Ah, that Technicolor Dreamcoat moment as colours spread across the Joseph Rowntree Theatre stage. Picture: Lucy Baines, Joy Photography
COLET Court School in London has its place in British musical theatre history.
It was at this Barnes prep school that Andrew Lloyd Webber and Tim Rice – whatever became of them? – first staged Joseph And The Amazing Technicolor Dreamcoat, performed by the school choir as a 15-minute pop cantata.
The original West End production opened in February 1973 at the Albery Theatre; the soundtrack LP followed in 1976, and many a revival and tour since then. Jason Donovan, Donny Osmond, Phillip Schofield, Joe McElderry, Gareth Gates, Steps’ Ian H Watkins and Lee Mead have all donned that famous coat on the London stage.
Some things change – Colet Court School became St Paul’s Juniors in 2016 – but some things don’t. School choirs (from Knavesmire Primary and Wiggington Primary Singstars) still feature in York Musical Theatre Company’s Joseph.
This week’s run is selling well, very well. No change there. Go, go, go, Joseph ticket seekers; there’s not a second to be wasted. Saturday’s matinee has sold out and only the last few tickets are available for the evening performances.
Red is the dominant colour in this scene in Joseph And The Amazing Technicolor Dreamcoat. Picture: Lucy Baines, Joy Photography
One significant change to report in this 50th anniversary production: Songs still refer to Egypt, but director-choreographer Kathryn Addison has switched the setting to the Yorkshire farming community of the 1920s/1930s with a “Peaky Blinders vibe” to Joseph’s brothers. “They were a nasty bunch,” she reasons, as waistcoats and caps flatter than Yorkshire vowels adorn the stage.
Antony Gardner’s Pharaoh is still the expanding Elvis Presley of the Las Vegas rhinestone years, albeit more of an Elvis tribute act on the Scarbrough sea front, where he rules the roost from his casino.
Always in shades, but never one for the shadows, his Song Of The King is a gloriously daft Presley pastiche, thank you very much, typical of the joy that percolates through Lloyd Webber’s plethora of musical magpie styles and Rice’s witty, storytelling lyrics.
Egypt, Yorkshire, wherever! Lloyd Webber and Rice take in Parisian chanson for Those Canaan Days, sung with a wonderfully exaggerated French cabaret accent by Anthony Pengelly, who also makes his mark as Potiphar, lounging like Jacob Rees-Mogg in the House of Commons. Later they veer wildly to the Caribbean for Adam Gill’s Benjamin Calypso (a kind of forerunner of 10CC’s reggae chart topper Dreadlock Holiday).
Dreamcoat dreamboat: Jonathan Wells’s all-in-white Joseph with Jennie Wogan-Wells’s Narrator and the Wiggington Primary Singstarschoir. Picture: Lucy Baines, Joy Photography
Any other changes? Joseph, son of Jacob (Rob Davies), is one of ten, rather 12 brothers, two of them strictly sisters as they are played by Lauren Charlton-Mathews and Rachel Higgs but credited as brothers and looking the part in their Great Yorkshire Show farming gear.
The leads are new to York Musical Theatre Company but not new to the musical theatre scene: husband and wife Jonathan Wells and Jennie Wogan-Wells, living their dream theatrical life in their dream roles as Joseph and the Narrator respectively.
The bearded Wells looks more like the Bee Gees of the Saturday Night Fever Seventies era all in white, later adding shades and a red waistcoat, rather than stripping down in Joseph and his amazing bare chest tradition.
He has the toothpaste smile, the twinkle in the eye, the handsome swagger, for the Dreamcoat dreamboat, and he sings with warmth and boy band appeal, if a little diffidently in his first rendition of Close Every Door. Go, go, go, for it, Joseph! Don’t hold the drama in check!
Kathryn Addison: Director-choreographer for York Musical Theatre Company’s Joseph And The Technicolor Dreamcoat
Since childhood days of listening to the soundtrack LP, Knavesmire Primary teacher Wogan-Wells has craved playing the Narrator. Aside from opening the show on her laptop, with pupils on screen on Zoom, this is not an Are You Sitting Comfortably, Then I’ll Begin narrator. She is on her feet, dancing, singing, even fitting in a cameo as Mrs Potiphar, and no-one sings more through this sung-through musical than her. Her singing is top notch throughout, full of personality and power.
The set is a familiar construction: a scaffolding edifice with a mezzanine level and stairways either side, populated by the young choir, the rest left empty to accumulate the ensemble work of the 23-strong adult cast.
Musical director John Atkin has fun with Lloyd Webber’s chameleon ability for constant change, from ballad to pop anthem and more besides. Director Kathryn Addison has even more fun, sheep puppets, megamix finale and all. Rehearsals were a delight, and it shows in this radiant show, one that captures the innocence of Lloyd Webber and Rice’s bygone days and puts summer rather than a spring in your step.
Now, go, go, go for those last few tickets before they’re gone, gone, gone.
Joseph And The Amazing Technicolor Dreamcoat, York Musical Theatre Company, Joseph Rowntree Theatre, York. Performances at 7.30pm tonight and tomorrow; 2.30pm and 7.30pm on Saturday. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Lars Pluto and Luke Wilson as The Everly Brothers in Walk Right Back
WALK Right Back, the Everly Brothers tribute show, is back on tour, playing the Grand Opera House, York, on June 12.
