Gordon Shaw, the Scottish comic book artist with an incurable brain tumour, in the documentary film Long Live My Happy Head
WHAT would you do if you were told you had a dramatically life-shortening illness at 32? Start making comic books about it, in the case of Gordon Shaw.
So begins Long Live My Happy Head, a documentary film about cancer and comics, but fundamentally a love story, that will be shown at City Screen Picturehouse, York, tomorrow (22/3/2022) at 6.10pm as part of Brain Tumour Awareness Month.
Gordon is a Scottish comic book artist with a big bushy beard, very expressive eyebrows – and an inoperable, incurable brain tumour. By making autobiographical comics about his experience, he can communicate his thoughts and reactions to cancer in a medium and a language that is disarming, accessible and inviting.
Approaching his 40th birthday, Gordon has found the love of his life, Shawn, a warm-hearted and protective American man who lives in Bath County, Virginia. Their relationship may be long-distance, but they talk on the phone everyday they cannot be together and visit each other as often as possible.
Although his previous comics looked at his own experience, for his next book Gordon has chosen to focus on the people who look after people with cancer: the carers. His tumour is growing again, however, necessitating chemotherapy but still he meets and interviews people who have cared for and lost their dearest loved ones.
The poster artwork for Long Live My Happy Head
Directed by Austen McCowan and Will Hewitt, Long Live My Happy Head journeys with Gordon and Shawn through one of the most difficult times of their lives, only to see them emerge from the other side even stronger than before.
Through intimately captured observational footage and video diary, stylised interviews and animations created from Gordon’s comic illustrations, the film immerses viewers in Gordon’s world, revealing how art, love and humour can soothe our deepest fears of mortality and losing the people we care most about.
Tomorrow evening’s screening in Screen Two was to have been followed by an audience question-and-answer session with filmmaker Austen McCowan, hosted by Charles Hutchinson, editor of charleshutchpress.co.uk.
Alas, he sent a note on Monday night (21/3/2022) to say: “I’ve just arrived back from Thessaloniki, where we screened the film on Saturday. On arrival in London, I did a Covid test and unfortunately it was positive. Obviously this means I will not be able to attend the screening in York tomorrow and I’m absolutely gutted.”
The 118-minute film received its world premiere at the BFI Flare festival in London on March 17 and is scheduled to be broadcast on BBC Scotland.
Tickets for tomorrow can be booked at: picturehouses.com/cinema/city-screen-picturehouse. For a trailer of Long Live My Happy Head, go to: https://www.youtube.com/watch?v=KwzDGqb2Wuw
DURAN Duran will play the first show in a new concert series in the grounds of Castle Howard, near York, on June 17.
This will be their second outdoor gig in North Yorkshire in nine months, after closing the 2021 summer season of Scarborough Open Air Theatre concerts last September.
Emerging from the New Romantic synthpop scene in the early 1980s, the Birmingham band have gone on to sell 100 million records and chalk up 21 British Top 20 singles and 18 American hits.
Songs such as Planet Earth, Girls On Film, Save A Prayer, Rio, Hungry Like the Wolf, The Reflex, The Wild Boys, Is There Something I Should Know and A View To A Kill have brought them nine gold, six platinum and three multi-platinum records, eight lifetime achievement awards, two Grammy awards, two Ivor Novello awards and two BRITs.
Singer Simon Le Bon, keyboardist Nick Rhodes, bassist John Taylor and drummer Roger Taylor are noted for fusing art, technology and fashion with pop hooks, while still looking to innovate and re-invent their sound after 42 years together.
Last October, they released their 15th studio album, Future Past, featuring collaborations with Giorgio Moroder, Mark Ronson, Graham Coxon, Erol Alkan, Tove Lo, Mike Garson, Ivorian Doll and CHAI, on their first studio recordings since Paper Gods in 2015.
Tickets for Duran Duran and special guests are on sale via castlehoward.co.uk or at ticketmaster.co.uk.
The concert poster for Duran Duran at Castle Howard
Charles Hutchinson unearths Indian jazz, jive, cabaret, ceramics , 70 years of hits and a candlelit concert for Ukrainian solidarity for your diary.
Re-entry, by Danny Barbour, on show at According To McGee from today
Exhibition launch of the week: Christine Cox, Geoff Cox and Danny Barbour, Unearthed, Pyramid Gallery, Stonegate, York, today until April 24.
CHRSTINE Cox, Geoff Cox and Danny Barbour will be at Terry Brett’s gallery today from 11.30am to 2pm to talk about their Unearthed exhibition.
