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NE Musicals York’s big cast to start The Wind In The Willows rehearsals on Feb 17

NE Musicals York’s poster for this spring’s production of The Wind In The Willows, The Musical

THE cast is in place for rehearsals to start on February 17 for NE Musicals York’s spring production of The Wind In The Willows, The Musical.

“Yes, we have one of our strongest and largest casts for the most amazing show; a musical by George Stiles & Anthony Drewe and Julian Fellowes that’s brand new to York,” says director Steve Tearle. “It’s an hilarious adventure, a great musical for the whole family.”

Based on Kenneth Grahame’s children’s classic, The Wind In The Willows, The Musical is a wild, thrill-seeking tale with a book by Oscar-winning screenwriter and Downton Abbey creator Julian Fellowes and songs by Olivier Award-winning composer-and-lyricist duo George Stiles and Anthony Drewe.

This riotous comedy follows Mole, Rat, Badger and the impulsive Mr Toad, whose insatiable need for speed lands him in serious trouble.

When his beloved home comes under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Mr Toad must attempt a daring escape, leading to a series of misadventures and a heroic battle to recapture Toad Hall.

“Full of humour and wit, with a gorgeous, soaring score and heart-warming lessons of friendship, The Wind In The Willows is the perfect fit for family audiences everywhere,” says Steve.

Tearle’s production will run at the Joseph Rowntree Theatre, York, from April 27 to May 1 with a cast led by Lee Harris as Mr Toad; Finlay Butler as Ratty; Tom Henshaw as Badger and Jack Hambleton as Mole. Hambleton was last seen as teenage diarist Adrian Mole in Pick Me Up Theatre’s musical production of The Secret Diary Of Adrian Mole Aged 13¾ at Theatre@41, Monkgate, last month.

Sam Richardson will play Chief Weasel; Steve Tearle, Kenneth Grahame and Magistrate; Neve Greenley, Julian ‘Mouse’ Grahame; Libby Anderson, Portia; Perri Ann Barley, Mrs Otter; Ellie Roberts, Lesser Weasel/Olivia Otter, and Kristian Barley, Horse/Scared Weasel.

Maia Stroud has been cast as Sheryl Stoat; Becky Warboys, Mrs Hedgehog; Paul Jefferson, Mr Hedgehog; Carolyn Jensen, Henrietta Horse/Sheila Stoat; Pat Mortimer, Barge Woman/Fiona Fox; Millie Warboys, Shelly Squirrel/Gaoler’s Daughter, and Erin Greenley, Scarlett Squirrel/Engine Driver.

Henry Barker will be Stephano Squirrel/Engine Driver Assistant; Scott Kendrew, policeman Shaun Squirrel/Car Driver; Toby Jensen, policeman Sam Squirrel/Rob Rabbit; George D Moore, prison guard Freddie Fox; Elizabeth Farrell, Serena Swallow/Opal Otter, and Roxy Hurst, SoSo Swallow/Odessa Otter.

Evie Latham will play Skye Swallow/Octavia Otter; Suraya Pickersgill, Harriet Hedgehog; Ishbel Nicholson, Hannah Hedgehog; Callum Richardson, Rabbit Butler; Sam Reed, Michael Fieldmouse/Richard Rabbit; Jack Reed, Josh Fieldmouse/Robert Rabbit, and Scarlett Waugh, Abbie Fieldmouse/Rebecca Rabbit.

Zachary Pickersgill’s roles will be Ben Fieldmouse/Rich Rabbit; Molly Pashley, Molly Fieldmouse/Rosie Rabbit; Missy Barnes, Missy Fieldmouse/Ruth Rabbit; Aimee Dean-Hamilton, Maisie Mouse; Darcy Powell, Monica Fieldmouse; Elenor Powell, Matilda Mouse; Rosie Musk, Faith Fox/Oval Otter; Julie Blackburn, Grandma Fieldmouse, and Katie Ann Thackeray, Felicity Fox.