From the producers of That’ll Be The Day, it tells the story of the most successful close-harmony duo of all time: country-rock pioneers Phil and Don Everly, from Knoxville, Tennessee.
Bye Bye Love, All I Have To Do Is Dream, Cathy’s Clown, Wake Up Little Susie, Bird Dog, Crying In The Rain, Walk Right et al feature in this concert-based musical that “entwines the wonderful, sad yet glorious story of The Everly Brothers around those trademark harmonies from heaven”.
Performed by Lars Pluto and Luke Wilson, Walk Right Back – The Everly Brothers Story follows the American brothers’ rise to fame, through their decade-long feud, to the reunion that gave them back to the world and back to each other.
Accompanied by steel-string acoustic guitar, The Everly Brothers influenced The Beatles, who referred to themselves as “the British Everly Brothers” when Paul McCartney and John Lennon went hitchhiking south to win a talent competition.
The Fab Four based the vocal arrangement of Please Please Me on Cathy’s Clown. McCartney later referred to “Phil and Don” in the lyrics to Let’Em In, from the 1976 album Wings At The Speed Of Sound.
Rolling Stones guitarist Keith Richards called Don Everly “one of the finest rhythm [guitar] players”. Paul Simon, who worked with the Everlys on the song Graceland, said on the day after Phil’s death: “Phil and Don were the most beautiful-sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock’n’roll.”
Tickets for next month’s 7.30pm performance are on sale at atgtickets.com/york.
Walk-on part in the wedding drama at the Grand Opera House, York. All pictures: Joe Strange
IT’S official! The stage is set for weddings at the Grand Opera House, York’s new home to your match of the day.
The Cumberland Street theatre has received its licence to hold wedding ceremonies, creating a dramatic setting for couples to tie the knot.
“York is a popular destination for weddings and the team at the Grand Opera House are excited to be opening the building for couples to wed for the first time in recorded history,” says theatre director Laura McMillan of a theatre that opened in 1868.
The Grade 2 listed building can accommodate wedding ceremonies for two to 200 people. Packages include the use of the stage for the wedding, access to dressing rooms for important pre-ceremony touch-ups, drinks in the refurbished bars and exclusive use of the newly launched Ambassador Theatre Lounge.
The bride’s eye view from a box at the Grand Opera House
Couples then will have the option to have their reception and wedding breakfast at “one of the many extraordinary venues across York”.
Laura says: “We are thrilled to provide couples with the opportunity to wed in the iconic surroundings of the Grand Opera House. Our stage has hosted stars from Gary Barlow to Vivien Leigh and is a truly dramatic place to get married.”
Dates are available from August this year and any interested couples are encouraged to contact yorkweddings@theambassadors.com for more information and to arrange a site visit.
Siva Kaneswaran: Theatreical debut in La Bamba! – A Musical. Picture: Twisty
THE Wanted’s Siva Kaneswaran will make his theatrical debut in the 2023 tour of new musical La Bamba!, appearing at the Grand Opera House, York, from November 7 to 11.
Dublin-born boyband singer and songwriter and Dancing On Ice contestant Kaneswaran, 34, will play Mateo alongside Strictly Come Dancing champion Pasha Kovalev and rising star Inês Fernandez in the lead role of Sofia.
La Bamba! – A Musical tells the story of how the power of music can transform a generation and celebrate a community.
Sofia, 17, from Los Angeles, has music in her blood. From the moment her father handed her a guitar, her dream was to become a superstar. Inspired by her musical heroes and with the help of her family, Sofia discovers that even the longest journey begins with a single step.
As she mixes the music from her roots with the music in her heart, Sofia dreams of bringing together a community that has never felt more divided.
La Bamba! combines Latin, R&B and timeless rock and pop to tell “the ultimate feel-good story of a young girl with a big voice, big dreams, and an even bigger heart”.
The full company will include Bethan Mitchell, Stefani Ariza, Julia Ruiz Fernandez, Nicolle Matheu, Gabriella Rose-Marchant, Alex Sturman, Tristan Ghostkeeper and Luke Jarvis.
La Bamba! is directed by multi-award-winning American director Ray Roderick and features choreography by Graziano Di Prima, Erica Da Silva and associate choreography by Giada Lini.
The soundtrack will span the Latin genre from traditional folk songs to chart-topping pop anthems, all arranged by award-winning Alfonso Casado-Trigo for “a fiesta of a lifetime”.
Tickets for the 7.30pm evening shows and 2.30pm Wednesday and Saturday matinees in York are on sale at atgtickets.com.york.
Sarabeth Tucek (SBT) and her band: Performing on the road after only one rehearsal
SELBY Town Hall is marking itself out as a great place to watch live music. Pushing the envelope last Saturday was Sarabeth Tucek; a critics’ favourite from New Jersey who unveiled her new double album, gestating for nearly a decade.
Tucek wasn’t big on small talk, letting her music do the revealing. As the lyrics pulled out from the CD inlay put it: “I put my life in the centre of the room. I dim the lights on parts of the truth.”
