John Smith: “Great balm for a spring Tuesday”. Picture: Paul Rhodes
JOHN Smith has a slippers-and-onesie type of voice; soft, comforting and a little frayed around the edges. Performing solo, this long-postponed gig was a great balm for a spring Tuesday.
As other have noticed before, Smith’s voice does sound like John Martyn (in his mid- Seventies prime before his lifestyle destroyed it). You could imagine Martyn covering Town To Town, a memorable travelling hangover of a song.
Smith, as his name denotes, is a songwriter with the common touch. As is often the case for songwriters who emerge from the folk scene and then seek to take the middle ground, Smith’s earlier material was the most striking.
Hummingbird was wonderful, as was the encore Winter, played with his guitar on his lap. Many of the newer songs were less memorable. Not all, as Star Crossed Lovers proved, thanks to its more unusual arrangement (and even better on record with Lisa Hannigan guesting). Smith is looking to regain the momentum he was developing pre-pandemic, but his style relies on not trying too hard, and tonight he pulled this off with aplomb.
For performers unaccustomed to this East Yorkshire town, the intensity of the audience’s silence while listening can come as a shock. Smith seemed worried that he’d lost the room by joking about other counties.
He needn’t have fretted, as the near sell-out crowd were quietly but determinedly on his side. With his humorous, wry between-song banter, and hilarious way of dealing with false starts, he took the show firmly in hand and steered it to a successful finale.
Native Harrow: “Would have been worthy headliners in their own right”. Picture: Paul Rhodes
Before all that, Native Harrow played a very welcome opening set. After the musical imagination on display on their 2020 album Closeness, their pared-back set seemed a little spartan. Some of the more standout moments from the record were absent, Smoke Burns and Shake most obviously, so the set didn’t exactly grab you by your lapels.
The husband-and-wife duo of Devin Tuel and Stephen Hams have a more subtle approach, and would have been worthy headliners in their own right.
Tuel has a beautiful voice that she uses to supreme effect. In dress, and perhaps in musical style, Carole King or Judee Sill would be influences, but as she said at the interval, the heart music of Tim Buckley was at play too.
Turn Turn could have sat, broodingly, on Buckley’s Blue Afternoon album. Hams’ fluid bass and elegant guitar work embellished skilfully, all in the service of the song. Their songcraft has grown better and better over their four albums to date and their career also seems on the upswing. Hopefully both acts will return soon.
Grand Opera House return for Dame Berwick Kaler, pictured in last winter’s Dick Turpin Rides Again
DAME Berwick Kaler will pull on his big bovver boots for his second Grand Opera House pantomime, but will his “Famous In York Five” reunite?
The grand dame, 75, definitely will be joined in The Adventures Of Old Granny Goose by indomitable villain David Leonard and ‘luvverly Brummie’ AJ Powell, but two fellow regulars in the Kaler panto fixtures and fittings are yet to be confirmed. Or not.
“Further casting will be announced soon” is the official line. Watch this space for news of Kaler’s perennial sidekick, Martin Barrass, and principal golden gal Suzy Cooper as the Grand Opera House pantomime moves on to a new producer, UK Productions, after only one year under the Crossroads Pantomimes umbrella.
Dame Berwick and dastardly David will be on hand to launch ticket sales at the Cumberland Street theatre from 10am on Wednesday, April 13.
“I can’t wait to welcome Me Babbies and Bairns back to the Grand Opera House,” enthused Kaler, Britain’s longest-running dame. “But be warned – I’m under the not unreasonable delusion that I’m far too young to play a granny! So, brace yourself to expect the unexpected.”
Last December, Kaler returned to the York pantomime stage for the first time since February 2019, writing, directing and starring as dame Dotty Donut in Dick Turpin Rides Again alongside Barrass, Cooper, Leonard and Powell in their debut Grand Opera House panto.
Unlike so many pantomimes, they navigated the winter Covid wave without losing any performances or principal performers until the final week when both Kaler and Barrass had to step down after testing positive (despite experiencing no symptoms). In came Scotsmen Alan McHugh and Jack Buchanan, from the His Majesty’s Theatre, Aberdeen, pantomime cast, to play dame and stooge respectively.
Kaler had exited the York Theatre Royal pantomime stage bereft after 40 years, announcing The Grand Old Dame would be his farewell, but soon regretted his retirement decision, even more so after writing and co-directing the 2019-2020 show, Sleeping Beauty.
Pantomime villain David Leonard: Launching ticket sales for The Adventures Of Old Granny Goose with Berwick Kaler at the Grand Opera House on April 13
Dame Berwick and co duly signed up for Qdos Pantomimes’ new partnership with the Grand Opera House in January 2020 in the most sensational crosstown transfer since Denis Law swapped Manchester United for Manchester City in 1973.
The pandemic put a spoke in Dick Turpin’s planned return ride in 2020, and Qdos Pantomimes had been taken over by Crossroads Pantomimes by the time the show did go ahead last winter.
Now, Berwick will be back once more, presenting his second ageing variation on a Mother Goose theme after Old Mother Goose at York Theatre Royal in December 2014. It is yet to be confirmed if it will still be a traditional Kaler triple-threat show as star, writer and director or whether UK Productions will shake up the formula, not only in the casting but in the production team too.
