Erika Noda: “A true and honest account of what it can be like for someone of dual heritage in a predominantly white city” in her Love Bite, Ai
THE Love Season will soon set hearts pulsing at York Theatre Royal, where the Step 3 reopening will make its mark with Love Bites: a love letter to live performance and a toast to the city’s creative talent.
More than 200 artists from a variety of art forms applied for £1,000 love-letter commissions to be staged on May 17 – the first day that theatres can reopen after restrictions are lifted – and May 18.
The 22 short pieces selected will be performed each night at 8pm under the overall direction of Theatre Royal creative director Juliet Forster. Each “bite” will take hold for five minutes.
In the third in a series of CharlesHutchPress Q&As,Japanese English actor Erika Noda has five minutes to discuss her Love Bite, Ai, her semi-autobiographical debut solo writing project.
How did you hear about Love Bites, Erika?
“I work as a youth theatre assistant at York Theatre Royal and heard about Love Bites from Kate Veysey, the director of youth theatre. I then went online and looked it up straightaway.”
What is your connection with York?
“I was born in York and lived here most of my life. My family, on my mum’s side, can be traced back generations in the city. I know my four-times great grandad came to York from Rosedale and was a nightwatchman before he became a police sergeant and lived with his family in Micklegate Bar.”
What will feature in your Love Bite, Ai, and why?
“A true and honest account of what it can be like for someone of dual heritage in a predominantly white city. With the Black Lives Matter movement and the escalation of hate crimes against East and Southeast Asian people this past year, it made me think about my own experiences of microaggression and racism, as well as the importance of self-acceptance and self-love.
“It’s important to bring awareness to microaggression because many people are unknowingly hurting others through their words and actions.”
What has been the best and the worst about growing up with dual heritage?
“I’d say the worst part is the racist comments and microaggressions. Through doing this project, I’ve come to realise how deeply emotionally affected I am by what people have said or done.
“It’s so degrading and belittling, it’s like a pin stabbing you in the heart; it hurts but you can survive if it happens once or twice, but if it keeps happening over and over eventually you collapse and you don’t know if you’ll get up again.
“Some of the best things about being dual heritage, for me, is that I’ve been immersed in different cultures since I was born. I was two years old when I first went to Japan and was eating with chopsticks from the age of eight.
“I love how it enables me to understand other people’s experiences and ways of life. I’ve also been fortunate that I’m able to travel and experience other parts of the world and cultures for myself.”
In lockdown, what have you missed most about theatre?
“I miss being on stage and taking theatre to those who may not usually get the opportunity to experience it. After graduating from East 15 Acting School I co-founded a theatre company that specialised in creating sensory shows and workshops for children and young people with complex needs.
“We had planned to tour in Summer 2020 but due to the pandemic it had to be cancelled and an online digital story was created instead.
“I miss the adrenaline rush and feeling of having just done a performance and how rewarding it can be. I also miss watching theatre and being transported to another world.”
What’s coming next for you?
“In terms of acting and creating, I don’t have any set plans yet, but I’ll be keeping an eye out for the next opportunity. Also, I’m working at an immersive art gallery that’s been closed due to lockdowns and now it’s able to open so I expect I’ll be busy there this summer.”
What would be the best way to spend five minutes if you had a choice?
“Other than watching Love Bites, I would have a brew and a catch-up with my friends because I haven’t seen them in ages.”
Tickets for Love Bites cost Pay What You Feel at yorktheatreroyal.co.uk or on 01904 623568.
Lister scene: Gus Gowland’s Love Bite, The Streets Of York, will celebrate Gentleman Jack Anne Lister’s unofficial wedding at Holy Trinity Church, Goodramgate
THE Love Season will soon set hearts pulsing at York Theatre Royal, where the Step 3 reopening will make its mark with Love Bites: a love letter to live performance and a toast to the city’s creative talent.
More than 200 artists from a variety of art forms applied for £1,000 love-letter commissions to be staged on May 17 – the first day that theatres can reopen after restrictions are lifted – and May 18.
The 22 short pieces selected will be performed each night at 8pm under the overall direction of Theatre Royal creative director Juliet Forster. Each “bite” will take hold for five minutes.
In the second in a series of CharlesHutchPress Q&As,musical theatre writer/composer Gus Gowlandhas five minutes to discuss his work, The Streets of York.
How did you hear about Love Bites, Gus?
“I always keep an eye on what is happening at York Theatre Royal so I was aware of their Love Season. I first saw the call-out for artists on the theatre’s Twitter.
“I’ve been keen to work at the Theatre Royal for a while and this was such a wonderful opportunity to be part of the reopening and share the space with a huge number of artists. It was too exciting an opportunity to miss!”
What is your connection with York?
“I moved here just over two years ago with my partner, Max May. He took a job as chief executive officer of Rural Arts, a charity based in Thirsk, and is from Yorkshire so it’s been lovely for me to get to know his hometown. Since being here I’ve really fallen in love with it. There’s so much art being made here that makes it feel exciting.”
What will feature in your Love Bite, The Streets Of York, and why?
“My Love Bite is a musical theatre song, inspired by the unofficial wedding of Anne Lister (alias Gentleman Jack), which took place at Holy Trinity Church, in Goodramgate, in 1834. It’s a fascinating moment, seen through the eyes of Lister herself (as performed, brilliantly, by Dora Rubinstein).
“I love that this incredible moment in LGBTQ+ history happened right here in York. It felt apt to be able to honour and acknowledge Lister whilst also paying homage to the very streets we all know so well.”
Dora Rubinstein: Playing Anne Lister in Gus Gowland’s The Streets Of York
What changes would you make to the streets of York?
“Right now, I’m loving all the outside seating that has popped up everywhere, so I’d make sure that was a permanent feature.”
In lockdown, what have you missed most about theatre?
“Oh gosh, where do I start? I’ve missed sharing an experience with other people. I’ve missed watching a story unfold in front of me, with the electricity of live performance. I’ve seen a huge amount of online theatre and it’s brilliant but there’s nothing that can replace that sensation of sitting in a theatre with an audience, collectively gasping, crying, laughing, at the show in front of you.”
What’s coming next for you?
“I’m releasing an EP of original songs, co-written with Craig Mather, called In Motion. We met when Craig was in my musical Pieces Of String and wrote these songs via Whatsapp during Lockdown 1 and it’s very exciting to be sharing them with the world. That will be on all streaming sites from today (14/5/2021).
“I’m also working on revisions to Pieces Of String and have a few other shows bubbling under that will hopefully be in a theatre before long.”
What would be the best way to spend five minutes if you had a choice?
“Probably listen to a song. Right now, it would be anything by Ben Platt or MUNA [electronic pop group from Los Angeles]. That way I can be transported to a memory, a different place or time, just through the magic of the music.”
Tickets for Love Bites cost Pay What You Feel at yorktheatreroyal.co.uk or on 01904 623568.
Tent Of Hope: Sue Clayton’s commissioned painting of the NHS York Vaccination Centre at Askham Bar, York. Plans are afoot for prints and postcards to be made available to raise funds for a charity. Watch this space.
YORK artist Sue Clayton has unveiled a specially commissioned painting of the “Tent Of Hope” at the NHS York Vaccination Centre at Askham Bar.
Sue has picked out members of the Nimbuscare teams that work there to feature in the pen-and-wash work, joined on the canvas by the cat that makes daily visits to the site.
