Bass-baritone soloist Alex Ashworth. Picture: Debbie Scanlan
Mozart Requiem, York Musical Society, at York Minster, June 18
THERE was plenty of early evidence that the York Musical Society chorus was in excellent health despite the pandemic, in an evening mainly involving two works Mozart wrote in his last two months. Evidence, too, that its conductor David Pipe has acquired a more confident stance.
In the Requiem, heads were well out of copies for the Kyrie’s double fugue, which held no terrors for the choir, so that the succeeding Dies Irae, where the strings also had to be on their mettle, was stirringly crisp.
The soprano soloist Anita Watson had interjected her ‘Te Decet Hymnus’ very smoothly at the start and it was no surprise that she remained the most relaxed member of the solo quartet.
The bass-baritone Alex Ashworth opened the Tuba Mirum forthrightly enough but lacked real heft at the bottom of his range. Nevertheless, the quartet made a well-blended entity, all four minimising their vibrato: the Recordare was persuasively prayerful; the Benedictus almost as satisfying if more operatic.
The quartet’s inner voices were Kate Symonds-Joy and Peter Davoren. The choir meanwhile was going from strength to strength, with the sopranos benefiting from a white-hot engine-room of keen voices at its core. This paid special dividends whenever they had high entries, notably in the Domine Jesu.
There had been a notably transparent texture when sopranos and altos were duetting in the Confutatis; tenors and basses were marginally less effective, though as ‘lost souls’ they had some excuse. That, and the following Lacrimosa, which had an intoxicating lilt, proved to be the heart of the work, which ended serenely.
The orchestra had its moments too. Throughout the work, the bass line – cellos and double basses – gave the firmest possible foundation, always a bonus for a choir. The trombones had a field day, at once funereal and majestic. The violins, so often hard-worked but under-recognised in Viennese masses, were splendidly attentive, led by Nicola Rainger.
The evening had opened with Haydn’s motet Insanae et Vanae Curae, his late adaptation of a storm chorus from an oratorio on Tobias. It was good to hear its orchestral version, when so often in cathedrals it is organ-accompanied. In truth it got off to a bumpy start but was much more incisive on its repeat, with its gentler F major section bringing tears to the eyes, as it promised balm after woe.
In between the choral works, Jonathan Sage was the highly effective soloist in Mozart’s Clarinet Concerto. His runs were steady, his trills tight, and he offered plenty of light and shade. Playing a basset clarinet – an A clarinet with extension that enlarges the lowest, chalumeau register – he managed a movingly intimate ending to the slow movement. He also injected little touches of ornamentation into repeats during the closing rondo, which positively danced.
David Pipe’s orchestra was with him every step of the way. Indeed, Pipe remained cool and controlled all evening.
AMERICAN singer, songwriter, poet, musician and now artist Courtney Marie Andrews makes her long-awaited return to Pocklington Arts Centre tonight (19/6/2022)
Courtney, 31, had been booked to follow up her December 2018 appearance on June 17 2020, but pandemic restrictions put paid to that show and its rearranged date of June 17 2021.
Third time lucky, the Phoenix-born Grammy nominee plays PAC this weekend, having announced the October 7 release of her ninth studio album, Loose Future on Fat Possum.
Already Courtney has launched the aptly named first single, Satellite: a departure from the more traditional Americana sound of her earlier work, building from a breezy guitar and vocal arrangement into a dreamy tapestry of synths, layered vocals and reverb-heavy slide guitar.
“I’ve written a lot of love songs, but there’s always a tinge of heartbreak, but Satellite is a love song without caveats,” she says. “I wanted to look forward and fall in love with the mystery of someone. Let love in, without questioning or instigating how it might hurt me. Sonically, I wanted to go to space. This kind of love isn’t earthbound.”
Courtney initially approached recording a new album by writing a song every day. Feeling “the sounds of the summer” flowing through her writing, gradually she collected an album’s worth of material imbued with a sense of romance, possibility and freedom.
She enlisted Sam Evian (Big Thief, Cassandra Jenkins, Anna Burch) to co-produce the songs from recording sessions at Evian’s Flying Cloud Recordings studio in the Catskill Mountains in New York State.
Courtney Marie Andrews’ artwork for Loose Future: “I knew I wanted to paint the cover for this record,” she says
Joining her on Loose Future are Grizzly Bear drummer Chris Bear and Bonnie Light Horseman’s Josh Kaufman on multiple instruments.
