York Shakespeare Project’s sonneteers take a bow at the finale to Sonnets At The Bar in the Bar Convent Living Heritage Centre’s “secret garden” in York
YORK Shakespeare Project’s Sonnets At The Bar 2021 played to record attendances, surpassing the annual summer event’s previous peak by 190.
Running from July 30 to August 7 in YSP’s new Sonnets location of the Bar Convent Living Heritage Centre’s “secret garden”, in Blossom Street, York, Emile Knight’s production drew 428 people. The past best was 238.
Producer Maurice Crichton reflects: “We took a few chances with the weather and got through all 18 planned performances without a real downpour. I think we may well return to the same venue next year when the perils of Covid and pinging interdicts will hopefully be fully behind us.
“I was particularly pleased that we managed to involve three young men – Aran MacRae, Luke Tearney and Josh Roe – who all contributed to a very strong company bond. There’s something special about a group of players aged from 15 to 60 plus.”
Next up for York Shakespeare Project will be Leo Doulton’s production of Macbeth in October. Watch this space for more details to follow.
Dan Webster, left, Joshua Burnell and Edwina Hayes, playing Pocklington Arts Centre’s Singer-Songwriter Showcase next month
DAN Webster, Joshua Burnell and Jess Gardham, from York, are joined by Edwina Hayes, from the East Riding, for Pocklington Arts Centre’s Singer-Songwriter Showcase on September 23.
Road-seasoned Webster plays folk/Americana peppered with more than a dash of country, bluegrass and rock’n’roll, allied to insightful lyrics.
Burnell’s gigs take in everything from stomping, acoustic singalongs to Bowie-style music- hall epics and alt.pop singles, while keeping a sharp focus on traditional folk themes.
Jess Gardham: All eyes lead to Pocklington Arts Centre on September 23
Gardham fuses pop, soul and blues in her song-writing and has a belter of a voice equally at home in musical theatre.
Hayes, born in Ireland and raised in Preston, has long made her mark on the Yorkshire concert circuit and beyond with her gentle folk-Americana songs. She has opened shows for Jools Holland and Van Morrison and played stages everywhere from Glastonbury Festival to the Royal Albert Hall, London.
Tickets for this 8pm concert cost £12.50 at pocklingtonarts.co.uk or on 01759 301547.
Solem Quartet: “A fitting close to two deeply satisfying weeks”
Ryedale Festival Finale: Solem Quartet & Friends, Hovingham Hall, Hovingham, July 31
AFTER including four Schubert events over its opening weekend, Ryedale Festival closed with three substantial Schubert offerings over its final two days. His ever-popular Octet was the last event on this programme, following two pieces by the American composer Florence Price.
Alhough she died nearly 70 years ago, Price has only really come to prominence in the past decade, after the chance discovery of a cache of her scores. Summer Moon, composed in 1938, was among them. Its pastel shades are well adapted to string quartet and generated an elegiac aura.
Her variations on “Drink To Me Only With Thine Eyes” proved equally appealing, evolving naturally and showing more than mere craftsmanship in their modulations. These tasters suggested that she deserves to be better known by British audiences.
So to the Schubert. The Solem’s first violin, Amy Tress, led the proceedings most effectively. The extra instruments – clarinet, bassoon, horn and double bass – added more than the expected resonance and took some adjustment: double bass and horn, although expertly handled, sounded boomy and over-exuberant respectively in the Allegro.
Things settled down, however, in the slow movement, which was allowed to breathe, with cool ensemble over the long dominant pedal and pregnant pauses before the coda.
Brio in the scherzo was nicely complemented by a smooth trio. In the succeeding variations, Stephanie Tress’s cello sang engagingly in the main melody and the whole ensemble ruminated gently thereafter. The minuet really danced and its trio had the lightness of a Viennese pastry.
In the finale, the return of the opening material might have been a touch more menacing, but the acceleration to the end was genuinely exciting. A fitting close to two deeply satisfying weeks: Christopher Glynn and his cohorts deserve the utmost praise for assembling them and in next to no time.
There’s a ghost in the House: Robert Goodale as lawyer Arthur Kipps and Antony Eden as The Actor in The Woman In Black, on tour at the Grand Opera House, York, next month. Picture: Tristram Kenton
AFTER 547 days, the Grand Opera House, York, will step out of the darkness and into The Woman In Black from September 13.