Pyramid Gallery’s spring show combines Christines ceramics, derived from repeated visits to a Cumbrian sea-cliff; Geoff’s ceramic pots and sculpture, rooted in archaeology and long-lost civilisations, and Danny’s paintings and collages that draw on his fascination with what lies beneath the surface.
“Unearthed features the work of three artists whose work is inspired by the passing of time: changes observed in the built environment and found remnants from the past,” says Terry.
Lady Lounges, ceramic, by Geoff Cox, at According To McGee
Diva at the double: Velma Celli: Me And My Divas, York Theatre Royal, tonight, 7.30pm; Velma Celli: Outlaw Live, National Centre for Early Music, York, doors, 7pm; show, 8pm
YORK’S drag diva deluxe, Velma Celli, returns to York Theatre Royal for “an overindulgent diva fest celebrating the songs and behaviour of all your favourite divas” with York singer Jess Steel and West End leading lady Gina Murray.
This cabaret night of impressions and banter celebrates Whitney, Aretha, Bassey, Streisand, Garland, Cilla, Dolly, Madonna, Adele, Sia and latest addition Jessie J.
Next Friday, Velma and York Gin launch Outlaw Live, an outrageous night of cabaret and gin at the NCEM, raising a glass to Guy Fawkes, Dick Turpin and all that’s villainous and defiantly naughty about York and its outlaws. Box office:tickettailor.com/events/yorkgin/590817.
“Explore your inner outlaw”: Velma Celli in Outlaw Live mode
Welcome to the Pleasure dome: King Pleasure & The Biscuit Boys, Selby Town Hall, tonight, 8pm
AFTER 6,500 performances across 21 countries in more than 30 years on the road, the jump, jive and swing band King Pleasure & The Biscuit Boys bring their high octane, good-time show to Selby.
The sartorially sharp British band have performed their dance-hall rhythm & blues opening for BB King, Cab Calloway and Ray Charles and have toured with the Blues Brothers Band from the movie. Box office: 01757 708449 or selbytownhall.co.uk.
King Pleasure & The Biscuit Boys: In the swing at Selby Town Hall
Jazz gig of the week: Arun Ghosh and Yaatri, The Crescent, York, Thursday, 7.30pm
IN a showcase of Indian-influenced jazz, York promoter Ouroboros presents award-winning clarinettist Arun Ghosh’s return to The Crescent to perform music from new album Seclused In Light. Ghosh and his band deliver a passionate sound driven by soaring melodies, hypnotic rhythms and transcendental textures as he melds jazz with jazz myriad of musical influences, from jungle to punk, blues to Bollywood.
Support act Yaatri are an art-rock/jazz crossover five-piece, formed in Leeds in 2018, led by Indian/American guitarist and composer Liam Narain DeTar. Box office: thecrescentyork.seetickets.com.
Arun Ghosh: Showcasing his Seclused In Light album at The Crescent, York. Picture: Emile Holba
Why life is a minestrone: 10cc, The Ultimate Greatest Hits Tour, York Barbican, March 26, 7.30pm
CO-FOUNDER Graham Gouldman leads 10cc on their return to the concert stage after the lockdown lull, as the art-rock icons perform the chart-topping I’m Not In Love, Rubber Bullets and Dreadlock Holiday alongside eight more top ten hits.
Bass and guitar player Gouldman, 75, is joined by lead guitarist Rick Fenn, drummer Paul Burgess, keyboards player Keith Hayman and vocalist Iain Hornal. Box office: yorkbarbican.co.uk.
Graham Gouldman and 10cc: Playing their greatest hits at York Barbican
Candlelit concert of the week: The Ebor Singers, How Do You Keep The Music Playing?, Chapter House, York Minster, March 26, 7.30pm
THE Ebor Singers return to the Chapter House for the first time since March 2020 to celebrate being together again, while pausing to reflect on what society has endured together.
The candlelit programme features Allegri’s Miserere; choral pieces by Whitacre and Esenwalds; an arrangement of Michel Legrand’s jazz classic How Do You Keep The Music Playing? and premieres of two lockdown commissions, Kerensa Briggs’s The Inner Light and Philip Moore’s O Vos Omnes.
In solidarity with the people of Ukraine, the singers perform works by Kyiv composer Valentin Silvestrov, 84, who managed to leave the country safely last week. Tickets: on the door or at tickets.yorkminster.org.
TheEbor Singers: First Chapter House concert at York Minster since March 2020
Nostalgia of the week: 70 Years Of Pop Music, Joseph Rowntree Theatre, York, March 27, 7.30pm
THIS year marks the 70th anniversary of the dawn of the British pop charts, when Al Martino claimed the first number one spot with Here In My Heart on November 20 2022.
