MAKE It York is inviting visual artists, print makers and designers to create a bespoke bauble design to celebrate St Nicholas Fair’s 30th anniversary with a prize of £500 for the winning design.
A fixture on York’s streets over the Christmas festive season since 1992, the 2022 fair will feature a limited run of porcelain baubles for sale to celebrate this milestone.
Artists are asked to submit designs on the theme of A York Christmas, whether traditional, contemporary or a fresh interpretation.
Running for five weeks, the St Nicholas Fair Christmas market features 60 Alpine chalets lining the streets of Parliament Street and St Sampson’s Square, where businesses sell everything from handmade gifts to delicious treats.
Summer Sizzler season on its way to City Screen Picturehouse, in Coney Street, York
CITY Screen Picturehouse, in York, is reducing ticket prices from July 25 to September 2 in a Summer Sizzler discount offer.
General admission will cost £7.99 – down from the standard £12.50 – for all films; £4.99 for Picturehouse Members.
“This offer includes all the best new blockbusters and family movies, as well as Picturehouse’s curated arthouse line-up and regular screenings of vintage classics,” says general manager Cath Sharp. “We’re also extending these great prices for our weekend of Outdoor Cinema at York Museum Gardens from August 5 to 7. With an unmissable summer of cinema approaching, this offer arrives at the perfect time.”
Among the summer releases heading for City Screen are Where The Crawdads Sing, Olivia Newman’s dramatic adaptation of Delia Owens’ novel, starring Daisy Edgar-Jones, from Friday; David Leitch’s action-thriller Bullet Train, starring Brad Pitt, from August 5, and Jordan Peele’s blockbuster horror movie Nope from August 12.
Daisy Edgar-Jones in Where The Crawdads Sing, opening at City Screen, York, on Friday
The Outdoor Cinema programme will show Ridley Scott’s 40th Anniversary release of Blade Runner (cert 15) on August 5; Steven Spielberg’s West Side Story (12A) on August 6 and a Sing-A-Long screening of Disney’s Encanto (U), directed by Jared Bush and Byron Howard, on August 7, all starting at 7.30pm.
In an opportunity to revisit film history, look out for Picturehouse’s reDiscover strand, celebrating the work of German filmmaker Wim Wenders; the Kids In America season, dedicated to 1990s’ American teen movies, and European Summers, a timely toast to the joy of summer holidays on screen in timeless continental favourites.
The Summer Sizzler reductions will extend to families: children’s tickets will be £4.99 and City Screen will continue to offer its Family Ticket deal, where adults pay children’s prices when visiting in a group of four.
Steven Spielberg’s West Side Story: City Screen Outdoor Cinema screening in York Museum Gardens
Admission to City Screen’s mid-morning Kids’ Club shows and a selection of family films over the summer will remain at £3, as will Toddler Time, City Screen’s unique programming strand screening 30 to 40-minute programmes for toddlers. Check listings for more details, advises Cath.
Annual Picturehouse Membership gives visitors up to ten free cinema tickets, along with ten per cent off all food and drinks, invitations to special previews and priority booking for the most popular films and events.
“City Screen also boasts a lively cafe bar with outdoor seating on the river and our menu is bursting with innovative home-made offers, many of them vegan and vegetarian,” says Cath. “The menu can be found on our website.”
York musical theatre actor, dancer and vocal drag artisteIan Stroughair sans make-up
IAN Stroughair, creator of flamboyant York vocal drag artiste Velma Celli, will reveal The Man Behind The Make-Up at the Grand Opera House, York, on September 9.
For one night only, international award-winning cabaret and musical theatre star Ian will shed his Velma alter-ego to present his brand of fabulous, revealing entertainment “complete with a live big band and a lot of laughs”.
Returning to his roots, he will serve up a one-off concert as himself, celebrating the music that inspired him to sing. From George Michael to Freddie Mercury, Elton John to David Bowie, York’s West End performer promises an evening of musical theatre and anecdotes from his varied career in show business, from cruise ships to pantomime, Cats, Fame, Rent and Chicago on the London stage to Funny Girls in Blackpool. Oh, and a cameo on EastEnders.
Ian Stroughair in Velma Celli mode at the Impossible Wonderbar
In the guise of Velma Celli, Ian has presented such shows as A Brief History Of Drag; Irreplaceable, his Bowie tribute; Velma Celli’s Equinox, “the one with witches, creeps and freaks”, and Outlaw Live!, his York Gin night at the National Centre for Early Music.
Velma has a residency at the Impossible Wonderbar, in St Helen’s Square, where upcoming shows include Velma Celli’s Equinox on October 31 and Velma Celli’s West End Christmas on December 16, as well as The Velma Celli Show on July 29, September 30 and November 25.
Here in York, Ian also has presented the Ian Stroughair Jazz Band’s jazz and blues gigs at Nola, the 1920s’ Art Deco-themed restaurant and bar in Lendal, and starred in York Stage’s debut pantomime, playing the villainous Flesh Creep in Jack And The Beanstalk at Theatre@41, Monkgate, in December 2020.
Tickets for September 9 cost £22.90 upwards on 0844 871 7615 or at atgtickets.com/York.