Eve Parker has been cast as Fern Fox; Freya-Mai Bayley, Faye Fox; Tracy Hurst, Fran Fox; Megan Snelgrove, Wren Weasel; Freya Chilvers, Winni Weasel; Maia Smith, Ce Ce Swallow/Willow Weasel; LaCie Martin, Willowlow Weasel; Sophie Dean-Hamilton, Sophie Stoat; Sophia Cocker, Sylvia Stoat/Olive Otter; Beth Clavery, Stefani Stoat; Lucy Leaf, Shona Stoat, and Kalayna Barley, Sally Stoat.

Ali Butler Hind will be Sara Stoat; Matthew Musk, Matt Fieldmouse/Brian Rabbit; Abigail Ainley, Fifi Fox; Lexi Brooks, Mango Fieldmouse; Charlotte Smith, Shelby Stoat; Dylan Probert, Reginald Rabbit; Mae Bradley, Stella Stoat; Charlotte Bowman, Flame Fox; Holly Walker, Felicia Fox; Maia Baker, Wendy Weasel; Harry Wright, Will Weasel, and Emily Hagyard, Rascal Weasel.

Tickets for the 7.30pm evening performances and 2.30pm Saturday and Sunday matinees are on sale on 01904 501935 or at josephrowntreetheatre.co.uk.

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Peter Schoenecker invites ‘a new way of looking’ at Pocklington Arts Centre show

Pocklington artist Peter Schoenecker and his wife Janet at the opening of his Pocklington Arts Centre exhibition

PETER Schoenecker’s A New Way Of Looking mixed-media artworks open Pocklington Arts Centre’s 2022 season of studio exhibitions.

On show until Saturday, February 19 are watercolours, acrylics and lino prints by the Pocklington artist, a former graphic designer, who is inspired by the landscape and seascape textures and lighting in and around his Yorkshire home.

Schoenecker has painted since he was a child, and after working mainly in print and graphics during his professional career, retirement has allowed him to pursue more of an interest in fine art while simultaneously offering him a chance to experiment with a variety of techniques.

Abstract Collage by Peter Schoenecker

“My aim is usually to create a mood or atmosphere using colour or black and white,” says Peter. “All the media are enjoyable to work in and switching between them keeps me interested and innovative, hopefully bringing a freshness to the work.”

Schoenecker often combines more than one medium in one piece. Take, for example, the set of acrylic paintings on Perspex that he names among his favourites in the exhibition.

“I really enjoyed creating the three acrylics on Perspex works as this was a new technique for me and one that I feel has many possibilities,” he says. “By using multilayers, new landscapes reveal themselves with the same mood as the original, but more abstract and with a life of their own.”

Branch On Table, lino print, by Peter Schoenecker

He wants visitors to feel galvanised by A New Way Of Looking. “Hopefully, they will take a little time to look more closely into the pictures to see some of the details and perhaps see how they have been created,” he says.

“I also hope they leave inspired to try something different and not stay locked into one medium or style, to be open to learning and trying something new.”

The exhibition is free to view during Pocklington Arts Centre’s opening hours only. For more details, go to pocklingtonartscentre.co.uk or call 01759 301547.

Angel Of Light by Peter Schoenecker

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York Theatre Royal to support artist or company at this summer’s Edinburgh Fringe

York Theatre Royal: Taking part in Pleasance Theatre’s Edinburgh National Partnership programme for this summer’s Fringe festival

A YORKSHIRE or Humber artist or company could receive up to £2,000 and a guaranteed place in the 2022 Pleasance Edinburgh Fringe programme in a York Theatre Royal scheme.

The partnership with the Pleasance Theatre’s Edinburgh National Partnerships programme will provide support both financially and artistically.

York Theatre Royal is “delighted to be working with the Pleasance Theatre once again as part of their programme to identify and support exceptional local artists and companies who want to take work to the Fringe.”

Each partner is a leading national producing house with a commitment to supporting and developing new artists.