Don Pears’ singers and musicians take a journey through the decades from Perry Como and Doris Day to Adele and Ed Sheeran in this fundraiser for the JoRo theatre.
“Somewhere between A for Abba and Z for ZZ Top, whether you are a fan of the Fifties and Sixties or the Nineties and Noughties, there will be music that will delight you,” promises Don. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Eboracum Baroque: Heading back to the alehouses of 17th century England
Baroque’n’roll: Eboracum Baroque, Purcell And A Pint, York Mansion House, St Helen’s Square, York, May 7, 7.30pm
EBORACUM Baroque are teaming up with York Gin for an evening of rowdy drinking songs, fiddle tunes, alongside music by Purcell and baroque composers “he might have had a pint with”.
“This time our concert is called Purcell And A Pint, sadly not a pint of gin but you still get a free gin on arrival!”, says trumpet player and percussionist Chris Parsons.
“We’ll transport you back to the alehouses of 17th century England. Taverns were raucous surroundings and overflowed with music, alcohol, sex, gossip, fights, fumes, shouting, singing, laughing, dancing. Our performance won’t have all of these – but audience participation is a must.” Box office: eboracumbaroque.co.uk.
Sarah Hall: opening event at York Literature Festival
YORK Literature Festival’s celebration of the written and spoken word opens today.
More than 20 live events will be held at venues across the city centre, such as York St John University, St Peter’s School and York Explore Library and Archive.
Running until March 27, the festival launches this evening when two-time Booker Prize nominee Sarah Hall will be in conversation with Professor Abi Curtis at the new York St John University Creative Centre at 7pm, discussing her latest novel, Burntcoat, set in the first pandemic lockdown.
Pioneering reformer and president of the Supreme Court Lady Hale will discuss her autobiography, Spider Woman, A Life, in a free event at The Mount School, Dalton Terrace, tomorrow at 11am. Tickets are required.
Northern Film School graduate, producer of low-budget British horror film Heretic and Saber Productions director Bethany Clift will talk about her debut novel, Last One At The Party, and dystopian fiction with festival chair Dr Rob O’Connor at York Explore, Museum Street, tomorrow at 11am.
To be closer to the Brontes, Michael Stewart began walking the historic paths they trod while writing their most famous works, leading to his book Walking The Invisible: Following In The Brontes’ Footsteps. He will be appearing at York Explore tomorrow at 2pm in the wake of releasing his latest novel, Ill Will: The Untold Story Of Heathcliff.
After a long career in archaeology in York, Sarah Maine has drawn on her knowledge of the city’s vibrant past for her fifth novel, The Awakenings, set in two timeframes, the 790s and 1890s. Written when she was confined to York in the lockdowns, it now forms the subject of her In Conversation event at St Peter’s School, Clifton, tomorrow at 7pm.
Amanda Owen: The Yorkshire Shepherdess will be in conversation on Sunday
Martin Figura and Helen Ivory will host the Try A Little Tenderness writing workshop at York Explore on Sunday from 2pm to 5pm, when they will explore how to write with feeling about those we care about without slipping into sentimentality.
The workshop price (£30) includes a ticket to writer-poet Figura and poet-artist Ivory’s poetry reading on Sunday at 7pm at the Hungate Reading Café, Hungate. The duo set up their Live From The Butchery online spoken-word series during lockdown.
The Yorkshire Shepherdess, Amanda Owen, from Channel 5’s Our Yorkshire Farm documentary series, will be in conversation with BBC Radio York’s Elly Fiorentini at St Peter’s School on Sunday at 7pm. The focus will be on her latest book, Celebrating The Seasons, part photography book, part recipe book and part family and farming memoir.
On Monday, at 7pm, St Peter’s School will play host to The Sunday Times’ Insight investigators Jonathan Calvert and George Arbuthnott as they discuss Failures Of State, their exposé of the Conservative Government’s handling of the coronavirus crisis: “one of the most scandalous failures of political leadership in British history”, they contend.
Female writers Jane Austin, Janet Dean Knight and Yvie Holder will explore ordinary lives against a backdrop of momentous global events, through poetry, fiction and memoir, in Encore Careers! Readings and Conversations on Tuesday at 7pm at Hungate Reading Café.
Creative writing students and staff at York St John University present Wednesday’s Beyond The Walls Student Showcase of readings at the Lord Mayor’s Walk campus in a free event at 7pm, but with tickets required via the festival website or at yorksj.ac.uk/events.
This showcase celebrates the annual Beyond The Walls anthology project , hosted and organised by students.