Ian Stroughair as Flesh Creep in York Stage’s 2020 pantomime Jack And The Beanstalk. Picture: Charlie Kirkpatrick
Audrey 2 x 2: The plant and the plant in human form in Emily Ramsden in Nik Briggs’s inspired innovation in Little Shop Of Horrors. All pictures: Charlie Kirkpatrick, Kirkpatrick Photography
York Stage in Little Shop Of Horrors, planted at York Theatre Royal until Saturday, 7.30pm nightly plus 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk
THIS is a 40th anniversary production with plenty of firsts and one unquenchable thirst.
York Stage are making their Theatre Royal main-house debut after shows all over town; Filipino-born and trained, York further-educated actor and chef Mikhail Lim is cutting the mustard in a premier-league lead role; Lauren Sheriston is rocking blue hair for the first time as Audrey and…
…Audrey 2, the ever-expanding plant with the insatiable need to “feed me” with rather more than BabyBio, has undergone a sex change from bass-baritone bully to seductive soul diva and sprouted not only profuse foliage but an accompanying female embodiment in the form of Emily Ramsden: a sort of Christina Aguilera think bubble come alive. Or an Audrey 2 x 2, if you prefer.
This way, the jive-talking, blood-sucking, man-munching plant takes on even more of a personality, albeit less sinister than usual.
Mikhail Lim’s Seymour, left, and James Robert Ball’s Mr Mushnik in Mr Mushnik’s Skid Row florist shop
Not even initial sound-level problems could knock Ramsden off her stride. Quick thinking by musical director Stephen Hackshaw saw his band drop their volume, while a hand mic was found for Ramsden to see her through to the end of her opening number. After that, everything went tickety-boo as York Stage settled into new surroundings under the ever-watchful eye of director-producer Nik Briggs.
Little Shop Of Horrors is a grisly, if tongue in cheek, cautionary tale of the dangers of rampant commercialism and unsavoury greed, where the laughs are rooted in feet of clay and the protagonists die, laughing.
The director’s challenge is twofold, first to find the gory heart of Howard Ashman and Alan Menken’s rock’n’roll send-up of Roger Corman’s B-movie horror flick and Fifties’ American culture but to make us laugh like a hyena on the highway to hell while doing so.
Secondly, to not let the underlying moral message about the fallacy of the American dream – the profits of doom – stand in the way of a bluesy belter, a tender ballad, a dollop of girl-group doo-wop or a blast of rock’n’roll swagger.
Lauren Sheriston’s Audrey, left, and Lucy Churchill’s Chiffon in York Stage’s Little Shop Of Horrors
Briggs’s propulsive production could be darker, more twisted in the manner of The Rocky Horror Show, but the laughs flow and the principals’ singing throughout is powerful, impassioned and sassy.
Little Shop Of Horrors is set in the trash can of the aspirant American Fifties, otherwise known as Skid Row, New York, as denoted by two big bins in Brigg’s otherwise colourful set and costume design.
Initially, Mr Mushnik’s struggling little flower shop feels a little crammed with unnecessary “stuff” on the Theatre Royal stage: twice Lim’s shop junior, Seymour Krelbourne, unintentionally bumps into a waste-bin by the counter, although his character is clumsy by nature – and as the plant and its notoriety threaten to outgrow the premises, it is only right that everything becomes a tighter squeeze.
Those bumps are the only false steps in an otherwise delightfully personable, pathos-led performance by Lim as the bespectacled, geeky loser Seymour, who grows from being comically, loveably awkward and love-struck to surprisingly ruthless and reckless as fame and fortune come his way once he signs his Faustian pact with Audrey 2. He has a sweet-sweet singing voice too that channels Sam Cooke’s tone.
Danger to dental health: Darren Lee Lumby’s mad dentist Orin finding life a gas, gas, gas
Sheriston’s Audrey, the subject of Seymour’s crush, is being crushed by her abusive dentist boyfriend, Darren Lee Lumby’s corkscrew-haired, cocksure Orin, who threatens mental and dental health alike in his deranged bad-lad turn.
Sheriston has to pull off a now uncomfortable Fifties’ trait of being too good for her own good, to the point of self-sacrifice. Audrey is compliant yet resolute, and Sheriston’s performance, especially in her singing, conveys both those traits. Briggs gives her a spot-on wardrobe too, notably a green dress to rival Audrey 2’s leafage.
The thrill-seeking doo-wop chorus girls (Hannah Shaw’s Crystal, Lucy Churchill’s Chiffon and Cyanne Unamba-Oparah’s Ronnette) serve as Greek chorus and girl-group nostalgia alike with hen-party glee. By way of contrast, James Robert Ball’s phlegmatic Mr Mushnik is amusingly lugubrious, wearier than a latter-day Woody Allen.
Praise too to Hackshaw’s band, embellished with wood and brass; to Adam Moore for lighting that nods to Little Shop’s red and green livery, and to plant puppeteers Jack Hooper, Katie Melia and Danny Western, relishing their well-deserved applause when leaping out at the finale.
