Catrin Finch and Seckou Keita: New date for Pocklington Arts Centre concert
WELSH harpist Catrin Finch and Senegalese kora player Seckou Keita will play Pocklington Arts Centre on May 21 2022.
The 7.30pm concert has been rescheduled from June 10 2021 for the usual C-word reasons.
All original tickets for the mesmerising, intricate and ethereal virtuoso collaboration will remain valid and further tickets will be on sale from 10am on Friday (7/5/2021) at pocklingtonartscentre.co.uk.
Finch and Keita will be showcasing songs from their next album, as yet untitled and set for release next year.
Pocklington Arts Centre (PAC) director Janet Farmer says: “Having seen this superb world music duo at English Folk Expo in Manchester in 2018, it’s a privilege to welcome these BBC Radio 2 Folk Award winners to PAC next year.
“It will be the first time we’ve welcomed both Catrin and Seckou to Pocklington for what we know will be a stunning exhibition of world-class musicianship and a truly remarkable night of live music.”
Drawing deep on their diverse traditions and transforming them with synergy, Finch, 41, and Keita, 43, released their debut album, Clychau Dibonback, in 2013, followed by long-awaited Soar in 2018, when they mounted spring and autumn UK tours.
Soar takes flight on the wings of the osprey, the bird of prey now returned to Wales after centuries of absence, that makes its annual 3,000-mile migration from the coasts of West Africa to the Welsh estuaries of Wales, “soaring like music and dreams over man-made borders, on its innate and epic journey of endurance”.
Soar soared to the heights of winning the fRoots Critics Poll Album of The Year in 2018, Best Fusion Album in the Songlines Music Awards and Best Transregional Album in the Transglobal World Music Charts, both in 2019.
That year too, the album was nominated for Album of the Year at the BBC Radio 2 Folk Awards, where Finch and Keita won Best Group/Duo and Seckou was named Musician of The Year.
Any ticket holder needing further information about the change of date should contact the box office.
Dan Whiston: Getting his skates on for Cinderella On Ice
DANCING On Ice three-time champion Dan Whiston will lead the company for Cinderella On Ice at Rawcliffe Country Park, York, from August 17 to 22.
“I cannot wait to get back on the ice and for the crowds to witness this amazing show after such a troubled past 12 months of lockdowns,” says Whiston, who partnered Emmerdale and The Syndicate star Gaynor Faye, Coronation Street’s Hayley Tamaddon and bronze medal-winning Olympic gymnast Beth Tweddle to victories on the ITV show in 2006, 2010 and 2013 respectively.
“We hope to both wow and amaze,” he promises of the Fairytale On Ice production that will play to family audiences at seven locations with “some of the world’s most elite entertainers and skilled skaters after thousands of auditions”.
The touring show draw audiences into the magical world of Cinderella, the Fairy Godmother, Prince Charming and the wicked sisters through a combination of high-speed ice-skating, music and visuals. Expect “breath-taking aerial feats, expertly choreographed routines and an enchanting storyline”.
Whiston, who has taken on the new role of Dancing On Ice’s associate creative director, will get his skates back on from August 3 to October 31 on the Cinderella On Ice tour, presented by the producers of Peter Pan, Sleeping Beauty and Snow White On Ice.
Tickets for the 4.30pm matinees and 7.30pm evening performances in the Fairtyale On Ice ice palace are on sale at fairytaleonice.com.
Mandy Newby: Stand-out turn in Weirdo in Next Door But One’s Yorkshire Trios. Picture: James Drury
Review: Next Door But One in Yorkshire Trios, The Gillygate pub, Gillygate, York, April 23 and 24 2021
LIVE theatre has returned to York. Yes, you read that right.
For the first time since York Stage brought a Covid-enforced early end to their pantomime run of Jack And The Beanstalk on December 30 at Theatre @41, Monkgate, actors have taken to a York stage for two nights of pub theatre…in the spring open air.
Where once a tent would suffice for shows by Alexander Flanagan Wright’s company, now The Gillygate publican Brian Furey has installed a wooden-framed outdoor performance area in the beer garden.
Socially distanced tables with allocated seating and an outdoor bar were complemented by Covid-secure measures: pub staff in face masks to take and deliver drink and food orders; Next Doors But One organisers in black and red masks designed in company livery; the programme in e-programme mode, available online only.