In the meantime, the Grand Opera House publicity machine invites you to “discover for yourself why Berwick and his team have become a true rock of family entertainment over many decades with their hilarious anarchic approach to pantomime. It’s wonderfully madcap and is truly enjoyed by all ages. You may not remember the plot, but you will remember the laughs during the winter months.”
Producers UK Production have presented Christmas pantomimes across Great Britain for nigh on 30 years. During the 2022/23 season, they will produce 11 pantomimes of their own and provide productions to around another 30 nationwide.
Producer Martin Dodd said: “It is truly a privilege to be working with the legendary Berwick Kaler and his co-stars, including the deliciously devilish David Leonard and the lovely Brummie AJ Powell with further casting to be announced.
“I really am excited to be presenting this fabulously unique and much-loved pantomime that is as much a part of the York Christmas tradition as Turkey (or Goose!) and stuffing. We can promise a cracking good show full of laughter, music, and mayhem”.
The Adventures Of Old Granny Goose will run from December 10 2022 to January 8 2023. Next Wednesday morning’s general sale launch will be preceded by Priority TheatreCard Membership tickets from Monday, April 11. Prices will start at £13 at atgtickets.com/York or on 0844 871 7615.
TWO Big Egos In A Small Car podcasters Graham Chalmers and Charles Hutchinson debate the future of the Academy Awards in Episode 84.
Under discussion too are Live At Leeds going outdoors; pop plagiarism; Taylor Hawkins RIP; McCartney’s popularity at 80; Bono the poet and Edinburgh International Film Festival’s August return.
YORK Musical Theatre Company and Friends will come together to raise money for the DEC Ukraine Humanitarian Appeal at A Concert For Ukraine on April 30.
The 7pm musical evening of songs from the shows past and present will be held at Our Lady’s Church, Cornlands Road, Acomb, York, where singers from assorted York musical theatre companies will perform selections from Les Miserables, The Phantom Of The Opera, Jekyll & Hyde The Musical, Sweeney Todd: The Demon Barber Of Fleet Street and Godspell.
Tickets (£5 minimum) can be reserved on 07806 487695 or bought on the door. “If musical theatre isn’t your thing, or you’re unable to attend, please give a small donation to justgiving.com/fundraising/Concert4Ukraine,” says organiser Sophie Houghton Brown.
John Atkin, of York Musical Theatre Company, says: “YMTC Choir members decided to do this concert after their performance at the York Community Choir Festival 2022 at the Joseph Rowntree Theatre.
“The choir will be singing the songs they performed at the festival alongside numbers for their upcoming production of Jekyll & Hyde The Musical.
“We’re delighted that well-known York performers, who have worked with York Opera, Black Sheep Theatre, Joseph Rowntree Company, Bev Jones Musical Company, Pick Me Up Theatre and White Rose Theatre, will be joining us as guests.”
Concert proceeds and donations to the Ukraine Humanitarian Appeal will help DEC charities to provide food, water, shelter and healthcare to refugees and displaced families. To find out more about their work, visit www.actionaid.org.uk. Donations will be sent directly to ActionAid in a fast and secure way.
Sanna Jeppsson in noblewoman Viola’s guise as young actor Thomas Kent. Picture: Matthew Kitchen
SHAKESPEARE In Love was a film about theatre, as much as it was about love. Now it is a play about theatre, with even more theatre in it, more Marlowe as well as Shakespeare, as much as it is still about love.
It makes perfect sense to transfer the period rom-com from screen to its natural bedfellow, the stage, and who better than Lee Hall to effect that transition.
For the north-eastern mining and dancing drama Billy Elliot, he adapted his own screenplay; this time, he makes merry with Tom Stoppard and Marc Norman’s boisterous and romantic script for John Madden’s 1999 award-winner, ruffing it up to the neck in Shakespeare in-jokes, but not roughing up its sophisticated wit.
Robert Readman: Producer, set designer and builder, costume guru and thespian, playing hammy Elizabethan actor Ned Alleyn. Picture: Matthew Kitchen
Pick Me Up Theatre’s always quick-off-the-mark founder, Robert Readman, was typically speedy to pick up the rights to Shakespeare In Love for the York company’s tenth anniversary, whereupon a series of spot-on decisions were made.
First, appoint Bard buff and Pick Me Up ace card Mark Hird to direct the rollicking romp. Second, bring George Stagnell back to the York stage to play the title role. Third, talent-spot Swedish-born Sanna Jeppsson in York Settlement Community Players’ The 39 Steps (even when it fell at the first step, called off through cast illness after one night last November).
Four, utilise Readman’s skills, not only as producer and designer/builder, but also his dormant love of performing. When you need a thick slice of ham to play larger-than-life Elizabethan actor Ned Alleyn, “prince of the provinces”, who you gonna call? Why, Mr Readman, of course, tapping into his inner plummy Simon Callow.
Sanna Jeppsson’s Viola de Lesseps and George Stagnell’s Will Shakespeare mutually admire his newly quilled lines in Shakespeare In Love. Picture: Matthew Kitchen
Readman has conjured an end-on, raised stage built for the outdoors, but no less suited to the John Cooper Studio’s black box, with its echoes of Shakespeare’s Globe or the Rose; decorative flowers; curtains to cover amorous going-ons behind, and traps for hasty exits and entries.