Committing her life to music from a young age, Courtney played in punk bands in high school before becoming a touring member of Jimmy Eat World at 18. She garnered her first Grammy Award nomination for Best Americana Album for 2020’s Old Flowers, subsequently receiving International Album Of The Year and International Artist Of The Year honours at the 2021 Americana UK Awards.
In the quietude of an emptied diary during the pandemic lockdowns she branched out into publishing her debut poetry collection, Old Monarch, through Simon & Schuster.
Her last Pocklington show – sold out by the way – came at the end of a week when Courtney was felled by a viral infection the morning after her London gig and had to call off her Birmingham, Bristol and Oxford gigs.
Rested and recuperated, she was still nursing a cough but found the energy for a solo set of songs and stories, introducing Ships In The Night and It Must Be Someone Else’s Fault, two compositions that would end up on Old Flowers.
Now comes Loose Future, featuring Courtney’s own artwork too boot. “I knew I wanted to paint the cover for this record,” she says. “I was afraid to at first, but after a talk with an encouraging friend, I threw all caution to the wind and painted a season of my life in shapes.”
The album track listing will be: Loose Future; Older Now; On The Line; Satellite; These Are The Good Old Days; Thinkin’ On You; You Do What You Want; Let Her Go; Change My Mind and Me & Jerry.
Tickets for tonight’s 8pm concert, part of a seven-date whistle-stop tour, are on sale at pocklingtonartscentre.co.uk.
AMERICAN singer, songwriter, poet, musician and now artist Courtney Marie Andrews makes her long-awaited return to Pocklington Arts Centre on Sunday night.
Courtney, 31, had been booked to follow up her December 2018 appearance on June 17 2020, but the pandemic restrictions put paid to that show and its rearranged date of June 17 2021.
Third time lucky, the Phoenix-born Grammy nominee plays PAC this weekend, having announced the October 7 release of her ninth studio album, Loose Future on Fat Possum.
Already Courtney has launched the aptly named first single, Satellite: a departure from the more traditional Americana sound of her earlier work, building from a breezy guitar and vocal arrangement into a dreamy tapestry of synths, layered vocals and reverb-heavy slide guitar.
“I’ve written a lot of love songs, but there’s always a tinge of heartbreak, but Satellite is a love song without caveats,” she says. “I wanted to look forward and fall in love with the mystery of someone. Let love in, without questioning or instigating how it might hurt me. Sonically, I wanted to go to space. This kind of love isn’t earthbound.”
Courtney initially approached recording a new album by writing a song every day. Feeling “the sounds of the summer” flowing through her writing, gradually she collected an album’s worth of material imbued with a sense of romance, possibility and freedom.
She enlisted Sam Evian (Big Thief, Cassandra Jenkins, Anna Burch) to co-produce the songs from the recording sessions at Evian’s Flying Cloud Recordings studio in the Catskill Mountains in New York State.
Courtney Marie Andrews’ artwork for Loose Future: “I knew I wanted to paint the cover for this record,” she says.
Joining her on Loose Future are Grizzly Bear drummer Chris Bear and Bonnie Light Horseman’s Josh Kaufman on multiple instruments.
Committing her life to music from a young age, Courtney played in punk bands in high school before becoming a touring member of Jimmy Eat World at 18. She garnered her first Grammy Award nomination for Best Americana Albumfor 2020’s Old Flowers, subsequently received International Album Of The Year and International Artist Of The Year honours at the 2021 Americana UK Awards.
In the quietude of an emptied diary during the pandemic lockdowns, she branched out into publishing her debut poetry collection, Old Monarch, through Simon & Schuster.
Her last Pocklington show – sold out by the way – came at the end of a week when Courtney was felled by a viral infection the morning after her London gig and had to call off her Birmingham, Bristol and Oxford gigs.
Rested and recuperated, she was still nursing a cough, but found the energy for a solo set of songs and stories, introducing Ships In The Night and It Must Be Someone Else’s Fault, two compositions that would end up on Old Flowers.
Now comes Loose Future, featuring Courtney’s own artwork too boot. “I knew I wanted to paint the cover for this record,” she says. “I was afraid to at first, but after a talk with an encouraging friend, I threw all caution to the wind and painted a season of my life in shapes.”