York Stage will return to the Grand Opera House for Kinky Boots from September 16 to 24, but looking ahead, maybe an ideal scenario is for Nik Briggs’s ever-busy calendar to accommodate shows at the Theatre Royal, Opera House and 41 Monkgate each year.
Hannah Shaw’s Crystal: Part of the Greek chorus in A Little Shop Of Horrors
Paperback Theatre’s Mole (Charis McRoberts), left, Toad (Nathan Blyth), Rat (Carys Jones) and Badger (Lucy Bird) in their 2022 tour of The Wind In The Willows
PAPERBACK Theatre’s debut national tour of their “utterly Brummie” The Wind In The Willows will conclude with two Theatre At The Mill performances on July 30 at Stillington, near York.
On the road since June 4, the Birmingham company’s charming outdoor production will be heading to North Yorkshire for its only northern shows, directed by company co-founder Lucy Bird on her return to her roots.
Adapted for the stage from Kenneth Grahame’s book by fellow co-founder George Attwell Gerhards, Toad’s tale played to sell-out audiences at Paperback’s own arts festival, Little But LIVE! 2021, and in the Assembly Festival Gardens at Coventry City of Culture 2021 with Attwell Gerhards playing the irrepressible Toad.
Now Nathan Blyth is pooping Toad’s car horn on the tour, alongside Lucy Bird’s Badger, Charis McRoberts’ Mole and Carys Jones’s Rat.
Introducing the play, Lucy says: “Mole has been stuck inside for far too long. Finally escaping their underground home, they team up with good friends Ratty, Badger and the loveably roguish Toad on an adventure to blow away the quarantine cobwebs.
“Mole and the gang must go head-to-head with a motor car, Her Majesty’s Constabulary and, the greatest challenge of all, a legion of Weasels, Ferrets and Stoats, who have taken up residence in Toad Hall. Can our plucky band of heroes save the day?”
Lucy Bird: Director and Badger
Here, Lucy answers CharlesHutchPress’s questions on Toad and co, the company name and why Paperback Theatre are coming to Stillington.
Why call the company Paperback Theatre, Lucy?
“As a company, we’re most interested in adaptations. Taking old stories and retelling them for a new age, re-examining them, or just bringing them back to life for modern audiences (as we do with The Wind In The Willows).
“The name Paperback relates to the idea of a well-worn paperback book that has been read again and again, with a bent spine and crinkled pages, because there’s something that keeps drawing us back to those stories.”
What drew you to staging The Wind In The Willows?
“Pre-pandemic, Paperback made more indoor shows for older audiences, but during the pandemic we pivoted to working outdoors, for Covid safety reasons, and even started producing our own outdoor festival, Little But LIVE!.
“We found that outdoor work attracted more family audiences, and when we came to programming our second version of the festival The Wind In the Willows was touted as the perfect show for an outdoor family festival.
“Moreover, we were interested in the parallels in the tale to hibernation/isolation and our national journey out of lockdown. That said, The Wind In The Willows has always been thrown around our artistic discussions; it’s a book I loved as a child.”
Paperback Theatre take to the great outdoors in their debut national tour
What are your first memories of the story?
“My parents only had a VHS player and no TV licence, and one of the only video sets we had was the stop-motion series from back in the ’80s. Me and my brother watched it on repeat and routinely staged our own productions of it with other children in the village.
“I’ve run with that memory a fair amount in our staging and tried to create a low-tech, playful production that children could go away and stage themselves if they wanted to. We have sock puppets for ferrets, coconuts for horses’ hooves and a great medley of kazoos to manage our sound effects.”
Outdoor story equals perfect show for performances in the great outdoors. Discuss…
“I think there’s a lot of truth to that; it makes locating the story easier. When we arrive at each venue on tour, we have to agree where the Wild Wood is, where Toad Hall is, or the Riverbank, so we know where to point when we refer to them.
“Normally there’s a copse of trees – or indeed quite often a manor house looming in the distance that we can locate – which brings an extra exciting energy to the show.
“The Wind In The Willows is also a story about exploration and connecting with your local habitats after a long time away from them, so if you’re telling it outside, it feels like a great way to get audiences to start that journey of reconnection themselves.
“That said, I love the challenge of telling an indoor story outside: the harder you and the audience have to work to commit to imagining that you are in the middle of a palace, or a church, when you are in the pelting rain or blistering sun, the more fun you can have, I think.”
Paperback Theatre co-founder George Attwell Gerhards, who adapted Kenneth Grahame’s book for the stage, is pictured playing Toad in the 2021 production
What is distinctive about George’s adaptation?
“What’s different about this production to others I’ve seen is, firstly, its pace. George has compressed this well-loved tale into just an hour and, as a result, it has a really fast-paced, fluid energy to it, which also informs the great comedy and slapstick that we’ve discovered in the show.
“What’s particularly impressive and interesting is how much of the script has come straight from the book – which I think is really engaging for older audience members who may have a feeling of nostalgia for the original text – and yet how fresh and engaging it is for younger audiences.”
How do you involve the audience in the show?
“It’s an interactive show in the sense that we’re constantly talking directly to the audience, or pretending that they’re different characters in the show, but in a gentle way; we never get anyone up on stage or make them act out.