This more adventurous note was struck from the off with Kiran Leonard and dbh (actual name Nick Jonah Davis) sharing opening duties. The pair were very different beasts, the rich air of English pastoral swirling around dbh’s acoustic guitar instrumentals. Of the possible reference points, Bert Jansch and John Renbourn were perhaps the most obvious.
It’s always a good sign when the main act comes out and watches, and you could see Tucek’’s band really appreciating both supports. In other hands, Kiran Leonard’s set could also have oozed bucolic ease, but his contributions were much more challenging.
This was the sound of a man trying to appeal to all our senses simultaneously, seemingly striving for something always just out of reach. Leonard displayed a formidable musical intelligence and ambition – as well as an admirable lack of self-consciousness in giving himself up to the songs.
“Tucek was the still centre, weaving her stories in her distinctive conversational, emotionally direct way, while her band provided energetic support,” says reviewer Paul Rhodes
Ten songs into her 15-song set, Tucek sang “Am I happy?” (from Happiness). Her stage armour made it difficult to tell. Like Kristin Hersh whose music she shares some similarities with, Tucek’s has a serious, almost intimidating stage presence.
It’s been an intense experience for her band too. The three musicians had just one rehearsal together before their opening show in Manchester two days before. Selby was third in line. They did an amazing job recreating the twists of Joan And All, newly released under Tucek’s new SBT moniker, especially when casting minor key magic on Unmade/The Dog.
Tucek was the still centre, weaving her stories in her distinctive conversational, emotionally direct way, while her band provided energetic support, the guitarist Luther Russell, who also produced the album, leading from the front.
Joan Of All is a double album that listeners need to live with for a while (particularly more challenging sides 3 and 4, some of which could have been cut for this concert), but it is already being heralded as a masterpiece by those qualified to know.
Discovering its depths live was arguably the best introduction. You could hear some of Lou Reed in songs like the memorable 13th Street #1 and in titles like Cathy Says (the emotional highlight of both the record and the show). The spirit of the Velvet Underground also infused the instrumentation.
Tucek and band more than fulfilled their promise to go all out, and it felt like we’d been on an emotional journey together. We parted friends.
Jennie Wogan-Wells: Teacher and Narrator, in rehearsal for York Musical Theatre Company’s Joseph And The Amazing Technicolor Dreamcoat
KATHRYN Addison directs York Musical Theatre Company in Andrew Lloyd Webber and Tim Rice’s ever popular, ever colourful 1968 debut musical at the Joseph Rowntree Theatre, York, from tonight.
From the book of Genesis to the musical’s genesis as a cantata written for a London school choir, Joseph And The Amazing Technicolor Dreamcoat has grown into an iconic musical theatre staple with its story of the biblical journey of Joseph, son of Jacob and one of 12 brothers, and his coat of many colours.
Here husband and wife Jonathan Wells and Jennie Wogan-Wells lead the cast as Joseph and the Narrator respectively.
“I directed it in 2015 with my Year 3 and 4 pupils at Knavesmire Primary School, where there are 120 children in those classes – and they knew all the words,” recalls Jennie of her past involvement at the helm of Joseph.
“Now I’m playing the Narrator – a very important role! – who knits the whole show together. It’s a bit of a dream role for me as my parents had the LP and I remember spinning round and round to Potiphar with my brother in the front room because it gets faster and faster.
“Now I get to play the Narrator, indulging in my childhood dream to be in the show.” What’s more, the choir from Jennie’s school will be singing at the Thursday evening and Saturday matinee performances. (Wigginton Primary School will provide Years 4 to 6 pupils to perform tonight, Friday and Saturday night.)
“They’re obsessed with it! We practise every lunchtime, and yes, they’ve learnt all the colours in the dreamcoat! It’s nice because parents and teachers remember it from their own childhood, and now, for the children, it will be the first time they’ve been on a stage away from the school.”
Director-choreographer Kathryn Addison was born in the year that Joseph made its debut (1968). “It started as a 15 to 20-minute school musical, so look how it’s grown since then,” she says.
Passion project for Kathryn Addison: Directing York Musical Theatre Company’s production of Joseph And The Amazing Technicolor Dreamcoat
It changes again in her hands: rather than 12 brothers, it becomes a story of a family: brothers and two sisters (although credited as brothers). “It’s not an issue. We still acknowledge the brothers who have ‘not turned up’ – and we’ve been really lucky in the casting. We’ve neither had to drag people in and nor would we have wanted to,” she says.
“I was in York Shakespeare Project’s all-female Henry V, and it isn’t about gender. It takes gender out of it. It’s not about male/female but who’s right for a role and what can they bring to it?”
Kathryn is “staying true to the spirit of Joseph”. “That’s really important,” she says. “I think Lloyd Webber is a bit ‘Marmite’, but like every writer or composer, there are things you like, things you don’t.
“I feel this musical has an innocence that allows people to really enjoy it as a company show, and it’s felt like a company in rehearsal. It feels tight and there’s a collective will. There’s been no egos in the rehearsal room and nor will there be any on stage.”
The cast of 23 will be complemented by 21 children from Knavesmire Primary and 17 from Wigginton Primary at this week’s performances. “It’s just fun for all of us,” says Jennie.