Ensemble cast members sit beside the stage apron, watching the action when not involved. On a mezzanine level, musical director Natalie Walker and Royal College of Music student Tom Bennett are playing Paddy Cunneen’s gorgeous score.
Hird’s company looks the Elizabethan part too, Readman’s costume brief requiring hires from the Royal Shakespeare Company, no less, as well as York Theatre Royal and Leeds Playhouse, plus ear studs and earrings aplenty (for the men).
Ian Giles’s Henslowe and Andrew Roberts’s Ralph. Picture: Matthew Kitchen
Praise too for Emma Godivala and York College’s work on hair, fake moustaches and make-up, especially for Jeppsson when taking the guise of young actor Thomas Kent.
The make-up for the men is deliberately heavy, in keeping with Shakespeare’s day, but everything else is conducted with a delightfully light touch under Hird’s direction, where the next scene chases the previous one off the stage, such is the gleeful urgency to crack on with such a cracking plot replete with cross-dressing, swordplay and backside-biting puppetry (courtesy of Elanor Kitchen’s Spot the Dog).
The only slowness is in the pace of lines coming to Shakespeare’s quill, surrounded by the company of actors awaiting the next play of his still fledgling career, outshone by dashing, daring Kit Marlowe (Adam Price), amusingly providing his young friend (Stagnell’s Will) with all his best lines.
Adam Price’s devil-may-care Kit Marlowe has a word with George Stagnell’s Will, in desperate disguise for his safety at this juncture. Picture: Matthew Kitchen
Theatre bosses Henslowe (Ian Giles) and rival Richard Burbage (Tony Froud) are vying for Shakespeare’s services; theatre backer “The Money” Fennyman (Andrew Isherwood) keeps applying the financial squeeze, often with menaces; Tilney (Neil Foster), the supercilious Lord Chamberlain with the insufferable killjoy manner of Malvolio, is determined to shut down theatres, whatever excuse he can find.
Queen Elizabeth (Joy Warner) wants a dog to have its day in every play; Guy Wilson’s John Webster just wants a chance; Shakespeare needs a muse. Enter Jeppsson’s Viola de Lesseps, alas promised to the ghastly Lord Wessex (Jim Paterson) against her wishes. Viola is banned from the stage under the rules, but takes the dangerous step of performing as Thomas Kent, and what a performer he/she is.
Viola’s amusing West Country Nurse (Beryl Nairn) becomes the template for that very character in Romeo & Juliet, and as Shakespeare’s work in progress changes from comedy to tragedy, Alleyn plays Mercutio, fabulously outraged at being killed off so early.
Sam Hird, left, and Tom Bennett, from the Royal College of Music, on song in Shakespeare In Love
Shakespeare In Love gives us a developing play within a play, and while it helps to have some knowledge of Shakespeare, Christopher Marlowe, Burbage et al, it echoes Blackadder in having such fun with a period setting and re-writing history, here imagining how Romeo & Juliet and in turn Twelfth Night may have emerged.
What’s more, Stagnell and Jeppsson are a delight in the swelling love story, as well as in delivering Shakespeare’s lines when called on to do so.
Terrific performances abound around them, especially from Price, Isherwood, Paterson and Wilson, a young talent with a gift for physical comedy in the Marty Feldman and Tony Robinson tradition, while Warner’s cameos as Queen Elizabeth are a joy too.
To cap it all, Sam Hird and Tom Bennett’s performance of an Elizabethan ballad is beautiful, typical of a swashbuckling performance that is a palpable hit in every way. If you love theatre, this play is why you do. If you don’t, go anyway and be converted. Tonight until Friday’s shows have sold out but tickets are still available for 2.30pm and 7.30pm on Saturday at tickets.41monkgate.co.uk.
“It’s a magical feeling we can only get from live music. Let’s go! ” says Imelda May as she returns to York Barbican
IRISH singer-songwriter and poet Imelda May plays York Barbican tomorrow in the only Yorkshire show of her first major UK tour in more than five years.
“I cannot wait to see you all again, to dance and sing together, to connect and feel the sparkle in a room where music makes us feel alive and elevated for a while,” said the Dubliner when announcing the Made To Love itinerary last April. “It’s a magical feeling we can only get from live music. Let’s go!”
Imagine how she feels, a year on from that “Let’s go!” invocation, as Imelda at last has the chance to promote her sixth studio album, last April’s 11 Past The Hour.
“I’m absolutely chomping at the bit to perform these songs live because normally you put out the album, go out on tour at that time, and see the songs grow as you play them,” says Imelda, 47.
“But until now, I’ve not really played any of them live, apart from Made To Love at a couple of things. When you start playing them, it can change suddenly what you might release as the next single, as you see what people enjoyed, but with this album I had to release them blindly as there couldn’t be any comeback from audiences. So, it’ll be interesting to see which ones they most react to, now I’m touring again.”