“We invite audiences to join in on our discoveries, to clap and cheer when the characters win something, or to groan in sympathy when we’re a bit sad. But if they aren’t feeling it that day, we just carry on…though we’ve yet to experience that!”
Paperback Theatre use recycled materials and bits of rubbish – sock puppets et al – in their design and props for The Wind In The Willows
What is the message of The Wind In The Willows in 2022?
“There’s a message about valuing nature and the countryside. Mainly though, given the last few years, for us it’s about friendship and camaraderie in difficult times, about reconnecting with people you haven’t seen in a while and helping them through the fun times and the tough times.”
What does an “utterly Brummie” interpretation bring to the show?
“Accents, mainly! Our Rat and Toad are both from Birmingham originally so they play the characters with their home accents, and then we bring in a plethora of other ones to help distinguish our multi-rolling, also to reflect the diversity of a city like Birmingham.
“There are a few unique references to the city, like bits of dialect or items of costume that are specific to our local area (Rat has a Moseley Folk Festival T-shirt on).
“Also, because the show was originally made for urban audiences, we’re looking at what urban wildlife is like. Our costumes and set are constructed out of recycled materials or bits of rubbish that we think the animals could have found hanging around to build their homes.
“I guess that also feeds into a message in our production of ecology and preserving the environment.”
Bird transforms into Badger: Lucy at play in the natural world
You are playing Badger, but is Badger your favourite character? If not, who is?!!
“Ooo, tricky! I do love Badger and their fieriness! But I think I’m coming round most to Rat. Bit of a curveball but they seem like an animal who’s just trying to be kind and do the right thing, even though they sometimes get it wrong, and I can empathise with that.”
Finally, Lucy, how did the performances at At The Mill come about?
“I’m actually from North Yorkshire originally, just across the way from Stillington in Ampleforth. When we first started booking The Wind In The Willows on tour I was absolutely determined to book a show near to the home I grew up in.
“My journey into theatre very much started with going to see outdoor performances that were touring to the local area, and I was really keen to try and offer that to the children and families who are living there now.
“I’d heard of Stillington Mill through family friends who said they had seen a few things there that were great and they felt it was a fab new venue, so I dropped the organisers, Alex [Flanagan Wright] and Megan [Drury], a line and they booked us in.”
Theatre At The Mill’s Silly Fringe presents Paperback Theatre in The Wind In The Willows at Stillington Mill, Stillington, near York, on July 30, 2.30pm and 7pm. Box office: atthemill.org/summer-at-the-mill/
Paperback Theatre’s tour poster for The Wind In The Willows
Paperback Theatre’s back story
* Formed at University of Warwick by Lucy Bird and George Attwell Gerhards, on the cusp of graduation in 2016. Now based in Balsall Heath, Birmingham.
* Past work includes thought-provoking original plays We Need to Talk About Bobby (Off EastEnders) and Me And My Doll, plus innovative adaptations of classics.
* In 2020, in response to Covid-19, they set up open-air arts festival called Little But LIVE! in Moseley Park, Birmingham, to give performing platform to Midlands artists who had lost work and to bring community together in period of isolation. Event now produced annually, entering third year in 2022.
* Debut tour of The Wind In The Willows is taking in Birmingham, Northampton, Lichfield, Stafford and Suffolk before Stillington finale.
Did you know?
LUCY Bird hails from the prodigiously artistic Bird family from Ampleforth. Brother Henry is an actor and musician; brother Conrad fronts the Newcastle band Holy Moly & The Crackers.
Protean Quartet: First prize winners at York Early Music International Young Artists Competition
PROTEAN Quartet, from Germany, have won first prize at the 2022 York Early Music International Young Artists Competition.
“We are so proud to receive this wonderful prize which will widen the opportunity for us to share our music far and wide,” they said afterwards. “We were competing against some amazingly talented musicians and we are privileged to receive this great honour.”
They overcame fierce competition from six highly talented international ensembles in the biennial competition, organised by the National Centre for Early Music, York, in a day-long series of performances by the competitors on July 16.
Protean Quartet – Javier Aguilar, Edi Kotler, violins, Ricardo Gil, viola, and Clara Rada, cello – receive a professional recording contract from Linn Records, £1,000 cash prize and opportunities to work with BBC Radio 3 and the NCEM.
Under the title Tempus Omnia Vincit, they performed Josquin des Prez’s Mille Regretz and Franz Schubert’s String Quartet No. 13 in A minor (Rosamunde), Allegro ma non troppo and Andante.
After Inflammabile and Ensemble L’Aminta, both from Austria, and Fair Oriana, from Great Britain, had to withdraw due to unforeseen circumstances, the final featured Protean Quartet; ApotropaïK, from France; Ensemble Augelletti, from GB; Harmos Winds, from the Netherlands; Liturina, from GB; Palisander, from GB, and UnderStories, from Italy.
Triple success: ApotropaïK, from France, won the EEEmerging+ Prize, Friends of York Early Music Prize and Cambridge Music Prize
During the two days before the weekend competition, each ensemble presented an informal recital under the guidance of York Early Music Festival artistic advisors John Bryan and Steven Devine.
