Pianist Daniel Lebhardt: “Carried the lion’s share of the first half”
North York Moors Chamber Music Festival: Towards The Flame, Welburn Manor Marquee, August 23
THIS was the most modern of this year’s programmes – 20th century music bar two Dowland lute songs – yet there was no falling-off in attendance, a mark of how dedicated this audience is. Dowland, indeed, was the focus of the first and the last two works on this programme, with two Russian pieces in between.
The pianist Daniel Lebhardt carried the lion’s share of the first half. He opened with Darknesse Visible, written by Thomas Adès in 1992 for solo piano, and inspired by Dowland’s song ‘In Darknesse Let Mee Dwell’ (in the original spelling).
Adès uses only notes from the song, nothing added, but he “explodes” it – his word – so that it occurs at the extremes of the piano, often heavily accented. Snatches of the original are glimpsed fleetingly in the middle of the keyboard, more so towards the end of its seven intriguing minutes. Lebhardt played it without a score, a mark of his diligence.
Prokofiev’s First Violin Sonata, in which Benjamin Baker joined Lebhardt, is one of his most tortured and tortuous. It took him eight years to write, finishing in 1946. While the first movement meandered darkly, a low-lying slow march in the piano, the violin nervously double-stopped before rushing into ghostly semiquavers.
Lutenist Matthew Wadsworth: “Intimate reading of Dowland’s Flow My Tears and If My Complaints Could Passions Move”
The clarity this duo brought to the work was enhanced by the contrast they brought to the two themes of the succeeding Allegro Brusco. Once again, Baker’s violin grew more frenetic, until the eventual collision of the themes seemed entirely logical.
He allowed a touch of lyricism into the slow movement melody, before a skittish finale, mainly staccato and strongly syncopated. Here the intrusion of the nursery-style melody was served up as a red herring, before the ghostly tones of the very opening restored the sense of menace that hovers around this work. It all sounded very logical in this account.
Lebhardt returned to give Scriabin’s Vers La Flamme – the evening’s title – where he relished the mounting urgency and heavy accents that surround an insistent tremolo. Scriabin’s apocalyptic vision requires considerable pyrotechnics, but Lebhardt tackled them with near-missionary zeal, again by rote.
Lutenist Matthew Wadsworth appeared after the interval in company with viola player Scott Dickinson and pianist Katya Apekisheva. He gave an intimate reading of two Dowland lute-songs, ‘Flow My Tears’ and ‘If My Complaints Could Passions Move’. Britten quotes both of these in his Lachrymae for viola and piano, but uses the second as the basis for a theme and variations in reverse; the theme appears at the very end.
Viola and piano treated the work lovingly, although in its Appassionato section – where part of the first song appears – they turned up the drama. When the theme finally appeared, there was a real sense of catharsis. A satisfying conclusion to what might have been an uncompromising evening.
Luke Dayhill’s Sebastian Goodfellow and Saskia Strallen’s Posy Capstick in All Lies. Picture: Steven Barber
ALAN Ayckbourn wrote five plays in the lockdown lull for live theatre, says Esk Valley Theatre director Mark Stratton. Or six, according to Sheila Carter, when CharlesHutchPress chatted with the producer pre-show.
Is it five? Or is it six? What’s the truth? Well, All Lies is definitely Scarborough knight Sir Alan’s 86th full-length play, soon to be followed by his 87th, Family Album, opening at the Stephen Joseph Theatre on September 2.
His 84th, Anno Domino, took the form of an audio play performed by Ayckbourn and his wife, Heather Stoney, in an online fundraiser for the SJT during the first 2020 lockdown, and later that year he played three principal roles in an online audio reinvention of Haunting Julia.
Why mention this? Because All Lies equally would have suited being presented as a radio play, given its somewhat static style of performance, where the focus falls on the to and fro of letters until the finale when the play’s young lovers are seen sitting together for the first time, albeit at opposite ends of a coffee-bar table.
For so long a supporter of Esk Valley Theatre’s small-scale but highly professional summer productions in a village hall on the North York Moors, writer-director Ayckbourn offered All Lies to Stratton and Carter to complement the initial May run at The Old Laundry Theatre, Bowness, with Stratton taking on the assistant director’s role for the EVT run.
In tight, Covid-shadowed financial times, it fitted the bill with its cast of three and shared costs, and not least the kudos of staging an Ayckbourn world premiere. As ever, EVT devotees have been turning up by the busload, on this occasion for an enjoyable triangular drama, but not one with Ayckbourn’s usual visual flair.
Alan Ayckbourn: Prolific play-writing in lockdown. Picture: Tony Bartholomew, May 2020
Roger Glossop’s set design amounts to three chairs, each facing the audience, two to the side at the front, the other central and raised, at the back. They look socially distanced, but that feeling may just be a hangover from Covid restrictions.
Here, the magical flourishes and application of the imagination must come from Luke Dayhill’s Sebastian Goodfellow and Saskia Strallen’s Posy Capstick, who both gild the lily when trying to present the best of themselves to each other. Or tell little white lies, if you you want to be brutally honest.
In Ayckbourn’s sparse presentation, they are not shown doing this directly to each other, but in letters that they read out as they write them: Posy to a friend; Sebastian to his frank, eventually exasperated family-outcast sister Sonia (Rhiannon Neads, occupier of the central third seat), who in turn shares her thoughts with sceptical, scathing gay lover Bobbie and then responds to Sebastian.
Letters, you say? Yes, the setting is 1957-1958, when people still took to pen and paper. It puts the emphasis on the verbal on stage, with Ayckbourn letting the audience enjoy being one step ahead of the two young lovers, later joined by the letters’ recipients being likewise.
Ayckbourn is writing in the age of fake news, Trumipian alternative truths, Johnsonian obfuscation, social-media misinformation, government disinformation. “The sad thing is there’s a lot of lying going on these days,” he says in his programme notes.