Next Door But One, the York community arts collective directed by Matt Harper-Hardcastle, with input from associate and project manager Kate Veysey and creative producer El Stannage, originally hoped to present Yorkshire Trios: 15 Local Creatives, 5 Short Performances, 1 City, inside The Gillygate in early January until Lockdown 3 put a red pen through those plans.
Instead, backed by Arts Council England funding, NDB1 kept the creatives busy with two months of online professional skill- development sessions and mentoring until the Step 2 reopening of pubs’ outdoor hospitality provided the opportunity to perform.
Project manager Kate Veysey, Next Door But One director Matt Harper-Hardcastle and creative producer El Stannage at the Friday night performance of Yorkshire Trios
A day’s warm weather added to the weekend mood as the Friday audience settled in. Behind them were those who were only here for the beer, but rather than putting up a To Beer Or Not To Beer dividing line, and asking anyone to pipe down, everyone just raised a glass to being allowed to gather in a pub garden after the long winter’s hibernation.
Today, Next Door But One have issued a Let Us Know What You Thought email, asking attendees for Audience Feedback by “sparing a few minutes to complete our short survey so we can build and improve on the event”.
CharlesHutchPress is happy to oblige in the analysis of an evening “themed around Moments Yet To Happen, wherein trios of actors, directors and writers brought theatre-starved York a fistful of short stories of laughter, strength, dreams and everything in between: an optimistic carousel operator; a neighbour with a secret; a poet inviting us into her world; a Jane McDonald fan on a soapbox, and a delivery driver full of wanderlust;.
Taking part were the quintet of trios: actor Miles Kinsley, director Nicolette Hobson and writer, Anna Johnston, staging One More Time We Go; Christie Barnes, Fiona Baistow and Jenna Drury, unmasking Kelly Unmasked; Mandy Newby, Joe Feeney and Dan Norman presenting Weirdo; Emily Chattle, Libby Pearson and Lydia Crosland, making a point in Motormouth, and Nicki Davy, Becky Lennon and Rachel Price, asking And How Are Your Goats Keeping?.
On Friday night, one actor, Nicki Davy, from Leeds, had to be elsewhere (for acting work reasons, hurrah), meaning we missed out on answering the goat welfare question.
The poster for Yorkshire Trios at The Gillygate pub as live theatre sparked into life again
Anyway, here is the survey. Question 1: What did you think of the quality of the performances you saw? Rate from 1 for Poor to 5 for Excellent.
One play, Weirdo, was indeed excellent in darkly humorous, unpredictable, intriguing writing by Norman (the discovery of Yorkshire Trios), offbeat direction by Cosmic Collective Theatre’s Brighton-bound Feeney and deadpan execution by Mandy Newby, the most experienced actor on view, as the weird woman with the even weirder smell emanating from her home.
Kingsley, newly back north from completing his training at the Central School of Speech and Drama, had the difficult task of opening the show, not as the warm-up act but straight in at the deep end, side on under a flat cap, in Johnston’s lingering memory play, One More Time We Go, that demanded more assertiveness in performance under Hobson’s direction.
The most resonant piece in Covid times was Kelly Unmasked, Drury’s study of a woman, newly diagnosed in her 30s as autistic, trying to come to her own terms with a lockdown being experienced by unaware, socially distanced others all around her. It was stressful, as much as distressing watching Barnes’s on-the-wire poet Kelly, when director Baistow needed to extract more variety in her acting tropes.
Friday night ended with Abba dance moves, Jane McDonald cheerleading, a very northern no-nonsense feminist ultra and a soapbox that just didn’t quite wash. Not Macbeth’s tale told by an idiot, full of sound and fury, signifying nothing, so much as a torrid tale told by a “Motormouth” devoid of self-awareness and an off-switch, signifying not enough, for all the energy of writer Crosland, director Pearson and actor Chattle.
In a nutshell, this was a night that swung erratically between 2 and 5 on the scorecard, but with consistently good-quality sound and lighting.
Kinsley amiss: Miles KInsley needed more assertiveness in his show-opening performance. Picture: James Drury
Question 2. Did you enjoy the performances being outdoors in a pub setting? Rate from 1 for Not At All to 5 for Very Much.