The album track listing will be: Loose Future; Older Now; On The Line; Satellite; These Are The Good Old Days; Thinkin’ On You; You Do What You Want; Let Her Go; Change My Mind and Me & Jerry.
Tickets for tonight’s 8pm concert, part of a seven-date whistle-stop tour, are on sale at pocklingtonartscentre.co.uk.
When it rains, it pours: Maurice Crichton’s Noah looks to the sky in rehearsal for York Mystery Plays Supporters Trust’s production of The Building Of The Ark and The Flood. Picture: John Saunders
EIGHT plays from the York Cycle of Mystery Plays will be wheeled around York city centre on waggons by the Guilds of York and York Festival Trust on Saturday and June 26.
Under the direction of Tom Straszewski, from 11am each weekend, the Plays will process from College Green (free admission) to St Sampson’s Square (free), St Helen’s Square (free) and King’s Manor (ticketed).
In addition, five of the plays will be staged in ticketed Midsummer midweek performances in Shambles Market on Wednesday and Thursday at 7.30pm.
Taking part in all of the performances will be a familiar bearded face on the York stage, Maurice Crichton, playing Noah in Paul Toy’s staging of The Building Of The Ark and The Flood for the Company of Cordwainers and York Mystery Plays Supporters Trust.
Maurice is steeped in Mystery history. “I did the Settlement Players’ waggon play in 2010, as Pontius Pilate; Riding Lights and York Theatre Royal’s Two Planks And A Passion in 2011; Pilate in the 2012 Mystery Plays in the Museum Gardens; Herod in York Minster in 2016, and Soldier 1 in The Crucifixion for the Company of Butchers and St Chad’s Church in 2018,” he says.
“But I’ve never done a Supporters Trust play, so that’s a first, and I’ve never done Noah before. It’s a delightful part, and we’ve tried to go for the humour, although there’s not so much humour in ‘The Ark’, but as soon as Paul [Toy] mashed the two plays together, that helped with the tone.”
Director Paul Toy, centre, bearded, in the thick of a rehearsal for The Building Of The Ark and The Flood
What draws Maurice back to the York Mystery Plays time after time? “First of all, it connects me to the city where I live,” he says. “It’s the one piece of world theatre that the city is really connected to, so I enjoy that aspect, and the more I’ve done the plays, the more I’ve looked into the history.
“It’s similar to Shakespeare, where you have the script but you have no idea how it was done when it was first performed. You’re like a detective, and the more you look into the plays, the more the options open up as you de-code the text, and that’s exciting.
“That’s what differentiates the Mystery Plays from plays of our time, where the writer is still around to help you to prepare. For a role like Noah, you have to think, how do I ‘see’ this line; what actions will go with that? It’s a case of, the more you take these words into your head, the more you think about what cadence is needed, what freedom have I got; what’s the rhythm; what’s the meaning?”
Maurice makes a further comparison with Shakespeare’s texts. “Sometimes you feel the audience isn’t going to follow this because the language is dated,” he says. “I’ve had discussions with Paul where I’ve said, I think the original version works better for its musicality, rather than the new adaptation, but elsewhere I’ve said, can I modernise a line, so it cuts both ways.”
Performing on bustling city-centre streets makes particular demands on actors. “The first thing to say is the plays are not being done where they should be, in the tight streets, rather than the open squares, but that’s for practical reasons,” points out Maurice.
“Now, there’s no reverb off the walls to help you, much as College Green is a beautiful setting, but the plays used to be done in streets like Stonegate, as old pictures show.
“I remember in 2010 I was hoarse by the end of the day after the four performances,” says Maurice Crichton. “I needed someone to say ‘that’s loud enough’!”
“You also have to imagine how the streets of York used to be; they’ve all become wider, apart from Shambles, to deal with traffic.
“The danger is that if you’re worried about your audibility, you’re going to punish your vocal cords because you’re trying to be too loud. I remember in 2010 I was hoarse by the end of the day after the four performances. I needed someone to say ‘that’s loud enough’.”
Maurice continues: “Having not been to drama school, I didn’t know what to do in that situation, but what I’ve learned is you really need to keep your face pointed forwards towards the audience at all times when you have something to say, using your arms for gestures.
“It doesn’t help to look at your partner on stage. But when they’re talking, you do look at them; you’re fully responsive in your expressions, turning to face them to show very positively you’re engaging with them through your eyes.