The cover artwork for Imelda May’s 2021 album, 11 Past The Hour
On a record that “brims with sensuality, emotional intelligence, spirituality and intuition”, Imelda collaborated with Rolling Stone Ronnie Wood, Noel Gallagher, Miles Kane and Niall McNamee.
“Niall is a wonderful Irish musician and actor and it was Ronnie [Wood] who introduced him to me because he was acting in a play by Ronnie’s wife, and we got on so well, we started writing together,” says Imelda.
The duet Don’t Let Me Stand On My Own resulted, with its theme of mental health, sticking together and holding on together. Lo and behold, Imelda and Niall are indeed not standing alone. “We fell in love over the kitchen table and we’re still together,” she says.
Imelda is grateful to Ronnie Wood for that post-show introduction but more besides. “It’s great to have Ronnie on the record, playing on Just One Kiss and Made To Love. I’ve known him since I was 16,” she says. “I’d never gone to music college or state schools; I just jammed at clubs, and I’d just started playing at this little club when Ronnie turned up and we ended up playing Rollin’ & Tumblin’ together.
“Later, I toured with Jeff Beck, who introduced me to Ronnie, saying ‘I don’t if you remember Imelda’, but he did!”
Artwork for Imelda May’s 2017 top five album, Life. Love. Flesh. Blood
Noel Gallagher co-wrote and sings on Just One Kiss while Miles Kane features on What We Did In The Dark. “Miles has been a friend for a long time and Noel is a good friend too,” says Imelda.
Feminist thinkers and activists Gina Martin and Dr Shola Mos-Shogbamimu contribute to Made To Love. “Gina does incredible work and it’s the same with Dr Shola, who is so eloquent and elegant and makes so much sense,” says Imelda.
“I was writing this song about how we’re made to love, because if we don’t look for love, what are we aiming for, especially now? I’m a living thing! Love is a living thing!
“I was looking for backing vocalists and decided I’d get in touch with Gina and Shola after they really captured our attention and hearts at this beautiful event for International Women’s Day.
“I said, ‘do you sing because I need your heart and passion on this song?’, and they agreed to do it with. We had to be [socially] distanced for the recording with all the doors open. Absolutely freezing, but it was worth it.”
Imelda’s record company, Decca Records, were favouring Diamonds for a single, but Graham Norton asked specifically for Made To Love for Imelda’s performance on his BBC One chat show, and it duly became the single.
Imelda loves being creative. “The writing process is like giving birth. Suddenly something exists that didn’t exist this morning,” she says. “I love it when my brain fires up and a song flows out.
“Then you start working on the artwork and the videos, the songs get to live and that’s another chapter starting. Then you work on how the songs will sound live, which is a very different creative process from studio recordings, especially when we were recording remotely in lockdown.”
Imelda’s creativity has expanded to poetry, as heard on her 2020 EP, Slip Of The Tongue, and printed in last October’s A Lick And A Promise. “Absolutely 100 per cent, poetry will feature in the show,” she says. “When the book came out, the reaction was unprecedented, I was told. The print runs sold out three times. They flew out the door!
“Working on poems for the EP with beautiful string arrangements behind them, the reaction has been overwhelmingly positive, I can tell you.”
Now is the time for May in April, songs, poems and all, at York Barbican tomorrow.
Imelda May: Singer, songwriter, poet and multi-instrumentalist
Imelda May fact file
Full name: Imelda Mary Higham.
Born: July 10 1974, in The Liberties area of Dublin.
Occupation: Singer, songwriter, poet and multi-instrumentalist who plays bodhrán, guitar, bass guitar and tambourine.
Breakthrough: Discovered by boogie-woogie pianist Jools Holland, who asked her to tour with him.
Performed duets with: U2, Lou Reed, Sinead O’Connor, Robert Plant, Van Morrison, Jack Savoretti, Noel Gallagher and Elvis Costello.
Featured on albums and live tours with: Jeff Beck, Jeff Goldblum and Ronnie Wood.
Studio albums: No Turning Back, 2003; Love Tattoo, 2008; Mayhem, 2010; Tribal, 2014; Life. Love. Flesh. Blood, 2017; 11 Past The Hour, 2021.
Branching out: In the cauldron of 2020 Black Lives Matter movement, she released her poem You Don’t Get To Be Racist And Irish. Sentiment adopted by Irish government’s ReThink Ireland campaign on billboard displays.
What Imelda did next: Released reflective nine-poem Slip Of The Tongue EP, set to uplifting soundscape. May addressed themes of home and love, feminism, harsh realities of life, defiance, lovelorn longing and escapism.
Book: A Lick And A Promise, debut collection of 104 poems, including two each by her father and young daughter, published in October 2021.
York gigs: February 2009, at The Duchess, in bequiffed retro-rockabilly days; November 2011, York Barbican debut; May 2017, York Barbican, promoting post break-up album Life. Love. Flesh. Blood.
Imelda May plays York Barbican tomorrow (6/4/2022) at 7.30pm on her Made To Love Tour. Box office: yorkbarbican.co.uk, gigsandtours.com and ticketmaster.co.uk or on 0203 356 5441.