Ayckbourn has always been about truths, home truths, especially about the domestic lie of the land. Hence, rather than “the massive lies (allegedly) told every day by presidents and prime ministers”, he focuses on “those harmless, rather pathetic little everyday lies we tell, usually about ourselves, to improve our image”.
To and fro of letters: Luke Dayhill’s Sebastian Goodfellow, Saskia Strallen’s Posy Capstick, right, and Rhiannon Neads’s Sonia in All Lies. Picture: Steven Barber
Today, that “slight make-over” would involve photoshopping pictures on social media or falsehoods on (Love Me) Tinder. In 1957, the “unattainable handsome boy”, Sebastian Goodfellow, and “the unreachable beautiful girl”, Posy Capstick, do it brazenly face to face, although we see it only in reportage, in those letters, before the curtain falls on chair number three.
The effect is somewhat distancing, keeping the characters at one step removed until the wit, wisdom and warmth of Ayckbourn’s ever-astute writing permeates the rigid surface, as he weighs up the pros and cons of lies, whether they can ever be innocent or are destined to haunt you.
This is not one of his darker pieces, nor one of his more substantial works, but a sage one with a note of forgiveness and understanding, one with a smile on its face, a lightness of step, as lie trumps lie, after Posy’s Last Night of the Proms outing turns into a first night of a new romance with trouser salesman Sebastian, who claims to be a cellist with the Halle Orchestra and later a spy. He bluffs, she bluffs, and the lies become ever more elaborate, but ultimately these love birds are naughty but nice.
“The truth is out there somewhere,” says Ayckbourn, but is the truth in there too in All Lies?In this instance, love is more powerful than all the nervous, desperate-to-please fantasies the lovers spin. Does that ring true? You decide, but how lovely to see the old romantic at work in Sir Alan, helped enormously by his making jack-the-lad, reticent Sebastian and the more assured, clipped Posy such young charmers for Dayhill and Strallen to embellish with relish. Neads adds amusement aplenty with Sonia’s rising bemusement.
Black-and-white kitchen-sink dramas of the late-Fifties and early Sixties would tell a different truth, a darker one, not least through Billy Liar’s Billy Fisher. He was the schemer; Sebastian and Posy are a midsummer night’s dreamers.
Box office: 01947 897587 or eskvalleytheatre.co.uk.
Review by Charles Hutchinson
The plotting thickens: Saskia Strallen’s lady of letters in All Lies. Picture: Steven Barber
By Moonlight, by James Owen Thomas, at The Open Garage in Pateley Bridge
THIRTY-THREE venues are taking part in the 2022 NiddArt Trail, showcasing the diverse work of artists and makers up, down and around Nidderdale, from Knaresborough to Middlesmoor, until August 29.
In Lower Nidderdale, Shirley Hudson is exhibiting Breakfast Club Portraits of people and landscapes at St Paul and St Margaret Church, Nidd, from August 26 to 29, 10am to 4pm, except Sunday, 12 noon to 4pm.
Just Makers’ makers and artists can be found at Ripley Castle Courtyard, 10am to 4.30pm daily. Jeanne Mundy’s paintings and drawings in watercolour, acrylic, pen and pencil are on show at Hardgate Studio, Hardgate Farm, Bishop Thornton, 11am to 4pm daily until August 29, except Sunday, 2pm to 4pm.
Jane Carlisle Bellerby’s silk and mixed-media work and Anna Lilleengen’s photography will be shown at Elder Cottage, Lund Lane, Killinghall, on August 27, 11am to 4pm. Hampsthwaite Memorial Hall’s Sun Room, in Hollins Lane, Hampsthwaite, will exhibit oil, mixed-media and silk paintings, embroidery, jewellery, candles and crafts on August 28 from 11am to 4pm.
Head to 17, Stocks Lane, Darley, for Frances Payne’s prints, paper cuts and paintings, from August 26 to 28, 11am to 4pm. Alan Jordan is joined by others today (24/8/2022) for a show of photographs, watercolours, pencil drawings and collages at Darley Methodist Church, Main Street, Darley, from 10am to 2pm.
Summerbridge Methodist Church will play host to an arts and crafts exhibition with refreshments from August 26 to 29, 11am to 4pm, except Sunday, 12 noon to 4pm. Minerva’s Owl and friends will take over Broadbelt Hall, Glasshouses, to display glass, ceramics, paintings, prints and photographs from August 27 to 29, 10am to 5pm.
In Knaresborough, Art In The Mill, a converted flax mill on three floors in Green Dragon Yard, off Castlegate, exhibits paintings, prints, cards, sculptures and ceramics, 9.30am to 5pm, Tuedsay to Saturday; 11am to 4pm, Sundays.
Elf, digital art, by Luna Gosling at Summerbridge Methodist Church
Works by Sherry Doyal and Helena Coddington are on display at Tanacetum Studio, at 14 Kirkgate, until August 29, 11am to 4pm, daily. Head to Henshaws Arts & Crafts Centre, at 50 Bond End, for the work of differently abled artists and collaborative pieces, today until Friday and Bank Holiday Monday, 9am to 4pm.
In Pateley Bridge, paintings by Claire Baxter and crafts by local makers are on show at Claire Baxter Gallery, 31 High Street, until August 29, 10am to 4pm, weekdays; 10am to 5pm, Saturday; 11am to 4pm, Sunday.
Prints, maps and antique glass can be found at Artful Arts, at 12 High Street, 9.30am to 4.30pm, today to Saturday and Monday; 12 noon to 4.30pm, Sunday. Jack Albert & Gill 2’s art and craft gallery, at 4 Kings Court, features Nidderdale-made art, prints, ceramics, glass and wood crafts, 10.30am to 5pm, daily. Nidderdale Shades and others are exhibiting at Pateley Bridge & Bewerley Memorial Hall, in Park Road, tomorrow (25/8/2022) from 11am to 4pm.
