REVIEW: Julie Hesmondhalgh in The Greatest Play In The History Of The World…

Welcome with open arms: Julie Hesmondhalgh making you feel good to be back in a theatre at last

The Greatest Play In The History Of The World…, The Love Season at York Theatre Royal, until Saturday; Hull Truck Theatre, June 7 to 12

NOTE the dots in that title. Ian Kershaw’s 70-minute one-woman show for his wife, Corrie star Julie Hesmondhalgh, does not lay claim to be the greatest play in the history of the world full stop.

However, like NASA’s Voyager probes, Kershaw aims for the stars, and as this most human and humane of love stories progresses, you accumulatively feel you are watching a great play with a sense of history and a grasp of what makes the messy world go round.

Kershaw’s focus is on the comings and goings of quiet, suburban Preston Road, and yet life in this northern town is universal too, such are his skills of observation and the beauty of his moving, witty turn of phrase.

Given the surfeit of solo shows to meet pandemic regulations in 2020 and 2021, you might have expected “Greatest Play” to have been purpose-built for now. Not so, Coronation Street and Broadchurch alumna Hesmondhalgh first performed Kershaw’s work in 2017.

Nevertheless, she has described the delayed 2021 tour as putting her back at Ground Zero, opening with a week-long sold-out run at the Stephen Joseph Theatre. Scarborough, from May 18, with the need to adapt to change, socially distanced circumstances, not least to no longer using audience members’ borrowed shoes to play assorted characters.

Boxed in: Julie Hesmondhalgh in The Greatest Play In The History Of The World…

That night was the first time she had played to an audience in masks, an experience that John Godber said first felt like he was performing in an operating theatre, rather than a theatre, when premiering Sunny Side Up last autumn at the SJT.

Such is her popularity and versatility, Hesmondhalgh was “double-booked” all her SJT week, appearing simultaneously on screen in BBC1’s whodunit, The Pact. Such is her natural warmth, and ease with performing, whatever the circumstances, that any fear of disconnection between performer and spread-out audience dissolved immediately. Be assured, that will be the same in York from tonight and Hull next week.

Beneath bare light bulbs reminiscent of stars when lit and in front of shelf upon shelf of shoe boxes, stacked high, Hesmondhalgh immediately breaks theatre’s fourth wall to make everyone feel at home back in the theatre, then sets up the story of a man waking in the middle of the night to discover that the world has stopped at 04.40…precisely. He will keep doing so in Kershaw’s account, echoing, albeit distantly, Harold Ramis’s Groundhog Day.

Through his bedroom curtains, he sees no signs of life, save for a light in the house opposite where a woman in an over-sized Bowie T-shirt is standing. She is looking back at him, just as bemused, just as unable to sleep, feeling just as isolated…

…So begins the love story of central characters Tom and Sara, and gradually Kershaw fills in the street life, Neighbourhood Watch scheme and characters of Preston Road and opens out his focus, moving between past and present and asking us to ponder who we are, what may be thrown at us, what judgements we may make of those around us.

Detail is all, typified by Hesmondhalgh observing the Latin tattoo on neighbour Mrs Forshaw’s arm that translates as “through hardship to the stars”: in a nutshell, the trajectory of Kershaw’s story.

Julie noted

What takes it to the heights is the way sci-fi enthusiast Kershaw weaves the Voyager probes  into the play, and more particularly the Golden Record taken on each mission with recordings that encapsulate the essence of life on Earth: “People having a good time. People cramming it all in,” as Hesmondhalgh puts it.

This sets both Kershaw and the audience to thinking about what we should include now in such a time-travel experiment, and after Hesmondhalgh has led everyone to both cheers and tears, she will have you smiling, exhilarated, at what makes everything worthwhile, even under the Covid cloud. Cue Here Comes The Sun and smiles all round, behind masks of course!

The solo show is a tough gig, be it for an actor or comedian, but directed by a Raz Shaw touch, Hesmondhalgh is wholly in control, often playful, using stairways as well as the stage, equally adept in a rising tide of emotion or in a moment of calm. She has the timing of a comic, yet the gravitas for tragedy too.