Magic Goes Wrong: Magical mayhem at York Theatre Royal from April 26
AMERICAN comedy magicians Penn & Teller have been sawing the magic rulebook in half for five decades. Now they have teamed up with British masters of mishap Mischief for Magic Goes Wrong, heading for York Theatre Royal on tour from April 26 to May 1.
Teller, 74, and Penn Jillette, 67, have long specialised in combining bamboozling illusions with dark comedy, their magic often seeming to go horribly wrong in its combination of comic danger, sometimes gore, even violence.
Their notorious habit of repeatedly revealing to the audience exactly how their tricks work has long prevented the duo from being members of the Magic Circle. Not that they mind. Far from it. patter-merchant Penn and the silent Teller revel in the illusion of chaos, typified by one of their stage shows beginning with a giant fridge falling on the pair, apparently crushing them.
Meanwhile, the Mischief team of Henry Shields, Henry Lewis, and Jonathan Sayer have delivered such calamitous comedy hits as The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About A Bank Robbery, along with the BBC One series The Goes Wrong Show, where the comedy is rooted in the show-must-go-on spirit of the straight-faced cast members determinedly defying everything collapsing around them.
Penner & Tell plus Mischief equalled the perfect match in the making. Sure enough, in 2019, the Americans announced they would be teaming up with the Brits. Cue Magic Goes Wrong opening in the West End, London, and subsequently casting a spell on tour.
How did the marriage in magical mayhem come to fruition? A few years ago, Penn & Teller were performing in London when Penn’s family decided they wanted to see a West End show. “I don’t go to comedy theatre at all,” recalls Penn.
Penn & Teller: Revelling in the illusion of chaos
“I like theatre to be deadly dull, slow and depressing, but my wife and children picked The Play That Goes Wrong. I realised that not only was my family laughing harder than I’ve ever seen them, but I was too.” Immediately, he told Teller to book a ticket.
Despite being known for his onstage silence, it was Teller who started discussions with Shields, Lewis and Sayer, Mischief’s artistic directors. “I am more shy than Teller, so it never crossed my mind to go backstage,” says Penn. “But Teller took himself backstage and said, ‘hey I’m a star’!”
Teller insists it was a somewhat different story: “As I was sitting in my seat, someone tapped me on the shoulder and said, ‘You’re Teller, aren’t you? The cast wants to give you free ice cream’. So, afterwards, I went backstage to thank the cast and compliment them, because it really was one of the finest shows I’ve ever seen.”
What’s more, Penn had mentioned to Teller that the show featured a magic trick. “He told me there’s a moment where a person reappears in a grandfather clock, and it’s going to fool you,” Teller explains. “And he was right. It absolutely fooled me. So, I said to the Mischief guys, ‘You do stuff that is so much like magic, we should do something together sometime’.”
A few months later, all five of them were eating homemade pancakes at Teller’s Las Vegas house and plotting a new stage show. Working with unfamiliar people was a new experience for Penn & Teller who, despite decades in show business, rarely collaborate beyond the two of them. Teller has directed two Shakespeare plays, as well as a documentary film, but for Penn it was nerve-wracking.
What could possibly go wrong? Magic Goes Wrong up to its tricks on tour
“Teller and I have a dynamic that we’ve built over 46 years, so this was a huge leap of faith,” he says. “We couldn’t go out to dinner with these guys; we had to jump straight into bed. We were told: ‘they are going to be here at 10am on Wednesday and you’ll start writing your show. You won’t even know which one is Jonathan and which ones are Henry [times two]. But it took about 20 minutes before I felt like I was around my closest friends.”
Shields, Lewis and Sayer spent a week and a half putting together the show’s bones in a small side room off the stage of The Rio hotel, where Penn & Teller are the longest-running headline act in Las Vegas history. Penn & Teller taught the team magic – “they picked it up incredibly quickly” – and suggested tricks to include, while the Mischief trio improvised dialogue and story.
Just as Mischief were excited to be working with two of their heroes, Penn & Teller were no less in awe of Mischief’s talent. “There was one moment Henry (Lewis) and Jonathan said, ‘it could kind of go like this’, and then the two of them did a five-minute improvisation,” recalls Penn.
“Now, I have sat in a room with Lou Reed playing Sweet Jane four feet from me. I’ve talked to Richard Feynman about physics. I’ve spoken to Bob Dylan. But I said, ‘this is a moment I will bookmark for the rest of my life’.
“I felt like I was watching the Pythons at their peak, and I thought, ‘this is why I’m in showbiz: to be that near that level of talent and skill’. And when I’m on my deathbed listing the 100 artistic events of my life, that moment will be there.”
Tricky! Magic Goes Wrong combines the trick that goes wrong with the trick that dazzles the audience
Roll on a few more sessions and the show had come together, its storyline built around a disastrous fundraising benefit. However, by adding the trademark Goes Wrong approach, all the tricks had to work on two levels: there had to be the trick that goes wrong, and then the trick that dazzles the audience.
How did they devise these illusions? As Teller explains, the process can be laborious. “You get an idea, which is usually quite grand, then you find that it’s impossible, and you revise it over and over again until it works.
“There’s a trick in the show where one of the cast members gets accidentally sawed in half by a buzzsaw. That was more than a year of work. Part of the trick involves blood, but if you just show the blood on stage, it looks boring; it has no impact at all.