“It’s a different discipline to acting on a stage indoors, because you wouldn’t perform that way in natural speech. Indoors, these days you’re mainly trying to achieve naturalism, but performing on the streets requires the opposite of the norm. Outdoors, it looks like you’re in a Victorian melodrama.”
Given the “noises off” that confront street theatre, with shoppers, stags and hens and open-air cafe tables to negotiate, Maurice says: “The reality is, you’ll be able to count on one hand the number of actors you can hear clearly 90 per cent of the time.
“In St Helen’s Square, for example, there’s a massive amount of distractions, as people move from one shopping street to another, and the challenge is to be so focused and confident in your lines that you can keep going, stopping to do a funny aside, if necessary, but always keeping your face head on to the crowd, of course!”
If the cap fits: Mick Liversidge will play Satan in the Mysteries In The Market on Wednesday and Thursday
Meanwhile, Easingwold actor Mick Liversidge will play Satan in the midsummer Mysteries In The Market performances in Shambles Market on Wednesday and Thursday evening, following in the crepuscular footsteps of James Swanton’s Lucifer in The Mysteries After Dark in September 2018.
“As a huge fan of outdoor theatre, I was absolutely delighted to be offered this role,” says Mick, who will act as narrator, steering the 100-strong audience and linking each of the five plays to be presented.
“I’ve performed in many local plays both in York and around Yorkshire, so it’s a pleasure to be involved in such a great community event. I’m looking forward to guiding the audience and seeing their reactions as the plays unfold.”
Mick has appeared in everything from York productions of Wind In The Willows, Calendar Girls The Musical and A Christmas Carol to Shakespeare, short films, Coronation Street, Channels 4’s It’s A Sin, The Queen And I on Netflix, the 2019 film version of Downton Abbey and this year’s Bengali-language adventure thriller Swastik Sanket.
Full details of the 2022 York Mystery Plays can be found at yorkmysteryplays.co.uk, including bookings for the ticketed performances at King’s Manor and Shambles Market.
Copyright of The Press, York
The Crucifixion scene in The Mysteries After Dark at Shambles Market in September 2018
What will the eight plays be?
* Creation To The Fifth Day, York Guild of Building, directed by Janice Newton
* The Fall Of Man, Gild of Freemen and Vale of York Academy, directed by Bex Nicholson
* The Building Of The Ark and The Flood, Company of Cordwainers and York Mystery Plays Supporters Trust, directed by Paul Toy
* The Three Kings and Herod, St Luke’s Church, directed by Mike Tyler
* The Last Supper, Company of Merchant Taylors and Lords of Misrule, directed by Dr Emily Hansen
* The Crucifixion and Death Of Christ, Company of Butchers and Riding Lights Acting Up!, directed by Kelvin Goodspeed and Jared More
* The Appearance Of Jesus To Mary Magdalene, Guild of Media Arts and Guild of Scriveners, directed by Jess Murray
* The Last Judgement, Company of Merchant Adventurers, directed by Alan and Diane Heaven
2022 York Mystery Plays director Tom Straszewski, pictured with Jess Murray, director of The Appearance Of Jesus To Mary Magdalene for the Guild of Media Arts and Guild of Scriveners
2022 York Mystery Plays director Tom Straszewski has confirmed the plays for Mysteries In The Market:
June 22, 7.30pm: Fall Of Adam and Eve; The Flood; The Last Supper; The Crucifixion and The Last Judgement.
June 23, 7.30pm: Creation To The Fifth Day; The Flood; The Last Supper; The Crucifixion and The Last Judgement.
The poster for Top Gun: Maverick, playing cinemas everywhere, all day and most of the night
TWO Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson set their sights on Tom Cruise and Top Gun: Maverick in Episode 93.
Under discussion too: Ray Liotta RIP; summer nights at Scarborough Open Air Theatre and Luna Cinema, and Kahlil Gibran’s spiritual uplift in The Prophet.
What’s that coming over the field? It’s a Monster of a story, but just not yet as Alexander Flanagan Wright postpones this week’s premiere
ALEXANDER Flanagan Wright’s At The Mill premiere of his work-in-progress storytelling piece Monster tonight and tomorrow at Stillington Mill, near York, is delayed until further notice.