The aim of these recitals was to give finalists the opportunity to adapt to the performance space and become familiar with the York audience in advance of the competition.
Each group then gave their final recital to a distinguished judging panel at the NCEM, comprising: Edward Blakeman, from BBC Radio 3; Albert Edelman, president of Réseau Européen de Musique Ancienne, 2019-2022; Philip Hobbs, Linn Records producer and recording engineer; violinist Catherine Mackintosh and harpsichordist Professor Barbara Willi.
The 2022 competition was presented by John Bryan, Emeritus Professor of Music at the University of Huddersfield and a member of the Rose Consort of Viols.
At the end of the competition, judging panel chair Philip Hobbs said: “The last three years have been extraordinary and extremely challenging for all young musicians. The calibre of musicianship we have seen is a tribute to their tenacity and dedication. The standard we see keeps going up and up and I would like to applaud all those who have taken part in this incredible day.”
Story of success: UnderStories, from Italy, won the Most Promising Young Artist prize
NCEM director and festival administrative director Delma Tomlin said: “It was wonderful to see the return of the competition and share the joy of being together again.
“The performances from these seven ensembles were of the highest calibre – congratulations to all. I would like to thank them and extend special thanks to our panel of judges for their hard work and support and to John Bryan and Steven Devine for their expertise and invaluable help.”
The EEEmerging+ Prize, Friends of York Early Music Prize and Cambridge Music Prize were all scooped by ApotropaïK, who performed Bella Donna, music from the 12th, 13th and 14th centuries.
A cash prize of £1,000 for the Most Promising Young Artist – individual instrumentalist or ensemble specialising in baroque repertoire – was awarded to UnderStories, whose performance featured works by Benedetto Marcello, Antonio Caldara and Antonio Vivaldi.
The competition provided a spectacular finale to the ten-day festival in a return to a full-scale live event that connected friends old and new through concerts, recitals and workshops staged in historic venues around York.
Competition highlights and music from the winning recital will be broadcast on BBC Radio 3’s Early Music Show later this year.
“Movement on a static surface”, as captured in Tim Pearce’s Sprint For The Line
FORMS In Motion, an exhibition by York painter and ceramicist Tim Pearce, opens at Village Gallery, Colliergate, York, tomorrow.
After a career as an arts educator in South Yorkshire schools, Tim moved to York, where he has intensified his creativity on a full-time basis.
“I’ve developed a passionate involvement with what might loosely be described as a Cubist aesthetic in relation to form, colour and rhythm,” he says.
Rotational Relief, ceramic sculpture, by Tim Pearce
Whatever the precise subject of any individual piece may be, the dominant theme of his work, whether abstract or representational, is the rendering of movement on a static surface.
“The frequent depiction of events and life forms in motion where the passage of time – often in seconds – is condensed into a single image is a strand that runs through much of Tim’s 2D creativity,” says gallery owner Simon Main.
“Now, he has seized the opportunity to extend his fascination for geometric fragmentation, rhythmically intersecting planes and the ambiguous articulations of negative space into his sculptural ceramics too.”
“Cubist aesthetic”: Tim Pearce’s Durham Busker
Tim’s sensitivity to a “Cubo-futurist” vocabulary, characterised by shifting perspectives, geometric dislocations and playful ambiguities, is further enriched by his responsiveness to a wide range of stimuli.
Forms In Motion runs from tomorrow to August 27; gallery opening hours are 10am to 4pm, Tuesday to Saturday.
To complement the rolling programme of six-week exhibitions, Village Gallery stocks Lalique glass and crystal and sells art, jewellery, ceramics, glass and sculpture, often by York artists.
Trial Form For Garden Fountain, ceramic sculpture, by Tim Pearce
Baritone Roderick Williams: 2022 Ryedale Festival artist in residence
THE 2022 Ryedale Festival is under way, embracing 300 performers in 52 concerts from this week to July 31.
Under Christopher Glynn’s artistic directorship, the festival will find a special place for Handel and Vaughan Williams’s music; six world premieres will be performed and the 50th anniversary of Swedish supergroup Abba will be celebrated.
A strong line-up of artists in residence will be in Ryedale for the festival. Baritone Roderick Williams will lead two of the four concerts marking the 150th anniversary of Ralph Vaughan Williams’s birth, accompanied by pianist Glynn and fellow artists in residence the Maxwell Quartet.
At their heart of the festival will be Mystical Songs on July 20, when Williams and the Maxwell Quartet end their residencies by joining Glynn at the Church of St Peter and St Paul, Pickering, for an hour-long 8pm programme that brings together two spiritual high points of early 20th century British music.
Edward Elgar’s mysterious and deeply personal Piano Quintet in A minor will be performed alongside Vaughan Williams’s visionary Five Mystical Songs, complemented by Roderick Williams’s new arrangements of Vaughan Williams’s folk-song settings of Captain Grant, She’s Like The Swallow, Proud Nancy, O Who Is That Raps At My Window? and Harry The Tailor.
