both floors.

“We believe that art has the power to unite and transform lives,” says Sharon. “The Educated Vandals event is a powerful creative platform to raise awareness about mental health while providing an opportunity for artists to share their talent with the world.

“By harnessing the positive energy of street art, we hope to raise funds and awareness for York Mind to provide a new art space that will help improve mental health in our community. York Mind have been at the forefront of mental health locally since 2011 and their tireless local support makes a real difference to people’s lives.

York artist and Educated Vandals poster designer Lincoln Lightfoot

“By coming together to support York Mind, we can create a lasting impact in the lives of those affected by mental health challenges.”

Educated Vandals will run on July 15 and 16, 21 to 23 and 28 to 30, allowing ample opportunity for art enthusiasts to immerse themselves in the installation.

“The event will provide an interactive and engaging experience with opportunities for visitors to engage with artists, participate in a raffle and explore a wide selection of street art merchandise in our shop with proceeds going to York Mind,” says Sharon. Entry is free but a donation will be encouraged.

To maximise fundraising efforts for York’s mental health resources, an auction of paintings after the event will be held by Tennants Auctioneers. Limited-edition posters signed by all the artists will raise more funds for the charity.

“Join us in this unique experiential event featuring some of the best street artists in the world to create a more promising future for mental health in York,” says Sharon. “To contribute to our fundraising campaign, kindly make a donation on our JustGiving page.”

James Shipley, York Mind’s community and events fundraiser, says: “All of us at York Mind are delighted to have such amazing art work being created in aid of us and for theservices we operate. It’s fantastic to see such inspiring talent and creativity being utilised towards supporting people in York.

“We’d like to thank those at Bombsquad for organising this exhibition, and we can’t wait to see it in person.”

The Bombsquad logo

Bombsquad: the back story

THIS not-for-profit York community arts organisation focuses on street art and enhancing the city’s cultural landscape while raising funds for York charities.

Applying a “grassroots and authentic approach”, its core members bring decades of experience in the art world.

Its inaugural family-friendly outdoor arts event, the free Tempting Fete in June 2021, raised £1,600 in eight hours for York Food Bank. Despite the pandemic, it had a dystopian theme with black bunting, vandalised oil paintings and balloons.

Renowned street artists were invited to create artworks on the venue walls, engaging the local community. In addition, a charity art raffle featured prizes from Banksy, Phlegm, and Sweet Toof. The event included food, music, a bar, a children’s art competition and art for sale too.

Last October, Bombsquad organised Totally Hammered, a charity art auction held in collaboration with Tennants Auctioneers. Thirty-seven artists contributed artworks, and a ticketed fundraising party, where the art was on display, raised more than £20,000 for York Food Bank.

BombSquad comprises five artists and art collectors based in and beyond York.

What is York Mind?

IN 2011, the merger of Our Celebration and York District Mind gave rise to York Mind.

These two organisations had made a significant impact over a combined 84 years by assisting thousands of individuals on their journey towards mental well-being.

As an independent York charity dedicated to mental health, its primary objective is to empower those facing mental illness to embark on a path to recovery.

York Mind believes in the principle that a person should not be defined by their condition. Its recovery model encompasses every facet of a client’s life, encompassing personal, social and professional spheres.

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More Things To Do in York as Sovereign takes over King’s Manor. Here’s Hutch’s List No. 28 for 2023, from The Press, York

Sovereign actors Fergus Rattigan, left, and Sam Thorpe-Spinks, right, with playwright Mike Kenny

HENRY VIII and the murder of a York glazier take top spot in Charles Hutchinson’s pick of July highlights with outdoor cinema on its way too.

Community event of the month: York Theatre Royal in Sovereign, King’s Manor, Exhibition Square, York, July 15 to 30

YORK Theatre Royal’s large-scale community production, York playwright Mike Kenny’s adaptation of C J Sansom’s Tudor-set murder mystery Sovereign, will be staged outdoors at King’s Manor, where part of the story takes place. Henry VIII even makes an appearance.

Two professional actors, Fergus Rattigan’s disabled lawyer Matthew Shardlake and Sam Thorpe-Spinks’ assistant Jack Barak, lead the 120-strong community company of actors, singers, musicians and backstage workers. Tickets update: sold out.

York artist Tom Wilson stands by his artworks in the City Screen Picturehouse cafe bar

Exhibition of the week: Tom Wilson, City Screen Picturehouse café bar, Coney Street, York, until July 29

YORK punk expressionist artist, designer, playwright, theatre director and tutor Tom Wilson is exhibiting his riots of colour at City Screen Picturehouse for the first time with sale proceeds going to MAP (Medical Aid for Palestinians). Thirty-five works are on display, priced at  £175 to £700.

“My art looks like an explosion,” says Wilson, whose dynamic abstract artwork is influenced by Kandinsky, Max Earnst, Otto Dix, Outsider art, German Expressionism and Rayonism (Russian Expressionism).