Robert Goodale will star as lawyer Arthur Kipps and Antony Eden as The Actor in PW Productions’ tour of Stephen Mallatratt’s 1987 adaptation of Susan Hill’s ghost story.
The Woman In Black tells the tale of an elderly lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a “Woman in Black” for 50 years now.
“For my health, my reason,” he says, “The story must be told. I cannot bear the burden any longer.”
Robert Goodale: Returning to the role of Arthur Kipps in The Woman In Black. Picture: Tristram Kenton
He duly engages a young actor to help him tell that story and exorcise the fear that grips his soul, but although it begins innocently enough, the deeper they delve into his darkest memories, the more the borders between make-believe and reality begin to blur and the flesh starts to creep.
The Woman In Black last spooked York audiences at the Theatre Royal in November 2019, after earlier runs there in February 2013 and November 2014. Hill’s ghost is no stranger to the Grand Opera House’s boards either.
Mallatratt’s splendidly theatrical stage adaptation had begun life as a bonus Christmas show at the Stephen Joseph Theatre in 1987 in novelist Susan Hill’s hometown of Scarborough, and this latest touring production still retains its original director and designer, Robin Herford and Michael Holt. Well, if it ain’t broke, etc etc.
Likewise, Goodale is returning to the role he played at the Theatre Royal in 2019 for a tour that takes in Bath, Guilford, Oxford, Malvern, Shrewsbury, Manchester, Brighton, Glasgow, York, Blackpool, Stoke and Edinburgh.
Robert Goodale, left, and Antony Eden in a scene from The Woman In Black. Picture: Tristram Kenton
Tickets for the Grand Opera House’s September 13 to 18 run are on sale at atgtickets.com/venues/grand-opera-house-york.
One final thought: as much as The Woman In Black is a ghost story first and foremost, in Mallatratt’s hands, it is also a celebration of the craft of acting, the power of storytelling and the role of the imagination. All the more reason to welcome the reopening of the Grand Opera House, a theatre with a ghost of its own.
Did you know?
THE show that ran the week before darkness descended on the Grand Opera House under the Covid cloud was…Ghost Stories, Andy Nyman and Jeremy Dyson’s “supernatural sensation”, from March 10 to 14 2020.
The Caretaker in Ghost Stories at the Grand Opera House, York, in March 2020
Round To Low Horcum, by Sue, Slack, taking part in Ryedale Open Studios at Barn Studio, Swiveynun, Lockton
RYEDALE Open Studios will run over two weekends, tomorrow and Sunday, then August 14 and 15, when 33 artists will take part from 10am to 5pm each day.
The newly formed Vault Arts Centre Community Interest Company, at The Old Bank, Piercy End, Kirkbymoorside, is coordinating the inaugural event, celebrating the creativity and artistic talent of the Ryedale district.
Artists, makers and creators will welcome visitors, offering both an exclusive glimpse into their workplaces and the opportunity to buy art works directly.
Layla Khoo, co-founder of the Vault Arts Centre with Kirsty Kirk and Petra Young, says: “We’re very excited to start our first Ryedale Open Studios this year. After more than a year of seriously hampered activities for many, including artists, we now have the opportunity to show our own community, as well as visitors, the wealth of creativity Ryedale has to offer.’
Participating artist Sue Slack says:“Having taken part in an Open Studios every year for the past 15, it was a great disappointment not to be able to open my studio doors to the public in 2020. The great thing with open studios is the chance to meet with people who are interested in your art; in the processes as well as the finished picture.
“I’m really looking forward to Ryedale Open Studios and am thankful for the opportunity to be able to show my work again in the place it was created.”
Phillip Spurr, Ryedale District Council’s programme director for economic development, business and partnerships, says: “It’s great to see the inaugural Ryedale Open Studios taking place this summer, a testament to the hard work of all those involved. Ryedale is known for its artistic community, and it’s fantastic that so many are participating in what we hope will become a regular event showcasing Ryedale’s creative talent.”
A downloadable map of the artists’ locations can be found at: ryedaleopenstudios.com/map. For full details of all the artists, go to: ryedaleopenstudios.com/
Who are the Ryedale Open Studios artists?
Philip Barraclough, art pencil, watercolours, spanning human forms and landscapes, at Netherby House, Huttons Ambo, near York.
Kate Bentley, oil painting and charcoal drawing, focusing on animals and human subjects, at 22 Dale End, Kirkbymoorside.