Christopher Glynn: Ryedale Festival director, pianist and “matchmaker”
“I’ve wanted to bring both Roddy and the Maxwells to the festival for a long time, not for one concert but for residencies, and having got them both signed up, I thought it would be nice for them to do a collaboration,” says Christopher.
“Then I thought about what the music should be, and I was drawn to this amazing moment in Elgar’s career: his incredible late-chamber works, his Indian summer.
“To go with that, you have Vaughan Williams going into the British Library, burying himself in Elgar’s score and coming up with his Mystical Songs. Putting these spiritual high points together will be so uplifting.”
Christopher talks of the Maxwell Quartet’s “fresh” impact on Vaughan Williams’s works. “That’s great because the Maxwells have a special relationship with folk music that they’ve brought to arranging these folk pieces,” he says.
“We’ll have a couple of days together and it’ll be an interesting time because both Roddy and the Maxwells are wonderful storytellers.”
The Maxwell Quartet: Ryedale Festival artists in residence, teaming up with Roderick Williams for Mystical Songs
Welcoming this summer’s residencies, Christopher says: “They’re really important because they allow for the audiences to develop something deeper with the musicians, finding they have a connection with the artists that grows when they see them several times.
“It’ll be exciting to see what comes out of the partnership, and it’s all about creating things that are entirely unique: a one-off chance to hear these artists performing together. It’s a moment in time and no-one knows if the chemistry will work but…”
…This is where Glynn, the pianist as much as artistic director, comes into play as “the matchmaker” when he sees the potential for an affinity between musicians on the concert platform. Roll on July 20 to find out what fireworks flare up when the Maxwells meet Roddy!
In a further festival residency, the National Youth Choir will be performing a 1pm programme on the theme of the environment, the coast and the north-eastern fishing industry at the Church of St Martin-on-the-Hill, Scarborough, on July 22, taking in works by Vaughan Williams, Bob Chilcott’s Weather Report, the Yorkshire premiere of Errollyn Wallen’s 40-part When The Wet Wind Sings and the uplifting finale of Joanna and Alexander Forbes L’Estrange’s Green Love.
“This will be a completely contrasting residency with a very different energy, leading to the performance in Scarborough,” says Christopher. “We’re also setting the National Youth Chamber Choir up to perform with Philharmonia Baroque in a programme of Handel works at Hovingham Hall [July 25, 2pm], and it’ll be interesting to see if sparks fly there, especially because director Richard Egarr started his career in the National Youth Choir.”
Roberts Balanas: Premiering Abba medley on electric violin at Come And Sing Abba!
San Francisco period instrument orchestra Philharmonia Baroque (and their British director Egarr) will be making their Ryedale Festival debut. “This is the first time they’ve toured the UK and they’re a fantastic group,” says Christopher. “We managed to get some backing to bring them over after their management came over to scout out the festival – and they loved it!”
Members of the National Youth Orchestra also will join guest electric violinist Roberts Balanas and conductor/choral leader Ben Parry at the Milton Rooms, Malton, from 3pm to 5pm on July 23 for Come And Sing Abba!. You can take part too, rehearsing and then performing Abba’s greatest hits, featuring Balanas’s world premiere of his Abba medley.
Abba at Ryedale Festival, Christopher…how come? “I spotted there was a significant Abba anniversary this year, and though I was appointed to run a classical festival, the question is: what constitutes classical music,” he says.
“If music is 50 years old, is that not classical music?! We’ve come up with a concert that nods to Abba and classical music all in one.”
For full festival details, go to: ryedalefestival.com. Box office: 01751 475777; ryedalefestival.com; in person from Memorial Hall, Potter Hill, Pickering, second floor, Monday, Tuesday and Thursday, 9.30am to 2.30pm.
Mystical Songs will be among the concerts to be recorded for broadcast on RyeStream in collaboration with the Royal Philharmonic Society.
NE Musicals York cast members climb aboard a City Sightseeing bus to publicise their upcoming production of Priscilla Queen Of The Desert
AS Madness and Sugababes canter up to York Racecourse, Charles Hutchinson picks his favourites from the upcoming entertainment runners and riders
Musical of the week: NE Musicals York in Priscilla Queen Of The Desert, Joseph Rowntree Theatre, York, July 20 to 24, 7.30pm and 2.30pm Saturday and Sunday matinees
CREATIVE director Steve Tearle’s cast of 30 features Finley Butler, Tom Henshaw and Tearle himself as three drag queens who take an epic journey from Sydney to Alice Springs across the Australian outback in their bus Priscilla.
“The journey is full of drama and dance routines but also so many laugh-out-loud moments,” says Tearle. “There’ll be costumes – 300 in total – that have never been seen before in York and the star of the show, the bus, will take your breath away.” Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
John Cale: Rearranging his gig date at York Barbican
Underground movement of the week: John Cale, York Barbican, from July 19 to October 24, 8pm
VELVET Underground icon John Cale, now 80, is moving his first British itinerary in a decade to the autumn. Tickets for Tuesday – the only Yorkshire gig of his seven-date tour – remain valid for the new date in October.