Fellow partner organisations in the scheme are: Bristol Old Vic, Leicester Curve, HOME Manchester, Theatre Royal Plymouth, Pitlochry Festival Theatre, Scotland, and Sherman Theatre, Cardiff.

The Theatre Royal statement adds: “Working with the Pleasance, we will identify dynamic artists at different stages in their careers, with the primary aim of the scheme being to uncover and support the best companies and artists from Yorkshire and Humber, and across the UK, to present work at the Fringe.”

The successful applicant will receive:

* Up to £2,000 financing from the Pleasance towards the costs of presenting their show at the Edinburgh Fringe.

* Guaranteed inclusion within the Pleasance Edinburgh Festival Fringe programme.

* Edinburgh Fringe registration covered by York Theatre Royal.

* A minimum of one week’s in-kind rehearsal and development space at York Theatre Royal.

* A programming option in the Pleasance London transfer run post-Edinburgh Fringe.

* Support to deliver accessible performances as part of the Fringe run.

* Mentorship, support and advice from both York Theatre Royal and the Pleasance leading up to and during the Fringe.

* Support to build new touring relationships with other National Partnership venues.

To apply, artists and companies should send a pitch to admin@yorktheatreroyal.co.uk, detailing the piece of work to be presented (synopsis, design ideas etc), the creatives involved and information on past productions (reviews, footage, etc).

The closing date for applications is Monday, January 31 at 10am. The application form can be found at: yorktheatreroyal.co.uk/latest/york-theatre-royal-and-pleasance-pathways-call-out/.

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REVIEW: Martin Dreyer’s verdict on Paul Lewis, Sir Jack Lyons Concert Hall, University of York, January 14

Paul Lewis: ” A strain of melancholy threaded through the evening but the result was riveting”

PAUL Lewis is among Britain’s finest pianists. So to have him visit York at the invitation of the British Music Society – which is enjoying a bumper season – was a special privilege.

He presented two of Beethoven’s better-known sonatas, the ‘Pathétique’ and the ‘Appassionata’ (not names assigned by the composer), which framed a Debussy suite and Chopin’s Polonaise-Fantasy.

A strain of melancholy threaded through the evening but the result was riveting. The opening Grave of the ‘Pathétique’ was exceptionally spacious, with chord-resolutions delayed to the absolute maximum, so that the succeeding Allegro, taken at lightning pace, felt even quicker by contrast.

The accompanimental figures in the slow movement were rich and dark, which lent the main melody, beautifully sustained, an autumnal fireside warmth. In contrast, the rondo theme in the finale was surprisingly light and frisky at first, becoming progressively more urgent until its resolute last appearance, which recaptured the intensity of the very opening of the work.

Debussy’s Children Corner suite is not kiddies’ music, either for players or listeners. Lewis offered the pretence that it was, touching in the details of these character-pieces with a delicate brush while keeping their droll humour to the fore.

Jimbo’s clumsy lullaby, the doll’s clockwork serenade and a snowy white-out were but preludes to the loneliness of the little shepherd and the Golliwogg’s self- satisfied strut (with a moment of self-doubt thrown in). It was hard not to smile throughout.

Chopin’s Polonaise-Fantasy Op 61 in A flat. which dates from 1846, three years before he died, is one of the most forward-looking pieces he ever penned. It belonged next to Debussy in this programme exactly because it is so impressionistic.

Its dance element – the polonaise section of the title – only really becomes clear towards the end, after a considerable stretch of varying, improvisatory ramblings. Lewis excelled in differentiating its many changes of colour, where lesser pianists can get lost in its brambles. In his hands it became a ballade, often tinged with melancholy, with the third of its three main sections building persuasively into dramatic closure.

By now, Lewis’s adrenaline must really have been flowing: volatility was the name of his game in Beethoven’s ‘Appassionata’, Op 57 in F minor. Where there was some cloudiness in the first movement’s bass line, its very detail endowed the central variations with a marvellous nobility, stoically underpinning the increasingly taxing decorations.