“You brilliant folks that have booked to come and see Monster this week – I’m afraid I’ve decided to postpone the show,” apologises Alex. “It’s pretty boring to have to do that, I admit, and I’m sorry for it.
“I’m excited about story, I’m excited about saying out loud. But now isn’t the time, and I’d be very sad to do something that absolutely wasn’t where it needs to be. So, I’d rather give you your money back and look forward to when the time is right. I’ll refund those tickets for you now.”
What will unfold in Monster…eventually? Bloke in a fancy suit is stood in the Nevada desert. A warrior holding the head of Medusa is stood on top of a hill. The sky is lit bright with the neon lights of Vegas. We are trying to set foot in places no-one has ever been.
Phil Grainger and Alexander Flanagan Wright in the grounds of Stillington Mill, where they will present The Gods The Gods The Gods next month. Picture: Charlotte Graham
So runs Alex’s preamble to “setting out to tell a story about finding places that we should never have found, about the difference between discovery and ownership, and the need to be a hero”.
“Some of that story happens now,” he says. “Some of it happens millennia ago. All of it is to do with people.”
In the immediate absence of Monster, Alex heartily recommends The Gods The Gods The Gods, his collaboration with actor, musician and writer Phil Grainger, programmed for At The Mill’s theatre season on July 23, 24, 27 and 28 at 8.45pm each night.
“It’s a big, loud, weave of mythology, stories, big basslines, spoken word and soaring melodies,” he says. “We’re previewing it here At The Mill before heading up to the Edinburgh Fringe. So, if you fancy your fix of storytelling and myths, I can 100 per cent promise it to you there.”
Everything in modulation:Scarborough artist David Finnigan with his Synthesis works at According To McGee
ACCORDING To McGee plays host to a “double happening”, Contemporary Painting: Elementals and Synthesis by Freya Horsley and David Finnigan, from this weekend in York.
Co-director Greg McGee sees the summer exhibition as an opportunity to reaffirm the Tower Street gallery’s manifesto. “Not so much a duo show, more like two exhibitions in one gallery,” he says. “Freya Horsley and David Finnigan are far removed in terms of subject and mark making, but there’s enough intersection to be able to build an event like this.
“Their common ground is a fearlessness with what contemporary painting can do, and we find that the proximity of both collections in the same gallery not only augments the collections respectively, but also highlights the strengths of each other.
Out Of Darkness, mixed media, by Freya Horsley
“There are flickering moments in all of the paintings here, and a lot of the magic is found in the disparate synergy”.
Elementals and Synthesis is “like nothing According To McGee has exhibited previously in its 17 years”, reckons Greg. “We’re used to dovetailing the collections of painters who share similar visions, whereas this time we have really gone for a discrepancy that cracks open not only the magic of the paintings we have here, but says something about painting in general.”
David Finnigan’s Synthesis is characteristically exact, although he is at pains to highlight how his art has evolved. “These four works represent, for me, a change in the direction of my working practice,” says the Scarborough hyperrealist.
“While they retain some of the exactitude and realism of my previous work, there’s more of a painterly feel to these new pieces. Also, a new aesthetic, which exhibits an expressive freedom within the confines of realist painting.
Low Pitch, by David Finnigan, from his Synthesis series
“They embrace some of the techniques I’ve learned and developed in my other non-visual creative outlets, particularly from the world of sound.”
Not only a looser approach to the confines of realist painting is applied, but so are an amalgamation and superimposition of separate geometric compositions over the existing realist composition.
“These geometric abstractions function aesthetically in their own right, and they have a force and a dynamic that adds energy,” says David. “Visually, in isolation, these geometric compositions echo the work of the constructivists, the suprematists, or even futurism and vorticism from the early 20th century.
“Added together with the realist composition, they ‘modulate’ the existing work, changing the dynamic through the use of the aforementioned energy, but equally importantly through the use of colour, which is a very powerful tool. The now superimposed compositions, ‘modulate’ each other.”
Dolphin Hotel, by David Finnigan
Regarding the concept of “modulation”, David sees a simple parallel in the world of sound with the technique of FM or “Frequency Modulation” synthesis – which, as a side note, powered the soundscape of 1980’s pop and rock music.
“Simply put, in ‘FM’ synthesis, one waveform modulates the other wave to create something new. This is what I’m attempting visually,” he says.