“If you’re enjoying it on stage, then the audience are going to enjoy it too. Rehearsals have been great fun and I’ve really looked forward to them.”
Nothing delights more than Pharaoh’s Song Of The King: the Elvis one, performed this week by newly married Anthony Gardner. “There’s no point trying to make it anything else than it is: some Elvis impersonator going down to sing on the Scarborough sea front!” says Kathryn. “So you recognise that and crack on with it! Let’s bring out that style as director/choreographer.”
Jennie says: “Kathryn has a clear vision, with room for nice little mood changes and quirks, and it’s great to have that freedom within it. It’s got great balance.”
It all adds up to a show that appeals to children and adults alike. “Everyone enjoys themselves, and it’s rare in being a show that brings people to the theatre that don’t normally go. It’s always nice to do that, for people to realise that theatre is open for them.”
A contemplative moment for Jonathan Wells’s Joseph in the reherarsal room
Jennie is enjoying performing alongside husband Jonathan’s Joseph. “It’s been lovely to do the show together, though we’ve done that before, but we’ve never been principals together before,” she says.
“The Narrator is the framework of the show. It’s that whole thing of me telling the story to the children, so it’s a busman’s holiday really.
“During the rehearsal weeks, I can switch off more than him. He’s always humming the tunes, singing in the car, but it’s very much our life at the moment. We’re going to be bereft when it finishes, but it’s been really lovely as I’ve been able to rehearse at home with him.”
Kathryn has her own fond memory of bygone Joseph performances. “I did the show with my dad, playing Jacob, more than 30 years ago. That really tugs at my heartstrings, but also I’m at the stage when being on stage is quite hard work, and I’ve done a lot of directing and choreographing, though this show is much harder to direct than I’d first given it credit for because it’s sung through,” she says.
“But I love the show. It’s a passion project, and to be able to work with a group of people on a community project, where it’s all about the whole company working together, has been a really positive process for me.
“From the start, I’ve seen this story as being based in Yorkshire; these farmers in the 1920s/1930s, with a bit of a Peaky Blinders vibe to it. They were a nasty bunch to their brother! So we travel from the Yorkshire farms to Scarbados and that sea front, our Las Vegas!
“When I think of Joseph and Scarborough, I think of Mark Herman’s film of Little Voice, with the lights on the sea front at night. And a casino; that’s where I see Pharaoh.”
As for the Technicolor Dreamcoat of the title: thank you to Ripon Amateur Operatic Society for providing wardrobe services.
York Musical Theatre Company in Joseph And The Amazing Technicolor Dreamcoat, Joseph Rowntree Theatre, York, 7.30pm tonight until Saturday plus 2.30pm Saturday matinee (sold out). Ticket update: limited availability for tonight and tomorrow; last few for Friday and Saturday.Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Fladam’s Flo Poskitt and Adam Sowter: “Things are about to get out of hand” in Green Fingers
WATCH out for Green Fingers, the debut children’s show from madcap York musical comedy double act Fladam at this week’s TakeOver Festival 2023 at York Theatre Royal.
Saturday afternoon’s work-in-progress performance will be a first test for Flo Poskitt and Adam Sowter’s inaugural foray into family theatre.
“We’ll then be heading back into the rehearsal room to preen and polish the show for its full debut at the Edinburgh Fringe in August, when we’ll be at the Pleasance Courtyard,” says Adam.
Flo and Adam’s deliciously Roald Dahl-style musical storytelling show for children aged five to 12 focuses on a boy born with bright green hands. Is he really rotten or just misunderstood?
Magic is about to take root: Fladam’s poster for Green Fingers at the TakeOver Festival 2023
“It’s the first day of school and for the boy known only as Green Fingers, things are about to get – quite literally – out of hand,” says Flo. “Gloop, gunk and gunge aplenty, and only one likely suspect. As if school wasn’t stressful enough!
“To make matters worse, the headmaster – that worrisome old windbag Milton Marigold – has vowed to clean up the school and anyone who gets in his way!”
Could there be more to these fingers than mere mayhem and mess? Maybe the answers lie within the mysterious school garden.
“Green Fingers explores ideas of accepting yourself and engaging with the natural world,” says Adam, whose show combines an original score with bags of humour, rollicking piano with witty wordplay, Morecambe & Wise with Victoria Wood and Elton John.
Tickets for Saturday’s 3pm performance in the York Theatre Royal Studio are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
A study of nature by York photographer Patrick Heinemeyer, promoting a global green drawing compaign
ALL Saints schoolboy photographer Patrick Heinemeyer is playing a big part in kickstarting a global green drawing campaign for young creatives in York.
Using the hashtag #DrawWithDenmark, for the past two years Viborg UNESCO Creative City has invited children and young people worldwide to draw and participate in a global drawing campaign.
In 2021, York charity New Visuality took part, sending messages of Hope during the pandemic to the children of the world.
This year, the theme is Green Together. Charity director Greg McGee is keen to build a groundswell of interest from a variety of cohorts.
Joe P, from the Blueberry Academy, enjoying a Green Together project
“Patrick’s photos are a great way to get the conversation started. The challenge is for young people to create their art focusing on how we can save the planet and how we can create a sustainable and greener world,” he says.