If you are seeking THE play to re-introduce you to the joy of theatre-going after pandemic hibernation, right now this is The Greatest Play In The History Of The World…for doing that. Full stop.

York Theatre Royal performances: evenings at 8pm, plus 3pm, Thursday and Saturday. Box office, 01904 623568 or at yorktheatreroyal.co.uk.

Hull Truck Theatre performances: evenings at 7.30pm, plus 2.30pm, Thursday and Saturday. Box office: 01482 323638 or at boxoffice@hulltruck.co.uk

All tour performances are socially distanced with Covid-safe measures in place.

Tragic news as York Shakespeare Project confirms Macbeth run. Auditions ahoy!

Emma Scott: Retaining her lead role in York Shakespeare Project’s Macbeth, delayed by the pandemic until October 2021

SOMETHING wicked this way comes…at last.

The curse of “the Scottish Play” had struck again – in the form of a global pandemic, no less – to stop York Shakespeare Project’s penultimate production, Macbeth, only days before its opening night on March 30 2020 at Theatre @41, Monkgate.

Fifteen months later, however, committee member Tony Froud can confirm this morning: “Hot on the heels of announcing our reboot of our ever-popular Sonnet Walks for this summer’s Sonnets At The Bar, we are very pleased to confirm that our production of Macbeth is returning, with Leo Doulton continuing as director. Rehearsals will start in September for performances in the week commencing October 25.”

Rather than Lady Macbeth in her end-of-days fevers, the constant hand washing, over and over again, has been bestowed on the rest of us in these Hands-Face-Space times of Macbeth’s mothballing.

At the time of the postponement, Tony had said with the foresight of one of Macbeth’s Witches: “The ideal solution would be to pick it up again with the same company of actors later in the year, but there could yet be complications.”

How right he was. “After 15 months, circumstances have changed and sadly some actors are no longer available. However, this means there’s an opportunity for new actors to join the company,” says Tony, who will still play Ross in Shakespeare’s dark tale of ambition, murder and supernatural forces.

“Many of the original cast will be continuing in the roles they had already worked hard bringing to life, but some roles, including Lady Macbeth, are open for audition.”

Director Leo Doulton: Setting his production of Macbeth in a dystopian “cyberpunk” future, to be performed in a promenade style

These roles are: Lady Macbeth, Duncan, Lennox, Lady Macduff and Third Witch/Third Murderer/Caithness/Seyton.

“The first round of auditions will be held over Zoom on the evenings of Thursday, June 17 and Friday, June 18 and during the day on Saturday, June 19, taking no more than ten minutes,” says Tony. 

“A small number of applicants will then be called back for in-person auditions on Saturday, June 26 and Sunday, June 27.”

Actors interested in auditioning should contact yorkshakespeareproject@gmail.com with their availability on the above dates, indicating which role or roles they are interested in.

Emma Scott will still lead the cast in the title role in Doulton’s “cyberpunk”Macbeth; Clive Lyons will play Banquo/Siward; Rhiannon Griffiths, Fleance/Donalbain/Son/Young Siward; Harry Summers, MacDuff; Eleanor Frampton, Malcolm; Sarah-Jane Strong, Angus; Joy Warner, First Witch/First Murderer/Doctor, and Alexandra Logan, Second Witch/Second Murderer/Gentlewoman.

Amanda Dales (Lady Macbeth); Jim Paterson (Duncan, Lady Macduff, Menteith), Nick Jones (Lennox) and Chloe Payne (Third Witch, Third Murderer, Caithness, Seyton) are unavailable for this autumn’s run, hence this month’s auditions.

Out! Spot now available. The role of Lady Macbeth is up for grabs in York Shakespeare Project’s pandemic-delayed Macbeth after Amanda Dales left York for pastures new in Cambridge

Although Macbeth is play number 29 in Shakespeare’s chronology of 38 plays, YSP had held back the Bard’s tragedy big hitter until production number 36 of 37 as part of a grand finale to the 20-year project planned for 2020, with The Tempest as the final curtain last autumn.