Seek out contemporary handmade jewellery in titanium, precious metals and stones by Moxon and Simm at 1 King Street Workshops, 10am to 5pm, until August 29. Fiona Mazza focuses on the world of butterflies to form ceramic pieces with Raku and electric firing at 2 King Street Workshops from today to Sunday, 10am to 4pm.
Stone carver and sculptor Joseph Hayton makes sculptures in stone, clay and bronze, including figurative pieces of the human form, green man carvings and gothic architecture, at 3 King Street Workshops, on display today until Saturday, 9am to 5pm. Art and craftwork by children, inspired by the natural world, using natural materials, will be the centre of attention at Clay Paper Scissors, 6 King Street Workshops on Saturday and Sunday, 11am to 4pm.
James Owen Thomas will present collages, made from recycled materials, and mixed-media works in The Open Garage, at 21 Low Wath Road, on Saturday and Sunday, 11am to 4pm.
In Bewerley, William Thomas’s seasonal photographic panoramas of Nidderdale can be viewed at Bewerley Chapel, Village Street, Bewerley, from 9am to 7pm daily until August 29. Find original paintings, prints, cards and coasters of sheep, hares, birds and landscapes at Teresa Boast Studio, in Bewerley Gardens, from August 26 to 29, 10am to 4pm.
Three Fat Rascals, by Claire Baxter, at Claire Baxter Galllery, Pateley Bridge
Paintings and woodwork combine with a walk in ancient woodland, replete with an historic fishpond and restored icehouse, hosted by Peter Brambleby at Hexagon Study Barn, Fishponds Wood, Peat Lane, until August 29, from 5.30pm to 7.30pm on weekdays and 9am to 6pm this weekend.
In Upper Nidderdale, discover Sarah Garforth’s oil paintings and prints, inspired by trees, rivers, reservoirs and buildings, at Ramsgill Gallery & Studio, Ramsgill, from August 27 to 29, 11am to 4pm. Lofthouse Art Group will fill the Lofthouse Bandroom, in Lofthouse, with paintings and crafts on August 27 and 28, 10am to 4pm.
Take the Nidderdale Way farm track to the remote Well House Farm, at Stean, Lofthouse, to locate Karen Blacklock’s mixed-media works in oil and acrylic in her upstairs studio on August 27 to 29, 11am to 4pm. Middlesmoor Village Hall will serve up Middlesmoor Crafts craft work, tea, coffee and cakes on August 27 to 29, 11am to 3pm.
Around Nidderdale, arts and crafts by students who attend Horticap weekly sessions, are on show at Horticap, Otley Road, Beckwithshaw, until August 29, 9am to 5pm; Sunday, 10am to 4pm. Work by Nidderdale artists, craftwork and photography can be enjoyed with tea, coffee and home-made cakes at St Andrew’s Church, Church Hill, Blubberhouses, from August 27 to 29, 11am to 4pm.
On Dallowgill Moor, Jean and Richard Turner will be showcasing paintings and drawings of flowers, animals and landscapes at Greygarth Farm, Dallowgill, from August 27 to 29, 10am to 5pm.
South Park Pottery’s thrown and handmade decorated fired pots are on display and for sale in Galphay Road, Kirkby Malzeard, until August 29, 10.30am to 4.30pm.
On the north side of the River Skell, at the end of Low Mill Estate, in Ripon, find Linda Birkinshaw’s acrylic dream paintings, inspired by the landscape, at 3A Fisher Green, until August 29, 11am to 4pm.
To learn more about this year’s trail artists and to download the NiddArt Trail Live Guide, visit niddart.org.uk.
Sniff out Prowling Fox, by Ann Pease, at Kirkby Malzeard
The Nunnington dragon: “Slithering down the exhibition corridor” at Nunnington Hall
VISITORS to Nunnington Hall, near York, have until September 4 to help to determine the look of the Nunnington dragon as part of a story creation project in Ryedale.
Literacy specialist Rosie Barrett and artist Karen Thompson have been working with school groups and families to retell this folktale.
The story features in the Creatures Of Curiosity project, funded by grants from Arts Council England and Ryedale District Council, to encourage young people to engage with stories rooted in local places.
“There are some fascinating stories from the region, but the dragon has really captured imagination,” says Rosie. “Lots of regions have their own version of a dragon story, but most of us have only really heard of the most famous dragons – those featured in stories such as The Hobbit, for example, or Beowulf.
The Nunnington dragon’s head at the Creatures Of Curiosity exhibition at Nunnington Hall
“The project was a great opportunity to engage Ryedale people with our own dragon and find out a bit more about it.”
Rosie and Karen took their retelling of the story into schools in Ryedale to gauge their responses, inviting children to create their own illustrations and writing. “They had very strong ideas,” says Rosie.
“The original folktale has a devastatingly sad ending. We asked the children about it and how we should tell this element. We thought they’d want a happy ending and were surprised by their stoicism!”
Artist Karen illustrated the dragon based on the children’s ideas and consequently it slithers down the exhibition corridor. “The children helped us to get an idea of what the dragon should look like at the exhibition,” she says. “Based on details in the story, they were quite clear that the dragon should be long and worm-like.”
Scale drawing: Nunnington Hall visitors can add to the design of the dragon’s body and tail
Now Rosie and Karen are inviting more visitors to participate by creating a scale to go on the dragon’s body and tail.
“It’s been fantastic to see the dragon develop over the summer, but we’ve only got until September 4 to get enough scales to finish it,” says Karen. “We’re really hoping it will be complete by the end of the exhibition.”
Other stories featured in the Creatures Of Curiosity exhibition at the National Trust property include moorland myths about “hobs”, the secretive and mischievous creatures believed to have helped around farms and houses on the North York Moors, and an original tale based on the prehistoric creatures whose fossil remains were found at Kirkdale Caves.