“This kind of groundswell is harder than you think to maintain. There’s a kind of fatigue abroad with both artists and viewers that can ultimately prove to be counterproductive.
“The initial spark is crucial. Patrick’s photography brings the natural world to our sessions and provides the perfect platform from which we can inspire continuous creativity.”
Charity co-director Ails McGee concurs: “Our gallery According To McGee worked with a variety of artists, some of whom prioritised provocative shock over aesthetics. Well, there’s nothing more provocative than nature itself.
New Visuality co-director Greg McGee, back row, right, at the Blueberry Academy’s Green Together event
“During the pandemic, we were relentlessly reminded that ‘nature heals’. We prefer to think that ‘nature galvanises.’ Patrick’s photography provides a sharp, glowing portal that hammers home an important point: nature always wins. It’s this that has inculcated some of the best creativity we have ever seen in our outreach sessions.”
Patrick, 16, is delighted his photography is connecting so well. “I enjoy the challenge of capturing in my photography both the fragility and strength of the natural world. In an increasingly urban environment, small reminders that nature continues to thrive seem to hit a nerve.”
Launched on April 15, Green Together runs until August 1. Chris Edwards, chair of REACH (York Cultural Education Partnership), would like as many York schools as possible to become involved after half-term and finish their drawings, collages, paintings, animations by the end of the summer term.
“Breathe air and chill”: Martha, from the Blueberry Academy, captures the spirit of the Green Together project
“The campaign invites children and young people around the world to create drawings that tap into the global green agenda from a hopeful perspective and based on 20 drawing challenges (see the list below).
Greg is confident the project will hit its targets. “It’s a superb initiative and shows that, after a few tough years, York continues to be ambitious and collaborative. Our York partners include Fishergate’s Blueberry Academy and, via our Art Camp sessions, schools such as Our Lady Queen of Martyrs, St George’s and Westfield Primary Community School,” he says.
“By sending drawings from York’s young people to Viborg, York’s creativity will travel out into the world. For now, we’re looking at inspiration, and Patrick Hernemeyer’s photography is the gift that keeps giving.”
You can follow Green Together’s progress on Viborg UNESCO Facebook, LinkedIn and Instagram and through #DrawWithDenmark.
“In an increasingly urban environment, small reminders that nature continues to thrive seem to hit a nerve,” says photographerPatrick Heinemeyer
What are the drawing challenges for Green Together?
1. How we can make York a greener city.
2. How we can help animals and plants survive this global challenge.
3. How green technology can save the planet.
4. Destination Hope: where are we going in the future?
5. How we can work together to save the planet.
6. Your personal “climate change” challenge.
7. A superhero who saves the Earth from global warming.
8. What animals would say about the climate changing.
9. How nature always wins.
10. Your green hope for the future.
11. How you can take care of nature.
12. How birds and animals will survive in the future.
13. What you can do to make your neighbourhood greener.
14. What you can do to make your school greener.
15. What you can do to make your home greener.
16. What a world where animals make the decisions looks like.
17. What the house of the future looks like.
18. How we create a sustainable everyday life.
19. A wish from Mother Earth. What is your wish for the earth?
20. Green Together: how do we work together to carry forward the green hope?
Snowdrop: always the first flower to herald a new year of nature’s wonders, photographed by Patrick Heinemeyer
Preparation
“WE would like as many York schools as possible to take part this year and send their drawings to Viborg to become part of the work that will be in displays across the world,” says REACH chair Chris Edwards.
“BBC Look North and BBC Radio York covered the first Hope project and hope to cover the project this year. We also hope the children’s work will be exhibited at your local Explore York library.
“Your school council, a school class or another group could take part. Feel free to let your creative spirit free in this wonderful campaign.
“We are looking at ways we could enhance and enrich the project. If you need more information or want to talk about how your school might get involved, contact chrisedwards51@hotmail.com.”
The York St John University students who are running TakeOver Festival 2023 at York Theatre Royal this week
THE TakeOver Festival 2023 rules the roost at York Theatre Royal in a week-long theatre festival run by final-year York St John University students as they take their first leap into the entertainment industry.
The Theatre Royal is partnering with York St John to give students the opportunity to perform their own work on the main stage, as well as learn about key roles in the theatre.
Taking over the Theatre Royal all this week until Saturday, the students have booked York theatre companies Next Door But One, Out Of Character, Fladam and Hallmark Theatre to perform too, plus Pink Milk from London.
As part of their third-year assessment, 32 students have formed eight of their own theatre companies to showcase their talents: Compos Mentis, MOOT, Reconnect, Cordless, Chaos, Bridge Theatre, For Us By Us and Twisted Tales.
TakeOver enables third-year performance students to work as producers, production managers and front of house, in addition to marketing the festival on their social media platforms. The festival also works with the wider community, making theatre with children from York High School and sharing the joy of theatre with families.
This year’s event takes the theme of In Living Colour: Listen, Inspire, Act. “We aim to get people talking about what’s important, shedding colourful light on to meaningful issues,” says TakeOver 2023 producer Megan Price. “The festival will bring to light new possibilities and provide a platform that celebrates each other. TakeOver allows people to have a voice and share their creativity on a bigger platform.”