Alas, theatre’s harbinger of bad luck and its Weird Sisters then delivered double, double toil and trouble to YSP. “We were six rehearsals short of the finishing line, when the Coronavirus lockdown was imposed.” says Tony.

When Macbeth and we hopefully more than three shall meet again, we shall encounter a Leo Doulton production set in a dystopian “cyberpunk” future and performed in a promenade style, with the action taking place on the move, around the audience.

“Macbeth is a magnificent tragedy about the earthly struggle between the forces of order and chaos, and how the world becomes corrupted by Macbeth’s strange bargains,” says Leo, who made his YSP directorial debut at the helm of October 2019’s stripped-back Antony And Cleopatra.

“Cyberpunk is an exciting genre for exploring, highlighting and visualising those ideas for a modern audience. We no longer fear witches, but we are still scared of our society being shaped by powers with no concern for those below them.”

The date for The Tempest to conclude YSP’s Shakespeare cycle is yet to be put in Prospero’s book, but the final production is more than likely to be accompanied by an exhibition charting YSP from 2001 formation to stormy finale. “The York Explore library is expressing an interest in presenting it, ideally to coincide with The Tempest’s run,” said Tony in March last year.

Queen’s Roger Taylor to release lockdown album Outsider and play York Barbican

Roger Taylor: New lockdown album, new tour, in the year of the Outsider

QUEEN legend Roger Taylor will play York Barbican on October 5 as the only Yorkshire show of his “modest” 14-date Outsider tour this autumn.

In a “surprise announcement” today, rock drummer Taylor, 71, confirmed he would be on the road from October 2 to 22.

“This is my modest tour,” he says. “I just want it to be lots of fun, very good musically, and I want everybody to enjoy it. I’m really looking forward to it. Will I be playing Queen songs too? Absolutely!”

Taylor’s solo travels will combine new material from his October 1 lockdown album, Outsider, with solo material down the years and an “enthusiastic foray” into the Queen back catalogue.

Taylor made: Queen drummer Roger Taylor’s lockdown solo album, Outsider, set for release on October 1

Prompted by the pandemic pressing the pause button on Queen + Adam Lambert’s UK and European tour until 2022, Taylor has decided to give his first live performances outside Queen in more than two decades.

This autumn’s intimate concerts will “showcase his distinctive percussive, vocal and songwriting talents that have been integral to Queen’s live and recorded output since 1970”. 

Taylor penned such Queen favourites as A Kind of Magic, Radio Ga Ga, I’m In Love With My Car, Sheer Heart Attack and These Are the Days of Our Lives, complemented by five albums under the name of Roger Meddows Taylor: Fun In Space, 1981; Strange Frontier, 1984; Happiness, 1994; Electric Fire, 1998, and Fun On Earth, 2013.

He also made three albums with the band The Cross, releasing Shove It in 1988, Mad, Bad And Dangerous To Know in 1990 and Blue Rock in 1991.

Drum role: Roger Taylor in familiar mode

Over the past decade, Taylor has recorded the occasional solo number, reflecting on his worldview and observations in such songs Journey’s End, Gangsters Are Running and, last year, the aptly named Isolation, written in response to the first lockdown.

Now comes Outsider, the multi-instrumentalist’s first studio set of new material since 2013’s Fun On Earth, much of it penned and recorded during lockdown in a reflective mood. Conveying a sense of seclusion and concern over the passing of time, tellingly he dedicates the album to “all the outsiders, those who feel left on the sidelines”. 

Giving the inside track on recording Outsider in the wake of Isolation, Taylor says: “I’ve had a bit of a creative spurt and suddenly found myself with an album, which was lovely. It was a surprise! I just found myself in the studio and they came out one after the other. It was a pleasure really.” 

Under lockdown conditions, a highly personal project evolved, wherein Outsider’s instrumentation was performed almost entirely by Taylor, with his largely restrained vocals matching the predominantly contemplative ambience, although he did cut loose for a burst of hard-riffing blues-rock and an adrenaline-fuelled re-tread of a classic 1965 novelty song. Wait and see which one, when Outsider surfaces on October 1 on Universal.

Tickets go on pre-sale from 10am on June 8 at shop.emi.com/rogertaylor/.