Further details on York Literature Festival will follow. For tickets and the full programme, go to: yorkliteraturefestival.co.uk.
Painter Kimbal Bumstead stands outside According To McGee against a backdrop of the soon-to-reopen Clifford’s Tower
YORK gallery According To McGee launches its Return Of The Painter 2022 series with a duo exhibition by painters Kimbal Bumstead and Simon Crawford.
Gallery co-directors Greg and Ails McGee have opted to put the emphasis on scale and colour. “But it’s not just the ‘wow’ factor,” says Ails. “There are deeper meanings behind the collections of Kimbal and Simon. This, and the fact that their latest paintings dovetail so well with each other, means that the time is right to hand over the reins to both of these fascinating artists.”
Bumstead and Crawford are synchronising their creativity for the first time for this show’s run from Saturday until Monday, April 4 at the Tower Street gallery.
Bumstead, new to York but with years of experience of painting under his belt, brings a new energy to the gallery buoyed by exhibiting in Sheffield, Tokyo, Amsterdam and at the Mall Galleries in London, as well as teaching abstract art classes with York Learning.
“It’s really thrilling to be an artist,” he says. “My job is to bring things into existence that weren’t there before, and I use colour and mark-making to get there. But there are other aspects too. These paintings aren’t just experiments in colour, nor are they just expressions of feelings, they are also explorations of journeys into other worlds.”
Painter Kimbal Bumstead, right, with All Saints School students Emma Storkey, George Clarke and Emmanuelle Butler, on work experience at According To McGee
The Kimbal Bumstead collection, Segments Of Journeys, hangs on the wall of the front gallery opposite Clifford’s Tower, where they “pulse and shimmer, suggesting memories and half-formed ideas”.
“The subject matter isn’t fixed, it’s yet to be defined,” says Bumstead. “If the idea of journeying is the building block of the painting, the overarching theme is that there’s no destination.
“I love the process of trying to let go and getting lost in the painting. That’s a positive to me and reflects on how I live my life. Stuff happens, you navigate it, and hopefully you enjoy the process.
“I like trying to see a street differently each time I walk down it, and the same goes for my paintings. Each time I look at them, I find something new, something I hadn’t noticed before.”
Bumstead points to the intersecting colours and mark making on the surfaces of his paintings, with some strokes sliding into areas that had been painted much earlier. “It’s like landscapes,” he says. “I like how a landscape in real life has different layers. Physical layers, ideas that people project, memories, different stories, traces of the old next to the new. It’s something I’m really keen on capturing.”
Cool Shade, Running Water, by Simon Crawford
Explaining further, he says: “It’s not dissimilar to experiencing York as a city. On the one hand, you see what’s on the surface, the old buildings next to new ones, but then there’s another world, the one you have to imagine, the one where different stories have taken place and settled like sediment. That’s really the case with this collection; there is not just one way of seeing it.”
Gallery co-director Greg says: “It’s heavy stuff, but at its heart it’s an antidote to the current obsession with targets and data. This is less harnessing data and more harnessing dreams, which is a priority in most artists’ manifestos.”
On the opposite wall hangs Cool Shade And Hot Light, the new collection by Knaresborough artist Simon Crawford. “In terms of scope and vividity, the collections complement each other, with Simon’s approach perhaps more relatively literal in his depictions of his experiences,” says Greg.
Crawford’s work comes in response to his travels in India. “To call it a ‘life-changing experience’ is to underestimate it,” he says. “It brought me new textures and colours, and I have been trying to skewer them in my palette and on the surface of my canvases since. I think this collection is a true representation of what I saw and how I saw it.”
After exhibitions in Dean Clough galleries in Halifax, Moscow galleries and Messums North, he brings his impressionistic portraits of India to According To McGee, much to Greg’s delight.
Surrounded by colour: Painter Simon Crawford with his artworks at According To McGee
“What’s especially great is that when Simon now turns his attention to northern subject matters, he filters his depictions through the conduit of tropical heat, so that you get Rievaulx Abbey endowed with the glittering humidity of an Indian jungle,” he says.
“It’s witty and sensual, and it’s exactly what we’re looking for in our search for more excellent painters to represent. Simon’s use of colour is instantly recognisable, and it’s humbling to see he’s showing no signs of backing down.”
Ails adds: “The Punjabi palette seems to work really well with our collectors, especially here in the north. Whether it’s from Simon or Kimbal, or from McGee favourites like Amrik Varkalis, a fearless celebration of hot colour connects with clients. Whether that’s down to the general doom and gloom of our times, or the drizzly weather, we haven’t worked out yet!