Cordless in rehearsal for 4th Round on May 26
David Richmond, senior performance lecturer at York St John University, says: “TakeOver is a fantastic opportunity for students to make that important first step to being professional theatre makers.
“It gives the Theatre Royal an opportunity to see what the next key developments in theatre will be – as this generation really is going to be doing things differently. For the audiences, it will give them an insight into the future of theatre, and on their own doorstep.”
Zoe Colven-Davies, from York Theatre Royal, adds: “It’s been wonderful to work with third-year performance students, to see them bring to York Theatre Royal stage their own work as well as the work of creators in York.”
Megan, 21, from Blackhall, County Durham, is studying on the acting course at York St John, where courses also run in Drama & Theatre, Drama & Dance and Drama, Education and Community.
“None of my family is creative,” she says. “But I got into amateur dramatics with Blackhall Drama Group, doing a pantomime every January and a summer showcase from the shows every June/July.
“I mainly perform, but after going away to university and having two years out from the shows, they’ve asked me for a wider input, now that I’m back,” she says.
Megan Price: Producer of TakeOver Festival 2023
Megan was selected by a combination of York Theatre Royal staff and York St John lecturers after pitching for the post of producer. Roles in production management, communications, outreach and front of house have been designated too.
“It’s a major part of the degree, with the course advertising that in your third year you will work with and perform at York Theatre Royal and will be assessed on running a festival and being involved in it too,” she says.
“For TakeOver 2023, we created the first draft of the festival programme, working with communications and production management to agree on certain things. Front of house need to know what will be going into the theatre; communications need to know what shows they will be promoting. The closer to the opening, the more collaborative it becomes.”
Why did Megan put herself forward for the top post? “I wanted to be the producer because it’s not something I’ve had much experience of doing, whereas with other roles, I have done that,” she says.
“I wanted to do something that would challenge me and provide me with new skills, in terms of financial budgeting and scheduling.
“The artistic vision comes into it too, but the theme of In Living Colour had already been chosen before I took up my post. Each group of performers from York St John had to pitch a theme for the festival, and the Theatre Royal then chose the theme on the basis of what fitted in best with previous years.”
Megan Price and her fellow Chaos cast members meeting again to rehearse the Macbeth response piece Female Rage
Megan and her fellow programmers wanted to create a festival that would be accessible to theatre companies in the north, giving them the chance to perform at the Theatre Royal, while “bringing to light themes that are hidden in the world”.
Plays range from Pink Milk, the one London company heading north, presenting Naughty’s frank account of growing up queer outside of a big city to Hallmark Theatre’s An Open Mind, a comedy drama about two autistic children trying to navigate the ups and downs of school and the education system.
Megan will not only be producing the festival but performing in it too in Chaos’s production of Female Rage on May 27 at 1pm in the York Theare Royal main house. “We can’t have an ordinary Shakespeare at TakeOver!” she says. “We’re basing our play around Macbeth, taking themes from Shakespeare’s play and expressing how they affect us as women in society,” she says.
“Presenting our play in a post-dramatic style, we’re looking at women that are so often overlooked. We feature not only Lady Macbeth, but also Lady Macduff and The Witches and Hecate, who we’ve made the central focus of our piece.”
In a nutshell, Female Rage shines a light on witches and womanly wisdom while intertwining Shakespearian themes with stories only women can tell. “We don’t play the characters but use them to channel our rage, with Hecate guiding the performance,” says Megan.
Summing up her involvement in TakeOver 2023, she says: “Not just performing but now doing the other side as well allows me to apply for jobs in the creative industry, like an assistant producer’s job at a film festival here in York,” she says.
“It’s been really helpful to have all that professional experience on hand, but at the same time York St John and York Theatre Royal have let us take the event into our own hands.”
For the full programme and tickets, head to yorktheatreroyal.co.uk.
TakeOver Festival 2023: the programme
York musical comedy duo Fladam, alias Flo Poskitt and Adam Sowter: Presenting Green Fingers at TakeOver Festival 2023 on May 27 in the York Theatre Royal Studio
The Storyteller by Charlotte Tunks
May 22, 11am, York Theatre Royal upper foyer.
The Storyteller speaks the story of the eve of St Agnes. An adaptation of one of John Keats’s best poems.
The Wall by Josh Davies
May 22, 2pm; May 23, 11am, York Theatre Royal foyer.
Thirty to 45-minute musical performance, including renditions of songs from Pink Floyd’s album The Wall.
Operation Hummingbird by Next Door But One
May 23 and 24, 12 noon and 7pm, York Theatre Royal main house.
Teenager Jimmy deals with his mum’s terminal illness diagnosis by diving into computer games. Through this virtual reality, he meets his future self and asks: will everything turn out OK?
Poignant, funny and uplifting, this two-hander by award-winning York company Next Door But One returns after a sell-out debut tour in 2021. Based on director Matt Harper-Hardcastle’s memoir, Operation Hummingbir dexplores grief, loss and the power of noticing just how far you have come.
Crafting Hope – Box Making Workshop
May 23, 1pm, York Theatre Royal foyer.