Bryan Adams moves Scarborough Open Air Theatre July concert to the Summer of ’22

CANADIAN rocker Bryan Adams is moving his entire ten-date UK outdoor tour from 2021 to the Summer of ’22.

Next year, he will play Scarborough Open Air Theatre on July 1 and Harewood House, near Leeds, on July 10. Tickets remain valid for the new shows.

Adams, 61, will be making his second appearance at the Scarborough arena after his sold-out debut on August 8 2016. Once more, he will do Run To You, Cuts Like A Knife, Summer Of ’69, I Do It For You et al for you.

Prompted by Cuffe and Taylor, this summer’s Scarborough OAT programme bears a much-changed look, with some shows moving to later in the summer, others being put back to 2022, and late additions at the back end of the 2021 season too.

Boy George and Culture Club: Playing Scarborough Open Air Theatre on August 14

For this year’s diary, UB40 featuring Ali Campbell and Astro, have switched from June 19 to August 28; Snow Patrol, from July 3 to September 10; Duran Duran, from July 7 to September 17; Keane, from July 9 to August 21; Olly Murs, July 10 to August 27, and Kaiser Chiefs, July 11 to August 8.

Westlife’s sold-out show retains its August 17 date; likewise, Nile Rodgers & Chic stick with August 20.

Crowded House, the Australian band re-formed by New Zealander Neil Finn, move from June 8 2021 to June 11 2022; Lionel Richie, from June 12 2021 to July 2 next summer; Ru Paul’s Drag Race: Werq The World, from June 20 to May 29; Lewis Capaldi, from July 25 to July 7. The Beach Boys’ June 20 concert this summer is yet to be rearranged.

Additions to the 2021 calendar are: Stereophonics, July 28; Culture Club, August 14; Anne-Marie, August 2, and James, September 9.

Tickets are on sale at: scarboroughopenairtheatre.com.

Paul Weller’s Fat Pop: Is he the Greatest Living Englishman or grumpy Dad Rocker?

CHATTY art podcasters Chalmers & Hutch mull over the Modfather’s 16th solo album in Episode 44 of Two Big Egos In A Small Car.

What else? Is there no point to nil-point Eurovision? Pop’s Brexit, Newman/old problem and the power of the minor key.

Is Nomadland overrated? No or yes?

York’s Love Trails tour. Art with heart.

Rainy days, holidays and the Lakes as nature’s canvas masterpiece.

What now for arts on Zoom? Boom or doom?

Here’s the link: https://www.buzzsprout.com/1187561/8599913

York Shakespeare Project to perform Sonnets At The Bar in Bar Convent garden in August. Auditions set for next week

Knight’s move: Emilie Knight will direct York Shakespeare Project’s Sonnets At The Bar after playing Covid Nurse in Sit-down Sonnets at Holy Trinity Church last September. Picture: John Saunders

YORK Shakespeare Project has a not-so-secret new location for its latest sonnet adventures, the secret garden of the Bar Convent Living Heritage Centre, in Blossom Street, York.

After several years of Sonnet Walks through the city streets and public gardens and the socially distanced Sit-down Sonnets at Holy Trinity churchyard, in Goodramgate, last September, here come Sonnets At the Bar 2021, directed by Emilie Knight and produced by Maurice Crichton, from July 30 to August 7.

“Emilie Knight and I have struck up a good working relationship at the Bar Convent with James Foster, the chief operations officer,” says Maurice. “They have a lovely ‘secret’ garden with plenty of room and a surprisingly quiet, voice-friendly acoustic for a space so close to one of the busiest road junctions in the city.”

Looking forward to mounting this summer’s spree of Shakespeare sonnets, Maurice enthuses: “York Shakespeare Project wants to involve people in a close engagement with Shakespeare’s writing, and as Jonathan Bate says in every Royal Shakespeare Company edition of the plays: ‘The best way to understand a Shakespeare play is to see it or ideally to participate in it’.

“Emilie is setting up auditions ‘open to all’ and we want to get the word out as widely as possible to try to involve some new faces in this format.”