“Another important parallel is the idea of ‘glitch’, a sub-genre of electronic music that became popular in the 1990s, but actually its origins again can be traced back all the way to futurism, specifically with Luigi Russolo’s piece The Art Of Noises.
“Here again, I attempt to apply the concept of ‘glitch’ visually to these compositions, in which, as in music – where the beat and order of the music is broken and reprocessed so some feeling of order remains – I would like to break up the surface of the two superimposed compositions to break up the order and reprocess it to create something new that has a different rhythm.”
York artist Freya Horsley with her Elementals works at According To McGee
Freya Horsley’s return to According To McGee comes after a sell-out exhibition of the York artist’s winter collection of elemental seascapes. “They were huge!” says gallery co-director Ails McGee, “They were the biggest paintings we have ever exhibited here, and that’s some claim.
“But they connected well with browsers and clients alike, with one going to a collector’s house in Poppleton and one travelling all the way to Glasgow.”
Freya’s depictions of the sea and land resonate still more in our era of nature’s curtailment. “The sheer scale of some of the paintings has only added to that,” says Ails.
Until We’re Seen, by Freya Horsley
Freya’s new Elementals series builds on her trademark bristling light and spray but Ails point to new developments too. “Freya has always, from time to time, primed her canvasses with neon paint, which helps to endow her otherwise layered sense of peace and serenity with a bounce and inner-lit joy,” she says.
“This time, the joy she skewers comes from a wild attack of neon paint on top of the tender and elemental background, rather than beneath it; a technique most obvious in her massive work Out Of Darkness. It’s a radical step for her and really amps up the wide-eyed sense of wonder that Elementals celebrates.”
Asked to predict the next direction of Contemporary Painting’s evolution, Greg points to Finnigan’s paintings. “These are painted in egg tempera. That’s something that goes back thousands of years and was used in ancient times. It fell into disuse with the popularisation of oil painting in Europe in the 15th century,” he says.
“But now David is using it with a showman’s chutzpah. So, is this retro, or is this radical and contemporary? It feels a little like when a rock band performs an ‘MTV Unplugged’ session. There’s nowhere to hide but in the quality of the songs, and in a multimedia age, there’s something radical in that.”
Bee-Bop, by David Finnigan
David agrees: “In my eyes it has the capacity to be beautiful and elegant, in the medium itself,” he says. “It is egg yolk, water and pigment and, if non-toxic pigments are used, completely inert. But it is also beautiful and elegant in the aesthetic effect of the finished work itself.
“In our modern day of awareness of sustainability and our ever-increasing eco-friendly approaches to life in general, egg tempera actually fits in well with these philosophies, and maybe it will have its day in the sun again.”
Contemporary Painting: Elementals and Synthesis by Freya Horsley and David Finnigan runs from Saturday, June 18 to Monday, July 11 at According To McGee, Tower Street, York; open Monday to Saturday, 12 noon to 4pm.
WEST End smash Shrek The Musical is on its jaunty way to the Grand Opera House, York, from November 27 to December 2…NEXT year.
After that long wait, join unlikely hero Shrek and his noble steed Donkey, beloved Princess Fiona and the evil Lord Farquaad as they embark on a big, bright, musical adventure that reimagines the Oscar-winning DreamWorks film and William Steig’s book for the stage.
After Broadway and London success, the producers of Hairspray and Priscilla Queen Of The Desert have joined forces with directors Sam Holmes and Nick Winston and designer Philip Witcomb for the touring production.
Full of unexpected friendships and surprising romance, this fun-filled musical comedy promises a cast of vibrant, magical fairytale characters and a “Shrektacular” score by composer Jeanine Tesori and lyricist David Lindsay-Abaire, topped off by Neil Diamond’s I’m A Believer.
DreamWorks’ animated film Shrek celebrated its 20th anniversary last year. Shrek The Musical was first performed on Broadway in 2008, produced by DreamWorks Theatricals and Neal Street Productions en route to receiving eight Tony nominations and the award for Best Costume and Set Design.
The original West End production was nominated for Best New Musical at the 2012 Olivier awards, where Nigel Harman received the award for Best Supporting Actor for his role as Lord Farquaad.
Shrek The Musical was staged previously at the Grand Opera House by York Stage Musicals in September 2019.
Tickets are on sale on 0844 871 7615 or at atgtickets.com.