Yes and no. It was good to feel alive again in the company of actors, but noises off from the tables at the back, while entirely tolerable under present circumstances of outdoors being the only place to drink right now, would be distracting at future performances if the beer garden is to become a garden of artistic delights. So, 3 out of five for now.
Question 3: Do you feel the bitesize performance pieces suited the pub setting? Again, 1 for Not At All; 5 for Very Much.
Yes, because, like the next round, there was always another one coming down the line pretty pronto. That said, the original idea of promenade performances around the interior of the pub would have worked that much better. So, another 3 out of 5.
Question 4: How did you find the quality of the food and drink available during the performance. Same score grades.
Excellent, attentive service. Genial welcomes from Brian and Matt. White wine for the ladies went down very well. Blackcurrant cordial for the teetotal reviewer was totally entente cordial indeed. Didn’t nibble, so no quibble on that score. 5/5
Poet cornered: Christie Barnes as Kelly in Kelly Unmasked. Picture: James Drury
How did you find the COVID safety measures put in place for the performance? Same score grades.
As with last summer’s Park Bench Theatre at Rowntree Park, last autumn’s socially distanced shows in The Round at the Stephen Joseph Theatre, Scarborough, York Stage’s pantomime at Theatre @41, Monkgate, and York Theatre Royal’s Travelling Pantomime, the Covid-safety measures were meticulously carried out.
As before, the message to the Government is, yes, the arts needs your support, but you should trust the arts to run events with the utmost professionalism, whatever the circumstances. The Gillygate, 5/5. The Government: could do better.
Would you be interested in attending a similar performance to Yorkshire Trios in the future?
Outdoors? Yes, but with the provisos mentioned above. Indoors, yes. The Gillygate has always been a good home to theatre.
As for the content, there is promise here and further opportunities should be encouraged.
Is there anything else you’d like to tell us about your experience that might help us shape future events?
This review has run to 1,207 words already. Enough said, surely?!
Plenty to say for herself: Emily Chattle’s Motormouth in Yorkshire Trios at The Gillygate pub beer garden. Picture: James Drury
Jon Marshall, of Magic Carpet Theatre and the Inner Magic Circle, who presents tonight’s live online talk on the history of the building now known as Pocklington Arts Centre
FROM Penny Arcadia To Pocklington Arts Centre, the story behind the historic Market Place venue, will be told by magician and performer Jon Marshall in a Zoom event this evening (May 4).
Pocklington Arts Centre (PAC) has been staging events for more than 20 years, but should you be wondering what the Grade II listed building was once used for and how it came to be the arts hub it is today, Jon has the answers.
Tales of fire-eaters, magicians and amusements all will feature in the 7.30pm illustrated talk as Jon, director and performer with Hull company Magic Carpet Theatre, takes his audience on a trip down memory lane, delving into the origins of the building formerly known as Oak House, dating back to the 1700s.
“The talk promises to be a fascinating and entertaining online event unveiling the story behind the building, from doctor’s house, cinema and museum housing Europe’s largest collection of amusement machines, to East Yorkshire’s premier arts venue,” says PAC director Janet Farmer.
Marshall, a member of the Inner Magic Circle with Gold Star, promises a fascinating and entertaining evening, replete with tales of former owners of the building Jon and Pat Gresham.
From Penny Arcadia To Pocklington Arts Centre: Jon Marshall’s online audience will hear tales of the Gresham family, who once owned the historic venue. Pictured are the late Pat and Jon Gresham with their son Maxwell
“They were larger-than-life local characters, cinema proprietors and museum curators,” he says. “All will be revealed about the exploits and colourful adventures of Jon, who was once a magician, fire-eater, pantomime promoter and sideshow showman.
“The audience will also hear about Pat, who was determined that when the Penny Arcadia closed, the building should not become yet another retail unit but instead should provide entertainment and a service to the people of Pocklington and the surrounding area.
“I had the privilege of knowing the Gresham family for over 50 years from the mid-1960s, so participants will be able to see many previously unpublished photographs and images from over the years.”
Marshall’s company Magic Carpet Theatre are regular performers at PAC and last October they recorded two shows there for streaming for free on PAC’s YouTube channel: Magic Circus from January 7 to 21 and The Wizard Of Castle Magic from February 18 to March 4, both with financial assistance from the I Am Fund and Smile Foundation.