The “secret” garden at the Bar Convent Living Heritage Centre in York: the August venue for York Shakespeare Project’s Sonnets At The Bar 2021

Those auditions will be held at the Bar Convent onJune 4 from 5pm and June 5 from 10am. Anyone wanting to arrange an audition time should contact Emilie at emknight65@aol.com, putting ‘Sonnets’ in the heading and indicating a preference of day and time.

“I’ll provide details of everything you need to prepare when confirming your audition time,” says Emilie, who performed in last year’s Sit-down Sonnets in role of Covid Nurse at Holy Trinity Church.

Outlining the format of this summer’s performances, she explains: “We’ll be bringing our audience into the secret garden of the Bar Convent to witness the comings and goings of the ordinary people of York as they pursue their hobbies and interests at a community venue.

“The characters cover a range of age and gender and a couple also require some musical ability (instrument or vocal). We welcome all levels of experience, as commitment, enthusiasm and a certain amount of flexibility will determine the success of this production. And, we want you to have fun!”

Rehearsals will be held outdoors, initially in West Bank Park, Holgate, and then at the Bar Convent.

The eight evening performances from July 30 to August 7 – no show on Monday, August 2 – will be complemented by late-afternoon matinees on both Saturdays. “We’re going to include a drink in the ticket price and this will be provided by the heritage centre’s café,” says Maurice.

“‘The best way to understand a Shakespeare play is to see it or ideally to participate in it,” says Maurice Crichton, producer of York Shakespeare Project’s Sonnets At The Bar 2021

York Mystery Plays to be staged in Dean’s Park in A Resurrection For York in July

Raqhael Harte’s Mary with the infant Jesus in York Mystery Plays Supporters Trust’s production of A Nativity For York in December 2019 at the Spurriergate Centre, York. Picture: John Saunders

A RESURRECTION For York will undergo its own resurrection this summer after Covid-19 put the kibosh on the original theatre production.

Plans for the play had to be put on hold earlier this year under pandemic restrictions, but partners York Mystery Plays Supporters Trust, York Festival Trust and York Minster have settled on new performance dates of July 3 and 4.

Directed by Philip Parr, artistic director of Parrabbola, the show’s format will be retained: one hour long, staged outdoors, on two static wagons.

The location will be the Residents Gardens, at Minster Library, Dean’s Park, alongside York Minster, where the limited audience size for each day’s 11am, 2pm and 4pm performances will be governed by the prevailing social-distancing guidelines.

Linda Terry, chair of York Mystery Plays Supporters Trust, says: “With our partners, we have been working hard to bring back live theatre to the city after such a difficult time. The York Mystery Plays have survived past plagues; we wanted to play our part in a new beginning, creating an optimistic and safe event, bringing people together in a vividly imagined drama from York’s literary and cultural inheritance.”

York Festival Trust director Roger Lee is equally enthusiastic: “With arts and culture among the last areas of our lives allowed to return, York Festival Trust is delighted to be part of this project to bring York Mystery Plays back to the city this summer and to support the rebirth of live performing arts,” he says.

The Dean of York, the Right Reverend Dr Jonathan Frost, is “delighted that after the lockdown we have all experienced, events crucial to the life and story of York are beginning to happen again”.

“The theme for the York Mystery Plays this year is resurrection,” he says. “It would be hard to think of a more appropriate focus for a society, community and city coming back to life after a torrid journey. I do hope everyone will find time to enjoy the Mystery Plays.”

Since his appointment as director in March, Parr has been working on the new script with Tom Straszewski, director of the 2018 wagon production of the York Mystery Plays, and auditioning a community cast.

Previously, Parr directed York Mystery Plays Supporters Trust’s production of A Nativity For York at the Spurriergate Centre, York, in December 2019.

Tickets for A Resurrection For York are on sale at ticketsource.co.uk/whats-on/york/residents-garden-deans-park/a-resurrection-for-york/

REVIEW: The HandleBards in Romeo & Juliet, The Love Season, York Theatre Royal, May 25 and 26 ****

Paul Moss: Bringing out the Johnny Vegas in Romeo in The HandleBards’ Romeo & Juliet. All pictures: Rah Petherbridge

NORMALLY the perma-cycling HandleBards would ride into York as part of a tour de Britain devoted to shaking up Shakespeare.