AFTER a two-year wait, violinist Catherine Mackintosh will be presented with the York Early Music Festival’s Lifetime Achievement Award on July 10.
The belated ceremony will take place during the 2022 York Early Music Festival, to be held from July 8 to 16.
Known to the profession as Cat, Mackintosh is a pioneering force in the British early music scene. After picking up a treble viol while studying at the Royal College of Music, London, she never looked back.
Consort-playing gave her the foundations of understanding the aesthetics and language of baroque music, soon to be translated to the violin. She led various orchestras, notably Christopher Hogwood’s Academy of Ancient Music, and later co-founded and led the Orchestra of the Age of Enlightenment for two decades.
As a founder of the Purcell Quartet, Cat recorded and performed all the major works of the baroque trio-sonata repertoire – and much more – the world over. She was also Britain’s pioneer and champion of the viola d’amore.
Cat’s influence as a teacher and educator has been far-reaching, with many generations of violinists, violists and other instrumentalists passing through her hands at the Royal College of Music and the Royal Conservatoire The Hague, as well as on numerous courses worldwide.
Cat will be interviewed from the National Centre for Early Music, in Walmgate, by Hannah French on BBC Radio 3’s Early Music Show on July 10, broadcast live from the festival. Post-show, she will be presented with the award, in front of an audience, by Romanian-born Israeli violinist Kati Debretzeni, who studied Baroque violin with Cat at the Royal College of Music.
The York Early Music Lifetime Achievement Award honours major figures for making a significant difference to the world of early music. Previous winners were: Kuijken String Quartet in 2006; Dame Emma Kirkby, 2008; James Bowman, 2010; Jordi Savall, 2012; Andrew Parrott, 2014; Anthony Rooley, 2016, and Trevor Pinnock, 2018.
Commenting on the award, Cat says: “I ask myself…is it really an achievement to have enjoyed 50 years doing what I love with people I love and admire? Only in the sense of having survived this long!
“Anyway, I am tremendously touched and honoured to receive this award and to join the list of the previous recipients – all friends and colleagues from whom I’ve learnt much and with whom I have happily travelled this musical road.”
NCEM director and festival artistic director Delma Tomlin enthuses: “I’m delighted that Catherine will finally be receiving this award after a rather long wait! She has a long association with the NCEM and the festival.
“Her wonderful career, not just as a performer, but also as a mentor and teacher, has had an extraordinary impact on the world of early music. We can’t wait to welcome her to York and celebrate this amazing achievement with her this July.”
The full festival programme and ticket details can be found at ncem.co.uk/what’s-on/yemf/.
The Kyiv City Ballet company arrives at York Railway Station on Monday night with York Theatre Royal chief executive Tom Bird, back, centre, in blue and yellow Ukrainian colours. All pictures: Ant Robling
KYIV City Ballet will give their first British performance since Ukraine came under bombardment from Russia at a sold-out York Theatre Royal tonight (14/6/2022).
Visas rubber-stamped, a combination of Eurostar and LNER delivered the Ukrainian dancers from their temporary base in Paris, with Theatre Royal chief executive Tom Bird on board the evening train from London.
Led by general director Ivan Koslov and his wife, assistant director Ekaterina Koslova, the exiled troupe made their way immediately to a Civic welcome at York Mansion House before taking a City Cruise on the Ouse.
“It’s a huge honour to be hosting Kyiv City Ballet at York Theatre Royal,” says Bird. “This is the company’s first UK appearance since their city came under attack, and we are proud that York is able to stand in solidarity with Kyiv by supporting these extraordinary dancers for this one-off visit.”
Kyiv City Ballet assistant directorEkaterina Koslova and general director Ivan Koslov at York Mansion House
Bird personally invited Kyiv City Ballet to perform in York after learning of the company being stranded in France, where they had flown to Paris to perform on February 23, only to learn that their country had been invaded by Putin’s forces.
The dancers still went ahead with that night’s performance, and whereas mobile phones usually would be prohibited in the environs of the stage during a show, they were left on in the dressing rooms by the troupe, as relatives rang from home as the performance progressed.
At the invitation of the Mayor’s office, the dancers have been based in Paris ever since that night, one “lost in a fog” before the full enormity of what was unfolding was apparent.
“It’s been very hard to be away from home, but people around here in Paris are helping us a lot,” says Ivan, speaking by Zoom from the French capital.