The Welsh multi-instrumentalist, songwriter and producer will be performing songs from a pioneering six-decade career that began in classical and avant-garde music before he formed The Velvet Underground with Lou Reed in New York in 1965. Box office: yorkbarbican.co.uk.
Bob Dylan’s poster for his Rough And Rowdy Ways World Wide Tour, visiting Hull Bonus Arena
Gig announcement of the week: Bob Dylan, Hull Bonus Arena, October 27
BOB Dylan will play Hull Bonus Arena as the only Yorkshire gig of his Rough And Rowdy Ways World Wide Tour 2021-2024 this autumn.
The Nobel Prize-winning American singer, songwriter and cultural icon last visited Britain in 2017 on his Never Ending Tour. This time the focus will be on his 39th studio album, June 2020’s chart-topping Rough And Rowdy Ways, his first set of original songs since 2012’s Tempest. Box office: hurry, hurry, to ticketmaster.co.uk.
Resting up: Tears For Fears’ Scarborough concert is cancelled due to Curt Smith’s rib injury
One on, one off, tonight: cheers for Richard Ashcroft, Sounds Of The City, Leeds Millennium Square; tears for Tears For Fears, Scarborough Open Air Theatre
IN the Leeds outdoors tonight, Richard Ashcroft, frontman of Wigan’s Nineties’ rock gods The Verve, performs songs from his chart-topping band days and solo career in the wake of re-recording his prime work for 2021’s Acoustic Hymns Vol 1. Gates open at 6pm; support slots go to DJ Wayne and Cast. Last few tickets: millsqleeds.com .
Shout, shout, let it all out, these are the things they could do without: Curt Smith’s rib injury has forced Tears For Fears to call off tonight’s gig in Scarborough.
Jane McDonald: Letting the light in at York Barbican
Yorkshire favourite of the week: Jane McDonald: Let The Light In, York Barbican, July 22, 7.30pm
WAKEFIELD singer and television star Jane McDonald plays her long-awaited Let The Light In Show in York, rearranged from the lockdown gloom of 2020.
The BAFTA award-winner, Cruising With presenter and Loose Women panellist will be joined by her band and backing singers for a night of cabaret song, laughter and fabulous dresses. Box office for last few tickets: yorkbarbican.co.uk.
Madness this way lies: The Nutty Boys are returning to York Racecourse next Friday
On course for race days: York Racecourse Music Showcase Weekend, Madness, July 22; Sugababes, July 23
CAMDEN’S Nutty Boys, Madness, return to the Knavesmire track next Friday, having first gone One Step Beyond there in July 2010. Once more Suggs and co will roll out such ska-flavoured music-hall hits as Our House, Baggy Trousers, House Of Fun, Wings Of A Dove, My Girl and Driving In My Car after the evening race card.
The re-formed original Sugababes line-up of Keisha Buchanan, Mutya Buena and Siobhán Donaghy are next Saturday afternoon’s act. The London girl group last appeared in York as long ago as 2003 with a line-up of Buchanan, Buena and Heidi Range at the Barbican Centre, as was.
Here come Freak Like Me, Round Round, Hole In The Head, Push The Button, Walk This Way and About You Now et al. Tickets: yorkracecourse.co.uk.
Low-key festival of the week: Crawfest, Partings Lane, Ebberston, YO13 9PA, off A170, July 22 and 23, noon to midnight
THE line-up is in place for Crawfest, the family-friendly music festival held on farmland near Pickering, in memory of Alan Crawford, a friend of the organisers, who lost his life to Covid in 2020.
Next Friday will be headlined by The House We Built (9.40pm), preceded by Edwina Hayes (2pm); Paint Me In Colour (3.20pm); Nalgo Bay (4.20pm); Sean Taylor (5.30pm); Breeze (6.50pm) and Friday Street (8.10pm).
Next Saturday’s bill toppers will be Big Me (9.40pm), preceded by Kelsey Bovey (12 noon); Bongoman & The Bongomaniacs (1pm); Danny MacMahon (2pm); Beetlebug (3.15pm); Rocketsmith (4.10pm); Nalgo Bay (5.30pm); Red Box (6.50pm) and The Feens (8.10pm). Box office: tickettailor.com/events/crawfest/641880.
Anne-Marie Piazza and Pete Ashmore in rehearsal for Brief Encounter at the SJT. Picture: Tony Bartholomew
Romance of the summer: Emma Rice’s Brief Encounter, in The Round, Stephen Joseph Theatre, Scarborough, July 22 to August 27
SJT artistic director Paul Robinson directs this new co-production of Emma Rice’s playful adaptation of Noel Coward’s Brief Encounter, presented in tandem with Theatre by the Lake, Keswick, and Octagon Theatre, Bolton.
Rice turns Coward’s film inside out, adding joyous musical numbers and physical comedy while still maintaining the classic love story of the 1945 black-and-white original, where Laura and Alec are married – but not to each other – when a chance meeting at a railway station hurls them headlong into a whirlwind romance that threatens to blow their worlds apart. Box office: 01723 370541 or sjt.uk.com.