No sign of an eco-friendly cast pedalling away furiously on the Theatre Royal stage this spring; instead, company founders Paul Moss and Tom Dixon and partner in chaotic irreverence Lucy Green had headed north by train for this one-stop trip into Step 3 Blighty with their “bonkers and unhinged” Romeo & Juliet after 50 dates last year betwixt lockdowns.

They travelled lightly, judging by a set design confined to a clothes rail with rainbow-striped curtaining and bunting to either side. As for props, cycling paraphernalia was to the fore: bells to signify Usain Bolt-fast scene and costume changes; bicycle pumps for killing weaponry and a bike back light for, well, a light, of course.

Pulling faces: Lucy Green as Juliet, teenage tantrums and all, in The HandleBards’ Romeo & Juliet

If you are thinking by now that The HandleBards must be biting their thumb at the teenage rampage of a Shakespeare tragedy, rather than taking it seriously, you would be right. Moss and Dixon were dressed for a Boy’s Own adventure in shorts and long socks, as if awaiting instruction from Baden-Powell; Green was the one who wore the trousers.

Directed by Nel Crouch, they neither kissed by the book, nor did anything by the book, brazenly removing theatre’s fourth wall in the cause of comedy as Moss announced he would be playing Romeo, a perma-drink-in-the-hand Lady Capulet and a little part of Friar John; Green, Juliet obvs, fiery Tybalt, Lord Montague and the other part of Friar John.

And Dixon? Everyone else, from a bewigged, woefully weak-as-his-letter ‘R’ Duke to a Scouse Mercutio; a Rowlandson round-bottomed Nurse to a perpetually on-the-hoof Friar Lawrence.

Mercutio is usually the witty-tongued loose cannon in R&J; so much so, the story goes, that Shakespeare served him his early P45 for scene-stealing. Here, however, we had the Queen Mab speech and “A plague on both your houses” and otherwise a back seat for Mercutio as the humour was spread all around him.

Romeo (Paul Moss), Juliet (Lucy Green) and pretty much everyone else (Tom Dixon)

Moss’s Romeo, in his back-to-front baseball cap, had the hang-dog air of young Johnny Vegas; Green’s Juliet stamped her foot like the teenager she was supposed to be, yet could suddenly find the beauty of her soliloquies before more giggles and teen awkwardness in her first encounters with Romeo on dancefloor and balcony alike.

Props were characters in their own right, whether the balcony worn by Juliet or the explosions of red ribbons to signify each death. Even Juliet’s sleeping potion tasted “like strawberry” and Romeo’s bottle of poison, “not bad actually”.

Socially distanced audience involvement came in the form of direct address to Chris in the front row, a good sport throughout amid such mischief and merry music-making. For never was a story of less woe than this particular Juliet and her Romeo. It would have been a tragedy to have missed out.

York Spring Fair & Food Festival opens at York Racecourse for Bank Holiday and half-term funfair rides, games and 40 stalls

Town Crier Ben Fry, the Lord Mayor and Lady Mayoress of York, Councillor Chris and Joy Cullen, and York Central MP Rachael Maskell at today’s opening ceremony. Picture: Lisa Stonehouse

YORK Spring Fair & Food Festival opened this morning in the Clocktower Enclosure at York Racecourse, Knavesmire, York.

The ribbon was cut by the new Lord Mayor of York, Councillor Chris Cullwick, his first of no doubt many event-opening ceremonies since taking up his office yesterday.

Town Crier Ben Fry heralded the occasion and York Central MP Rachael Maskell was in attendance too to mark English Tourism Week.

Running over the Spring Bank Holiday weekend and through the half-term break to June 6, York Spring Fair & Food Festival is the first major outdoor event to be held in York since the easing of Covid restrictions under Step 3 on May 17.

It represents the first outing this year for York funfair operators Coopers Marquees and for many of the food and drink traders.

The event is one of the largest vintage funfairs to be mounted in the north of England for many years, comprising nine adult rides (although many are suitable for all ages),four children-specific rides and five game stalls with prizes every time.