The work is on show in the tent that has administered 200,000 jabs, one in every 250 in Britain so far, with the full repertoire of Oxford/AstraZeneka, Pfizer and Moderna Covid-19 vaccines available.
On view too for those attending a vaccine appointment is Sue’s portrait exhibition of children and young adults with Down Syndrome, entitled 21, presented in association with Pocklington Arts Centre (PAC) until Sunday, June 13.
Nimbuscare’s director of quality and patient experience, Michelle Phillips, says: “It’s a huge privilege to have this very special art here at the Vaccination Centre. We’re especially delighted with the unique painting Sue has done for us. Thanks to everyone who has helped make it happen.”
“We wanted to encapsulate the feeling, the atmosphere, the experience, in the Tent of Hope,” says Nimbuscare director of quality and patient experience Michelle Phillips
Standing beside the painting, Michelle adds: “We wanted to encapsulate the feeling, the atmosphere, the experience, in the Tent of Hope, where we try to not make it feel like a factory production line, like a turkey on a conveyor belt, but instead make it very much about everyone playing their part in the community. That’s why we call it ‘the tent of hope’ because the vaccine has been the turning of the tide.
“We wanted to find a local artist to express their interpretation of that experience, and I found Sue through a mutual friend.
“She was immediately excited and even more so when we met to chat about what we wanted from the painting, what the vaccination centre means to us, and what a variety of people work here: from the foundation-year doctors, nurses, retired [medic] returnees and health-care assistants to ambulance staff, security services, volunteers from all walks of life, and the military services at the start. Sue has come up with an amazing piece of art.”
Sue takes up the story: “I believe the recommendation to Michelle came from Big Ian Donaghy – Ian was one of the six York Heroes I painted in 2018 – making a nice full circle celebrating our heroes,” she says.
The commission brief was “quite open”, being left to her interpretation. “I immediately felt it should be a joyous watercolour; I wanted something almost whimsical…a definite celebration piece,” she says.
“It was important to me to try to represent a member from each team that works there: the volunteers, marshals, nurses, doctors, army medics, plus a whole host more.
Artist Sue Clayton, site manager Will McEvoy and Nimbuscare director Michelle Phillips with the Tent Of Hope painting
“It was also important to speak to staff about what they felt about working there and I also spoke to friends about their feelings when visiting the tent.”
Sue enjoys the “quirky side” too. “That’s why the little black-and-white cat who visits the tent site each day is there, as is the much-appreciated tea trolley for the staff,” she says.
“The finished piece shows the tent, celebratory rainbow-coloured splashes festooning the blue sky, and we see a little vignette of a vaccinator at work and various personnel, all socially distanced, of course! It’s a pen-and-wash piece with the pen purposefully relaxed, almost in a ‘wibbly-wobbly’ fashion to add a sense of fun.”
The accompanying 21 exhibition was presented previously on the railings of All Saints’ Church, Pocklington, from March 19 to April 19 and comes a year after Sue held her studio show, Downright Marvellous At Large, at PAC, giant pair of hand-knitted odd socks and all.
Sue, a portrait artist with a vibrant colour palette and a social purpose, chose the theme of 21, not only to mark World Down Syndrome Day on March 21 but also to symbolise the extra 21st chromosome that people with Down Syndrome have, her energetic son James among them.
“The PAC initiative of holding the outdoor exhibition was just so perfect, Covid-safe, free to access and inclusive, and it was a huge success on its first showing in Pocklington town centre,” says Sue.
Sue Clayton’s portrait of Holly from her 21 exhibition of children and young adults who have Down Syndrome
“There was such a great reaction. I’ve had people sending in photos of themselves by the portraits. It was brilliant to be sent photos of the models themselves, by their portraits.
“I know for many families it became a trip out – it was great that there was an ice-cream parlour at the end of the exhibition! I had a very proud moment with my kids as I heard some lovely comments from passers-by, discussing the portraits with no knowledge that I had painted them.”
PAC director Janet Farmer says: “We always enjoy working with Sue on staging her striking exhibitions at PAC, so it’s been absolutely fantastic to be able to continue sharing her inspirational work with the public in the midst of the pandemic by taking the exhibition outdoors.
“It’s been brilliant to see so many people enjoying the opportunity to engage with art at this time, and we’re looking forward to sharing it with many more people as we bring the exhibition to the NHS York Vaccination Centre.”
The 21 posterboards are all-weather and ideal for transferring to other locations, hence Sue and Pocklington Arts Centre’s shared enthusiasm for touring the exhibition after the reaction to the Pocklington run.
NHS York Vaccination Centre site manager Will McEvoy, Nimbuscare director of quality and patient experience Michelle Phillips, artist Sue Clayton and Pocklington Arts Centre director Janet Farmer at the unveiling of 21
“The idea to bring it to the Vaccination Centre came about just in conversation with Michelle really: a lovely correlation of discussing when I would present the commission piece and me saying I would love to show ’21’ in York, if only I could think of a venue. A lightbulb moment!” says Sue.
“When Sue offered us the 21 exhibition, we jumped at the opportunity,” says Michelle. “There’s so much colour in the portraits, and the way they have transformed the tent is amazing.”
Among the 21 portraits is Andrew, the son of a Nimbuscare vaccinator, lead nurse Theresa Ollerenshaw. “I’ve known Sue since Andrew was a baby and she’s been doing inspiring art ever since I’ve known her,” she says.
“She’s spreading awareness of Down Syndrome, and so many people are going to see these portraits when ordinarily they wouldn’t. I love how they capture young people enjoying life. It’s going to be very strange coming in and seeing Andrew whenever I’m in here!”
“Andrew was one of the new pen and ink portraits I did in lockdown,” says Sue. “With Andrew having beautiful Titian red hair, I just wanted to capture that, and it’s been a joy to be able to sit down and do these portraits, listening to BBC Sounds.”
Nimbuscare vaccinator Theresa Ollerenshaw stands beside Sue Clayton’s portrait of her son Andrew from the 21 exhibition at the NHS York Vaccination Centre
Now, two new options are in the pipeline for 21. “Hopefully, Hull Waterside & Marina and Bradford…so far,” says Sue. “More immediately, a short video of the exhibition is going to be featured in a pop-up art show at Kirkgate Market in Leeds.
“I was absolutely blown away by the positive feedback I received in Pocklington, so I’m really excited about now taking it to other venues so that many more people can browse the portraits and join me in celebrating young people with Down Syndrome at work and play.
“My son James, who’s a huge inspiration for me, turned 18 in lockdown, so this was the perfect time to put this exhibition together and I hope it brings a lot of joy to people after what has been such a challenging time for so many.”
Six questions for York artist Sue Clayton on vaccine jabs, new projects, art classes, lockdown and life after June 21.
Your Tent Of Hope painting features the Vaccination Centre at Askham Bar. Did you have your jab there?
“I’ve now had both jabs as I’m classed as a carer because my son, James, has Down Syndrome. We had ours at the Haxby Group practice, although I did support my mum on both occasions to the Askham Bar site…it was that first sight of the gleaming white domes that stays in my mind.”
Artist Sue Clayton and her son James
Did you find going for the first jab emotional?
“On my own jab, I didn’t feel too emotional, but the first time I took my mum, I did. She was nervous and is hard of hearing, so I was pleased to go in with her for support.