“But we’ve worked hard on curating this exhibition, helped in no small way by Emma Storkey, Emmanuelle Butler and George Clarke, who, as Year 10 students from All Saints School, have spent ten days on work experience with us.”
Return Of The Painter 2022: Kimbal Bumstead and Simon Crawford launches at According To McGee, Tower Street, York, on Saturday at 12 noon and closes on April 4. Gallery opening hours: Monday to Friday, 11am to 3pm; Saturdays, 11am to 4pm; or by appointment on 07973 653702.
Joe Morrow as drag queen Touchstone in Northern Broadsides’ As You Like It. Picture: Andrew Billington
FINGERS crossed that Northern Broadsides’ As You Like It can go ahead at York Theatre Royal from next Wednesday after the Covid curse struck Laurie Sansom’s cast this week.
Tuesday’s performance at the Stephen Joseph Theatre was cancelled, but one cover was in place for Wednesday, only for further positive tests to rule out all the Scarborough run.
Let’s hope for positive news but negative readings come next Wednesday when, all being well, and all 12 being well, artistic director Sansom’s multi-cultural, gender-diverse cast can resume performing Shakespeare’s flamboyant and joyous “play for our times”.
As You Like It is the Halifax company’s first full-scale production since the beginning of the pandemic. “I took over here three years ago, and we’d just got JM Barrie’s Quality Street out the door when Covid stopped the tour after only a month. We lost four months of shows [including York Theatre Royal] but made the decision to pay the company for the full run as we had the money to do so,” says Laurie.
“Funding from the Culture Recovery Fund enabled us to survive, to set ourselves up on the digital platform – we’ll be filming As You Like It with the help of Pilot Theatre while we’re in York – and to future-proof ourselves, leading to us starting work on As You Like It.”
The Covid hiatus brought Northern Broadsides the chance for a re-think too. “It allowed us to step back and look to diversify our talent pool, and now we have such a diverse company on stage, in terms of gender identity, ethnicity and neuro-divergence,” says Laurie.
Taking to York Theatre Royal’s main stage in designer EM Parry’s high-fashion costumes will be “12 fabulous northern actors”, including non-binary and disabled performers, .
The Northern Broadsides company amid myriad hat stands in As You Like It. Picture: Andrew Billington
“The pandemic has thrown up a lot of challenges, but it’s certainly refreshed me and allowed the company to bring fresh eyes to Shakespeare, which Broadsides has always done, but now with a slightly different slant, where we’re also trying to expand our audience, appealing to younger people while still playing to our established audience, as we look to break down the perceived barriers about class and who goes to theatre.”
Billed as a world premiere, Sansom’s bold staging of As You Like It “challenges us to imagine a new future”, one that captures the joy of live performance and the crazy power of love to change the world while addressing Shakespeare’s timeless themes of gender, identity, power and romance.
When high-spirited Rosalind and devoted cousin Celia are no longer welcome in the ruthless Duke’s stylish but stifling court, where competitive machismo is championed over basic human decency, they escape from his toxic entertainment empire into the forest in disguise, accompanied by drag queen Touchstone.
As the seasons change and old hierarchies crumble in this magical place, normal roles dissolve and assumptions are turned on their head in an elaborate game where gender, class and sexual desire are fluid.
“The Forest of Arden is a place where ‘if’ runs rampant,” says Laurie. “People adopt new names, new clothes and new lovers in this free-form forest with no rules.
“They experience new feelings and dive into them willy-nilly; they play many parts and make many entrances and exits. It’s as if everyone has stepped through the wardrobe into another world but not without taking a lot of fabulous clothes with them.
“Our new production takes us deep into the joyful possibilities of ‘if’, and asks if all the world’s a stage, can all the men and women be whoever they want to be?”
Exit the court, enter the forest in Northern Broadsides’ As You Like It. Picture: Andrew Billington
Laurie’s desire was to make “something ambitious in terms of design, costume and casting, but with the clarity of the verse-speaking still there”. “That way we can be bold in how we present the play,” he reasons. “The baseline is that we work first to ensure that we understand everything in the text, taking out anything that’s obscure to modern audiences, because Shakespeare is so crystal clear when played with intention and clarity.”
The choice of As You Like It for Northern Broadsides’ return to live theatre reflected the impact of Covid lockdowns, turgid days and weeks of rules, prescribed lives and being allowed out of the house for only an hour’s exercise.
“This has been a time when people have had the chance to think about who they want to be, their identity, and have come to appreciate nature much more,” says Laurie.
“Of all of Shakespeare’s plays, this feels the most restorative, opening up the possibility of making a new world based on open-hearted acceptance of each other and living in harmony with the natural world. This feels like a play for our time, challenging us to imagine a new future that is more playful, accepting and connected.”