“So a big part of the buzzsaw trick for us was developing it in such a way that when the blood came, it would be sprayed up against a huge backdrop where you could truly enjoy the bright red colour.”
While on the subject of blood and buzzsaws, Magic Goes Wrong is more comically gory than Mischief’s previous work. Was that Penn and Teller’s influence? “Guilty!” says Penn. “I’m afraid it might have something to do with us,” Teller admits. “We think that gore is essentially funny. It’s really hard to pull off serious gore in the theatre because people tend to want to laugh. They know that it’s fake, but they see that it looks real. And that’s very much like a magic trick.”
“We don’t ever allow the possibility of something going seriously wrong because if we did, we wouldn’t have been working successfully for 46 years,” says Teller
Penn & Teller’s work thrives on this clash of instinct and intellect. “What you want to do is get the visceral and the intellectual to collide as fast as possible,” says Penn. “It’s like being on a rollercoaster: I’m safe; no, I’m not; I’m safe; no, I’m not. Those two parts of your body are fighting.”
Despite Mischief and Penn & Teller having built their careers on making it appear that everything is going horrifically wrong, they insist that mishaps are incredibly rare in real life. “While we’re rehearsing, we might get a minor cut or bruise,” says Teller. “But we don’t ever allow the possibility of something going seriously wrong because if we did, we wouldn’t have been working successfully for 46 years.”
Indeed absence of safety angers Penn & Teller, who show disdain for “edgy’ magicians who put themselves in actual physical danger, even lampooning them in the show with the character of The Blade, who puts his limbs on the line for art’s sake.
“If you want to see someone actually get hurt, go watch NASCAR [ferocious high-speed car racing with frequent crashes],” says Penn. “If you want your art to be dangerous, stay away from me.”
Teller concurs: “Anytime I hear that in the making of a movie somebody was actually injured or killed, I’m angry about that, because art is what you do for fun.” The paradox of the magician duo’s work, and of Magic Goes Wrong too, is that everything must be incredibly safe precisely in order to make it look so dangerous.
Magic Goes Wrong: “A full magic show and a full comedy show,” says Penn
For Penn, what makes Magic Goes Wrong so right is the combination of magic and comedy. “It’s a full magic show and a full comedy show happening at the same time,” he says.
Teller highlights a deeper, more unexpected layer to the show: “What’s interesting to me is how well it reflects the actual culture of the magic world,” he says. “It’s mostly populated by well meaning, very nice amateurs. And there is a great, heart-tugging beauty about that to me.
“The poignancy of the magic trick that isn’t quite achieved, where your aspirations are to behave in a godlike manner, and instead you’re slapped in the face by reality – I think that’s such a beautiful thing. That’s what this show is about. It has all these laughs and all these wild, crazy moments, but when it lands at the end, it’s about the sweetness of friends who love magic.” Mischief and Penn & Teller’s Magic Goes Wrong appears at York Theatre Royal from April 26 and vanishes from York after May 1; performances, 7.30pm, plus 2pm, Thursday, and 2.30pm, Saturday. Please note, show co-creators Penn & Teller will not be appearing on stage.
What happens in Magic Goes Wrong?
A HAPLESS gang of magicians is staging an evening of grand illusions to raise money for charity, but as the magic turns to mayhem, accidents spiral out of control, so does the fundraising target. Cue dare-devil stunts, jaw-dropping feats and magical mishaps.
BC Camplight in obligatory overcoat and hat at The Crescent, York. All pictures: Paul Rhodes
IF you carry yourself that way and people treat you like one, doesn’t that make you a star? While Brian Christinzio, aka BC Camplight may not be a household name, he is certainly already cruising towards the upper echelons of indiedom.
His swash of mordant subjects and bright 1980s-coloured sound strongly recalls Eels. Larger than life, Camplight’s image is now fixed, overcoat and hat. He was without his customary shades, but then, as he said, he was in a good mood.
While he didn’t follow through on his threat to wander into the crowd, he was in his element. With his talented four-piece band ably re-creating his louche studio creations, Camplight took centre stage.
BC Camplight: “Charisma abounding; natural frontman”
With charisma abounding, he was a natural frontman. Never still, he had the sense not to ham things up too much. Yes. he played the keyboard with his foot; OK, he brandished the microphone pole and swigged from his gin bottle. Luckily, not too often. It left everyone straining to see what he’d do next.
The shortish set was packed with songs, as he put it, “to hit you in the groin”. If doing that makes people dance, then he’s onto something. Much of the set drew on parts two and three of his Manchester Trilogy, Deportation Blues and last year’s wonderful Shortly After Take-off.
Camplight’s music is built for the concert hall, its big bold sounds, catchy hooks and swooning melodies seem to bizarrely channel the appeal of his Philadelphia kin Hall & Oates. Only I Want To Be In The Mafia, often the emotional highlight of recent shows, fell somewhat short, the intimacy of the original absent.
Camplight in blue light at The Crescent, York
Why isn’t this man more commercially popular? Camplight releasing singles called Back To Work and Cemetery Lifestyle during the pandemic tells you much about his inherent poor career timing.