“I felt the same again, supporting James for his jab. He’s had to shield and it really felt like a positive step forward. The feeling of now having both jabs gives us a reassurance we’ve never felt before.”
How are your art projects progressing: when might we see the results?
“Oohhh…I’m on with an exciting new project, which came about from a conversation on a park bench in the Museum Gardens. I was having a chat with Michael Miles, who’s a lifelong York City fan and creates the Y-Front fanzine.
“Although not a follower of football myself, he held me captivated as he talked about his love for his team and what Bootham Crescent meant to him. One of those conversations where someone’s passion for something sparks your own interest to listen to them.
Sue Clayton’s playful self-portrait
“I also learned that York City Football Club celebrates its centenary next year. So, a plan has come together: I’m painting a series of portraits of the fans to be revealed all together next year. The fans are sending me their photos and I’ll be including many through the years. I’m loving it!
“Also, excitedly, I hope to collaborate with Tony Cope. His photography is just exquisite and I’m a huge fan. He captures such a poignancy and feeling in his work. Watch this space.”
How are the art classes you lead online going?
“They’re going well. I love that I now have people tuning in each week from all over the UK and the Netherlands too! It’s interesting that this time last year I panicked about using this new-fangled Zoom ‘whatdoyacallit’ and now I’m reticent to return to face-to-face teaching as it suits me so well.”
If you could sum up your life in Lockdown x 3 in five words, what would they be?
“Lockdown 3 has been the hardest in many ways for me. I was devastated that my relationship ended, and as we came out of lockdown, I lost my lovely dog to cancer – so, not the best of times.
“My five words? Sadness, loss but new beginnings.”
What do you most want to be able to do after “freedom day” on June 21(hopefully!)?
“If it’s safe to do so, I’m looking forward to giving people hugs again. I’m naturally quite tactile and, boy, I’ve missed contact with people. I’m looking forward to seeing live gigs, theatre, cinema, and meals out again too.
Jab in the art: Sue Clayton’s portraits on show for when you take a seat at the NHS York Vaccination Centre at Askham Bar
Maurice Crichton, as Dorn, with Elizabeth Elsworth, as Polina, in York Settlement Community Players’ production of Anton Chekhov’s The Seagull at York Theatre Royal Studio in February-March 2020. Picture: John Saunders
THE Love Season will soon set hearts pulsing at York Theatre Royal, where the Step 3 reopening will make its mark with Love Bites: a love letter to live performance and a toast to the city’s creative talent.
More than 200 artists from a variety of art forms applied for £1,000 love-letter commissions to be staged on May 17 – the first day that theatres can reopen after restrictions are lifted – and May 18.
The 22 short pieces selected will be performed each night at 8pm under the overall direction of Theatre Royal creative director Juliet Forster. Each “bite” will take hold for five minutes.
In the first in a series of CharlesHutchPress Q&As,YorkactorMaurice Crichtonhas five minutes to discuss his work, Where Are You Now, You And I?
How did you hear about Love Bites, Maurice?
“I reckon I saw it come up on Facebook and of course via charleshutchpress.”
What is your connection with York?
“I came south from the Glasgow area to university here in the early 1980s and have been here ever since. My three children grew up here. Then in 2009 I got involved in the York amateur theatre scene and theatrical pursuits are now a big part of my life.”
Helen Wilson: Directing Maurice Crichton in Where Are We Now, You And I?. Here she is pictured performing in York Shakespeare Project’s Sit-down Sonnets in the Holy Trinity Church open air in Goodramgate, York
What will feature in your Love Bite, Where Are We Now, You and I?, and why?
“I can tell you it is a solo piece which I have written and that my partner Helen Wilson is going to bring to bear her considerable directing expertise to try to make sure I don’t make a complete fool of myself.
“The brief was simple and clear for a very special occasion. A love letter to light up the YTR stage after such a long period of darkness. I had an immediate and personal response to the brief, which I hope will do justice to the opportunity.
“I was in Anthony Minghella’s Two Planks And A Passion in 2011 in the main house when it was reconfigured in the round. I did a slightly daunting read-through as Pilate for the 2012 Mystery Plays from the main stage to a big audience the following year. But nothing else in that space. So, for lots of reasons, even though it is only five minutes, for me personally it’s going to be a big five minutes.”
So, where are we now, you and I and the rest of us?
“I hope just about OK. I have been very lucky. With any unexpected trauma, it doesn’t really hit home until the danger is past. What has it cost us all? It’s too early to say.”
In lockdown, what have you missed most about theatre?
“Being able to take for granted that it’s alive and well in our city and has a future.”
“What has it cost us all? It’s too early to say,” says Maurice Crichton of living through these pandemic times
What’s coming next for you?
“I’ve done some filming work on a piece called The Whispering House with Damian Cruden (director) and Bridget Foreman (writer), about the Census in Tang Hall and Heworth, in which I play a Swedish immigrant completing the 1911 census.
“His name is Enoch Stanhope, a real person. He lived at Yew Villa, Heworth Village, and had a jewellery shop on Coney Street. I hope the fruits of that work will be released soon.”
“I’m producing another Sonnets production – the sixth – this summer for York Shakespeare Project. Emilie Knight is going to direct and we hope to able to announce dates for this year in an exciting new outdoor venue very soon.
“I’m also working on a little project for York Mystery Plays Supporters Trust to take a guided walk along the route of the medieval Mystery Plays. (YMPST, along with York Festival Trust are staging A Resurrection For York on wagons in the Residence Garden, Dean’s Park, beside the Minster Library on July 3 and 4, directed by Philip Parr.)
What would be the best way to spend five minutes if you had a choice?
“Right now, it would be to ring my Mum’s doorbell in Fife and give her a hug or to make a surprise second visit to my new granddaughter (aged four weeks) in Bath and to bounce little Emma on my knee.”
Tickets for Love Bites cost Pay What You Feel at yorktheatreroyal.co.uk or on 01904 623568.
When Richard met Hetty: York actor Richard Kay with Hetty the hare in Badapple Theatre Company’s new eco-adventure, Tales From The Great Wood
BADAPPLE Theatre Company will return to live performances this summer with Tales From The Great Wood.
“This is a new short play for children and grandparents – and everyone else – to enjoy together that can be performed indoor or outdoor,” says writer-director Kate Bramley, founder of the Green Hammerton theatre-on-your-doorstep proponents, as she introduces her interactive storytelling eco-adventure.
“Listen! Can you hear the whispering in the trees? The Great Wood is full of stories. It’s a hot summer’s day, perfect for basking in the sun, but instead of resting, Hetty the hare is investigating because someone is missing.
“As she unravels a tall tale that stretches from end to end of The Great Wood, Hetty realises that every creature – no matter how small – can have a huge part to play in the world of the forest.”
Starring York actor Richard Kay, Danny Mellor and a host of puppets made by designer Catherine Dawn, this show for ages five to 95 will be performed at the Covid-secure Joseph Rowntree Theatre, York, on July 2 and 3.
“We’ll also be playing Skipsea Village Hall on the Sunday, and we’re looking to do some outdoor performances too, such as at stately homes, with Annabelle Polito working on that for us at the moment,” says Kate.
“I’m trying to create a show that is ‘omni-everything’: suitable for outdoor spaces and for indoors, so it’s not only a play for all seasons, but a play for all eventualities.”