He preferred to gloss over the ‘ma non troppo’ (not too much) of the third movement’s Allegro – which added to its fearsome frenzy but left little acceleration in reserve for the closing Presto. No matter: it still became a tragedy of Shakespearean proportions, daringly delivered.

Review by Martin Dreyer

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Nina Simone’s life story as jazz singer and civil rights activist charted in Black Is The Color Of My Voice at Scarborough’s SJT

Florence Odumosu as Nina Simone in Apphia Campbell’s play Black Is The Color Of My Voice

BLACK Is The Color Of My Voice, writer-director Apphia Campbell’s play Inspired by the life of Nina Simone, plays Scarborough’s Stephen Joseph Theatre on March 12.

After sell-out seasons in Shanghai, New York, Edinburgh and London’s West End, Seabright Productions’ national tour will take in further Yorkshire performances at the Square Chapel Arts Centre, Halifax, on March 8 and the Lawrence Batley Theatre, Huddersfield, on March 16, all three starting at 7.30pm.

Florence Odumosu will play the North Carolina-born jazz singer and civil rights activist in Campbell’s story of Simone seeking redemption after the untimely death of her father. 

Simone reflects on the journey that took her from a young piano prodigy, destined for a life in the service of the church, to a renowned jazz vocalist and pianist at the forefront of the civil rights movement.

Campbell, the IASH playwrighting fellow for 2021, is originally from the United States, where she graduated from Florida International University with a BFA in theatre performance.

She wrote Black Is The Color Of My Voice in 2013. In 2017, her show with Meredith Yarbrough, Woke, was presented as part of the Made In Scotland Showcase, where it won a Scotsman Fringe First.

In 2019, she made her West End debut with Black Is The Color Of My Voice at Trafalgar Studios and had a London premiere of Woke at Battersea Arts Centre.

In 2020, her first commission for the BBC, the children’s story Zachary The Zebroid, was aired; she wrote Birdie’s Dilemma for Scenes For Survival (BBC in collaboration with NTS Scotland), and she was among the six writers for the National Theatre of Scotland’s Christmas show, Rapunzel.

Black Is The Color Of My Voice is recommended for age 12 upwards. Scarborough box office: 01723 370 541 or at sjtg.uk.com; Halifax, 01422 349422 or squarechapel.co.uk; Huddersfield, 01484 430528 or thelbt.org.

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Rosemary Bentley RIP: ‘Warmth, honesty and compassion at York Theatre Royal’

Rosemary Bentley

THE funeral of York Theatre Royal stalwart Rosemary “Bud” Bentley will be held tomorrow (18/1/2022).

Rosemary, who passed away on Christmas Eve, will journey with family members from their home onto Bishopthorpe Road, down Scarcroft Road and across to English Martyrs RC Church, on Dalton Terrace, for the 10.30am celebration of her life. The family would welcome smiling faces on the route.

Rosemary, who was 74, worked at York Theatre Royal for more than 20 years in catering, costume hire and front of house.

She died from a stroke in York Hospital where she was being treated for fractured ribs following a fall while ushering at the St Leonard’s Place theatre.

Rosemary also was a former teaching assistant at St George’s Primary School for many years, participated in amateur dramatics at the Joseph Rowntree Theatre and was prominent in the Friends of Rowntree Park voluntary organisation, helping to establish the Sensory Garden.

She leaves husband Hugo, son Paul and foster daughter Caitlin. Born and raised in Surrey, she had met Hugo when hiking at Ben Nevis and they moved on York in 1979. They were married for 49 years.

Those attending tomorrow’s Requiem Mass are invited to wear a splash of colour with their mourning attire “as Rosemary would have wanted”. Light refreshments will be served at English Martyrs Church Hall afterwards; Rosemary’s family will be there after a private ceremony at Bishopthorpe Crematorium.

The family has asked that there be flowers only from close relatives but donations to St Leonard’s Hospice would be appreciated greatly.