Too off-kilter to be Elton John, the surface layer of the songs is too dark to appeal to the Robbie Williams crowd. The humour and musical fun catches you later. I’m In A Weird Place Now, an alternative anthem to rival Kurt Vile, was dedicated to Selby.
Maybe he’ll settle for loved outsider status. That doesn’t feel too leftfield a spot for Camplight to be right in the world. Hopefully he will stick around.
Rhyme and reason: Frog makes the rules on a chaotic day at Sittingbottom School in Oi Frog & Friends!
ON a new day at Sittingbottom School, Frog is looking for a place to sit, but Cat has other ideas and Dog is happy to play along. Cue multiple rhyming rules and chaos when Frog is placed in in charge in Oi Frog & Friends! at York Theatre Royal today and tomorrow.
Suitable for age three upwards, this 55-minute, action-packed play comes with original songs, puppets, laughs and “more rhyme than you can shake a chime at”.
The Olivier Award-nominated, fun-filled musical has been transferred to the stage by Emma Earle, Zoe Squire, Luke Bateman and Richy Hughes from Kes Gray and Jim Field’s hit picture books.
Those Oi Frog! books – Oi Cat!, Oi Dog!, Oi Duck-billed Platypus!, Oi Puppies! and Oi Aardvark! among them – revel in rhyming, prompted by “the cliché that underpins so many childhoods” that frogs sit on logs and cats sit on mats, says Gray.
From this starting point, Gray and Field sough to explain to the world where other animals sat in this realm of rhyming recliners. Cue more than one million book sales. One million! “I keep trying to think of it as if it’s a massive stadium full of people holding a copy of the book, then doing that ten times over,” contemplates illustrator Field.
Now, Frog, Dog, Cat and their chair-shunning cohorts have leapt from page to stage in a stage show produced by Kenny Wax Family Entertainment, the company behind theatrical conversions of The Worst Witch, Hetty Feather and What The Ladybird Heard, adapted by the creative team of director Earle and designer Squire (of Pins and Needles Productions), composer Bateman and lyricist Hughes.
Cue a nomination for the Olivier Award for Best Family Show in 2020. “We didn’t see it coming,” says Gray. “When we were asked ‘Can we put it on stage?’, I thought, ‘I don’t know, can you?’ We certainly don’t know because we don’t create theatre, we create books.”
Field says: “It’s amazing to see what’s happened. If you adapted it directly from the books, the show would only be about 15 minutes long, so they’ve created a backstory around the characters. There’s a whole life for Cat that we never knew about. It really has given it a new life and greater depth. And all the songs they’ve come up with as well!”
The Oi Frog & Friends! stage adaptation mixes drama, puppetry, jokes, rhymes and songs in drawing from the first four books to tell its story of a day at Sittingbottom School, where chaos reigns when Frog decides he might not want to perch his bottom on a log.
“We know the medium of the books but theatre is a different medium, so we have had to let somebody else run with it where they have the expertise,” says Field. “That’s their specialty. We were involved at the early stages, but we’ve let the people who know what they’re doing bring it to life.”
Nevertheless, they kept more than one eye on proceedings, Gray focusing on the narrative and chronology of the piece to be performed to a young audience “who are super bright, retain so much information and will know instinctively whether what a character says is true to them.” Field, meanwhile, has been particular, for example, about the minutiae of puppet eyebrow placement.
“I think it’s my job to ask ‘What about this? What about that?’,” reasons Gray. “But all concerns go away when it becomes collaborative, and this has been collaborative from day one. And lots of fun. They know what they’re doing, so Oi Frog Friends! is a lovely balance between what the books have to offer and what a stage performance has to offer.”
Gray and Field were thrilled to see the show in its West End premiere in December 2019, before the UK tour was launched in February 2020 and soon stalled by Covid, but now resumed.
Gray says: “It has taken the Oi characters to places I could never have imagined. The fun, the artistry and the sheer theatrical genius of this production really is something to behold.”
Field concurs: “Seeing the characters brought to life from our series of Oi books was both surreal and incredible. Oi Frog & Friends! bounces along with non-stop energy, amazing puppets, funny songs, shouty rhymes, and a squirty elephant trunk. It’s brilliantly bonkers!”
Field rejoins: “I think children experiencing as much culture as they can is a great thing. Reading is absolutely essential; parents should be reading to their children every night. And I remember what it was like seeing brilliant Christmas pantos.”
Gray concludes: “I think it’s important for children to do things that take their minds in different directions. There’s something wonderful about going to the theatre; it kind of hugs you. You get in, and you don’t want to leave.”
Oi Frog & Friends, York Theatre Royal, today at 1.30pm and 4.30pm; tomorrow, 10.30am and 1.30pm. Box office: 01904 623568 at yorktheatreroyal.co.uk.
Shirley Davis Dew: Paintings inspired by a love of Yorkshire, on show at Rocking House Studio, Main Street, Fangfoss
WELCOME to day two of York Open Studios 2022 on its opening weekend.
More than 150 artists and makers are showing and selling their work within their homes and workspaces, giving visitors an opportunity to view and buy “bespoke pieces to suit every budget”, from 10am to 5pm today and next weekend too.