Look out too for artwork by children’s author and illustrator Tim Hopgood, who has illustrated the Kirkdale creatures, such as hyenas, lions and long-tusk elephants, once native to the region, and for sensory textile creations by Wanda Szajna-Hopgood, based on Tim’s illustrations, that showcase the story of the Kirkdale Caves. Artwork by schoolchildren is on display too.
A close-up of the Nunnington dragonat Nunnington Hall
Based on a range of real and mythological creatures from the Ryedale area, the exhibition pulls together history, archaeology, science and folklore. The real creatures are themselves in some ways fantastical: creatures that lived there during the Ice Age, including mammoths, hyenas and giant deer.
The exhibition offers the opportunity to explore how local myths were created and how even real stories can take on mythical status.
On August 25 comes the chance to join Dr Liam Herringshaw, from the Fossil Roadshow and Scarborough Museums, to learn about fascinating fossils. Hands-on art and storytelling activities will take place on August 30 from 11am to 3pm.
Find out more at: nationaltrust.org.uk/nunnington-hall/features/exhibitions-at-nunnington-hall.
Margaret Fingerhut: “Found no difficulty with being a chameleon to cover the various styles”
THERE is nothing like a festival binge: three performances in a single day. You can’t do it at any other time.
So why not? A morning recital in a country house, a Handel serenata in an ancient shrine in the afternoon, and an evening with Elgar and Vaughan Williams in a mediaeval church. Wonderfully varied fare.
Margaret Fingerhut has always been an explorer of unusual piano repertoire and I have long admired her excellent taste, mostly through her recordings. In Birdsall House she mounted a travelogue, which traversed Europe before crossing to the Far East and the Americas. She found no difficulty with being a chameleon to cover the various styles.
There was an oddly Moorish flavour to two of Grieg’s Lyric Pieces, before she brought out the big melody in Liszt’s Les cloches de Genève like a chorale amid the chimes. Albéniz’s Castilla was Spanish to its core, twinkling with flamenco virtuosity, before a more sombre excursion to the Three-Peaks gorge in the Crimea, courtesy of Kharkiv-born Sergei Bortkiewicz. A long silence followed its moving conclusion. Six of Bartók’s highly rhythmic Romanian folk-dances restored a happier atmosphere.
Roxanna Panufnik was present for the world premiere of her Babylonia, which took us to Iraq. After Fingerhut had commissioned it, they together determined to commemorate their Jewish roots by delving into the music that had flourished in the Iraqi Jewish community since the Babylonian captivity (586 BC), before it was persecuted into exile after 1948.
Their choice fell on a song by the Moroccan poet Dunash ben Labrat (10th Century AD), whose five verses alternate longing for better times with anger at enemies. Panufnik leans heavily on the Phrygian scale – E to E on the white notes of the piano – which is commonly found in contemporary jazz, some pop music (e.g. Metallica) and even in North Indian classical raga.
Essentially, she has compiled a theme and variations. The song-theme was first plucked inside the piano – which sounds gimmicky but conjured a distant, personal world – before being fully enunciated on the keyboard.
The Maxwell Quartet: Artists in residence at Ryedale Festival
At first, the theme was elaborated with ornamentation, but drifted towards the minor as its basic yearning was painted in ever-darker colours, reaching an angry climax in a growling bass that stopped abruptly. High, ‘washing’ chords restored hope, even an element of sunshine. This was briefly clouded by menacing cross-rhythms, before a grandiose, almost Lisztian climax, which in turn dwindled into a serene silence.
In its barely ten minutes, Babylonia conveys an immense range of emotion. Fingerhut caught the work’s bittersweetness superbly. It was a memorable premiere.
Thereafter we darted to the Australian outback, courtesy of Sculthorpe’s Djilile, ragtime America, Hong Kong in the rush hour as imagined by Abram Chasins, ending in Argentina with a couple of Piazzolla’s trademark tangos. It might have been a breathless tour but for Fingerhut’s stylistic versatility.
The afternoon, in the Saxon church of St Mary, Lastingham, saw the second (of three) performances of Handel’s Acis and Galatea. In the absence of any other description, we may safely call this a Ryedale Festival Opera production, which was directed by Monica Nicolaides and conducted by Eamonn Dougan. The small forces involved might suggest a shoestring budget but the show’s ingenuity proved otherwise.
The only slight deficiency was that the orchestra contained only one cello, where Handel specified two. Otherwise the two excellent oboists, Angelika Stangl and Kate Bingham, doubled on recorders as happened at its public premiere in 1732.
Without any props, other than the church’s fixed furnishings, the chorus provided their own. So, for example, when the birds twittered, they dangled avian cut-outs on strings like puppets. Nor were there any costumes: all were dressed as for a rehearsal. But the show compensated in liveliness what it lacked in lavishness.
Nicolaides made a virtue of the sacred setting by overlaying a veneer of religion, especially in having the body of Acis, draped in aquatic blue, taken up to ‘heaven’ (the pulpit), where he was crowned with a golden chaplet. Thus Arcadia took on an eternal hue, doubtless enhanced by the new fountain into which Acis was transformed.
The production also made the chorus – a separate group of five singers bar one overlap with the principals, the Corydon of Emilia Bertolini (whose original aria was happily restored) – seem a more essential part of the action than usual, involved with the travails of the lovers at every point. They produced a moving, motet-style blend at Acis’s demise.
Roderick Williams: “Reserved his full powers for the Mystical Songs”
Henry Ross was an appealing Acis, with clean diction and varied tone-colour; ‘Love In Her Eyes Sits Playing’ had a shapely lilt. His attractive Galatea was Caroline Blair, who delivered ideally straight tone and crisp runs. Matthew McKinney made an over-eager Jack-the-lad of Damon, whose later attempt to act as pacifier was out of character.
