Campbell scoop: York Theatre Royal has booked Faye Campbell for her third pantomime
FAYE Campbell will complete a hattrick of York Theatre Royal pantomimes in successive years after signing up for All New Adventures Of Peter Pan.
She will play Elizabeth Darling from December 2 to January 2 in the third co-production with Evolution Productions after appearing in the title role in Cinderella last winter and as The Hero in Jack And The Beanstalk and Dick Whittington in 2020’s Travelling Pantomime tour of York wards.
Faye Campbell as The Hero in York Theatre Royal’s Travelling Pantomime
Faye joins CBeebies’ Maddie Moate, already announced to shine as Tinkerbell in this swashbuckling adventure with an extra sprinkling of fairy dust magic. Laughter, music and family fun galore is promised in Paul Hendy’s fresh, fun take on J.M. Barrie’s story.
Theatre Royal creative director Juliet Forster, who will be directing All New Adventures of Peter Pan, says: “We are so pleased to welcome Faye back for this year’s pantomime. She has such talent and enthusiasm and was so popular with our audiences here as Cinderella last year and across the city in The Travelling Pantomime in 2020. We can’t wait to get her back on our stage!”
Further casting will be announced in coming months. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Faye Campbell as Cinderella in last winter’s York Theatre Royal pantomime
Introducing who will play The Coppergate Woman in York Theatre Royal’s summer community production
YORKSHIRE actress Kate Hampson will lead the community cast in The Coppergate Woman at York Theatre Royal, joining a 90-strong ensemble from July 30 to August 7.
“Having lived in York for more than half my life, I have enjoyed many a trip to learn about the Vikings in Coppergate,” says Kate, who trained at York St John University and The Utrecht School of Arts.
“I am therefore absolutely thrilled to be playing the part of the Coppergate Woman at the brilliant York Theatre Royal, only a short stroll across town! It’s an epic tale written by the multi-talented Maureen Lennon. I’m so excited to work with the wonderful community cast and can’t wait to get started!”
Welcoming Kate to the Theatre Royal, co-director Juliet Forster says: “I’m very excited to be working with Kate Hampson, who has come on to my radar only relatively recently, and I have been looking for the right project to work with her on ever since.
“I know she is going to make a brilliant Coppergate Woman. It is wonderful to have discovered such a phenomenal acting talent right on our doorstep, and with Nordic ancestry to boot!”
“I’m so excited to work with the wonderful community cast and can’t wait to get started,” says Kate Hampson, an actress with Nordic ancestry who will play The Coppergate Woman
Born, brought up and still living in Yorkshire, Kate’s theatre credits include Tapestry (Northern Broadsides); Mary Barton (Alnwick Playhouse and tour); Trouble (West Yorkshire Playhouse); New Playwrights (York Theatre Royal); Gaudette (Obra Theatre Company), Mumsy (Hull Truck); Not Yours Mine (Oldham Coliseum) and Vignettes (Hope Mill Theatre). Last winter, she played Mother and Mrs Perks in Hull Truck Theatre’s The Railway Children.
Among her television credits are Happy Valley (BBC); Doctors (BBC); I’m With Stupid (BBC); Emmerdale (ITV); Eternal Law (Kudos/ITV); Hollyoaks (Channel 4); Where The Heart Is (ITV) and Coronation Street (ITV).
Now comes The Coppergate Woman, Hull playwright Maureen Lennon’s play inspired by the discovery in a shallow pit by the River Foss of the remains of an unknown woman, now displayed in a glass case in Jorvik Viking Centre in York as The Coppergate Woman.
Weaving Viking legends with the stories of modern-day York people, this epic new play draws on Norse myths and legends, focusing on the central figure of The Coppergate Woman.
Tickets for this main-house production are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Kate Hampson with the poster image for The Coppergate Woman, Maureen Lennon’s community play co-directed by Juliet Forster and John R Wilkinson
Cherie Gordon in Deafinitely Theatre’s Everyday. Picture: Becky Bailey
FOUR people come together to perform a ritual of community and catharsis in Deafinitely Theatre’s Everyday at York Theatre Royal tonight and tomorrow.
Gathering up true stories of deaf women and non-binary people’s experiences of surviving abuse, they form a witches’ coven like no other: one with a cauldron of newt’s eyes and butterflies, deep scars, and blazing signs.
Commissioned by New Diorama Theatre, writer-director Paula Garfield’s visually rich, playful and urgent world première combines British Sign Language and spoken English in the company’s distinctive bilingual style.
Drawing on interviews with women and non-binary people exploring domestic abuse in the deaf community, Everyday is a defiant and empowering new work that marks Deafinitely Theatre’s 20th anniversary.
Writer-director Paula Garfield, centre, in rehearsal for Everyday
Here Paula Garfield discusses her new play:
What can audiences expect from this 20th anniversary world premiere?
“A fantastically skilled cast of three women and one non-binary person in a collaborative ensemble telling, for the first time, the stories of deaf people’s diverse experiences of domestic violence.
“We’ve seen raised discourse within mainstream media, with the likes of the #MeToo movement; however, domestic violence remains a taboo subject within the deaf community and the stories of deaf and disabled people have yet to be told.