Badapple Theatre Company turned an empty grain store into a theatre/film studio to record the hit play Eddie And The Gold Tops
To add to the feeling of resurgence, Badapple Theatre Company is celebrating being awarded two grants to support its youth theatre classes, as well as the resumption of professional live shows this summer.
Over lockdown, the North Yorkshire touring theatre company moved its youth theatre classes online, created a free Theatre On Your Desktop podcast series of online plays and even converted an empty grain store into a theatre/film studio to record two of its plays, Eddie And The Gold Tops and The Snow Dancer.
Now, the Local Fund Harrogate District, administered by Two Ridings Community Foundation, has provided £2,908 to cover Badapple’s core costs and ensure its community projects can continue through to August, such as its regular youth theatre sessions in the village.
“Meanwhile, Arts Council England has awarded £15,000 in financial support to commission new plays for the youth theatre and youth summer school and to ensure a return to professional live performance,” says Kate, Badapple’s artistic director.
“We’re delighted to be celebrating both of these grant awards. The two go hand in hand to keep us afloat with our community work right now and keep us moving forward with brand new shows for audiences this summer.”
Looking back on a 21st anniversary year spent under the Covid cloud, Kate says: “Arts Council England stepped in and bailed us out spectacularly, but we couldn’t monetise the online programme, beyond getting plenty of hits for the Christmas show, but certainly we couldn’t live off that.”
Badapple resumed live performances last September with Suffer Fools Gladly, actor Danny Mellor’s hour-long comedy about the perils and perks of always having to tell the truth, presented in Yorkshire private gardens, campsites and hall car parks.
Anastasia Benham and Danny Mellor in Mellor’s Suffer Fools Gladly when Badapple Theatre Company resumed live shows with outdoor performances last September
“We really hit lucky with Danny’s show, and we were really lucky with the September weather, except for the last show, when we needed a sturdy, stoic audience!” says Kate. “The shows were utterly Covid-safe too.”
Reflecting on how theatre companies responded to the Coronavirus crisis, Kate comments: “So many companies adapted to the social need, whether to run food banks or provide outdoor events, and that’s a good thing to come out of the arts world in pandemic times.
“There’s been less navel-gazing with a lot of good companies looking beyond their own agenda to think, ‘what do people need from us now?’.”
Looking ahead, Kate reveals: “December 2021 will see the rescheduling of our original eco-fable The Snow Dancer, the Christmas show that we were so lucky to present in a handful of performances at the Joseph Rowntree Theatre in December 2020 between lockdowns.
“Our Christmas remit is always to play to children and grandparents, so that’s our agenda again, to bring those two generations back to seeing things together,” says Kate.
“May/June 2022 will finally – everything crossed! – see the long awaited and much- postponed premiere of my brand-new comedy Elephant Rock. This twice-postponed show is already funded by Arts Council England, so we’re excited to be programming venues for this event from now onwards.”
What happens in Elephant Rock? “From the great age of the steamers and through the heyday of the British seaside resorts, the old Palace dance hall stood proudly on the pier, attended by the greatest of all attractions, the Mechanical Elephant,” says Kate.
Danny Mellor and Anastasia Benham in Badapple Theatre Company’s The Snow Dancer, performed in a Covid-secure, socially distanced Joseph Rowntree Theatre in York last December
“But the relentless tides have chipped away at the coast and the mighty Elephant Rock that gave the headland its name seemingly walked off overnight. Join us for a night of comic capers from a family who are trying to keep the Palace doors on, and open, as they delve into a complicated family history of music hall owners spanning 100 years and 5,000 miles to the elephant-filled grasslands of Sri Lanka.”
At the heart of Badapple’s Arts Council funding bid was an emphasis on children, leading to a focus on commissioning new plays for the youth theatre and supporting the youth summer school.
“In the pandemic, children have not only lost a year’s work at school, but also a year of playing and social-skill building, when they’ve not been able to relax their bodies and lark about, instead being in a ‘straitjacket’ at home,” says Kate.
“They’ve been amazing in keeping to social distancing and in putting up with how they’ve had to be dressed.”
Kate continues: “That’s why it’s important for us to be exploratory in how we tell children’s stories and how we let them have fun now, so with that in mind, we’ve asked Richard Kay to write us a pantomime for our youth theatre.
“He’s written a couple of shows for us, Cinderella and a mash-up of Snow White and Babes In The Wood, so that there could be a big cast with plenty for them all to do.
“He understands how to write a pantomime that’s very funny but also entirely appropriate for Key 2 children, so we’re really excited about it.”
Richard Kay: Badapple Theatre Company actor and pantomime writer
Kay’s 2021 pantomime will feature young actors who have attended Badapple youth theatre sessions on Zoom in lockdown. “We’re hoping of course that it will be the first chance for parents and wider audiences to see them on stage again,” says Kate.
“The children have worked so hard for a year, but apart from the odd vignette online, parents haven’t been able to see them perform or see the big strides they’ve made.
“We’re kind of in awe of how good spirited they’ve been in taking part in exactly the same way even though it’s just each of them in their own room, connecting online.
“For some of them, it’s been the making of them, with their confidence picking up when there’s no peer pressure about how they look or how they feel, and all of them keeping it high energy in an hour’s involvement.”
Kate adds: “For some, it’s given a greater depth to their performances because they’ve had no distractions, so that’s been the bonus, with them really thriving in the online environment, though we all agree that ‘live is best’.”
Even though the Government has decreed youth theatre sessions can be resumed indoors, Badapple’s young performers have wanted to do outdoor sessions. “It’s that thing of enjoying nature in a different way, improvising with the world around us, making playlets based on the garden settings around us,” Kate says.
“In the pandemic, children have not only lost a year’s work at school, but also a year of playing and social-skill building,” says Badapple Theatre Company artistic director Kate Bramley
Outdoor performance takes her back to Cornish youth. “When I grew up, the company I would see was Kneehigh, before they became the national name they are now, doing open-air shows.
“Then, when I was with Cornwall Youth Theatre Company, there was always that thing of grand pageantry, so that outdoor theme has always been important to me, and I’m really happy to be building up youth theatre work that has an outdoor element to it,” says Kate.
“If this past year has given me anything to think about, if I’m to keep going for another 20 years, I would like to mix indoor and outdoor strands, as we’ve always been ecologically minded.
“For us, it’s always about storytelling and creating a storytelling experience that’s magical when people come together, and it’s just about finding different ways of doing that.”
Kate notes how Badapple’s philosophy chimes with Arts Council England’s thinking. “I don’t think we’ve done anything differently to gain funding. It’s the fact that the Arts Council’s Let Create strategy, handed out before lockdown, is much more in alignment with how we think about arts provision and productions, where they seek three strands: community involvement, excellence in artists and international pedigree,” she says.
“We’ve always felt our work is as valuable as everyone else’s, and we seem to be on a crest of a wave, having created a strategy that chimes with everyone. The Arts Council have done us so proud, intervening in a way where there are possibilities on so many different levels for us.
Children and tutors enjoying a Badapple Youth Theatre summer school session in pre-Covid times
“Harrogate Borough Council and North Yorkshire County Council have freed up funding too, ending up with us breaking even in the latest financial year, and I’ve never been so proud about that. We’re still trading, we’re still alive and kicking, with good projects to look forward to.”