Now comes From Penny Arcadia To Pocklington Arts Centre. “When I moved into area, I’d already met Jon, and then got to know Jon and Pat really well. They became great family friends,” says Marshall.
Director Jon Marshall as the Ringmaster, showing his frustration with Steve Collison’s Clown in Magic Carpet Theatre’s Magic Circus
“The Pocklington Arts Centre building goes back to the 1700s, and it opened as a cinema in the 1930s. Jon bought the Ritz Cinema in 1981 and that’s when he started putting his collection of amusement machines in there.
“They lived in Westwood House, North Dalton, a big old house and grounds that Jon and Pat did up and lived there for some time. After Jon died, Pat continued to run the building, and she was determined it should not be turned into shops despite receiving various offers.”
Encouraged by Pocklington Town Council, Pat ran Penny Arcadia until 1996, when the last event was a September display of Jon Gresham’s magical props.
“It was a totally unique enterprise, collecting arcade music machines, which is a huge part of our culture,” says Marshall. “Jon’s interest had been sparked by being given a music box by Pat and he went on to become president of the British Music Box Society.
“At that time, the country was going into decimalisation and that meant many, many penny-operated music machines became redundant overnight, and that was perfect for Jon, who drove around the country as pier arcades were throwing them off the piers.
The late Jon Gresham with assorted penny arcade machines
“Some were acquired for free, some he paid for, and he amassed one of Europe’s largest collections. Much of it is still together in a collection, and no, not in America.”
After Jon died, Pat kept them in the outbuildings of Westwood House, for use at the Penny Arcadia. “She was a very astute businesswoman, continuing to run Penny Arcadia very well and Beverley Playhouse too, putting on such live shows as children’s theatre and plays,” says Marshall.
Tonight’s Zoom show will tap into the nostalgia emanating from the Gresham story. “Jon and Pat were huge characters in their own right with big personalities. He was a public schoolboy, who went to Oundle School, and his father ran a timber importers’ business in Hull with sawmills in Brough and Sheffield,” he says.
“Jon was destined to go into the family business, and though he didn’t do National Service for medical reasons, he said he wouldn’t be able to work for the family for at least two years as he should have been doing National Service, and so instead he trained as Europe’s youngest fire-eater, calling himself ‘Jon Gresham from Copenhagen’, as he thought being Scandinavian would add something to the act – and he was blond.
“He toured Europe but then his father said it was ‘now or never’ for him to join the timber business. He did so, but he’d made many great friends touring Europe, and so he also started to promote pantomimes in Harrogate, Scarborough and on the coast, such as Cinderella and Aladdin, appearing as a fire-eating genie in the shows, while working for the family.”
Jon Gresham was a “real dynamo”, in Marshall’s appraisal. “As well as all this going on, he’d do his fire-eating at music halls and on variety bills, and he could appear at fairgrounds, blowing fire in air outside the fairground to attract people inside to see the shows,” he says.
Jon Gresham: Billed as “The world’s youngest fire-eater from Copenhagen”
“He really got a taste for it and decided to open his own sideshow in 1956, The Robot Show, staged in one of the Corrigans’ buildings, as he knew the fairground family well and had become a friend.”
Jon Gresham continued to run the family business as managing director, Monday to Friday, but at weekends he was a sideshow showman and proprietor, spreading his time between 12 sites, among them Rhyl, Porthcawl, Great Yarmouth, Dreamland at Margate and Hull Fair.
From the Smallest Ironing Lady in the Country to the Girl in the Goldfish Bowl, Gresham’s sideshows were often elaborate, as well as curious. Annual accounts show he would have at least two girls, a manager and box-office manager per site.
Before marrying Jon Gresham, Pat had been an interior designer and colour consultant. “He used her skills for decorating the sideshows and the Penny Arcadia,” says Marshall.
“Pat also designed and decorated the captain and crew’s quarters for trawlers at Hull, when it was unheard of for a woman to do that.
The Headless Lady: One of Jon Gresham’s live illusion sideshows
“If a girl in the shows was suddenly taken away by the police, somebody had to take her place, so Pat always kept alert. ‘I never knew if I was going to be legless in Margate or headless in Scarborough,’ she once said.”
The Greshams travelled by pantechnicon van, an old vehicle painted purple and known affectionately as “Gertrude”. “The season would run from Whitsun to September, and they would tour their live illusion sideshows throughout that period,” says Marshall.