Do you ever feel like the world has spun into a wormhole of chaos, conflict and civil unrest? This workshop provides the opportunity to relax, retreat and join the quest of breathing hope back into humanity through the art of box-making. A brighter future starts with you, your words and your actions.
City Dance Trail
May 23, 2pm, starting at York St John University’s Creative Centre and journeying through the city.
Join the Dance Trail and experience the city in an entirely new way. Theatre and dance students from York St John University and guest performers from Mind The Gap share a series of site-specific dance performances across the city centre.
Follow the trail through York and watch original dance pieces that explore the promise of the unknown and the potential revelation of new-found realties in familiar and unfamiliar places. Watch out for an unexpected flash mob moment – or better still, join in!
Stepping Stones To Success – Workshop by Next Door But One
May23, 3pm, York Theatre Royal main house.
Are you an emerging theatre practitioner? Thinking of ways to further your career, develop a business idea or kickstart a new project? Work alongside Next Door But One’s artistic director Matt Harper-Hardcastle as he goes through the lessons he has learned from founding and running a York theatre company for ten years. Participants will walk away with a plan to put their ideas into action.
Stories BetweenThe Lines by Reconnect
May 23, 4.30pm, York Theatre Royal Studio.
Stories Between The Lines is a TIE (theatre in education) performance that highlights the lives of four characters as they navigate the complexities of family life and teenage years. Through the lens of drama, the show explores the issues of concern for the characters and the possibilities for self-care, support, and intervention.
Reconnect discusses the characters’ concerns, then looks at the possibility of self-care, support and intervention. Suitable for 11+.
Dancing In Living Colour by York St John Dance Society
May 24, 1pm, York Theatre Royal upper foyer.
The university dance society offers both competitive and casual memberships to students. Its competition team has been placed first, second and third across various competitions this season. Team members have put together a showcase to celebrate the festival theme. “Come and enjoy Dancing In Living Colour,” they say.
Finding Your Voice As A Playwright – Workshop by Next Door But One
May 24, 3pm, York Theatre Royal main house.
DO you have a play in your head but are not sure how to put it on paper? This workshop will go through several techniques to help you breathe new colour into your creative idea. Tools to help overcome writer’s block, structure your story and understand what you want to say and how you want to say it.
Compos Mentis: Exploring men’s mental health in Business Unfinished
Business Unfinished by Compos Mentis
May 25, 2pm, York Theatre Royal main house.
Compos Mentis explore men’s mental health through post-traumatic theatre in a cabaret that discusses their understanding of the issue along with the stereotypes of a working men’s club. Contains strong language and sexual references; suitable for age 12+.
The Modern Maidens by Twisted Tales
May 25, 3.30pm , York Theatre Royal main house.
Twisted Tales interweave women’s issues with classic fairy tales to look at themes of jealousy, revenge, innocence and betrayal, with a passion for going against social norms and showing that women can be however they want to be. Suitable for age 16+.
Shattered by Out Of Character
May 25, 7pm, York Theatre Royal Studio.
Written by Paul Birch, performed by York company Out Of Character, directed by Kate Veysey and Jane Allanach.
The world has broken. Its colours have drained away. A community is splintered and all seems lost. But in the cracks, and amid the broken pieces, something strange is happening. Something that disturbs, unsettles and surprises.
Welcome to Shattered, a mysterious show where, in the midst of a sinister and impossible fog, things are about to become clear. Suitable for all ages.
Express Your Colours Within – Movement Workshop for Adults
May 26, 11am, York Theatre Royal Studio.
This movement-based workshop invites participants to engage in ways of moving that normally they would not do. Scarves, ribbons and coloured materials will help to create visually appealing work in a workshop run by performing arts and dance students.
4th Round by Cordless Theatre
May 26, 2pm, York Theatre Royal main house.
Cordless Theatre present a collection of playful vignettes inspired by the work of Irish playwright Samuel Beckett. Suitable for all ages.
Inside Outside by Bridge Theatre
May 26, 2.45pm, York Theatre Royal Studio.
How do we understand loss? Bridge Theatre show their experience of loss through movement and verbatim text. Suitable for age 12+.
I Wanna Hold Your Hand by MOOT
May 26, 3.30pm, York Theatre Royal main house.
A fun and physical devised piece that explores the challenges of connecting to others. Suitable for all ages.
Open Mic Nights
May 26 and 27, 6pm, York Theatre Royal foyer.
Naughty by Pink Milk
May 26, 7.45pm, York Theatre Royal Studio.
Days after Andrew ends his seven-year relationship with college sweetheart Jake, he is messaged out of the blue by a former “friend”. This unwelcome advance triggers an emotional spiral as Andrew recounts his unstable first steps into the world of gay sex and queer identity, under the increasingly imposing guidance of Kevin, a teacher at his drama academy.
Naughty provides a frank account of growing up queer outside of a big city. The piece was written to examine the common lack of safe mentorship for LGBTQ+ youth and the over-sexualisation of queer relationships. First performed at Camden Fringe in 2021, Naughty toured in 2022. Suitable for age 11+.
Female Rage by Chaos
May 27, 1pm, York Theatre Royal main house.