Harriet Braithwaite, acrylic painting, at 23, Castlegate, Kirkbymoorside. Graduated in set design for television and film from University of South Wales.
Robert Broughton, photography, at The Courtyard, Dalby Forest Drive, Low Dalby, near Pickering.
Cathartic fine art photography informed by Buddhist philosophy, psychoanalysis and contemplative practices.
Pauline Brown, drawings and paintings around Farndale during lockdown, at The Courtyard, Dalby Forest Drive, Low Dalby, near Pickering
Susan Brunskill, artist, illustrator and animator, at Rutland Grange, Chapel Lane, Harome, by appointment only on 01439 741039 or 07973 331586.
Exhibiting watercolour and oil portraits of people, dogs and horses. Also makes Susel & Co stationery (artisan notecards, greetings cards and original art).
Sarah Cawthray, ceramics for garden, reflecting love of the coast, at West Garth, 23, Castlegate, Kirkbymoorside.
Soon to graduate from York College University Centre with degree in contemporary craft; will then set up ceramic studio at home.
Angela Cole, modern basket designer-maker in woven willow, deeply rooted in heritage skills, at Westow Grange Cottage, Westow, near York.
Makes functional baskets, sculptural woodland baskets and garden plant supports inspired by woodland coppicing style, willow harvest and found wild materials.
Aeva Denham, painting and mixed media, at The Courtyard, Dalby Forest Drive, Low Dalby, near Pickering.
Her work “conveys a message and emotion about social injustices or more personal topics, such as mental health”. Newly graduated from Fine Art BA degree course at York St John University.
Suzie Devey, printmaker, at Vault Studio Space, 5 Piercy End, Kirkbymoorside, studio closed on August 8.
“Don’t miss my Two Tin Cans installation as it’s easy to mistake it for an ordinary red telephone box!” she says. “Inside you will discover a miniature, fully working printmaking studio with everything you need to make your own tiny linocut print.”
Ione Harrison, landscapes and seascapes in watercolour, now incorporating imprints from plants, such as fern or grass, at Vault Studio Space, 5 Piercy End, Kirkbymoorside.
Inspired by sweeping vistas of Yorkshire’s moors and wild hills, her paintings seek to “move beyond the merely physical towards a more metaphysical or spiritual truth”.
Art photographer Peter Heaton
Peter Heaton, art photography, and Peter Maris, sculpture, at Courtyard, Low Dalby, Thornton le Dale.
This exhibition is an artist residency collaboration with photographer Heaton and sculptor Maris, commissioned by Forestry England and Arts Council England. Works are inspired by very particular forest environment and how it flourishes and changes through natural processes and human activity.
Christine Hughes, textile designer and home interior designer, at The Gallery, 7 Market Place, Malton.
Specialises in handmade, hand-painted fabric lampshades and soft furnishings. Her collections include tableware, homewares, contemporary pattern design and framed illustrations and prints.
Alex Jones, oil paintings of British wildlife, at The Little Red House Studio, Abbey Farm, Low Moor, Rillington.
Fascinated by animals’ behaviour, character and form, from the smallest bird to the mightiest stag. “I’m lucky on the farm to see many of the animals I paint on a daily basis: deers, hares, foxes, badgers, barn owls and pheasants,” she says.
Layla Khoo, multi-media 3D artist, specialising in ceramics and site-specific installations, Vault Arts Centre, The Old Bank, Piercy End, Kirkbymoorside.
Often chooses to create her ceramic work for its broad range of historical connotations, from everyday tableware to satire and sculpture.
Yasmin Lari, woven textile designer for Yasmin’s Warp and Weft, at Westgarth, 23 Castlegate, Kirkbymoorside.
Her work combines old and new, inspired by Islamic art, research into her Persian roots and colours in an ever-changing world.
Anna Matyus, printmaker, at Welburn Hall Farmhouse, Flatts Lane, Welburn, Kirkbymoorside.
Inspired by patterns and textures from the natural world and architecture at North Yorkshire historical heritage sites. Specialises in collagraph printmaking, a method that creates layers of texture and a richness of surface.
Carol Messham, watercolour painter and polymer clay artist, at 41 Feversham Drive, Kirkbymoorside.
Draws inspiration from plants, flowers, birds and bees. Trained in landscape architecture; ran garden design business for 20 years.