Dressed in a stick-on bow-tie, which matched his pomposity, Edward Jowle’s Polyphemus benefited from his admirably fluid bass-baritone. It jarred that he was encouraged to be so physically aggressive towards Galatea. Dougan kept his six-piece ensemble finely attuned to his singers. Nestling in a valley next to the moors, this location evoked Arcadia even before a note had been sounded.
So, to the evening in the church of St Peter & St Paul, Pickering, where the Maxwell Quartet – one of the artists in residence – was joined by baritone Roderick Williams and pianist Christopher Glynn. A first half of Elgar’s Piano Quintet in A minor was complemented by Vaughan Williams after the interval, five folk song arrangements followed by the Five Mystical Songs, which gave the evening its title.
The two main themes in the piano quintet were nicely contrasted and neatly complementary, one ghostly, like wisps of smoke among trees, the other warming to a ferocious climax accelerating into the recapitulation, in which Glynn was sensitive enough not to outweigh his colleagues. The fade-out rests were effective. Serenity was the watchword in the Adagio, with the two lower strings predominant.
A broad sweep characterised the finale, the main tune brushing aside ghostly memories from the first movement and ushering in the sunshine key of A major, as optimism took over from doubt. All five players played their hearts out here.
Roderick Williams has considerable prowess as a composer and brought his skills to bear on lively arrangements for string quartet of Vaughan Williams’s piano accompaniments to five folk songs. As singer he gave a jolly swagger to Captain Grant, with elegiac contrast in She’s Like The Swallow, a Newfoundland song, as was Proud Nancy.
But he reserved his full powers for the Mystical Songs. The exhilaration of Easter kept bubbling through, and George Herbert’s private excitement in I Got Me Flowers was contrasted by its triumphant closing line, ‘There is but one, and that one ever.’
Williams has a tender affection for words that showed most clearly in Love Bade Me Welcome. He was marvellously resonant in the closing Antiphon, boldly affirmative, as were the strings. His remarkable charisma brings an extra aura to everything he sings. An unforgettable end to a glorious day.
The Lockton Artists group members who will be exhibiting at Inspired By…Gallery from next month
ARTISTS from the North York Moors National Park village of Lockton will unite for the first time for an exhibition at the Inspired By… gallery in Danby next month.
Under the theme of Threads and Pathways, the Lockton Artists will be exploring how their individual work shares a common thread of demonstrating the power a special place wields over their inspiration.
As part of the National Park’s 70th anniversary celebrations, the exhibition will run alongside displays of work by Gail Hurst, from Port Mulgrave, and Pauline Brown, from Farndale.
Ceramicist Hester Salt in her studio
The Lockton Artists’ exhibition will underline the wealth of talent that lies within a village of fewer than 300 permanent residents.
Nine artists from the group will be taking part, among them Hester Salt, whose ceramic forms take inspiration from fungi on trees in the woods near Lockton; metalsmith Marcus Steel, who creates patinated and gilded treasure houses, and photographer Mike Nowill, with his intentional camera movement images of Dalby Forest.
Marcus Steel at his work bench
The Threads and Pathways theme has prompted some group members to try new techniques and take their work in a new direction. For instance, textile designer Sarah Peart has extended her embroidery techniques, introducing a new colour palette inspired by the surrounding forests and woodland.
Participating too will be: blacksmith David Stephenson, metal sculptures; Joan Broadbent, watercolours; Stephen Broadbent, watercolours; Sue Slack, acrylic and mixed-media paintings, and Michael Hester, Jesmonite pottery.
Meanwhile, as summer makes way for autumn, Connections To Landscape will showcase Pauline Brown’s drawings and paintings, influenced by the different seasons, colours and moods in and around Farndale.
Michael Hester’s Jesmonite pottery
In Gail Hurst’s Our Land, Our Sea exhibition, she reflects on the natural world and having a sense of place, drawing inspiration from her coastal surroundings and her own bee-and-butterfly garden at home.
All three exhibitions will open on September 17 at the Inspired By… gallery, Danby Lodge National Park Centre, Lodge Lane, Danby, Whitby, and will run until November 7.
The Threads and Pathways exhibition will have Meet The Artists sessions every Friday at 11am and 1.30pm until November 4.
Wynne Evans: Vocal power amid the Pomp and Circumstance at tonight’s Castle Howard Proms
FROM Proms fireworks to rave bingo, prog-rock veterans to village-green art, Charles Hutchinson seeks variety for the diary.
Pomp and circumstance concert of the week: Castle Howard Proms, Castle Howard, near York, this evening; gates open at 5pm
OPERA star, insurance advert institution beyond compare and BBC Radio Wales presenter Wynne Evans returns to the Castle Howard Proms this weekend.
West End singer Marisha Wallace will be his fellow soloist at tonight’s classical concert, where the London Gala Orchestra will be conducted by Stephen Bell. Expect picnics, Prom classics, songs from the musicals, flag-waving favourites, a Spitfire flyover, laser displays and a firework finale. Box office: lphconcertsandevents.co.uk/events/castle-howard-proms-2022.
Life of Bryan: Roxy Magic pay tribute to the Ferry man
Tribute show of the week: Roxy Magic, Joseph Rowntree Theatre, York, tonight, 7.30pm
AHEAD of reunited art-rock legends Roxy Music playing Glasgow, Manchester and London in October on their 50th anniversary tour, here comes Roxy Magic’s tribute in York.
Led by Bryan Ferry doppelganger Kevin Hackett since 2004, the show lovingly recreates four decades of Roxy music, from art-school retro-futurism, to classic standards via sophisticated, adult-oriented rock. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Abba Symphonic: All the hits, with a bigger band, at Castle Howard
Does your mother know this is happening? Abba Symphonic, Castle Howard, near York, Sunday; gates open at 5pm
ROB Fowler and Sharon Sexton will be among the star performers from the West End production of Mamma Mia! at Sunday’s Abba Symphonic concert.