Another plus point of the past year has been forging a partnership with the Joseph Rowntree Theatre, York’s community-run theatre in Haxby Road, first for The Snow Dancer last December and now for Tales From The Great Wood in July.
“That’s something that would never happened without the pandemic, doing the socially distanced performances of The Snow Dancer after their board member Moira Tait hosted three shows of Suffer Fools Gladly in her garden,” says Kate.
“Now, we’re excited to premiere Tales From The Great Woods at the Rowntree Theatre, as it fits our ethos of taking shows to people that wouldn’t otherwise see it.
“They want us to do The Snow Dancer there again in this winter’s tour and we want to support them as much as possible, as we were bowled over by how they kitted out the theatre to be Covid-safe for last winter’s shows.”
Badapple Theatre Company presents Tales From The Great Wood, Joseph Rowntree Theatre, York, July 2, 7.30pm, and July 3, 11am, 2.30pm and 7.30pm. Box office: 01904 501935.
Martin Simpson: Headlining Primrose Wood Acoustics in Pocklington on July 1. Picture: Geoff Trinder
POCKLINGTON Arts Centre will go down in the woods on July 1 and 8 to present Primrose Wood Acoustics, two outdoor concerts at twilight in a beautiful Pocklington sylvian setting.
Virtuoso Scunthorpe-born guitarist and singer-songwriter Martin Simpson will headline the first 7pm event at Primrose Wood, supported by Yorkshire singer-songwriter Katie Spencer.
A week later, the second twilight session will feature Leeds indie-folk/Americana band The Dunwells and opening act Rachel Croft, the York singer-songwriter.
The acoustic concerts are being staged by Pocklington Arts Centre (PAC) after a series of online events and outdoor exhibitions by York artists Karen Winship and Sue Clayton held during the pandemic.
Primrose Wood Acoustics not only will mark the first time PAC has taken concerts into the outdoors – giving audiences a chance to experience live music within a unique and Covid-secure setting – but also will be the first concerts to be hosted by the East Yorkshire venue since the first lockdown last March.
Katie Spencer: Deeply personal songs of nostalgia, loss and love. Picture: Tom Arran
PAC director Janet Farmer says: “During the pandemic, we’ve been doing a lot of walking in the Pocklington area including Primrose Wood. With its natural clearings and proximity to the town centre, we immediately thought it would provide the perfect outdoor stage with a difference, so the idea of Primrose Wood Acoustics was born.
“As we prepare to re-open the venue, we’re very much looking forward to being able to bring some truly unique events to our audiences. This is going to be something quite special.”
Martin Simpson travels the length and breadth of Britain and beyond to give intimate solo performances full of passion, sorrow, love, beauty, tragedy and majestic fingerstyle guitar playing.
Simpson, 68, who recorded his first album, Golden Vanity, in 1976, is equally at home playing English traditional folk, American folk and blues and his own compositions on acoustic and slide guitar and banjo to boot.
Support act Katie Spencer writes songs imbued with the northern landscapes of her Yorkshire home and the warmth and idealism of the early 1970s’ folk and songwriter movements. Originally from Hull, she draws on the grainy imagery of the industrial docks and sea-fronts in her deeply personal songs of nostalgia, loss and love.
The boys Dunwell: Brothers Joseph and David of Leeds band The Dunwells
The Dunwells, formed by brothers Joseph and David Dunwell in Leeds in 2009, combine heartfelt lyrics with American-influenced indie-folk song structures, as heard on their 2012 debut album, Blind Sighted Faith, and six subsequent albums and EPs.
The Dunwells have performed at both PAC and Platform Festival, at Pocklington’s Old Station, and have toured the United States extensively, not least appearing at SXSW music festival in Austin, Texas. They last released a studio album, Something In The Water, in September 2019, followed by the live recording Live At Aire Street last December.
Support act Rachel Croft’s song-writing is cinematic, moody and classic, wherein atmospheric backdrops frame her vocals as she blends folk, rock and soul styles.
Rachel’s new EP, Reap What You Sow, will drop this summer, exploring a more potent, bluesy style.
Concertgoers can access the location from both main entrances to Primrose Wood via Burnby Lane and The Balk, with the concerts being staged close to the Burnby Lane (YO42 2QB) entrance.
Tickets cost £15 for July 1 and £12.50 for July 8 at pocklingtonartscentre.co.uk.
Rachel Croft: Exploring a “more potent, bluesy style” on her summer EP. Picture: Amy D’Agorne
CharlesHutchPress puts questions to York singer-songwriter Rachel Croft as she prepares for the twilight hour in Primrose Wood.
Where and when did you last play a gig?
“The last real gig was at Highfield House in Driffield, back in October 2020 – a lone event I was lucky enough to share with Blair Dunlop and Gary Stewart. Before that, I think it was last March, sharing the night with Joe Shepard at the NCEM in York.”
Have you played in woodland previously?
“I haven’t played a gig as such in a woodland but I’ve recorded and performed in a few woodlands for music videos. Really atmospheric!
“Only Dreams had woodland in it, and the new video for Reap What You Sow, directed by James Buck, will have a part shot in woodland too.”
What do you feel about playing at the twilight hour: a magical time of day or a harbinger of the dark night to come?!
“Playing outdoors in the twilight hour sounds just right for some of my songs. I like to write atmospheric music, and I think this will be the perfect setting to finally share them with people!
“I think sunset can be a nostalgic time in a way, thinking about the day that’s done and the start of night. Certainly, it could add to the moodiness of some of my songs too.”
“Playing outdoors in the twilight hour sounds just right for some of my songs,” says Rachel. Picture: Amy D’Agorne
You have a new EP on the way, Reap What You Sow. When and how will you release it?
“The EP is due this summer. I’ll stagger a single and then the rest of the songs later on in the season, along with videos and live performances hopefully. We’re still finishing them, so once we have them completed, I can set a date and get cracking. I’m really excited to share these songs; they’re my best work so far. Stay tuned!”
Where and when was the EP recorded?
“It was recorded here in York, at Young Thugs Studios [in South Bank Social Club, Ovington Terrace], and has been ongoing for probably six months now, what with so much uncertainty and all my usual funding methods gone, which made things interesting!
“All the musicians on the tracks are from around here and I’m really lucky to know so many talented people.”
What are the song titles and themes and were any influenced by pandemic times?
“I’m keeping the song titles on the down-low for now, except Reap What You Sow, the title track and first single. There are five songs, though, and as a collection they represent a storm, sort of. The build-up, the energy, the wreckage left behind, and then the rebuild, leaving it behind.
“All the songs are from the lockdown, and I think they helped me to release a lot of pent-up frustration and emotion. I’ve never felt that, until this point, I’ve really released anything that shows the most of me, not just one side.
“It feels really liberating; I’ve always loved music like this but never before felt like I could be that artist. And then, well, it was the pandemic, so I thought I might as well have a go.”
“I’ve also started using my lower voice more in the songs, which I think really suits this change of sound,” says Rachel
The EP will “explore a more potent, bluesy style”: how will that manifest itself and what has drawn you to the blues?
“The bluesy style is mainly in two of the songs, where I was playing with some different chord variations and was influenced a lot by cinema, film music, and the jazz music I play with the Croft Mullen Band here in York [in a residency at The Phoenix Inn, George Street], alongside writing my own music.