Heather Niven, painting and ceramic sculpture, at Wayward Studio Gallery, Station House, Kirkham Abbey, Whitwell on the Hill.
After 30 years as a painter and 2D artist, now exploring 3D world of hand-thrown pottery and ceramic sculpture too. Loves colour, dark corners and rhythms of nature.
Alice O’Neill, papercut and collage, at Barmoors, Hutton-le-Hole.
Uses many different types of paper, mostly handmade and hand dyed, from India, China, Japan, Italy and made from grasses, bark and other vegetation. Hand colourist by profession, working for picture framers and book binders.
Amanda Pickles, acrylic and mixed-media paintings, at Allotment Studio, 19 Maundon Avenue, Pickering.
Likes to get the feeling of a place or a moor with the weather, sounds, smells and changing seasons in her work, leading to Deep Earth series.
Jen Ricketts, silversmith and jeweller, at North Croft, Boonhill Road, Fadmoor, York.
Latest work concentrates on making bespoke functional silverware of intricate city skylines, intriguing silhouettes of British countryside and capturing childhood memories of park scenes and fairground carousels.
Meg Ricketts, painter and printmaker, North Croft, Boonhill Rd, Fadmoor, York.
Interested in concept of slowing down and seeing small details in nature – colour, pattern and constant change – as seasons unfold. Favours acrylics and oils; experimenting with painting onto wood.
Rachel Rimell, photography, at Beechwood, 68 Middlecave Road, Malton.
Examines the individual through the prism of transitions and liminal spaces, connections and shared experiences and the human condition. Two self-published books have explored themes of motherhood and identity.
Charlotte Salt, tactile and intuitively made ceramics, at The Gallery, 7 Market Place, Malton.
Enjoys the meditative, grounding processes of handling the clay, a rhythmic physical act involving the senses. Draws on ancient ephemera and passion for collecting found fragments and objects.
Sue Slack, acrylic landscape painter in layered colours, at Barn Studio, Swiveynun, Lockton, Pickering.
Enthusiasm for fell running has taken her to new places, both mentally and physically, influencing work that attracts walkers and cyclists. Upcoming is a four-month sabbatical to embark on new painting journey in Ullapool.
Susan Slann, oil painter and linocut and woodcut printmaker, at 1 Langton Road, Norton-on-Derwent.
Work explores powerful connection between nature, landscape and human emotion.
Patrick Smith, painter and printmaker of landscapes and seascapes, at Nesslyn, West End, Sheriff Hutton, York.
Paints “landscapes of the mind” where poetry and an unfolding process is allowed full reign and “you, the viewer, are co-opted into the image’s final resolution”.
Iona Stock, ceramics, at Hollymead, Snape Hill, Nawton.
Set up her own studio after graduating from University of Sunderland in 2020 with first-class degree in glass and ceramics. Hopes her everyday pieces “bring a little piece of my paradise into your home”.
Ros Walker, ceramics and painting, at Wayward Studio Gallery, Station House, Kirkham Abbey, York.
Creates brightly coloured functional stoneware bowls, mugs and plates; sculptural art ceramic pieces, non-functional vessels and jewellery, plus mixed-media acrylic landscapes.
Susan Walsh, eco-printed textiles and paper, employing botanical mark-making, at Pasture House, Cawton, York.
Uses leaves, flowers and seeds to create wraps, scarves, wall hangings, framed pieces, journals, cards, cushions and bags.
Justine Warner, textile and mixed-media artist, at Laburnum Cottage, West End, Sheriff Hutton, York.
“The canvas of my work is predominantly made from neck ties,” she says. “The beautiful textures and patterns of the fabric are sewn together to make backgrounds for North Yorkshire and Howardian Hills landscapes that can be mistaken for paintings”. Fabrics, wools and thread are used to layer, blend and paint recycled materials.
Mishka Rushdie Momen: “Thirty years old next year, but showing the wisdom and musicality of one twice her age”
Ryedale Festival: Young Artist Day, Mishka Rushdie Momen, All Saints, Hovingham, July 30
SUPERLATIVES are always dangerous, but this morning event was one of the most satisfying piano recitals I have ever had the privilege of attending.
Partly it was the range of repertory covered in not much more than one hour: Bach, Mozart, Schumann, Ligeti and Schubert. But most of all it was the sheer brilliance of this young pianist, 30 years old next year, but showing the wisdom and musicality of one twice her age.