They will be backed by a full rock band, together with the Heart of England Orchestra, in a greatest hits concert conducted by Grammy Award winner Steve Sidwell. Irish singer-songwriter, performer, raconteur Jack Lukeman will be the support act. Again, take a picnic. Box office: lphconcertsandevents.co.uk/events/abba-symphonic-castle-howard/.
Sam Lee: Not-so-ordinary folk amid the chamber music programme at Welburn Manor. Picture: Andre Pattenden
Folk event of the week: Sam Lee, Songlines, at North York Moors Chamber Music Festival, Welburn Manor marquee, near Kirkbymoorside, Monday, 7pm
FOLK pioneer Sam Lee brings a new perspective to this summer’s North York Moors Chamber Music Festival when performing his Songlines set on Monday.
The festival is built around world-class classical musicians, performing repertoire on the theme of Soundscapes. This year, however, singer, song collector and conservationist Lee and his band will be broadening the focus after he met festival director Jamie Walton at the new Ayriel Studios, in Westerdale, near Whitby, late last year. Box office: 07722 038990 or northyorkmoorsfestival.com.
Spot the difference: The 1975 replace Rage Against The Machine as Leeds Festival headliners. Picture: Samuel Bradley
Last big gathering of the summer: Leeds Festival, Bramham Park, near Wetherby, August 26 to 28
OUT go Friday’s American headliners Rage Against The Machine (leg injury to frontman Zack de la Rocha), Italy’s 2021 Eurovision winners, Maneskin, and American rapper Jack Harlow (both preferring to play at MTV’s Video Music Awards ceremony in America instead). In come English indie combo The 1975, for their first gig in two years, and pop star Charli XCX on Friday and London rapper AJ Tracey on the Sunday.
Friday offers Halsey, Run The Jewels and Bastille; Saturday, Dave, Megan Thee Stallion, Little Simz, Glass Animals and Joy Crookes; Sunday, Arctic Monkeys, Bring Me Horizons, Wolf Alice and Fontaines DC. Box office: leedsfestival.com.
Re-building Colosseum: Prog-rockers parade their latest line-up at The Crescent
Re-formed legends of the week: Colosseum, The Crescent, York, August 27; doors, 7.30pm
PROG rock giants Colosseum have reunited, fronted by legendary lead singer Chris “Out Of Time” Farlowe, who is joined by fellow long-time members Clem Clempson, on lead guitar, and Mark Clarke, on bass and vocals.
In the line-up too will be new recruits Nick Steed, keyboards, Kim Nishikawara, saxophones, and Malcolm Mortimore, drums, in a gig staged by TV’s Over, York promoters with a flair for the retro.
Colosseum date back to, if not Roman times, but still long-ago 1969, when debut album Those Who Are About To Die Salute You established their compound of rock, jazz and classical music. Box office: thecrescent.com.
Taking shape: Making pots at Fangfest in Fangfoss
Art, not Dracula: Fangfest, Fangfoss Festival of Practical Arts, Fangfoss, near Pocklington, September 3 and 4, 10am to 4pm
MORE than 20 jewellery designers, potters, glass artists, sculptors, felters, handbag makers, painters, photographers, illustrators, printmakers, candle makers, willow weavers and wood carvers are taking part in Fangfest on its return after a pandemic-enforced two-year hiatus.
Look out too for Forest Craft and Play’s drop-in craft activities; acoustic musicians; archery; classic cars; a scarecrow trail and the St Martin’s Church flower festival with the theme of Our Queen. Admission to this outdoor event is free.
John Bramwell: Heading to Ellerton Priory next month. Picture: Ian Percival
If you book for one low-key gig, make it: John Bramwell, Ellerton Priory, near York, September 24; doors, 7pm
FROM the team behind shows by Super Furry Animals’ Gruff Rhys and The Beta Band’s Steve Mason in Stockton on the Forest Village Hall comes a “super-intimate” gig by I Am Kloot’s John Bramwell.
Ellerton Priory, should you be wondering, is the Parish Church of St Mary, a beautiful, small, 16th century church in the East Riding village of Ellerton, between York, Selby and Pocklington. Tickets are on sale via thecrescentyork.com.
Rave on! Welcome to the new age of bingo in Bongo’s Bingo at York Barbican
House music with a difference: Bongo’s Bingo, York Barbican, October 8; doors, 6pm; last entry, 7:30pm; first game of bingo, 8pm
MAKING its York debut this autumn in the shadow of the demolished Mecca Bingo, Bongo’s Bingo “rejuvenates a quintessentially quaint British pastime with an immersive live show featuring rave rounds, nostalgia-soaked revelry, dance-offs, audience participation and crazy prizes in a night of pure and unadulterated escapism”.
Looking for a full house, promoter Jonny Bongo says: “We’ve been waiting to come to York for a long time, so this is really special for us. We’ve heard the locals are really up for a party, so this is going to be a lot of fun.”
Magic and music, mischief and mayhem combine in this bingo rave experience. Box office: bongosbingo.co.uk.
Jonny Weldon: York Theatre Royal pantomime debut as Starkey in All New Adventures Of Peter Pan
“SOCIAL media sensation” Jonny Weldon is the latest addition to York Theatre Royal’s pantomime cast for All New Adventures Of Peter Pan.
Although he would if he could, he can’t say too much about his character other than his name – Starkey – because writer Paul Hendy is working on the script.
“I know Paul quite well and have worked with him before,” says Jonny. “I don’t doubt we’ll sit down soon and work out the character.”
He can reveal little about his imminent television role too. “It’s very frustrating. I’m not allowed to tweet about it,” explains the actor and sketch humorist, whose videos went viral on Twitter.
He does confirm he will be appearing in the highly anticipated Game Of Thrones spin-off House Of The Dragon, but the series is being kept a closely guarded secret in the run-up to the first episode premiering on August 22 on Sky.
Jonny has “a little part” in the series but that is all he is saying. Even his character is a mystery, although rumoured to be called Samwell.