“It’s been really nice to bridge that gap between styles. It’s got a lot of electric sounds in it too, but I love the vintage Nancy Sinatra feel of parts of the songs, how that weirdly works with quite fierce guitars at points.
“I’ve also started using my lower voice more in the songs, which I think really suits this change of sound. I can’t wait for everyone to hear it.”
What have you discovered about yourself in lockdown?
“I have learned that by having all the joyful distraction taken away, I can be more productive with song-writing. I can choose to sit down, and write, if I try. I never thought I could do that before lockdown. It’s been a great time for my music; I’ve never written so much, but maybe that’s because music seems to come easiest when you’re not totally happy.”
What else is in the diary for you for 2021? Hopefully more shows?
“I’ll be playing at Wickham Festival [Hampshire], Lindisfarne Festival [Northumberland], Northern Kin Festival [Stanhope, Bishop Auckland] and Beverley Fringe, all going well, and I’ve got a few concerts booked here in York and further afield that I’m looking forward to announcing to my socials soon! I’m just happy to get to play to real actual humans again!”
NEWS JUST IN: 14/5/2021
RACHEL Croft will open series two of the acoustic Songs Under Skies concerts in a double bill with Wounded Bear in the National Centre for Early Music gardens at St Margaret’s Church, Walmgate, York, on June 1. Gates, 6.30pm; socially distanced concert, 7pm to 8.30pm. Box office: tickets.ncem.co.uk.
Bench mark: Jeff “J.See” Clark and Brenna “Thready Pulse” Allsuch stand by Art Of Protest Projects’ mural and photography installation in Parliament Street, York
TRANQUILITY through mindfulness is the aim of Art Of Protest Projects’ public street art collaboration with Thor’s Tipi Bar in York.
Project director Jeff Clark and communications and support manager Brenna Allsuch are wearing different hats this time, bringing their own vibrant, uplifting mural and photography installation to Parliament Street at the epicentre of the city’s re-opened shopping streets.
Working under the monikers of Thready Pulse and J.See, respectively, muralist Brenna and photographer Jeff have created eight works for display on four benches to make their mark on the urban landscape.
Jeff Clark taking a photograph by York Minster
Focused on mindfulness and finding a quiet moment of peace in bustling and energetic surroundings, this series of installations – with large board canvases as backrests – features Brenna’s painted mountain range on one side and Jeff’s series of black-and-white cityscape photographs on the other.
“The aim of this collaborative project is to invite people to take a quiet rest as they soak in the city landscape,” says Jeff, whose latest project comes on the heels of the ongoing Guardians Of York, the AOP Projects and York BID collaboration with Brighton street artist collective The Postman to “honour and elevate” pandemic key workers from York.
“Placing art within an urban setting has the power to stop passers-by and encourage them to reflect on something they wouldn’t normally expect to see. It also draws people into the space and allows for conversation and engagement with friends and strangers alike.
Take a seat: Jeff Clark sits on one of his “Tranquility through Mindfulness” benches on Parliament Street, York
“This specific project uses various mediums in the form of paint, photography and construction to allow a multifaceted approach to urban seating and art.”
Thready Pulse and J. See’s bench installation is dedicated to their beloved friend, Michael Feather, who passed away in April. “Michael was the father of our production manager and close friend, Craig Feather,” says Brenna.
“He sadly lost his battle with cancer just four weeks ago and we’ve all been feeling his loss. He was not an artist himself, but an amazing master joiner and carpenter who helped rebuild Chatsworth House [in Derbyshire].
In memory of Michael Feather: Brenna Allsuch and Jeff Clark pay tribute to their late friend’s love of nature and stillness with their bench installation for the public to enjoy tranquility amid the Parliament Street bustle
“Michael was a big part of our lives and his love of nature and stillness served as the inspiration for this piece. His continuous smile and curiosity with the world around him will be sorely missed, but our hope is that this project will serve as a reminder of his impact on his family and our community.”
Brenna and Jeff are grateful to City of York Council for funding and Make It York and York BID for their support. “We’re so excited for this installation to bring smiles and hopefully a feeling of peaceful mindedness to the city of York,” she says.
“Working on these murals and knowing they will be so prominently placed within the city allowed me to step outside of my usual practice and create a series of works that wants to invite people in, stop them in their tracks and allow them to just take a deep breath and refocus their busy mind.”
“Walking through a busy city centre, you don’t expect to come around the corner and see a large mountain landscape,” says Jeff Clark, as he applies his brush to Brenna Allsuch’s mural
Jeff adds: “Walking through a busy city centre, you don’t expect to come around the corner and see a large mountain landscape. Even better, as you walk away and reflect back on the installation, the other side features high-impact iconic black and white imagery of the city of York.”
Under his nom de l’art of J.See, multi-media artist and photographer Jeff Clark works with multi- layered images but predominantly 35mm black-and-white negative film that he then hand processes in a dark room, as well as digital images from various cameras.
Brenna Allsuch, alias Thready Pulse, is a hand-embroidery artist, mural designer and painter from her home studio in York. Trained as an ICU nurse, she is also AOP Projects as head of communications and project support manager.
“I first painted a mountain mural on a wall in my home and fell in love with mixing colours and creating a sense of depth just by adding lights and darks together,” says muralist Brenna Allsuch
Born in Phoenix, Arizona, Brenna moved around Australia and Europe – Norway, Germany and Ireland – and ended up in Austin, Texas, where she spent 15 years. “I moved to the UK almost four years ago and came to York because I wanted to leave the USA and settle in a city where I could raise my kids in a safer environment,” she says.
“Between the political landscape in the USA and having the ability to move abroad, thanks to having English citizen children, York seemed like a great place to settle, and I’m so glad I moved here; I absolutely love it.”
If her mountain artwork looks familiar to you from another York locale, you are correct: she designed the glass-frontage display at Skosh, Neil Bentinck’s restaurant of the gods in Micklegate.
Mountainous task: Brenna Allsuch, alias Thready Pulse, at work on her bench mural in Parliament Street, York
“I’ve always loved the mountains and have always had an interest in murals,” says Brenna, who also uses mountains as a reference in her modern hand embroidery.
“I first painted a mountain mural on a wall in my home and fell in love with mixing colours and creating a sense of depth just by adding lights and darks together.
“Having painted the mountain mural for Skosh, it seemed like an easy choice when we were approached by Thor’s Tipis to create a backdrop on interesting urban benches. I’m excited to continue to explore mountain ranges as a form of murals, as well as other landscapes, both realistic and abstract.”
Brenna Allsuch, ICU nurse, embroiderer, mural artist and Art Of Protest Projects project manager, poses beside street art collective The Postman’s mural of her in Bishopthorpe Road for their Guardians Of York installation. Picture: Dave J Hogan
Explaining the moniker Thready Pulse, Brenna says: “It comes from the medical term defined as ‘a scarcely perceptible and commonly rapid pulse that feels like a fine mobile thread under a palpating finger’.
“I’ve practised as a registered nurse for eight years, most recently working in the intensive care unit at York District Hospital, and when I first delved into the world of embroidery art about three years ago, I thought this was a fitting name for me, suggesting my love for both medicine and fibre arts.”
Her work as an ICU nurse in pandemic times has seen Brenna feature in The Postman’s series of Guardians Of York street art murals. Look out for her, shock of pink hair and all, on the end wall of Millie’s, the grocery store on Bishopthorpe Road.