Mishka – she too, like others at this festival, will surely forever be recognisable by her first name alone – hinged her programme on fantasias by Mozart and Schubert, the one in C minor, the other in C major.
But she began with Bach’s C major Prelude and Fugue from Book I of The Well-tempered Clavier, a piece beloved of almost every would-be pianist. The prelude was impeccably smooth, whereas the fugue was notable for its unexpected drama.
In Mozart’s Fantasia, it was if there were an ogre prowling in the bass. Its first appearance was aggressive, but its anger gradually softened until it was tamed into a mere growl. Metaphors aside, Mishka drew marked but subtle contrasts between the work’s intense and melodic poles.
Schumann’s Impromptus On A Romance Of Clara Wieck takes a theme she had sent him and develops it into nine variations (in the revised version of 1850, ten years after they were married). Mishka did much more than merely highlight the two facets of Schumann’s character, poetic and impulsive, and she delivered an exceptionally tender postlude. It all made a pleasing interlude.
The fleeting magic of Ligeti’s Tenth Étude, The Sorcerer’s Apprentice, was used as introduction to an unforgettable account of Schubert’s Wanderer Fantasy. John Warrack’s typically urbane programme-note referred to this as “a seminal masterpiece”. It is indeed an Everest of the repertoire, not lightly undertaken. That the whole piece, over an unbroken 20 minutes, is built around a dactylic rhythm makes it all the more remarkable, on a par with Beethoven’s Fifth Symphony and equally symphonic.
Mishka’s vision encompassed the whole work. She opened boldly, holding nothing back. So the second theme sounded all the more tender by contrast, a haven of peace before it was interrupted. She even made something of Schubert’s bridge – little more than a doodle, in truth – leading into the Adagio, which at first had the solemnity of a funeral march. As the bass became much more active, she still sustained a beautifully controlled line in the right hand.
The sheer theatre of the Scherzo was enhanced by the rapid downward ripples of her left hand, which were frankly breath-taking. The final fugue was sternly enunciated but still unfolded with incredible clarity.
By now hearts were in mouths at her Olympian virtuosity. With eyes closed, I would have sworn I was listening to Alfred Brendel with a feminine touch. And she still had enough left in the tank for an eloquent encore, which I took to be Schubert’s Hungarian melody in B minor. This young lady is thrillingly talented. Ryedale must have her back – soon.
The look of a man who has just heard Graham Chalmers’ question: Ralph Fiennes in Four Quartets at York Theatre Royal
DISCOVER Charles Hutchinson’s answer in Episode 53 of Chalmers & Hutch’s arts podcast Two Big Egos In A Small Car.
Also under discussion are digging out your Harry Potter first editions; Graham’s review of a long-overdue documentary appreciation of undervalued music filmmaker Tony Palmer; Amy Winehouse, ten years gone, and dreamers versus schemers.
David Taylor as Richard Carrol, left, Emma Turner as Tucker, Stewart Mathers as Dan Lucas and Karen Nadin as Tinger in a rehearsal scene from The Local Authority
LET York writer-director Tom Wilson introduce The Local Authority, his new anarchic farce framed around a chaotic, fractious local council emergency budget meeting.
“It’s very much a black comedy about embezzlement, chaotic, dysfunctional individuals and families and a community trying to come to grips with the burgeoning Covid pandemic,” he says. “The play has a lot of adult themes, such as drug taking and alcoholism, zany sex workers, high-level council corruption, irrational budget and public amenity cuts, disintegrating relationships and canines in nappies.”
City Of York Council’s financial conduct may be making the headlines this week, but we’ll leave that for another day, another play.
That said, Salford lad Wilson has his own experience of working for the local authority, as a drug and alcohol education advisor. “I thought I was being paid to take theatre around schools, but I ended up training the staff, the police, local colleges, universities,” he recalls. “It got very complex, and in the end, I did what writers do. I left.”
He also did what writers do: he kept writing, and now comes The Local Authority, his fifth play in 25 years, not a revenge play as such, but one where the inner Joe Orton is at work, sending up the failings of those charged with power.
Wilson has had to spend time in hospital, facing “death or amputation”, with the need to “get this gunge out”, ending up in the Covid ward to boot. He was in and out three times.
Metaphorically, The Local Authority is another way of “getting the gunge out”, Wilson having written “nonsense poetry and prose to get through the day” and make sense of the pandemic pandemonium and his ailing health.