Inspired by Shakespeare’s Macbeth, Chaos wants to take a closer look at the women that are so often overlooked. Female Rage shines a light on witches and womanly wisdom as they intertwine Shakespearian themes with stories only women can tell. Suitable for age 12+.
Green Fingers by Fladam
May 27, 3pm, York Theatre Royal Studio
York musical comedy duo Fladam – Flo Poskitt and Adam Sowter – are back with a deliciously Roald Dahl-style family treat. Did you ever hear the tale of Green Fingers? A boy born with hands that turn all he touches a shocking shade of green! But is he really as wicked as people say? All will be revealed in this work-in-progress performance, where audience feedback will be welcomed and encouraged afterwards. Suitable for all ages.
36DDD by For Us By Us
May 27, 3.30pm, York Theatre Royal main house.
Inspired by playwright Tim Firth’s Neville’s Island, For Us By Us head out on a girls’ trip gone wrong. After surrendering their phones in a time-locked box, they must surrender themselves to the bitter wilderness as they navigate their fears and secrets.
Containing strong language and sexual references, this comedy-thriller will see the characters bond under extreme circumstances. Suitable for ages 16+.
An Open Mind by Hallmark Theatre
May 27, 7.30pm, York Theatre Royal Studio.
A new comedy drama from Hallmark Theatre about two autistic children trying to navigate the ups and downs of school and the education system. Suitable for 15+
Listen, Inspire, Act – Zentangle Workshop
Available all week, York Theatre Royal foyer.
The Zentangle art form allows creativity and mindfulness through a series of repetitive patterns that are drawn into a starting point of a scribble to produce a unique artwork. This workshop encourages conversation in the community. This activity focuses the mind and is useful in relieving stress and allowing unpressured conversations to happen while in the act of doing.
David Lomond, back, and James Lewis-Knight in Next Door But One’s Operation Hummingbird: four performances at York Theatre Royal
Hamish Brown as Nemorino and Ian Thompson-Smith as Dr Dulcamara in York Opera’s The Elixir Of Love
WITH spring in the air, a young man’s thoughts turn to love. Nemorino is the love-lorn peasant in Donizetti’s melodramma giocoso – let’s call it a witty farce – and the course of his true love is bound to run less than smoothly. So he looks to a love potion to fix his problems and finds himself in even deeper water.
That is the essence of Romani’s libretto, sung here in Ruth and Thomas Martin’s English translation. York Opera’s new production, in the hands of Chris Charlton-Mathews, making his directing debut with the company, provides just the tonic we all need as the sap begins to rise again post-pandemic.
The focus here is the con artist who supplies the potion (actually alcohol), the travelling medicine-man Dulcamara. Ian Thompson-Smith makes the role his own. Smarmy and smug, self-assured and spivvy, he is just what this production needs, given that it has been updated to the 1940s, with Italy desperately seeking to rehabilitate itself after the war. His baritone is firm, his diction is clear and his charisma never deserts him.
David Valsamidis’s Sergeant Belcore and Alexandra Mather’s Adina
Naturally he has the down-trodden peasantry eating out of his hand; they have been through hard times. This includes Hamish Brown’s Nemorino, whose journey from self-doubt to amatory success is neatly managed.
Over the years, Brown has gradually acquired a confident stage presence and this is his best character yet. He provides the greatest pathos of the evening in his last aria – Una Furtiva Lagrima (A Furtive Tear) in the original – with eloquent phrasing.
The target of his affections is the Adina of Alexandra Mather, who makes an engaging transition from standoffishness to tenderness. Her coloratura is in good nick and at its best in the finale. Oddly enough, she is less well-focused in easier passages earlier in the show. But talent will out and she surmounts her difficulties.
Emma Burke in her York Opera debut as Gianetta
David Valsamidis brings a strong baritone to the role of Sergeant Belcore, leading a rag-tag platoon of GIs and posing as saviour of the wretched villagers. His acting is less fluent but he has potential. So too has Emma Burke, who makes the very most of her cameo as Giannetta. We may look forward to their return in future productions.
The chorus is relentlessly enthusiastic and brimming with bonhomie. They certainly take Donizetti’s catchy tunes to heart and sing as if their lives depended on it. Two cautions, however. There were several occasions on the first night when they raced ahead of conductor Steve Griffiths.
His beat was perfectly clear from within the auditorium, but perhaps his proximity to the stage makes his baton hard to see on stage. If so, he should raise his arms a little; if not, the chorus must pay more attention.
York Opera in Donizetti’s witty farce The Elixir Of Love
Secondly, it is an error on the right side to be involved, but when a soloist is performing, individual members of the chorus should not be reacting as characters in their own right. Group chorus reactions are fine, solo ones are distracting. The exception of course is when the chorus itself is in the spotlight, when choreographed unity is to be encouraged.
Griffiths keeps his small orchestra on its toes and it answers his every call. Highlights include some notable flute passagework, and a mellow bassoon accompanying Nemorino’s last aria. Rhythms are strong throughout and the spirit of the dance is infectious. Maggie Soper’s costumes, as always, are right in period: we know at once where we are without being told.
In general, Charlton-Mathews does an excellent job of marshalling his forces on this small stage. He just needs a touch more discipline in his chorus. But this is a company whose morale is definitely back in high gear, suiting the season perfectly.