Writing on the wall: Note the cacophony of words emanating from The Postman’s mural of Brenna Allsuch for the Guardians Of York installation series
“It’s happening!” says Velma Celli as York cabaret star moves residency to Impossible, York, from May 21. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
YORK’S drag diva deluxe Velma Celli is on the move.
Out goes the Covid-suspended monthly camp cabaret Friday nights at The Basement, City Screen, York.
In comes a resplendent residency from May 21 at Impossible, York, Tokyo Industries’ new tea-room, cocktail bar, restaurant and speakeasy enterprise in the old Terry’s café in St Helen’s Café, latterly home to Carluccio’s restaurant.
“It’s happening!” says an excited Velma Celli, the exotic international drag alter-ego of musical actor Ian Stroughair, last seen on a York stage in December as the villainous Fleshius Creepius in York Stage’s debut pantomime, Jack And The Beanstalk, at Theatre @41, Monkgate.
How the other half lives: Exit alter-ego Velma Celli, enter Ian Stroughair, musical actor, playing Fleshius Creepius in York Stage’s pantomime Jack And The Beanstalk last winter. Picture: Kirkpatrick Photography
“Velma has a new residency!! My very first live gig at the utterly fabulous Impossible, York. May 21st. Doors 7pm. Show 8pm! My very special guest is [York soul sister] Jessica Steel (obvs). More special West End guests to be announced! Grab those tickets as it will sell out!”
“Basically, it’s replacing the shows at The Basement, where we don’t know when it will reopen for shows under Covid guidance as it’s a small space,” says Ian, as he switches from the impossible to Impossible, York.
The debut poster for Velma Celli’s new residency
“I met the Impossible general manager, Stephanie [Powell], in December, meeting her between Jack And The Beanstalk shows, and then suddenly she knocked on the window saying, ‘I’ve been trying to contact you!’.
“And so the first Velma Celli Show there will be on May 21, up the stairs, in the fabulous Impossible Wonderbar setting overlooking the square, with more monthly shows to be announced later. This one will be fun, comedic, with stand-up, impressions, the usual mix of rock, pop and the blues, plus Jess and guests.”
The Velma Celli Show residency will not be Velma’s only gig in the first-floor Impossible Wonderbar. “On June 5, we’ll be holding the first Drag Brunch, with Velma, surprise guest drag queens, bottomless cocktails and brunch,” says Ian, looking forward to hosting the “ultimate diva brunch in homage to all the queens”, from Whitney to Tina Turner plus many more besides.
Brunch date: Velma Celli will be joined by guest drag queens at Impossible, York, on June 5
That day, there will be two 90-minute sittings, the first from 12 noon, the second from 2.30pm. Tickets June 5 are on sale via info@impossibleyork.com or on 01904 864410.
After being London based for so long – like so many musical performers – Ian first moved back to York for Lockdown 1 when the pandemic sent him home from a Velma Celli Australian tour, and he plans to settle back in his home city permanently from May, travelling to London for three days a week when necessary.
Streamed concerts, first from a Bishopthorpe kitchen and latterly from a riverside abode by the Ouse Bridge, have kept Velma Celli’s voice in spectacular working order, sometimes accompanied by soul-singing York hairdresser Jessica Steel, leading light of Big Ian Donaghy’s fundraising A Night To Remember shows at York Barbican and salon owner of Rock The Barnet in Boroughbridge Road.
West End star Ian has appeared in such musicals as Cats, Fame, Chicago and Rent – not forgetting a sassy cameo for Velma Celli on EastEnders – but had to forego a long run in Funny Girls in Blackpool last year, thwarted by Killjoy Covid.
Ian Stroughair: Musical actor, drag queen , pantomime star
The pandemic strictures put paid to his international travels too, but already he has had two Covid-19 vaccine jabs to enable Ian to plan a week’s travel to Mexico for a Velma Celli show in Cancun.
“Thank god for that because the next cruise is not until October. I lost all the cruise-ship shows last year, and I’d already lost five cruise bookings this year, when in one day I lost three more cruise bookings,” he reveals.
In the diary too is Velma Celli’s participation in The Love Season at York Theatre Royal, performing one of Velma’s regular cabaret shows, re-titled Love Is Love: A Brief Of History Of Drag specially for the May 29 occasion.
Joining Velma that night will be two guest acts, Jordan Fox, Ian’s co-star in Jack And The Beanstalk, and Jessica Steel, backing singers Kimberley Ensor and Grace Lancaster, musical director Ben Papworth, drummer Clark Howard and guitarist Al Morrison.
“I last performed there in Kes, when I was 14, exactly 24 years ago, and sadly I’ve never been back,” says Ian. “I’ve tried to do shows there but it’s never happened, so it’s great to be back now. I love what Tom [chief executive Tom Bird] is doing there.”
When the ships are down: As it stands, Velma Celli will not do a cruise gig until October
Ian has taken A Brief History Of Drag to New York and Australia and on a British tour, as well as staging performances in London and York. “I’ve been doing it for four years now on and off, and I’m so glad the Theatre Royal wants the show,” he says.
“I wrote it when I was stuck in Africa for a few weeks. I thought, ‘let’s write a show’ and it ended up being about how I got into drag and a celebration of the impact of drag in theatre, music, film and popular culture.”
Yet for all the flamboyance of the imposingly tall Velma Celli, for all of Ian’s love of performing, he has a surprising admission to make: “I don’t like fame and celebrity,” he says. “I repel it!”
Tickets for Velma Celli’s 8pm show on May 29 at York Theatre Royal are on sale at yorktheatreroyal.co.uk or on 01904 623568.For the latest Velma Celli trailer, go to: https://www.youtube.com/watch?v=a005o6eGZWI. Hit it!
Love is the drag: Velma Celli’s celebration of the art of the drag queen
Rick Astley: Biggest favourite of the summer at York Racecourse this season
NEVER gonna give you up, never gonna let you down, and sure enough, Eighties’ pop icon Rick Astley will play the York Racecourse Music Showcase Weekend, albeit a year later than first planned.
Originally booked for July 25 last summer until Covid sent race days behind closed doors, Astley, 55, will take to the stage on July 23 after the Friday evening race card.
Less than 24 hours later, re-formed London boy band McFly will perform the second Music Showcase Weekend concert, post-afternoon racing, on their return to the racetrack where they first played in 2012. Like Astley, they had to forego a 2020 outdoor gig, in their case at Scarborough Open Air Theatre on July 21.
Newton-le-Willows crooner Astley is enjoying a career resurgence on the back of his 50th birthday-triggered album, the self-penned, chart-topping, platinum-selling 50 in 2016, after a decade-long hiatus, followed by Beautiful Life in 2018.
In 2019, he released a career-spanning compilation, The Best Of Me, a top-five success with 11 additional reimagined tracks and new single Every One Of Us. That year too, he undertook a 38-date stadium tour as special guest to Take That, playing to 500,000 people.
Showing his cross-genre appeal, Astley graced Reading Festival’s main stage to sing Never Gonna Give You Up with Dave Grohl’s rock band, Foo Fighters. Just before the pandemic, he toured Australia and New Zealand with a-ha.