Rachel Croft: Storming ahead as she answers to “the force-of-nature pull felt by dream chasers everywhere”
LEAVING York behind her, singer-songwriter Rachel Croft is kicking up a Hurricane with her stormy new single, released today.
Combining an ominous fusion of indie-rock attitude and bluesy Americana energy, the track pairs dark, rootsy swagger with thunder-and-lightning vocals, painting a picture of an artist who will not be tamed.
“It’s a risk-taking anthem about straying from the beaten path, highlighting the force-of-nature pull felt by dream chasers everywhere, embracing who you are at any cost,” says Rachel, who moved to London in early 2022.
She has spent a year honing her sound, venturing deeper into the Americana genre heralded by her 2021 EP, Reap What You Sow, for her most energised song to date, written just before her relocation to pursue her musical path in new waters.
“York has been my home and safe space for so long, and I’ve loved living there,” says Rachel, who first moved to the city to study at the University of York. “Throwing myself into a new place has been at the same time intimidating and liberating.”
Here, Rachel discusses her London move, her new single and the path ahead with CharlesHutchPress.
What made you take the leap from York to London? Had lockdown given you the chance to reflect on the need to move on to new ground for fresh stimulation and new experiences?
“An opportunity came up for a chance to live in the capital, which I never thought was going to be possible for me as a full-time indie artist. I had to take it or I wouldn’t have forgiven myself.
“It was terrifying but so exciting at the same time. Certainly lockdown gave me itchy feet, the stagnation, and lack of evolution – it felt at the time – caused so many people to be bold in their lives, and I was the same!”
How has life choice become a powerful motivator for your song writing?
“Thinking about my journey and choice in life to be a creative person and independent artist has been something I dwell on a lot, whether it’s the right path. But I am so glad I chose to take the chance.
“The move has really supercharged me, giving me a new energy to grow and explore my creativity. Hurricane is for anyone who ever dared to stray from the beaten path, and the torn feelings about that, which come with you many steps of the way. It’s not easy, but it’s worth it.”
“Where’s the folk?”, as you said at the outset of your Forty Five Vinyl Cafe gig last year! Hurricane represents the strongest shift yet, embracing indie rock as much as a natural progression to bluesy Americana. Discuss…
“Folk was my starting point into music; I grew up around it but I’ve always been inspired by heavier music, lots of different genres in fact. I found folk and singer/songwriter styles only showed a small part of who I am, and lockdown gave me the go-ahead to say, ‘you know, stuff it, I’m going to try and make the music that I love but never thought I could’. This has always been me. I’d just not shown it during my folk era!”
You have embraced jazz, folk, blues, now Americana…
“I allow my songs to speak to me, and follow my intuition. This release shouts Americana all over, but the song I’m working on next steps in a slightly different direction. It’s so empowering to truly explore the sounds I’m inspired by and find what feels totally right for me and true to each song deep down, without compromise. I can’t wait to delve even deeper.
“What remains a strong trait is the cinematic feel of my compositions. I’ve always loved soundtracks and songs which instil clear imagery in the mind of listener. I want to transport people, and really make them feel something when listening to my music.”
The artwork for Rachel Croft’s new single, Hurricane
Do you consider yourself to be a force-of-nature dream chaser? Does that strengthen through the years, despite the harsh reality of your song We Are’s expressions of being “so tired”?
“Ha-ha, that was someone else’s quote! I would say, though, that I’ve been relentless in pursuing my career (and dream) of being a full-time musician. I haven’t had another job since deciding on this path a good few years ago, and I’m proud of that achievement when I think on it.
“it’s been extremely tough to withstand the pressures it comes with for so long, especially independently. I would say now I feel pressure to keep growing, I don’t want to plateau – so I suppose the desire to keep going is stronger now to deflect the doubts that come and go on my journey.”
How have you settled into performing on the London scene?
“I’ve really loved it, and I was amazed at how welcoming people are here, so open and full of new possibilities that have really helped my drive to continue what I’m doing.
“I’ve played so far at St Pancras Old Church, The Green Note, Pizza Express Live Holborn, and I’m headlining at the legendary Troubadour on Saturday, August 6. So, a bit of a flying start really. I hope I can keep it going!”
Is there anything you miss about York?! Playing with Karl Mullen on Phoenix jazz nights, for example?
“Yes, of course, it was my home for so long and I do consider it the place that made me into a musician. I’ll miss Karl – he’s practically family – and the musicians and creatives and just the general amazing community I was so lucky to have there.
“It was time to try something new, though, as easy and lovely as living in York for the rest of my life would have been! Plus, I’m always back around so no-one has chance to miss me, ha-ha!”
When are you next playing up here?
“I’m arranging a show in September in central York. I’ll add everything onto my socials and live tab of my website though when I can announce more details.”
What will be the other tracks accompanying Hurricane on your upcoming EP?
“That’s a bit of a secret, but so far Hurricane and the next single, set for autumn, will be on there.”
Any plans for a new album?
“Anything’s possible…”
Any tips on whose music we should be discovering?
“I have a recommendation! One of my favourite bands and a big inspiration for me when switching genres was Kaleo. Totally underrated. They are as good live too; I saw them in Manchester just recently. Check them out, so good.”