The traction engine and Gavioli organ have not been out for almost two years, unable to turn out at any events last year, and ordinarily they would have attended fairs during the spring but have had many cancellations once more. 

The traction engine was driven in under steam to open the event, with a competition winner, Connor Witty, and his grandfather, Roy Barber, aboard after the family had to shield during the pandemic.

Competition winner Connor Witty and grandfather Ray Barber on the traction engine at the inaugural York Spring Fair & Food Festival at York Racecourse. Picture: Lisa Stonehouse

For vintage funfair enthusiasts, several unique or rare restored rides are on site:

* The 1936 ‘Ark’ Speedway, one of only four working models in Britain;

* Hush Hush, the Monorail train, the oldest ride dating from 1933 and the largest of its kind, featuring 11 local stations on the old LNER line;

* The 1947 Muffin The Mule Autodrome, the last remaining ride of its ilk, still with its original Edwin Hall artwork;

* The 1937 Brooklands Dodgems, one of a very small number of speedway tracks themed on the famous Brooklands motor-racing circuit, featuring rare original artwork.

York Spring Fair & Food Festival has employed many people, their first job in the events industry for many months, and at long last it represents an opportunity to interact with the public.

This outdoor fair and festival is a Covid-compliant event for all ages, where the organisers are following all prevailing Government guidance on Covid-19: signage to remind visitors of one-metre social distancing; hand sanitisers at the entrance and funfair rides and stalls; regular cleaning of rides, stalls and picnic tables and visitors being advised to wear face coverings on funfair rides.

Two family-owned York companies, Cooper Marquees and Jamboree Entertainment, have joined forces to create this event, combining the vintage funfair and a food festival showcasing 40 artisan food and drink producers’ stalls from Yorkshire and beyond.

Connor Witty on a funfair ride at the York Spring Fair & Food Festival. Picture: Lisa Stonehouse

Co-producer Johnny Cooper, chief executive officer of Coopers Marquees, says: “It’s exciting to be able to put together a vintage funfair on a scale that hasn’t been seen in York for decades. 

“The rides are visually stunning with artwork going back almost 90 years.  There will be rides and game stalls for all ages, so it’s a great opportunity to get out and have fun in a Covid 19-compliant environment.”

Fellow co-producer James Cundall, CEO of Jamboree Entertainment, says: “As we emerge from the restrictions imposed by the Covid-19 lockdown, we are thrilled to be staging one of the first events in Yorkshire that will place the very best Yorkshire products before an audience hungry for an exciting day out.”

Coopers Marquees was established in the 1990s and is now Britain’s tenth-largest marquee company, supplying structures to  events large and small, such as food festivals.

Jamboree Entertainment brings 25 years of experience in producing live entertainment worldwide, and closer to home runs the Winter Wonderland ice rink and funfair, the upcoming season of Sounds In The Grounds concerts and the Great Ryedale Maze at Sherburn. 

The York Spring Fair & Food Festival is open daily from 10am to 6pm; admission is £3 for adults; children aged 12 and under, free. This excludes rides and game stalls, priced at £3 per person. 

From each admission charge, £1 will be donated to the New Building Fund of Ryedale Special Families, a charity that supports families with disabled children and young people.

Tickets are on sale at: ticketsource.co.uk/yorkspringfair. Booking in advance is recommended as numbers will be restricted under the Covid regulations. If unsold, tickets can be bought at the gate.

Blue Tree Gallery reopens with Janine Baldwin, Colin Cook, Deborah Grice and Karen Turner’s Summer Eclectic show

Quiet Birch Wood, mixed media, by Janine Baldwin at Blue Tree Gallery, York

SUMMER Eclectic marks the reopening of Blue Tree Gallery, in Bootham, York, in an exhibition running until July 3.

“It’s good to see York open again for all to visit and enjoy, as we help to keep York culturally alive, safe and well,” say Gordon and Marisa Giarchi and their gallery team. “We’ll be open to the public with this show and it’s available online.”  

On view are original paintings by Yorkshire artists Janine Baldwin Colin Cook, Deborah Grice and Karen Turner.