Cards from well wishers on the York Mansion House railings to greet Kyiv City Ballet on their arrival
“We’re staying in hotel accommodation, everyone under one roof. Our group right now is 38, with the dancers, ourselves and a costume mistress.”
Ivan says “right now” because the number has decreased since that day of arrival in France, after some men in the troupe decided to head home to serve the Ukrainian cause.
The rest have remained in France, where they have been raising awareness and relief funds through performing in Paris and other cities too. “The Mayor of Paris has generously given us a residency at the Theatre de Chatelet since March 6, right in the heart of the city,” says Ekaterina, or Katya, as she introduces herself.
“It means we have a place to continue to rehearse and choreograph works, and it keeps our spirits up as it’s good that we can be together.”
Kyiv City Ballet dancers Ilona Moskalenko, left, and Diana Potapenko at York Mansion House
Ivan adds: “We’re able to go to classes at their theatres as well as having the possibility of doing our own classes. As a ‘cultural exchange’, it’s a very good experience for our dancers; they can see how Parisian dancers train. They’ve invited us to their studios and some choreographers have proposed to choreograph works with us, but it’s too early to be able to do that.”
During their French exile, Kyic City Ballet have performed “almost everywhere”, latterly in Toulouse, Lyon and Saint Marlo.
“In regular times, we’ve always been welcomed by the public very nicely, but now it’s an even better, warmer welcome, with so much applause and everyone staying and continuing to cheer at the end, helping to keep spirits up,” says Ivan. “Sometimes we’ll see Ukrainian flags too.
“It can be difficult to focus on working, but we’re dancers, not fighters; we’re helping in the one way we can.”
The Kyiv City Ballet company on the steps of York Mansion House with Town Crier Ben Fry; York Theatre Royal chief executive Tom Bird; Sheriff of York Mrs Suzie Mercer; Lord Mayor of York Councillor David Carr and Lady Mayoress Mrs Lynda Carr
Now comes the chance to perform in York. “We received a message inviting us to York Theatre Royal, and very quickly we arranged a phone call and were very excited to confirm the show,” says Katya. “Our performance in York is one of the only things we’ve all been talking about.”
Ivan cannot recall if he has ever been to York previously. “You know the dancer’s life: you leave the hotel, rehearse, do the show, come back to the hotel, move on,” he says.
Katya is more definite. “I haven’t been to England, though I’ve wanted to come for as long as I can remember,” she says.
“We’re in discussion to do more shows here, but it’s already been a real logistical challenge to do so much in such a short time. We don’t have dates to announce yet but we have plans to return to the UK and we hope York will be the first of many performances.”
Kyiv City Ballet dancers Nazar Korniichuk and Anastasia Uhlova reading the messages on the York Mansion House railings
Given that the Russian invasion shows no sign of abating, Katya cannot turn her thoughts to the day when she might return home. “I’m rehearsing every day with our dancers, focusing on that, and, for me, the most important thing is what we can bring through our dancing,” she says.
Thoughts turn to tonight, when 100 per cent of ticket sale proceeds will be donated to UNICEF’s Ukraine Appeal from a two-and-a-half-hour special performance split into two parts.
“The first part will be a ballet class, which will be showing the audience how we normally prepare for a performance,” says Katya. “Ivan and I will be on stage with the dancers, showing how we warm up, why we do certain movements, and we’ll do questions and answers too.
“The second part will be made up of excerpts from our repertoire, both from classical ballets, Swan Lake and The Nutcracker, and from pieces that we’ll be performing next season.”
The Kyiv City Ballet company on board the City Cruise on the River Ouse on Monday night
Look out for a premiere tonight: “One of the pieces is being choreographed by one of our dancers, Vladyslav Dobshyinskyi, who will perform a solo from his new work,” says Katya.
Kyiv City Ballet can but pray for the day when they set dancing feet on Kyiv soil once more. In the meantime, here in York, will be another chance to raise money for those in need back home.
The Yorkshire ballet community is playing its part too: Leeds company Northern Ballet are providing the dance floor for tomorrow’s performance, York Dance Space, the ballet bars.
Come Wednesday morning, the Kyiv City Ballet troupe will be heading to Manchester Airport to fly to the southwestern French Basque coast to perform in Biarritz that night.
Kyiv City Ballet at York Theatre Royal, tonight (14/6/2022), 7.30pm. SOLD OUT