Hugo thanks everyone who has sent messages of condolence and those who have shared memories of how Rosemary has touched their life in some way.

The Theatre Royal’s website announcement paid tribute to “our much-loved friend and colleague”.  “We all loved Rosemary for her warmth, honesty and passion for our theatre,” it reads. “She lit up our organisation whenever she was around, and we will miss her very, very much. All our thoughts and love are with Hugo and all their family and friends at this time.”

Chief executive Tom Bird said: “We all loved Rosemary, and she loved the theatre. We’re absolutely heartbroken that she’s gone. We’ll remember her warmth, honesty and compassion – and her husband Hugo remains a much-loved and valued part of our team.”

God bless you, Rosemary, and thank you for always adding joy to a night at York Theatre Royal, no matter what took place on that stage, whether good or not so good. The end of a show was often the beginning of our chats, full of your humour, candour and wisdom, sharing that love of the world of theatre, its characters, gossip and magic. Happy, happy memories to treasure at your final curtain.

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Director Janet Farmer to leave Pocklington Arts Centre after 25-year association

Director Janet Farmer in the Pocklington Arts Centre auditorium

DIRECTOR Janet Farmer is to leave Pocklington Arts Centre this spring, ending a 25-year association with the East Yorkshire venue.

She will retire in mid-April after 22 years in post, preceded by three years of fundraising to transform the market town’s former cinema into a theatre, concert venue, cinema and studio gallery. The recruitment process to appoint her successor will start later this month.

From a standing start in 2000, Janet has led Pocklington Arts Centre (PAC) into becoming a leading small-scale arts venue, recognised nationally as a beacon of good practice with a significant cultural reputation.

Janet has drawn more than £1million in public funding to support the venue’s presentation of 3,500 film screenings and staging of 900 live events, numerous festivals, from Pocktoberfest to the Platform Festival at the Old Station, plus hundreds of community events, workshops, exhibitions and private hires.

She has programmed a diverse range of acts over the past 22 years, naming her personal favourites as Joan Armatrading, Lesley Garrett, Shed Seven, John Bishop, The Shires, Rhod Gilbert, Sarah Millican, Lucinda Williams, Baroness Shirley Williams, KT Tunstall, The Unthanks, Mary Chapin Carpenter, David Ford and Josh Ritter.

When informing PAC staff and volunteers of her decision, Janet said: “I am sure this will be said on many occasions over the next few months, but I want to thank all of the staff and volunteers for their tireless support, hard work, dedication and friendship. This has been vital to making PAC the success it is today.

“It has been an absolute pleasure and honour to lead PAC over two decades and it fills me with immense pride knowing what has been achieved during this time. I look forward to returning as a customer and perhaps a volunteer in years to come.”

In reply, “all at Team PAC” responded on social media: “Janet, you moulded our identity, you are part of the building’s DNA and the legacy and success of your tenure will be seen for decades to come. Pour yourself a large drink and enjoy your well-deserved retirement.”

CharlesHutchPress will be interviewing Janet Farmer and venue manager James Duffy to reflect on her tenure at Pocklington Arts Centre. Watch this space.

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The film flopped but can Rachel Wagstaff’s play crack The Da Vinci Code? Find out at Grand Opera House, York, this spring

Hannah Rose Caton, in character as Sophie Neveu in The Da Vinci Code, at The Temple Church, London,  a location featured in Dan Brown’s story. Picture: Oliver Rosser

THE world-premiere stage adaptation of Dan Brown’s thriller The Da Vinci Code will play the Grand Opera House, York, from May 30 to June 4.

Directed by Luke Sheppard, who was at the helm of the award-winning West End musical & Juliet, the debut tour from January 10 to November 12 will take in further Yorkshire dates in Sheffield, Hull, Leeds and Bradford.

Producer Simon Friend says: “We have a truly stellar cast and creative team bringing The Da Vinci Code to life on stage for the first time, and with Dan Brown’s full endorsement of the show and the talented director Luke Sheppard at the helm, we’re confident that we’ll please devoted fans as well as newcomers to this magnificent story.