Far from quiet during lockdown, he has amassed nearly two million YouTube followers with a series of Lockdown Covers from his home studio and become a major force on TikTok with 1.7 million followers, being selected as one of Louder’s top ten “must follow” artists on the digital platform.
During this time, he has supported the NHS publicly support and has organised free concerts for NHS staff at this October’s upcoming UK arena tour.
His July 23 set will be built around such Astley favourites as Never Gonna Give You Up, Whenever You Need Somebody, Together Forever, When I Fall in Love, She Wants To Dance With Me and Cry For Help.
McFly: Back on track at York Racecourse this summer after first playing there in 2012
In their early-evening Saturday show, McFly will combine past and present, drawing on songs from their six studio albums.
Last year, after a ten-year gap and a detour into boy-band supergroup McBusted, the familiar McFly line-up of Tom Fletcher, Danny Jones, Dougie Poynter and Harry Judd returned with Young Dumb Thrills, charting at number two.
The singles Happiness, Tonight Is The Night and You’re Not Special received BBC Radio 2 airplay and the band played on Britain’s Got Talent, The Graham Norton Show and and Ant & Dec’s Saturday Night Takeaway, as well as making their own ITV1 documentary about their hiatus, All About Us.
Formed in 2003, McFly became the youngest ever band to have a debut album go straight to number one in the UK, when July 2004’s Room On The 3rd Floor beat The Beatles’ long-standing record, set with Please Please Me in March 1963.
McFly have chalked up seven number one singles and ten million album sales, and their high-energy York Racecourse set could parade 5 Colours In Their Hair, Obviously, That Girl, All About You, You’ve Got A Friend, I’ll Be OK, I Wanna Hold You, Don’t Stop Me Now, Please, Please, Star Girl, Baby’s Coming Back, Transylvania and One For The Radio.
McFly last played live in November 2019 in a stand-alone show, One Night Only, at the London O2 Arena to mark their re-formation.
Tickets for the Music Showcase Weekend combined racing-and-concert events are on sale at yorkracecourse.co.uk. As well as free car parking, no booking fees apply, but please note, admission is not available on a concert-only basis; the gates will be closed at the time of the last race.
The dates in late-July fall well after the scheduled “Step 4 of the roadmap” on June 21, so York Racecourse is taking a “positive approach to the occasion”.
However, “given both the circumstances and that operating details for large venues are still awaited from Government, racegoers are offered a guaranteed refund in the event of Covid-related alterations, as well as the reassurance that all Covid-19 protocols that are applicable at the time of the event, will be followed,” York Racecourse states.
James Brennan, head of marketing and sponsorship, says: “Everyone at the course is really excited that these magical racing and music events are scheduled to return. With a northern boy set to play, then a band that bring a smile to many faces, add in the spectacle of the racing itself and we hope it will prove a summer weekend to savour.”
Alan Ayckbourn in the garden of his Scarborough home in May 2020 during the first lockdown. Picture: Tony Bartholomew
ON Tuesday, playwright Alan Ayckbourn returned to his empty, dark, silent rehearsal room next door for the first time since September 2019.
After months and months of work, restlessness but no live play, the Scarborough knight is back where he feels most at home: directing a new Ayckbourn work, The Girl Next Door, from the rehearsal studio in his Longwestgate abode.
“My spirit in lockdown had begun to pall, especially in this one, as I’ve had no springboard for my work,” he says. “Like everyone else, I decided to keep busy at all costs: I wrote play after play, four actually, but they just lay there, unexplored, neglected, unfulfilled, because I had no feedback from actors or audiences of course, so I couldn’t move forward.
“I was parked on the runway, seeing where I might fly off to next.” The permission for take-off has now been granted: The Girl Next Door, 82-year-old Sir Alan’s 85th premiere, will open in The Round at his beloved Stephen Joseph Theatre, where he is Director Emeritus after 37 years as artistic director from 1972 to 2009.
“I wrote it back in spring 2020. I like to think of it as a lockdown love story,” he says of his touching, tender and humorous reflection on the ability of love to rise above adversity and reach across the years.
Sir Alan, who turned 82 on April 12, had experienced the frustration of his 2020 world premiere of Truth Will Out, ironically a prescient play about a virus, albeit of the computer variety, being knocked into the long grass by the first lockdown as the SJT lay dormant from March 17.
For all his unstinting productivity – not only the four plays but also audio-stream recordings of the previously unproduced Anno Domino and a Christmas revival of his ghost play Haunting Julia – Sir Alan has been itching to intereact with actors again.
“Just go for it,” he said as he anticipated Tuesday’s first session. “I’ve been counting down the days to when we start rehearsals just after the Bank Holiday.
“All I can say is, we will be ready! The theatre has been terrific in that respect, so supportive; the play being confirmed for the summer in January; one production meeting; auditions on Zoom, even if the reality with Zoom is there’s always a beat between what they say and what you hear, so it just sounds flat. All we need now is for Boris to panic.”
Panic not. Let’s stay positive and eagerly await The Girl Next Door, a play Sir Alan set about writing as soon as he finished work on Anno Domino in early May and completed by late-May in the best Ayckbourn tradition of quick work.
The Stephen Joseph Theatre poster artwork for Alan Ayckbourn’s June world premiere of his 85th play, The Girl Next Door
The play is a four-hander, as Ayckbourn adapted to Covid times when large casts are not viable for the foreseeable future in this new age of social bubbles, and the setting is two neighbouring houses on the same London street during August 2020.
“But all is not as it seems,” he says. It never is in a play by a playwright who loves playing with time. Here he populates one house with actor Rob Hathaway, 60, and his sister, Alex, 62, a government financial advisor. In the other are the Tindles, soldier Alf, 26, and wife Lily, 24.
“The opening image is Rob seeing the young woman putting washing on the line and in his mind he’s thinking, ‘she has no right to be there’ because the couple who live next door have chosen to go away to their house in the country in lockdown.”
Without giving too much away, past is meeting present, drawing on Sir Alan’s own childhood experiences in London in the Second World War.
“I felt that spirit of optimism as I wrote it because the country needs a bit of optimism right now,” he says. “The last thing anyone wants to watch is someone saying ‘there’s no more hope, folks’.
“So writing the play, it was my life meeting me coming back, because my first memories were of lockdown in wartime, sheltering under the beds, waiting for the bombs to drop. Now we’re sheltering at home, waiting for the germs to land.
“It’s interesting that the parallels are there, though I don’t want to rub them in, so all I can say is, ‘don’t worry, folks, we’ve been here before; the world won’t end’, though many feared it was in wartime.”
Ayckbourn was born in April 1939. “So I have these images of being on my mother’s lap down in the tube station, not wanting to wake her up, and she not wanting to disturb me,” he says.
“I remember the shelters that were great for children, and you could play under the kitchen table, so it was quite a time – and then there was my Mickey Mouse gas mark, with the big mouse ears, which they gave out to children as standard issue. They were like something Stephen King would have been proud of.”
Ayckbourn enjoys playing with the two eras separated by 80 years. “It’s fun to do; there’s a sort of selective release of information where the art is to make the audience feel secure, with a level playing field, but then you hopefully stay slightly ahead of them, trying to get them to second guess you!” he says.
Alan Ayckbourn’s The Girl Next Door will run at a socially distanced, Covid-secure Stephen Joseph Theatre, Scarborough, from June 4 to July 3. Box office: sjt.uk.com.