The result is a messy play about messed-up times, fevered and fever-browed, erratic in performance and devil-may-care in spirit, a “pantomime on acid” by the end of its shorter second act.
Catching it on dress-rehearsal night meant there were bumps in the road, but like potholes, they may well still be there tomorrow and the week after, for that matter, if the play were still running.
A devotee of theatre of the absurd, Tom Wilson does not deal in clean-cut, awfully nice, middle-class drama: he prefers the nitty-gritty, the earthy, the punk, the warts, the boils, the gunge and all. It isn’t pretty and it is often foul-mouthed, in the way that Shameless is, but it is also “tongue in cheek, never serious” in a chance to “laugh at our oppressor and reclaim our smiles and freedom”.
What’s the story? Ruder and wilder than the infamous Handforth Parish Council meeting that went viral when we all needed a laugh in Lockdown 1, at its epicentre is Karen Nadin’s Lesley Carrol.
Hosting the aforementioned council emergency budget meeting on Zoom, as the Jackie Weaver of the piece, she is firm at first but gradually worse for wear, as council officers make ever more draconian, yet worryingly feasible, suggestions for £300,000 cuts that would not be out of place in a George Orwell dystopian futurist novel.
What’s novel? For the first act, the cast members are lined up on tables with tablets or laptops but also appear on Zoom, the defining motif of Covid times, on the screen behind them.
The Zoom feed is live and unpredictable, occasionally freezing and not always showing who is speaking but often focused on Rowan Naylor-Mayers’ wannabe soap actor Neil, or Kate Hargrave’s hippy Christine Nunn with her psychedelic Zoom background, or Joel Cambell’s Paul Engers, who has chosen to be pictured in front of a palm-treed paradise.
The first act is too long, not least because the actors are largely static in their seats, except when Wilson has them step out front to deliver their proposed cuts, to add to the sense of absurdity.
He plays his ace in introducing the oil in the ointment, the slick council job executioner Dan Lucas (Stewart Mathers), to deliver his black-cap verdicts on who stays and who goes, as the climax of the first hour.
Post-interval, The Local Authority becomes a more conventional, quicker-moving farce in Orton style in a swish flat. Corruption, cocaine, sex workers (Nadin’s Tinger and Emma Turner’s Tucker, in a deadpan scene-stealing cameo), the council bigwig (David Taylor’s Richard Carrol) and a policeman (Martin Handsley) are thrown into the maelstrom that envelops the potty-mouthed Lucas and his dippy acolyte Neil.
More spit than polish, more whack-a-mole than guacamole, The Local Authority is a tour de farce that goes off the rails, applies a sledgehammer instead of a scalpel, and is often blunt rather than sharp, but as ugly agit-prop theatre for 2021, it hits home hard.
Wilson also coins one of the best phrases for this age of pandemic deaths and ecological recklessness. “Nature has lost its temper,” bemoans the plastered Lesley. How right she is.
Naloxone Theatre Ensemble presents Tom Wilson’s premiere of The Local Authority, Joseph Rowntree Theatre, York, August 5 to 7, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or at josephrowntreetheatre.co.uk
Emilio Iannucci, who will switch between The Ringmaster and Phileas Fogg, in rehearsal for York Theatre Royal’s circus-themed production of Around The World In 80 Days
YORK Theatre Royal is going global, visiting all four corners of York in 23 days with its summer family show Around The World In 80 Days.
Not in a hot-air balloon, but on a trailer, whose sides can be dropped down for the set to be built around, in the tradition of travelling players going from town to town.
“It’s not quite a pop-up theatre, but we can certainly taking everything around in the trailer,” says writer-director Juliet Forster.
After overseeing last winter’s debut Travelling Pantomime on its tour of 16 of York’s 21 wards, Theatre Royal creative director Juliet is taking her circus-themed adaptation of the Jules Verne novel to four York playing fields from tomorrow (August 6) to August 21. The last stop will be back at York Theatre Royal from August 25 to 28.
“Around The World In 80 Days is one of those titles that I’d had in the back of my mind, because it’s familiar, and such shows have worked well for us in the summertime,” says Juliet.
“Then, with all the disappointment of restrictions around travelling abroad still affecting plans for holidays, the story came back into my mind, possibly ironically, because we couldn’t go to all these places, but we could do so in a play.