Key to this bravura new world production too is the set and costume design of EM Parry, who says: “In our version of Arden, when the characters escape to the forest, they go through the wardrobe, Narnia-like, into a giant dressing-up box of queer possibility, a place where time, gender, sexuality, love, class, and all the hierarchies and binaries of identity and power can be questioned and turned upside down.
“Expect a world where a blizzard blows out of a hatbox, dresses change colour with the seasons, coat stands turn into trees and flowers grow up between the floorboards. Expect a world where a god turns up to a wedding, and who you are and who you fall in love with today can change as winter changes to spring, or a coat turns inside out.”
Over to you, Lateral Flow Tests. Watch this space for an update on next week’s run.
Northern Broadsides in As You Like It, York Theatre Royal, March 23 to 26, 7.30pm; 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Lola May as daughter Aramide, Oyi Oriya as mother Omotola and Anni Domingo as grandmother Agbeke in Here’s What She Said To Me
YORK ST John University graduate Mojisola Elufowoju directs Utopia Theatre in Here’s What She Said To Me in her return to York Theatre Royal tonight and tomorrow.
The Sheffield company’s first show since the pandemic lockdown in March 2020 was conceived by Mojisola, who graduated in 2011 with first class honours in theatre and directing.
“I found almost that I’d found myself when I did that particular course,” she says. “I knew what I wanted to do. You just try your hand at something, and you just know that something about it feels within the skills you’ve already got.”
Mojisola won the York Theatre Royal Graduate Prize in her final year at York St John, a prize that gave her mentoring opportunities and the experience needed to set up Utopia Theatre in 2012. Her African theatre company is now resident at Sheffield Crucible Theatre, with Mojisola in charge as both CEO and artistic director.
Here’s What She Said To Me was written by Oladipo Agboluaje after conversations with Mojisola about her relationship with her mother and daughter. The resulting playcombines drama with music, poetry and movement to tell a moving story of daughters and mothers in the world of migrations and shifting identities, braving life with an undying hope, optimism and resilience.
Meet Agbeke, Omotola and Aramide, three generations of proud African women that connect with each other across two continents, time and space. Together they share their struggles, their joys, tragedies and broken dreams in order to find healing in the present.
Mojisola’s production features Lola May as daughter Aramide, Oyi Oriya as mother Omotola and Anni Domingo as grandmother Agbeke, with music performed by Alan De First.
The play was first staged at the Crucible Theatre as part of Sheffield Theatres’ Together Season in 2020. Cut short by the second national lockdown, the production found a new life online through livestreaming. In late-2021, the production returned as one half of a double bill at Hackney’s Arcola Theatre, featuring in their Today I’m Wiser Festival.
Mojisola says: “We’re so excited to finally be able to take our production of Here’s What She Said To Me on tour. Since its first staging in 2020, we always intended to bring the production to audiences across the country.
“This is our most ambitious tour to date. Not only will this be the most venues we’ve ever included on a tour, but we’re also continuing to utilise our online streaming site to allow our work to be accessible to audiences across the UK and in our international community.
“After the challenges of the past 18 months, it feels particularly special to be taking a production across the UK, including rural venues. We’re hoping that the scale and length of the tour allows us to develop a touring model in order to build a sustainable future for touring our work and thereby increase representation on our stages.”
Utopia Theatre in Here’s What She Said To Me, York Theatre Royal, March 17 and 18, 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
York Theatre Royal co-directors Juliet Forster, second from right, and John R Wilkinson and playwright Maureen Lennon with JORVIK staff members at the recruitment launch for The Coppergate Woman community play
HAVE you ever wondered who was “The Coppergate Woman”, whose remains are displayed in a glass case in the JORVIK Viking Centre in York after being discovered in a shallow pit by the River Foss.
One of only two full skeletons on show from the archaeological dig, she features in model form in the Coppergate visitor attraction, her identity unknown, but now she is to be “brought back to life in modern-day York” in this summer’s York Theatre Royal community project.
Directed by creative director Juliet Forster and associate artist John R Wilkinson, the storytelling show is being written by Hull playwright Maureen Lennon, fleshing out the very barest of bones for four interlinking stories to be performed by a community ensemble of between 80 and 100 from July 30 to August 6 on the main stage.
This week, working in partnership with JORVIK, the Theatre Royal issued a call-out for people to participate in the production, both backstage and on stage, where the company will be led by a yet-to-be-confirmed professional actor in the title role.