Industrial Revolution, one of Tom Wilson’s works on show at City Screen Picturehouse

Tribute show of the week: Steve Steinman’s Anything For Love, The Meat Loaf Story, York Barbican, tonight, 7.30pm

FOR more than 30 years, Nottingham’s Steve Steinman has toured the world with his tribute to the songs of Jim Steinman and Meat Loaf (real name Marvin Lee Aday). Now he presents his new production, showcasing 25 chunks of Meat Loaf and Steinman’s prime cuts.

Anything For Love combines Steve’s humour and a ten-piece band with such rock-operatic favourites as Bat Out Of Hell, Paradise By The Dashboard Light, Took The Words Right Out Of My Mouth, Dead Ringer For Love and Total Eclipse Of The Heart. Box office: yorkbarbican.co.uk.

The Sixteen: Marking 400th anniversary of the death of composer William Byrd in Sunday’s York Early Music Festival concert at York Minster

Don’t miss at York Early Music Festival: The Sixteen, York Minster, Sunday, 8pm

THE Sixteen’s 2023 Choral Pilgrimage is inspired by the influence of Renaissance composer William Byrd in an exploration of his life, works and pervading Roman Catholic faith. His legacy is marked by two new compositions by Dobrinka Tabakova, bringing his musical heritage into the modern day.

The premieres, Arise Lord Into Thy Rest and Turn Our Captivity, highlight Byrd’s influence of modern polyphony and showcase The Sixteen choir in a new light. Director Harry Christophers’ programme also features works by Van Wilder, de Monte, Clemens Non Papa and Byrd himself. Box office: 01904 658338 or tickets.ncem.co.uk.

Emily Belcher’s Emily Webb and Frankie Bounds’ George Gibbs in rehearsal for Amerrycan Theatre’s Our Town

American play of the week: Amerrycan Theatre in Our Town, Theatre@41, Monkgate, York, Tuesday to Saturday, 7.30pm plus 2.30pm Saturday matinee

FOUNDER Bryan Bounds directs Yorkshire’s American company, Amerrycan Theatre, in the York premiere of “America’s greatest play”, Thornton Wilder’s Pulitzer Prize-winning 1938 study of mindfulness, mortality and brevity of life, Our Town.

“Wilder’s portrait of life, love and death set in Grover’s Corners, New Hampshire, a fictional New England town at the start of the 20th century, could happen just as easily in Pocklington,” says Bounds. Tracing the romance and marriage of Emily Webb (Emily Belcher) and George Gibbs (Frankie Bounds), Our Town reveals the hidden mysteries behind the smallest details of everyday life. Box office: tickets.41monkgate.co.uk.

Amerrycan Theatre’s poster for the York premiere of Thornton Wilder’s Our Town

Outdoor film event of the week: City Screen Picturehouse presents Movies In The Moonlight, Museum Gardens, York, July 14 to 16, doors, 7.30pm; screenings at sundown, 9.15pm approx

CITY Screen Picturehouse heads outdoors for three films in three nights, kicking off on Friday with The Super Mario Bros Movie, wherein Brooklyn plumbers Mario (Chris Pratt) and brother Luigi (Charlie Day) are transported down a mysterious pipe and wander into a magical new world.

In Mamma Mia! The Movie, next Saturday, Greek island bride-to-be Sophie (Amanda Seyfried) is set on finding out who her father is. In next Sunday’s film, Jaws, Roy Scheider, Robert Shaw and Richard Dreyfuss star as a police chief, marine scientist and grizzled fisherman set out to stop a gigantic great shark that has been menacing the island community of Amity. Box office: picturehouses.com/outdoor-cinema.

The Counterfeit Seventies: Heading to Joseph Rowntree Theatre

Pop nostalgia of the week: The Counterfeit Seventies, Joseph Rowntree Theatre, York, July 16, 7.30pm

IN the wake of The Counterfeit Sixties, here comes, you guessed it, The Counterfeit Seventies, the decade of glam rock, punk, new wave and everything in between. Revisit Slade, Sweet, T Rex, the Bay City Rollers and plenty more, aided by a light show, costumes of the period and archival footage of bands and events from the era. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Sarah-Louise Young in The Silent Treatment. Picture: Steve Ullathorne

Solo show of the week: Sarah-Louise Young in The Silent Treatment, Theatre@41, Monkgate, York, July 16, 7pm

AFTER her celebrations of Kate Bush (An Evening Without…) and Julie Andrews (Julie Madly Deeply), writer-performer Sarah-Louise Young returns to Theatre@41 with the highly personal true story of a singer who loses her voice and embarks on an unexpected journey of self-revelation.

Warning: The show includes themes of trauma and sexual violence. As The Stage review put it, The Silent Treatment is a “a war cry and a message of resilience and hope to anyone who has faced abuse and been made to feel guilty about it”. Box office: tickets.41monkgate.co.uk.