Juggling roles: New Zealander Eddie Mann, who will play The Knife Thrower and Detective Fox in Juliet Forster’s production of Around The World In 80 Days
“Though it still took a little longer to make a final decision on it because none of the existing adaptations appealed.”
She took the matter into her hand: not only would she direct the show, but she would provide the new adaptation herself too in a “perfect opportunity for some armchair tourism – or, rather, picnic-blanket tourism”.
“I did the first draft in April, spending pretty much every day on it, and then did the second and third drafts over the next two months, in bits and pieces, when time allowed,” says Juliet, who also was at the helm of York Theatre Royal’s reopening show, Love Bites, on May 17 and 18.
She promises a “joyful, very energetic, very silly and highly acrobatic re-telling of the Verne’s adventure of Reform Club gentleman traveller Phileas Fogg, delivering the kind of experience that live theatre does best”, but that tells only half the story in the new two-hour version.
“Jules Verne’s tale is a lot of fun as the characters race against time to complete a full circuit of the Earth, but now fact and fiction go head to head as real-life investigative journalist Nellie Bly puts in an appearance,” says Juliet.
How come? “One of the things I felt with Verne’s text was that although it was a fun idea – I’d seen the film, but I’d never read the book – when I did come to read it, it didn’t sum up the atmosphere of each place as much as I’d expected, because Fogg was whizzing around the world, so it didn’t give as much detail as I would have liked.
Roll up, roll up for Ulrika Krishnamurti’s circus skills as The Trick Rider in Around The World In 80 Days
“There was a risk that a show would have a stuffy gentlemen’s club, outdated feel to because it’s a male-dominated story, so I thought, ‘how do we make it a play for today?’. That’s when I decided to put Nellie Bly’s story in there too.”
For the uninitiated, Nellie Bly was the pen name of Elizabeth Cochrane Seaman, an American journalist, industrialist, inventor and charity worker, who made her own record-breaking trip around the world – and did so with more alacrity than the fictional Fogg.
“When I worked with the Out Of Character company on Objects Of Terror, set in a Victorian cellar, the journalist character was based on Nellie, who had got herself committed to an asylum to blow the lid on what went on inside,” says Juliet.
“Nellie set the record for the fastest crossing of land and sea, and how ironic that we all know the fictional story of Phileas Fogg, and yet we don’t know about the real-life woman who did the same journey and did it quicker!
“So, I read her book about going around the world: a beautiful piece of travel journalism with such lovely detail, and I thought, ‘maybe we should just do her story’, but then I decided, ‘no, let’s look at finding a form for a play that fits bit both stories in’.
“Jules Verne’s story is out of copyright, so there were no complications over doing that.”
Balancing act: Ali Azhar preparing to play The Clown, as well as Passepartout, in Around The World In 80 Days
Juliet never settles for the easy option. “I can’t do a play without going, ‘why am I doing it now?’. I have to ask myself, ‘what is the relevance to today?’, and I think this adaptation brings a whole new perspective to it, but the Jules Verne story is very much still in there,” she says.
She has given the story a circus setting, a manoeuvre that frees up the imagination and removes the need for a big West End-style or silver screen budget. “It’s an opportunity to do it in an ultra-theatrical way,” says Juliet.
“We can use some of the skills we have in the cast to capture the essence of movement, as it’s story full of the joy of being on the move, so it stretches the limits of what we can do and it takes us to all these places, with sounds and music tipping our imagination into visualising each of them.”
One surprise will be the lack of hot-air balloon, but wait… “There is no hot-air balloon in the book! They put one in the 1956 film, the one with David Niven as Phileas Fogg, and it’s been in every version since,” says Juliet. “It’s even on the book cover now! We’ll make a sly reference to it, so watch out!
“I think the other reason the balloon is embedded in our heads because Jules Verne’s first successful book was called Five Weeks In A Balloon.”
Fittingly for a story rooted in international travel, Juliet’s cast has an international flavour: Emilio Iannucci, who will play The Ringmaster and Phileas Fogg, is of Italian heritage; French-Moroccan actor Ali Azhar, born in Paris, will be The Clown and Passepartout; Ulrika Krishnamurti, a singer of Indian classical music, will be The Trick Rider and Aouda, and Eddie Mann, in the roles of The Knife Thrower and Detective Fox, is a New Zealander who moved over here a decade ago.