Performers, musicians and those keen to work in stage management, wardrobe, lighting, props, marketing, fundraising and front-of-house are asked to visit yorktheatreroyal.co.uk for details of how to sign up for roles on and off stage.
Explaining how she came to write the play, Maureen says: “Juliet approached me to say they were thinking of doing a community show that engaged with York’s Viking history and how stories of our ancestors might bridge the gap between their world and our world. How might they have an impact on how we live now, and what could we learn from each other?”
Playwright Maureen Lennon with JORVIK Viking Centre’s model of The Coppergate Woman
Juliet recalls: “The idea came from thinking about the importance of storytelling in our world and how do we draw people together. The Vikings were storytellers and I started thinking about the Vikings because it’s an area we as a theatre had not explored before and is a very interesting part of our history.
“I’d seen Maureen’s early play Bare Skin On Briny Waters at the 2017 Edinburgh Fringe and invited her company, Bellow Theatre, to bring it to the Theatre Royal Studio in 2018. She felt the right fit for the play we wanted to do this summer, but we’d never met in person until Monday this week!”
Maureen was delighted to receive the Theatre Royal commission. “Growing up in Hull, I used to really love going to JORVIK as a child, when although it was a museum, it felt like going to a theme park,” she says. “I hadn’t been back for years, but then revisited it to research for the play and I got really interested in the Coppergate Woman.”
Being confronted by her skeleton was a real example of two worlds meeting, says Maureen. “That’s the privilege of storytelling: we get to imagine her story, thinking about who she might have been and what she might say of our world.
“She’s in our world now, whether she likes it or not. I wondered if she was lonely. I wondered who she had been and what she would think about me staring at her now. It felt intimate and yet so much about her was unknown.
York Theatre Royal creative director Juliet Forster with JORVIK’s skeleton of The Coppergate Woman
“I wanted to give her the power to look at us just like I was looking at her in that moment. I wanted her to speak – although obviously in reality I’m glad she didn’t.”
This summer’s play was always envisaged as a project that talked about community, togetherness, and the power of storytelling in our societies, in light of the pandemic, says Maureen.
“That was the jumping-off point for The Coppergate Woman, which weaves myth with contemporary stories. The Vikings had an end-of-the-world story in their mythology, Ragnarok, and in our tale the Coppergate Woman is awakened to try to help four people of York live through their own version of Ragnarok. It’s about hope and heartache and loss – and starting again, together.”
Co-director John R Wilkinson says: “It’s been five years since we last did one of our community plays, but given all that’s gone on in the past couple of years, it’s really necessary and heartening to be able to bring people together again, this time through a storytelling piece.
“I would argue that storytelling has become a slightly underappreciated artform, so it’s interesting to be able to explore it in a community play.”
“Theatre should be about accentuating its strengths: that live interconnection between performers and the audience through direct storytelling,” says The Coppergate Woman co-director John R Wilkinson
Maureen says: “Storytelling has a flexibility to it that’s perfect for this show, because it’s not a show about one person but about the people of York, who take part in the story as a chorus of ‘Norns’, storytellers who operate in a similar way to the Fates in Greek mythology.”
Juliet rejoins: “That makes it distinctly different from any community production we’ve done in the past. We’ve gone back to the bare bones to conjure a world just with words. That act of coming together collectively to tell a story is something we’ve been really lacking.”
John concurs: “There seems to be a trend for trying to compete with streamed shows, but theatre should be about accentuating its strengths: that live interconnection between performers and the audience through direct storytelling.”
The last word goes to Maureen, who says: “The Coppergate Woman is a chance to tell a different story about the Viking community when we tend to associate them with invasion, violence and horns.”
The Vikings built bridges in the city, just as her community play builds bridges between York’s past and present through storytelling.
Tickets for The Coppergate Woman will go on sale next month with more details to follow.
One’s Vision: Illustrator Simon Cooper celebrates The Queen’s Platinum Jubilee by imagining Her Majesty striking a Freddie Mercury pose with Queen loyal subjects John Deacon, Roger Taylor and Brian May. Copyright: @cooperillo
POCKLINGTON Arts Centre has issued a call-out to artists for an open exhibition to celebrate Her Majesty Queen Elizabeth II’s Platinum Jubilee from May 3 to June 19.
Artists are asked to submit two-dimensional artworks in person on Friday, April 22 or by prior arrangement by emailing info@pocklingtonartscentre.co.uk.
PAC director Janet Farmer says: “This is a really special moment in our history, so we wanted to present an exhibition that reflects this. Artworks can be inspired by any aspect of Her Majesty’s 70-year reign and the subject matter is open to creative interpretation.