Leeds-born Janine Baldwin has settled into Scarborough. “Living on the North Yorkshire coast, I’m surrounded by beautiful moors, woodland and coastline,” she says. “These natural environments are a constant inspiration, and sketches made directly in the landscape form the basis of my studio work.”

Favouring a focus on mark-making and texture, she uses layers of charcoal, pastel and graphite to create her artworks gradually, influenced by Joan Eardley, Cy Twombly and Abstract Expressionism.

Morning Light Over Westerdale, acrylic on canvas, by Colin Cook

“I’m passionate about the conservation of our landscape and since 2006 I have been a conservation volunteer for the North York Moors National Park, working on projects such as tree planting and butterfly habitat management,” says Janine. “These projects have allowed a deeper understanding of the landscape, in turn enriching the artwork I create.”

Colin Cook lives and works near Whitby. “Originally I come from west London and lived in the south of England until moving to the north east to teach photography, digital imaging, drawing and painting in a further education college in 1989,” he says.

Colin had studied fine art at Isleworth Polytechnic and a degree in painting at Maidstone College of Art, graduating in 1979. He began exhibiting in 1987 at Gunnersbury Park Museum in west London, going on to be selected for the 10th Cleveland International Drawing Biennale at the Cleveland Gallery, Middlesbrough, and the BP Young European Artists exhibition of Works On Paper at the Barbican Concourse Gallery, London, in 1992.

Then, after many years of teaching, he began exhibiting again five years ago. The inspiration for his subject matter is drawn from the north-eastern coast and moors and the Lake District. “My paintings are representational, based on observation of the constantly changing and intriguing light,” says Colin

“My paintings are metaphysical in nature, representing vastness and ‘otherness’,” says Deborah Grice

“Most of my paintings are about creating an atmosphere through dramatic light and bold mark making. Compositional tension is important and hopefully created by the careful arrangement of the different pictorial elements: colour, texture, light, etc.”

His paintings are reliant on careful under-drawing to make the structure for the looser brush marks to sit on. The strongest shapes are worked in with large brushes and the smaller areas of specific focus are developed later.

“I prefer to work with acrylic paints and enjoy the flexibility that working with a water-based medium gives. Sometimes the paint is heavily impastoed and on other occasions it is built up in layers or glazes. Acrylic allows for a certain immediacy as it dries fairly quickly.”

Born in East Yorkshire, not far from the Yorkshire Wolds, Deborah Grice is a graduate of Glasgow School of Art and the Royal College of Art, London.

Resolution III, oil and gold on canvas, by Deborah Grice

“I paint wild landscapes and weather,” she says. “My paintings are metaphysical in nature, representing vastness and ‘otherness’. Although my oil paintings can be thought of as traditional in manner, with the introduction of geometric lines, I feel my work is forward looking, relevant and timely.”

Deborah began applying geometrical lines as a visual device in 2008 after gaining her private pilot’s licence. “Through the use of navigational charts for my cross-country flights, I became interested in making the invisible visible,” she says.

“After a decade of assimilating ideas and thoughts, the lines have also begun to allude to aspects of ‘vision’: perception, meditation, escapism and the physicality of looking.”

Easingwold artist and documentary photographer Karen Turner responds to land and sea, city and village.

A Blowy Day In Scarborough, mixed media, by Karen Turner

“Living in the wonderful county of Yorkshire, I’m passionate about our beautiful countryside, rugged coastline, historic cities and working fishing villages,” she says. “They all have their own individual charm and give endless inspiration to an artist.


​“I’ve always been drawn to the sea and love to paint it with the fluid, often unpredictable qualities of watercolour and inks on paper. I also enjoy creating using big brushes and the colourful opaque effects of acrylic paint on canvas, capturing marine life and other animals.”

Exploring with colour and bold mark making, Karen works in a semi-abstract, naive style, capturing the landscape, wildlife and other aspects of the inspirational natural world.
“I love to create art that makes people smile, adding a splash of colour and brightness to everyday life,” she says.

Blue Tree Galllery, York, is open on Tuesdays, Thursdays and Saturdays from 11am to 5pm, as well as online at bluetreegallery.co.uk.