In the basket: Contortionist Dora Rubinstein fits in some practice for playing The Acrobat in Around The World In 80 Days
“Although I wanted to have an international flavour to the show, I wasn’t sure I’d get it,” reveals Juliet. “But I knew Ali had a great French accent, as well as being a good mover, from seeing him in Shakespeare Rose Theatre’s Henry V in 2019, and so he was ideal for Passepartout.
“I’d seen Ulrika in Katie Posner’s production of Made In India when it came to the Theatre Royal Studio, where she really stood out as being fun and very playful.
“With Eddie, I’d actually forgotten he was a New Zealander until we spoke on Zoom, but that’s what circus is: international. It shouldn’t just be British voices!”
York Theatre Royal in Around The World In 80 Days:
Carr Junior School, August 6, 7pm; August 7, 3pm and 7pm; August 8, 2pm and 6pm.
Copmanthorpe Primary School, August 10, 7pm; August 11 and 12, 3pm and 7pm.
Archbishop Holgate’s School, August 14, 7pm; August 15, 2pm and 6pm; Aug 16, 3pm and 7pm.
Joseph Rowntree School, August 18, 7pm; August 19, 3pm and 7pm; August 20, 7pm; August 21, 2pm and 6pm.
York Theatre Royal, August 25 to 28, 2pm and 7pm. Signed performance: August 26, 2pm.
Suitable for age 7+. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Writer-director Juliet Forster: “Delivering the kind of experience that live theatre does best”
The Trials Of Cato’s Tomos Williams and Robin Jones with new addition Polly Bolton
STORM warning! The trials of Yorkshire’s weather are driving The Trials Of Cato indoors for tonight’s gig in Pocklington.
Out goes an open-air acoustic session in the sylvan setting of Primrose Wood; in comes a 7pm concert at Pocklington Arts Centre (PAC) after the forecast of Macbethian conditions: definitely rain and possibly thunderstorms too.
An explanatory statement from director Janet Farmer and venue manager James Duffy reads: “Tonight’s Primrose Wood event with The Trials Of Cato is being transferred to PAC due to the heavy rain forecast – Met Office update at 10am – from late afternoon.
“This is to ensure artist, staff and customer safety and comfort before, during and after the event at PAC, which will not be socially distanced BUT will be at 50 per cent capacity and the auditorium will have medical-grade air purifiers in use throughout.”
The statement continues: “Face coverings are strongly encouraged but not a requirement. All venue staff will be wearing them throughout the performance and have undergone lateral flow tests in advance. Doors will open at 6pm and the show will start at 7pm, as originally advertised.” BBC Radio 2 Folk Award winners The Trials Of Cato were the third Primrose Wood Acoustics headliners to be confirmed for this summer, in the wake of sold-out shows organised by PAC featuring Scunthorpe-born virtuoso guitarist, singer and songwriter Martin Simpson and East Yorkshire singer-songwriter Katie Spencer on July 1 and Leeds indie-folk/Americana band The Dunwells and York singer-songwriter Rachel Croft a week later.
Hailed by Mark Radcliffe, The Folk Show host on BBC Radio 2, as “one of the real discoveries on the folk circuit in recent times”, The Trials Of Cato won Best Album at the 2019 BBC Radio 2 Folk Awards for their debut, Hide And Hair.
Formed in Beirut, when Tomos Williams, Will Addison and Robin Jones were working in Lebanon as English teachers, the trio had returned to Britain in 2016. Here, they set about performing tirelessly up and down the country with their stomping tunes and captivating stories that paid homage to the tradition while twisting old bones into something more febrile and modern.
Hide And Hair’s release in November 2018 was greeted with airplay on BBC 6 Music and Radio 2 and thumbs-up coverage in national publications, while mastering engineer John Davis, who worked with Jimmy Page on the Led Zeppelin remasters, memorably dubbed them “The Sex Pistols of folk”.
After a year of wall-to-wall touring across the UK, Europe and North America, however, the band’s march was halted by the stultifying silence of the global pandemic, but now they are emerging anew from their transformative chrysalis.
“The Trials continue,” they say, but this time, after Addison’s departure, Williams and Jones are joined by Leamington Spa multi-instrumentalist and singer Polly Bolton, from The Magpies, for their hotly anticipated second album.
Set for release later this year (precise date yet to be confirmed), Gog Magog is named both after the mythical giant of Arthurian legend and the Cambridgeshire hilltop, where the new album was birthed over lockdown.
Should ticket holders need to contact PAC, please ring 01759 301547.