“Our open exhibitions are always really popular with artists and visitors alike, and with so many local talented artists, we’re very much looking forward to unveiling this very special commemorative exhibition.”
Artworks should be framed or on canvas with D rings attached. Selected works will then be featured in this spring’s show in PAC’s studio, where a preview will be held on May 3 from 5pm to 7pm.
Everingham illustrator Simon Cooper has submitted his jubilee artwork already. This comes in the wake of his Art, Illustration & Prints exhibition, held at PAC last November to January, featuring his work for NME, Time Out, the Radio Times and Punch magazines alongside new works.
Jessica Baglow’s Lady Macbeth and Tachia Newall’s newly crowned Macbeth in Amy Leach’s Macbeth at Leeds Playhouse . All pictures: Kirsten McTernan
ASSOCIATE director Amy Leach notches a hattrick of make-you-think-anew Shakespeare productions at Leeds Playhouse with her psychological thriller, Macbeth, after her modern Yorkshire industrial take on Romeo & Juliet in 2017 and Hamlet with Tessa Parr’s female Hamlet in 2019.
A huge drawbridge hangs heavy over Hayley Grindle’s stage. Searchlights scan the auditorium from metallic towers spread out like a forest. Fog encroaches. Deafening noise bursts through the air. This could be the start of an arena rock concert, but then, look more closely. To one side is a puddle of water; the ground is muddy.
Then listen to the Witches’ opening words; re-shaped, re-ordered, with new rhythms, their sound as important as their meaning. What’s this? Macbeth (Tachia Newall) and Lady Macbeth (Jessica Baglow) are cradling a new-born baby, only for the bairn to die within a heartbeat.
In the Playhouse’s wish to “explore the damaging physical, spiritual and psychological effects of treachery on those who seek power at any cost”, Leach has grabbed the bull by the horns, putting child loss, lineage and legacy at the heart of the Macbeths’ behaviour, the acts of murder, the need to eliminate all threats to their ill-gotten power.
Miscarriage of justice: Jessica Baglow and Tachia Newall as childless couple Lady Macbeth and Macbeth
Leach then takes it even further, Baglow’s Lady Macbeth being pregnant when she says “unsex me here” and later suffering a miscarriage as blood seeps through her nightgown. Come the finale, Leach adds new text to give a foretaste of Banquo’s son, Fleance, becoming king as the Three Witches had prophesied.
Those Three Witches are typical of Leach and Leeds Playhouse artistic director James Brining’s “commitment to accessible and inclusive theatre-making”, as is the participation of the blind Benjamin Wilson as associate director and audio description consultant.
Among the witches, Karina Jones is visually impaired and Charlotte Arrowsmith is profoundly deaf, while Ashleigh Wilder identifies as “a queer, Black, neurodivergent non-binary person”. Interestingly, Shakespeare’s “weird sisters” are not weird, or alien, in the way they are often played, but are as wild as the landscape instead.
Arrowsmith also plays Lady MacDuff, partnered by the profoundly deaf Hull actor Adam Bassett as MacDuff. Tom Dawze’s Lennox vocally interprets the sign language, complementing the intensity of Bassett’s expressive face, hands and arms with the staccato rhythms of his speech.
Ashleigh Wilder, left, Karina Jones and Charlotte Arrowsmith’s wild Witches
Not only do lighting designer Chris Davey’s aforementioned searchlights induce a sense of paranoia, but there are relentlessly oppressive natural elements to the fore too, along with the sound and fury of machismo war. These are all big, muscular, mud-and-blood splattered men, except for Kammy Darweish’s surprisingly jovial King Duncan; their physicality being emphasised by Georgina Lamb’s movement direction. Likewise, Nicola T Chang’s sound design adds to the cacophony.
Macbeth’s vaulting ambition may in part be represented by the drawbridge, crowned when on top of it, but broken beneath it, but Leach’s production is deeply human amid the technology.
In the relationship of Newall’s reactionary Macbeth and Baglow’s more intuitive Lady Macbeth, the shifting sands become less about calculating mind games, controlled by her, more about brute physicality and brutal will, imposed by him, as intense love and mutual hopes are snuffed out in the face of ultimate destiny being beyond their control, whether shaped by supernatural witchcraft or the resurrection of natural order.
Newall’s Macbeth begins as the soldier’s soldier; his soliloquies remain the stuff of northern plain speaking, rather than poetic airs, amid the fevered actions of his bloody rise and fall.
Above all, Leach puts Lady Macbeth’s motives under the spotlight, and if purists feel she has gone too far in doing so, the reality is that Baglow’s performance is all the better, more rounded, for it. Risk-taking change can be liberating, rather than be judged as taking liberties.