“Everyday’s audiences will see these heartfelt and diverse stories told through the mediums of visual and physical theatre using British Sign Language, English and creative captioning.”
What was your writing process and what research did it involve?
“When Deafinitely Theatre was first established, we began creating devised productions, using the experiences of the deaf community to inspire those stories. We then shifted towards adapted screenplays, using scripts of well-known playwrights, such as Shakespeare and Sarah Kane.
Giving the finger: Cherie Gordon, Zoë McWhinney, Fifi Garfield and Bea Websterin a scene from Everyday. Picture: Becky Bailey
“This time, as we celebrate our 20th anniversary, I wanted to revert to our original method of working and create a devised play.
“During lockdown, I couldn’t help but see the numerous news reports showing the rapidly increasing rates of domestic abuse due to the impact of the pandemic. The problems were exacerbated by people unable to go out or to work and feeling trapped in their own homes.
“This prompted me to post on Facebook to see if anyone would come forward about their own experiences, and being a member of the deaf community, people knew me, and felt they could entrust me with their stories.”
What happened next?
“After speaking with several women and non-binary people, I invited some of them to be involved in a period of research and development with the actors, and I asked survivors to oversee the script. At the end of each stage of research and development, we shared our progress with an invitation-only audience and asked them for feedback upon which we would build.”
“The deaf community needs deaf-led theatre: deaf directors, deaf creatives, deaf people and deaf stories,” says Everyday writer-director Paula Garfield. Picture: Becky Bailey
What do you hope audiences will take away from Everyday?
“I really want our audiences to be struck by this production and the vulnerability of deaf women and non-binary people facing domestic abuse. I want people to see the vital need for equal rights as their hearing counterparts when it comes to accessing domestic-abuse support services.
“A lot of the services across the UK are not accessible to deaf people; SignHealth is the only deaf-led organisation that provides support for deaf adults who experience domestic abuse. However, they can only support those who live in England, and I think this is mainly due to funding.
“We are lacking in refuges that accept members of the deaf community, as many will not house them due to ‘health and safety reasons’, which takes us right back to the issue of deaf rights, which in this context, seem to be almost non-existent.
“We’re also in need of more deaf Independent Domestic Violence Advocates, with very few trained practitioners expected to offer support to those all over the country. I believe we have a responsibility to create more training opportunities and to encourage more deaf people to pursue this career pathway where services are so desperately needed.”
Zoë McWhinney and Cherie Gordon in Everyday
What are you most looking forward to about taking the production on tour?
“I’m so pleased to be touring the production because the deaf community isn’t only based in London, there are strong deaf communities across the UK. I’d love for us to be touring even wider and further afield one day.
“Working with Birmingham Rep Theatre has been a long-standing dream of mine, so I’m over the moon that we’re included in their programme. The same is true for our collaborations with Northern Stage and York Theatre Royal; I have hopes that this marks the beginnings of many more touring productions for Deafinitely Theatre in the future.
“I’d love for theatres across the UK to become aware that they have deaf communities and audiences who need to see themselves represented in theatre. The deaf community needs deaf-led theatre: deaf directors, deaf creatives, deaf people and deaf stories.”
“To drive improvements, we need to raise awareness, and that is a part of what I hope Everyday will achieve,” says Paula
Why should York audiences see Everyday tonight or tomorrow?
“I believe Everyday has poignant messages for both deaf and hearing audiences. I hope that Everyday will empower a deaf audience, making them aware of some of the more nuanced signs of abuse, help break the stigma surrounding abuse, and raise awareness of support services.
“I hope that deaf audiences will feel seen and understood, and for those who may have experienced domestic abuse to know that they are not alone.
“I want a hearing audience to understand that anyone can experience domestic abuse and that for deaf people there are additional barriers. The community have faced historical oppression by means of language, education and access to services and many of these difficulties still exist today. To drive improvements, we need to raise awareness, and that is a part of what I hope Everyday will achieve.”
Deafinitely Theatre in Everyday at York Theatre Royal on June 21 and 22 at 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Age recommendation: 16 plus
Cherie Gordon in Everyday, on tour at York Theatre Royal in Deafinitely Theatre’s 20th anniversary tour. Picture: Becky Bailey
FROM the Pride parade to Roman festivities, Americana musicians to English prog legends, defiant deaf theatre to bracing art, Charles Hutchinson savours a diverse diary ahead.
Empowering play of the week: Everyday, Deafinitely Theatre, York Theatre Royal, Tuesday and Wednesday, 7.30pm
FOUR people come together to perform a ritual of community and catharsis. Gathering up true stories of deaf women and non-binary people’s experiences of surviving abuse, they form a witches’ coven like no other, replete with a cauldron of newt’s eyes and butterflies, deep scars, and blazing signs.
Commissioned by New Diorama Theatre, Deafinitely Theatre’s playful, urgent, defiant world premiere by writer-director Paula Garfield combines British Sign Language and oral English as it draws on interviews to explore domestic abuse and mental health in the deaf community. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Davina De Campo: Performing at York LGBT Pride at Knavesmire
Fiesta of the week: York LGBT Pride, June 18, from high noon
THE York Pride Parade leaves from outside York Minster at Duncombe Place. Best advice: arrive at 11.45am, ready for departure at 12 noon, with the parade arriving at Knavesmire (Tadcaster Road end) between 1pm and 1.30pm.