As ever, the range of artists’ work encompasses painting and print, illustration, drawing and mixed media, ceramics, glass and sculpture, jewellery, textiles, photography and installation art. Check out the artists’ directory listings at yorkopenstudios.co.uk to find out who is participating.
CharlesHutchPress is highlighting the 30 newcomers in a showcase all this week, in map order, concluding today with Lucinda Grange; Janine Lees; Emma Frost; Shirley Davis Dew; Laura Thompson and The Island.
Adventure photographer Lucinda Grange: Scales iconic structures and buildings to take her pictures. Picture: Tom Ackerman
Lucinda Grange, photography, The Black House,14 Heslington Lane,York
ADVENTURE photographer Lucinda documents urban extremes; the spaces above and below the public footpaths in our cities. Her approach to photography utilises underground spaces as well as high points within a landscape.
Award-winning Lucinda, who splits her time between New York City, Zurich and North East England, has travelled the world, scaling some of the tallest and most iconic structures and buildings, such as the Great Pyramid, Firth of Forth Rail Bridge and the Chrysler Building.
“I use photography as a means of self-expression, to identify with the more obvious and hidden aspects of my character,” says Lucinda, who has exhibited at the Museum of London and the National Football Museum, Manchester.
Dancing With The Stars, by Lucinda Grange
“I believe that a person is defined by their actions and choices, and is therefore defined by the environments they choose to put themselves in. This explains why I record my own surroundings, photographing the people and places I choose to have around me.”
Lucinda records social documentary in an unusual manner, sometimes alienating herself to do so, resulting in angst and solipsism. Beauty, fragility and fear are all present and tangible within the work.
This approach to documentary photography utilises high points within the landscape, resulting in her images “challenging the viewer to reconsider the environment they find themselves in”.
Janine Lees, painting, Birch House,130 Main Street,Fulford,York
TAKING inspiration from the natural world, Janine creates works that evoke feelings of warmth and affection by painting intimate animal portraits in a realistic and colourful style.
Having previously worked as a graphic designer, Janine is now a full-time professional artist working from her home studio., where she divides her time between pet portrait commissions and creating artwork for sale.
Janine’s artwork has been selected to represent various coloured pencil and art publications both online and in exhibitions such as the UK Coloured Pencil Society, The Artist magazine (UK) and Color Magazine (USA).
Emma Frost: Highlighting the beauty found in our everyday lives
Emma Frost, painting, North Studio, Arnup Studios,Panman Lane,Holtby,York
LANDSCAPE artist Emma has a particular interest in man-made structures such as pylons, wind turbines and telegraph poles, set against dramatic skylines and beautiful surroundings.
Growing up in rural Northamptonshire before moving to York via Leeds, Germany and Amsterdam, Emma enjoys painting scenes depicting both rural and urban life.
She typically depicts views from her day-to-day surroundings, including school runs, supermarket car parks and drive-thru takeaways. “Ensuring these scenes also include beautiful sunsets or large, expansive skies enables my work to highlight the beauty found in our everyday lives,” she says.
Shirley Davis Dew: Artist, tutor and demonstrator
Shirley Davis Dew, paintings, Rocking House Studio, Main Street, Fangfoss, York
A PASSION to capture movement, light and her love of colour permeates Shirley’s vibrant paintings in watercolour or acrylics paintings, applied with brushes, knives and fingers.
You can watch her in action in demonstrations from 10.30am to 12.30pm and 2.30pm to 4pm each day of York Open Studios 2022.
During many years in business management, Shirley painted for pleasure. Her exhibitions led to her being asked to run classes and so began a 20-year second career as a tutor and demonstrator.
“A love of Yorkshire inspires my paintings of the big skies, woodlands, rolling hills and coast,” she says.
Laura Thompson: Transitioning into illustration
Laura Thompson, illustration, Rocking House Studio, Main Street,Fangfoss,York
LAURA’S website promotes her as both a freelance illustrator and textiles and surface pattern designer. “I’m transitioning into illustration, from a background in textiles and graphic design; experimenting with ways of working, subject matters and observational work to discover a style that feels natural,” she explains.
Her York Open Studios debut focuses on botanical, still life and landscape illustrations, created using watercolour, gouache and colour pencils. Motifs are often manipulated digitally into designs for greetings cards and repeat patterns for textiles giftware.
“The outdoor world provides a constant source of inspiration, and now, people, places and possessions are explored from a personal perspective to encapsulate the themes of memory and sense of self,” she says. “Ideas translate into uplifting or nostalgic imagery, aiming to bring a joyful aesthetic.”
The Island: Exhibiting photography of everyday life taken with disposable film cameras
The Island, photography, Beverley House, 17 Shipton Road, York
YORK charity The Island supports some of the most vulnerable and isolated young people in the city to realise their potential through positive mentoring relationships and activities.
Collaborating with York photographer Makiko since early summer 2021, The Island introduced photography activities to the children – who range in age from mid-primary ages to late-teens – by providing them with disposable film cameras to shoot their everyday life.
The Island’s main purpose is to try to improve the mental health of vulnerable children in the York community, who are facing challenges in the post- Brexit, Covid-19 world, by adding these simple activities to their on-going art sessions, backed by Art Council England funding.