“Dan Brown’s epic thriller has been read by millions worldwide and seen by millions worldwide on the big screen, and we’re all looking forward to taking our brand-new stage version to audiences all over the UK.”

Writer Dan Brown says: “I’m thrilled that The Da Vinci Code is being adapted for the stage and excited to see the unique potential of live theatre enhance this story.

Hannah Rose Caton’s Sophie Neveu, Nigel Harman’s Robert Langdon and Danny John-Jules’s Sir Leigh Teabing in The Da Vinci Code. Picture: Oliver Rosser

“The team making the production has been faithful to the book, but will also bring something new for the audience, in what is certain to be a gripping, fast-paced stage thriller and a thoroughly entertaining show.”

Nigel Harman and Danny John-Jules will be performing the roles of Robert Langdon and Sir Leigh Teabing up to April 16 in Newcastle, taking in Sheffield Lyceum Theatre from January 25 to 29 and Hull New Theatre from March 1 to 5.

Harman will re-join the tour from the August 30 to September 3 dates at Leeds Grand Theatre until the Swindon run in late-October.

The casting for Robert Langdon and Sir Leigh Teabing for the York performances and Bradford’s Alhambra Theatre from November 8 to 12 is yet to be announced.

Other roles go to Hannah Rose Caton, in her British theatre debut, as Sophie Neveu; Joshua Lacy, Silas; Basienka Blake, Vernet; Alasdair Buchan, Remy; Alpha Kargbo, Fache; Leigh Lothian, Collet; Andrew Lewis, Saunière, and Debra Michaels, Sister Sandrine/Marie.

Nigel Harman in character as Robert Langdon: Appearing in Sheffield, Hull and Leeds, but not York and Bradford, in The Da Vinci Code

Should you need a quick refresher course on The Da Vinci Code’s plot, the curator of the Louvre, in Paris, has been brutally murdered. Alongside his body is a series of baffling codes.

Professor Robert Langdon and fellow cryptologist Sophie Neveu attempt to solve the riddles, leading to the works of Leonardo Da Vinci and beyond as they delve deep into the vault of history. In a breathless race through the streets of Europe, Langdon and Neveu must decipher the labyrinthine code before a shocking historical secret is lost forever.

The Da Vinci Code has been adapted for the stage by Rachel Wagstaff (Flowers For Mrs Harris, Birdsong) and Duncan Abel (The Girl On The Train). Director Luke Sheppard, who directed What’s New Pussycatat Birmingham Rep, is joined in the creative team by set and costume designer David Woodhead, video designer Andrzej Goulding,the composition and sound design team of Ben and Max Ringham and lighting designer Lizzie Powell.

Sheppard says: “Cracking The Da Vinci Code open for the stage reveals an epic thriller steeped in theatrical potential, rich in suspense and surprising at every turn. Rachel Wagstaff and Duncan Abel’s brilliant adaptation leaps off the page and demands us to push the limits of our imagination, creating a production that champions dynamic theatrical storytelling and places the audience up close in the heat of this gripping mystery.”

York tickets are on sale at atgtickets.com/york; Sheffield, sheffieldtheatres.co.uk; Hull, hulltheatres.co.uk; Leeds, leedsheritagetheatres.com; Bradford, bradford-theatres.co.uk.

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What’s going in 2022’s arts diary to amuse, agitate, excite and exasperate Two Big Egos In A Small Car’s Chalmers & Hutch?

Pilot Theatre’s The Bone Sparrow: Premiering at York Theatre Royal next month

PODCASTING culture vultures Graham Chalmers & Charles Hutchinson pick their way through what lies ahead in their 2022 arts diary, from formulaic films to pioneering theatre in Episode 72 of Two Big Egos In A Small Car.

Plus tributes to Joan Didion and Dean Stockwell RIP, when you head to: https://www.buzzsprout.com/1187561/9850438

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