“The sideshows ran until 1969, when the problem was the resistance to prices going up from six pence and a shilling, but there was another problem too: the crowds going to the seaside resorts were declining in the face of the rise in package holidays, so you now had to rely on footfall on the day.
“It was all by chance, if people were walking by in the daytime or in the evening after the meal at the digs. He would send out the Headless Lady to pique their interest. By then two thirds of the business was on Sundays; Saturday was change-over day, and Sunday was the peak day, running from 10am to 10pm.”
Showman Marshall has since restored some of the sideshows to take them out to festivals to entertain new audiences. “Normally I’d be doing it from April/May to September, but alas we’ve not been out since Derby Feste in September 2019, though we’re hoping we may be able to go out again in 2022,” he says.
Jon and Pat Gresham with their daughter Lindsey at Penny Arcadia, now Pocklington Arts Centre
Marshall’s decision to revive sideshows began with a conversation at a dinner with Pat Gresham. “We thought, ‘wouldn’t it be fun to restore a sideshow for a Magic Circle dinner?’,” he recalls.
“We found the gaudy frontispiece to The Flash with slogans and the picture to entice people in: ‘It’s not the show that gets the dough. It’s The Flash that gets the cash’, it said, and we were off and running.”
Jon Gresham’s sideshows had been in storage from 1969 to 2004 in outbuildings at Westwood House. “They’d been moved around, there’d been pigeons and rats, and nothing was in any order or visible, frankly.
“So, it was out with the rubber gloves to start a detective hunt, and that’s when we found The Flash frontispiece and, by a stroke of luck, the goldfish bowl, alas with cracks in it, from the Girl in the Goldfish Bowl.
“They’re like the ones you see in cartons, and they’re hard to find now, but luckily with some acrylic we’ve been able to mend it and make it watertight.”
The late Pat Gresham. “She was an enormous help to us in our research, as the Greshams never threw anything away in terms of records,” says John Marshall
Marshall has restored seven shows in all now, comparing the experience of finding the Gresham show stock to British archaeologist Howard Carter locating King Tutankhamun’s tomb in 1922. “Because they had been painted in the 1950s with layers of varnish to protect against the sea salt, we had very little restoration to do,” he says.
“Pat was an enormous help to us in our research, as the Greshams never threw anything away in terms of records. Jon left his memoirs and there’s a biography with a chapter by Pat [who died in 2019] and a contribution by Professor Eddie Dawes, the Yorkshire magician and biochemist [who founded the University of Hull’s biochemistry department].
“I’ve written a chapter on the Penny Arcadia and on Jon’s straitjacket, which went to an escapologist called Danny Hunt, and his fire-eating equipment, which is still being used by Tom Cockerill, who has re-created the act for the International Brotherhood of Magicians Convention, performing the original acts with that original equipment.”
The biography, Jon Gresham: The Life And Adventures Of A Sideshow Showman, is available on Amazon and eBay and from Pocklington Arts Centre too, and more information on the revived sideshows can be found at sideshowillusions.com, with details soon to be added on the 2022 season.
Tickets for tonight’s Zoom illustrated talk cost £5 at: ticketing.eu.veezi.com/sessions/?siteToken=5c398sshg8x6xjr7k9mw32dvr8
POCKLINGTON Arts Centre has confirmed its first live shows since Tom Rosenthal’s Manhood comedy gig on March 14 last year.
The East Yorkshire venue, in Market Place, Pocklington, has been closed to the public since March 17 2020 but comedian Omid Djalili is to perform twice on Thursday, July 22.
Significantly too, those 7pm and 9pm performances will be without social-distancing measures.
British-Iranian comedian, actor, television producer, presenter, voice actor and writer Djalili, 55, originally had been booked for July’s now-cancelled Platform Festival at the Old Station, Pocklington.
When Pocklington Arts Centre’s festival organisers, director Janet Farmer and venue manager James Duffy, decided not to stage the large-scale indoor festival under the continuing pandemic cloud, award-winning Djalili agreed to do two shows in one night at PAC to ensure all those who had purchased tickets for the festival gig would not miss out.
Pundemonium: Gary Delaney promises oodles of one-liners in his new show next year
Janet says: “We’re over the moon that despite having to change our plans for putting on a full-scale Platform Festival this year, Omid Djalili will perform at PAC twice in one night, and those performances will be non-socially distanced.