This summer, he can be found playing one half of Cruella de Ville’s comic henchman double act Casper and Jasper in a musical version of 101 Dalmatians at Regents Park Open Air Theatre in London.
July’s record-temperature heatwave took its toll on performers acting outdoors under the sun. “It was far too hot!” says Jonny. “We were doing shows with heat spaces for ice packs and dressers throwing cold water over us to cool us down.”
Jonny Weldon: Actor, sketch humorist and pantomime star
Nevertheless, doing the show has been “interesting but fun”. “I’ve never worked before at Regents Park, which is just down the road from where I live. It’s nice to work near where you live. It’s a big family show and that kind of theatre is great to do,” he says.
Jonny, who has 16 years in the business to his name, owes his entry into performing to his parents. Not that he had a stereotypical pushy stage mother. “I was a terrible show-off and my mum decided to see if she could harness my need to show off,” he recalls. “She took me to a big national audition – and I got the part.”
At the age of 11, Jonny had landed the role of Michael Banks, one of the children under the care of a flying nanny in the stage musical version of Mary Poppins.
Another West End musical role followed: Gavroche, the boy who dies on the barricade in Les Miserables. Next stop was the National Theatre for Jeanine Tesori and Tony Kushner’s musical, Caroline, Or Change. Soon a place at the prestigious Sylvia Young Theatre School, in Marble Arch, was his.
His local paper wrote a story championing his acting success with the headline Well Done, Weldon! “I loved doing Mary Poppins. I found school boring and it meant I didn’t have to go into school,” Jonny says.
“At that point, I didn’t really have a real understanding of what I was doing. It was just play and fun. I got to die on the barricade [in Les Miserables] – what kid doesn’t like a gory death?
“At no point have I found what I’m doing strange or lost my enthusiasm for performing. I’ve always enjoyed it. There are ups and downs but I’ve never found myself wanting to do anything else.”
Jonny has done theatre aplenty but the past two years have seen him branch out into television with roles in Stephen Merchant’s BBC One series The Outlaws, Channel 4’s Stath Lets Flats and now House Of The Dragon.
Jonny Weldon in the latest poster for York Theatre Royal’s All New Adventures Of Peter Pan
Along the way, he has become, more by accident than design, a “social media sensation”, on account of a succession of viral videos on Twitter. “As with every actor, I was bored and fed up in the lockdowns and decided to create my own sketches about the uphill battle of the life of an actor,” says Jonny.
“I didn’t do much on social before but decided to put it on Twitter. 100,000 people watched and shared and laughed.
“This week I put one out about the Edinburgh Fringe. There are always things like that – an actor has an audition, an actor gets cut from a TV programme or an actor tries to socialise.
“I started to film ones on Zoom with celebrities coming in to play themselves. The likes of Russell Tovey, Tracy-Ann Oberman, the cast of Ted Lasso. It’s just been a very fun and unexpected thing.”
Jonny will carry on making videos but, given that he is busy with work, he will do it “as and when I want to”. Long term, he hopes to work on “something bigger than just social media”, explaining: “I want to try and create my own stuff and a vehicle for myself in television. I write relentlessly and am constantly trying to make bigger work for myself and having meetings about that.”
After 101 Dalmatians concludes, he will film a TV show, and once more he has to be hush-hush over what lies in store. “I’ll probably be in trouble if I say anything as I don’t think the show is going out until next year,” he reasons.
Come November, Jonny will start rehearsals for creative director Juliet Forster’s third York Theatre Royal pantomime, All New Adventures Of Peter Pan, joining the already confirmed Maddie Moate, from CBeebies, and three returnees Faye Campbell, Robin Simpson and Paul Hawkyard. The actor playing Peter Pan will be announced next.
Playing Starkey will be Jonny’s latest panto credit after such roles as Will Scarlett in Robin Hood, Jack in Jack And The Beanstalk and Muddles in Snow White twice. Add to that a week in Canterbury in the comic role after an asbestos-related problem forced his show at St Albans Arena to close mid-season. But that’s another story.
Jonny Weldon will star in All New Adventures Of Peter Pan at York Theatre Royal from December 2 to January 2 2023. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Follow Jonny on Twitter: @jonnyyweldon
CASTLE Howard’s bumper weekend of music, dance and picnics begins with tonight’s Café Mambo Ibiza Classics.
Presented in the grounds of the North Yorkshire stately home by LPH Concerts & Events, the line-up of deck talent on dance anthem duty features NYC superstar DJ Armand Van Helden; Lola’s Theme hitmaker Shapeshifters, performing a new live show replete with vocalists; DJ and saxophone duo Lovely Laura & Ben Santiago and Café Mambo regular Erik Hagleton.
Tomorrow’s Castle Howard Proms marks the return to North Yorkshire of Welsh opera star, BBC Radio Wales presenter and car insurance advert regular Wynne Evans, performing with the London Gala Orchestra under conductor Stephen Bell.
Broadway and West End actress Marisha Wallace will be Evans’s fellow soloist in an evening of late-summer picnics, Proms classics, songs from the musicals, flag-waving favourites, a Spitfire flyover, laser displays and a firework finale.
Closing out the weekend will be Sunday’s Abba Symphonic concert, when star performers from the West End production of Mamma Mia!, Rob Fowler and Sharon Sexton among them, take to the stage, backed by a rock band and the Heart of England Orchestra.
Grammy Award winner Steve Sidwell has given epic-scaled arrangements to 25 Abba numbers, from Waterloo to Gimme Gimme Gimme, Fernando to SOS. Once more, concertgoers are welcome to bring picnics.
Tickets are still on sale from lph.live, as well as on the door (when prices increase). Parking will be available on site, free of charge. Visitors should follow the directional signage on arrival. Blue badge parking is available too. Camping chairs are allowed at all three events.