On the main stage, hosts Miss Sordid Secret and DJ Kira introduce live music and entertainment from Nadine Coyle, Davina De Campo, Duncan James, Marcus Collins and Jo O’Meara. York Pride is a free family-friendly event, but donations are welcome.
Dolphin Hotel, by David Finnigan, at According To McGee, York
Exhibition launch of the week: Contemporary Painting: Elementals and Synthesis by Freya Horsley and David Finnigan, According To McGee, Tower Street, York, June 18 to July 11
EXHIBITING Freya Horsley, from York, alongside David Finnigan, from Scarborough, is “not so much a duo show, more like two exhibitions in one gallery,” says According To McGee co-director Greg McGee.
“Freya and David are far removed in terms of subject and mark making, but there’s enough intersection to be able to build an event like this.”
Horsley’s Elementals works focus on seascapes full of bristling light and spray, serenity and inner-lit joy; Finnigan’s four new Synthesis paintings are geometric abstractions influenced by sound and modulation.
Sunday’ll be the day for That’ll Be The Day! at Grand Opera House, York
Tribute gig of the week: That’ll Be The Day!, Grand Opera House, York, June 19, 7pm
THIS long-running show, now into its 36th year, celebrates the golden age of rock’n’roll and pop from the 1950s through to the 1980s.
That’ll Be The Day combines comedy sketches and impersonations with stellar vocals and musicianship, fronted by director, producer and vocalist Trevor Payne. Box office: 0844 871 7615 or at atgtickets.com/York.
Courtney Marie Andrews: Third time lucky for Phoenix singer-songwriter as she returns to Pocklington at last
Americana gig of the week: Courtney Marie Andrews, Pocklington Arts Centre, June 19, 8pm
AMERICAN singer, songwriter, poet, musician and now artist Courtney Marie Andrews makes her long-awaited return to Pocklington this weekend.
Phoenix-born Courtney, 31, twice had to postpone the follow-up to her December 2018 gig. The focus was expected to be on the 2021 Grammy-nominated Old Flowers, but now that she has announced the October 7 release of ninth album Loose Future on Fat Possum, hopefully she will showcase new material too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Yes, it is Yes: Playing Close To The Edge at York Barbican
Progressing to the past: Yes, York Barbican, Wednesday, 8pm
PROG rock pioneers Yes’s Album Series Tour 2022 celebrates the 50th anniversary of Close To The Edge, the September 1972 album inspired by Siddharta and their “state of mind” at the time.
Wednesday’s concert combines the iconic album in full with further Yes classics, performed by Steve Howe, guitars, Geoff Downes, keyboards, Jon Davison, vocals, Billy Sherwood, bass guitar, and Jay Schellen, drums and percussion. Legendary Yes artwork artist Roger Dean opens the show with a video wall of images and graphics and a reflection on his long history with the band. Tickets remain valid from the postponed May 19 2021 date. Box office: yorkbarbican.co.uk.
The Felice Brothers, James, second from left, and Ian, right, with band members Will Lawrence and Jesske Hume
If you are yet to discover…The Felice Brothers, Pocklington Arts Centre, Thursday, 8pm
THE Felice Brothers, the folk rock/country rock band from the Hudson valley of upstate New York, are led by Ian and James Felice, joined on this tour by Will Lawrence on drums and Jesske Hume on bass.
Inspired equally by Woody Guthrie and Chuck Berry, they began in 2006 by playing subway platforms and sidewalks in New York City and have since released ten albums, the latest being 2021’s From Dreams To Dust. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Charge! The Eboracum Roman Festival is on its way
Festival of the week: Eboracum Roman Festival, June 25 and 26, all day
THE Legions of Rome take over York Museum Gardens for a packed weekend of outdoor festivities featuring a Roman Living History Encampment between 10am and 5pm each day; the Kids Army and Roman-themed family activities run by Playful Anywhere from 11am to 3pm on both days. Entry is free.
Head inside the Yorkshire Museum to discover Roman treasures, especially the new exhibition The Ryedale Hoard: A Roman Mystery.
Authors of Roman fiction and non-fiction will chat and sign books in the Tempest Anderson Hall from 10am to 4pm each day.
The Chemical Brothers: Get ready for Block Rockin’ Beats at Castle Howard
Big beat of the week: The Chemical Brothers, Castle Howard, near York, nearer Malton, June 26; gates open at 5pm
HEY boy, hey girl, electronic pioneers The Chemical Brothers are taking to the stately-home grass this summer as Manchester big beat duo Tom Rowlands and Ed Simons, both 51, galvanize rave diggers.
Expect such dancefloor nuggets as the chart-topping Setting Sun and Block Rockin’ Beats, Hey Boy, Hey Girl, Let Forever Be, It Began In Afrika, Star Guitar, Galvanize, Do It Again. Got To Keep On and Go. Camping will be available. Box office: castlehoward.co.uk.
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.