REVIEW: Martin Dreyer’s verdict on Daybreak, North York Moors Chamber Music Festival
North York Moors Chamber Music Festival: Daybreak,Welburn Manor marquee, August 13
THE 2022 North York Moors Chamber Music Festival got off to a cracking start with this afternoon concert, a Beethoven piano trio followed by a Dvořák piano quartet.
The festival’s umbrella title is Soundscapes, with the various subtitles moving gradually through the day and the seasons. Appropriately, this was Daybreak.
For anyone new to this wonderful festival – one of the best-kept secrets of the chamber music world anywhere in this country, let alone in Yorkshire – the names of the musicians taking part are only revealed at the event.
All you know ahead of time are the works on the programme. But have no fear. Nobody makes it onto the Welburn stage without the highest pedigree: concerto soloists, orchestra leaders, competition winners, from all over Europe, all with a shared love of chamber music which their careers normally prevent them playing.
So, they come here on holiday, often with families in tow, and indulge themselves for our delight. The results are often astounding – and at £15 a pop, extraordinarily good value.
Beethoven’s Piano Trio, Op 11 in B flat, dates from the late 1790s when he was fairly new on the Vienna scene and still trying to make an impression. Wisely he based his writing on ‘Papa’ Haydn’s example. In these works you find Beethoven at his most witty, which did not escape our threesome here, violinist Charlotte Scott, cellist Rebecca Gilliver and pianist Christian Chamorel.
The opening Allegro was extremely light on its feet, with the downward part of the theme given a keen staccato. The semiquavers in the development section were particularly energetic.
The centre of the slow movement, which involves cello and piano alone (because its remote keys were inaccessible at the time by the clarinet for which the violin role was originally written), was soulful indeed.
The finale, nine variations on a wildly popular song by Joseph Weigl (Before I Start Work, I Need Something To Eat! – one knows the feeling) were sombre, dramatic and martial in turn. They are followed by a crazy little piano cadenza that goes off at a tangent, which Chamorel relished to the full, before his colleagues were allowed back to restore order.
The second of Dvořák’s two piano quartets, Op 87 in E flat, brought in a completely new group of players – something that ordinary economics would not normally make feasible – violinist Benjamin Baker, viola player Meghan Cassidy, cellist Jamie Walton and pianist Daniel Lebhardt. All are regulars at the festival, while Baker and Lebhardt are also frequent collaborators which undoubtedly helped cohesion.
Its dramatic opening was made more so by Lebhardt’s insistent piano, which drove his colleagues a little harder than they might have wished. It did however make the calm appearance of the second theme during the development especially beautiful.
Walton’s cello gave an ultra-lyrical start to the slow movement, so that the arrival of its stormy centre came almost as a shock. The return of the cello’s theme was almost remorseful, as if the disturbance had been too much, and it came to a serene, penitent close.
There was a pleasing sense of dance to the scherzo – almost an old-fashioned minuet – and the finale’s main theme matched the forthright opening of the whole work. The ensemble seemed particularly to savour the moments of repose that Dvořák throws in strategically. The enthusiasm of both ensembles was infectious: it bodes well for the rest of the festival.
Review byMartin Dreyer
Folk musician Sam Lee’s band to play at North York Moors Chamber Music Festival
Sam Lee: Ground-breaking concert at North York Moors Chamber Music Festival. Picture: Andre Pattenden
FOLK pioneer Sam Lee will bring a new perspective to this summer’s North York Moors Chamber Music Festival when performing his Songlines set of folk songs in the Welburn Manor marquee on August 22 at 7pm.
Now in its 14th consecutive year – it was one of the very few arts festivals to go ahead during the pandemic in both 2020 and 2021 – the 2022 festival runs from August 13 to 27, when its roster of world-class classical musicians gathers to perform dazzling repertoire around the theme of Soundscapes.
This year they will be joined by folk singer, song collector and conservationist Sam Lee and his band. Lee met the festival’s director, cellist Jamie Walton, when he spent time at the newly opened Ayriel Studios in Westerdale, near Whitby, late last year.
Walton, a founder and artistic director of this new state-of-the-art facility, explains: “Sam spent time up at Ayriel Studios writing songs, and we got on so well that I joined him back in May to perform live with nightingales as part of his Nest Collective project.
“This year’s festival theme, Soundscapes, takes inspiration from the landscape and music inspired by nature. Sam’s song set will fit in perfectly, as he is a conservationist, collector of songs and a real champion of nature.”
Ayriel Studios is also serving as a rehearsal space for many of this year’s other festival artists, which includes international musicians such as violinists Charlotte Scott, Benjamin Baker, Rachel Kolly, Victoria Sayles, Irena Simon-Renes and Irene Duval; cellists Alice Neary, Rebecca Gilliver, Tim Posner and Jamie Walton and pianists Katya Apekisheva, James Baillieu; Daniel Lebhardt, Christian Chamorel and Anna Tilbrook.
Taking part too are Ben Goldscheider (French horn); Matthew Hunt (clarinet); James Gilchrist (tenor); Alison Buchanan (soprano, Matthew Wadsworth (lute and theorbo) and young artists The Jubilee String Quartet and Cristian Grainer de Sa.
They will perform works by composers including Beethoven, Debussy, Fauré, Dvořák, Elgar, Mozart, Schubert, Schumann, Strauss, Chausson and many others.
All the main festival concerts will take place once more in an acoustically adapted marquee in the grounds of Welburn Manor Farm, near Kirkbymoorside. This is likely to be the last time the festival utilises this format before returning to churches, three of which – at Coxwold, Egton Bridge, and Danby – are featuring as part of this year’s festival.
Tickets for each main festival concert cost £15; free for under-30s. A season ticket for all 15 concerts costs £150.
To book, email bookings@northyorkmoorsfestival.com, call 07722 038990 or visit northyorkmoorsfestival.com.
North York Moors Chamber Music Festival director Jamie Walton. Picture: Matthew Johnson