“In the event of Covid restrictions being reintroduced, we will let customers know in advance.”
Djalili’s comedy is at once intelligent, provocative, boundlessly energetic and rooted in cultural observations, wherein he explores the diversity of modern Britain.
Tickets for the original event at Platform Festival remain valid and any ticket holder needing further information should contact the box office. Remaining tickets for the new shows cost £25 at pocklingtonartscentre.co.uk.
Looking ahead, Janet says: “We have some outstanding live comedy lined up as part of our forthcoming live events programme, and Omid is the perfect addition to this.
“We have more exciting announcement coming up and we cannot wait to be able to bring our audiences some incredible live shows once again.”
What’s on for Watson? A third show for Mark Watson at Pocklington Arts Centre next February after earlier visits in 2016 and 2019
Newly in the PAC diary for 2022 are two more comedy shows: Mark Watson on February 12 and Gary Delaney on May 26 on his newly extended Gary In Punderland tour.
Bristol stand-up comedian, novelist and sports pundit Watson, 41, will be completing a hattrick of Pock appearances, prompting Janet to say: “It will be an absolute joy to welcome Mark Watson back to the venue, having had him perform live here in 2016 and again in 2019.
“After the year we’ve just had, I think we could all do with some laughter, so Mark is the perfect addition to our forthcoming programme of live comedy.”
In the ever-innovative Watson’s latest show, spiritual enquiry will meet high-octane observational comedy as the Taskmaster survivor and No More Jockeys cult leader attempts to cram a couple of years of pathological overthinking into an evening of stand-up.
Watson has made his Mark not only on Taskmaster but also on Never Mind The Buzzcocks and Have I Got News For You and emerged safely from his Celebrity Island experience with Bear Grylls.
Stream team: Compere Tim FitzHigham, left, and comedian Mark Watson in their living rooms for the first Your Place Comedy online show
During the first lockdown last year, Watson was part of the first double bill for Your Place Comedy, the virtual comedy club set up to support independent venues across the Yorkshire and Humber region, including PAC.
On April 19 2020, a pyjama-clad Watson and Hull humorist Lucy Beaumont performed live online from their homes, in his case, in the living room, in hers, down the pub, The Dog And B**tard, that she and fellow comedian husband Jon Richardson have set up in their Hebden Bridge garden.
In Gary In Punterland, longstanding Mock The Week guest Gary Delaney will “dive into a rabbit hole of the best jokes in the world”.
Delaney’s last tour was extended four times, eventually playing more than 200 venues. For the follow-up, apparently Delaney has been through the laughing glass, re-emerging to deliver a new show tooled with punch after punch of knock-out one-liners.
Janet says: “We’re delighted to announce that Gary Delaney will be bringing his new show to our stage next year as part of our live events programme that we can’t wait to resume, welcoming everyone back and having our auditorium filled with laughter once again.”
Tickets for Watson and Delaney’s 8pm shows each cost £20 at pocklingtonartscentre.co.uk; seetickets.co.uk are selling Watson tickets too.
Scarborough, by Malcolm Ludvigsen, at Village Gallery, York
PROLIFIC plein-air artist Malcolm Ludvigsen is the focus of Village Gallery’s new exhibition from tomorrow in Colliergate, York.
“The last year has been extremely hard for everyone, not least of all for artists, with many exhibitions and events being cancelled,” says gallery owner Simon Main. “So, we’re thrilled to announce our first show of 2021.”
Erstwhile maths professor Ludvigsen spends much of his time on the beaches and headlands of his Yorkshire homeland, fascinated endlessly by the sea and sky.
“I think the thing that first attracted me to painting was John Ruskin’s exhortation that all men, as part of their morning salutations, should go out and paint a picture of the sky,” he says.
Malcolm Ludvigsen painting in the bracing air of Scarborough
“This sounded like a very nice thing to do, so I decided to give it a go, and I’ve not really stopped painting since.”
In 2013, Ludvigsen won the Oldie British Artists Award – a major competition for British artists aged 60 or over – for his landscape entitled Filey.
“Ironically this accolade came in the same year that my work was rejected by the Royal Academy for their summer exhibition,” he recalls.
Malcolm Ludvigsen’s Art, a show of familiar Yorkshire landscapes and seascapes in oils, will run from tomorrow until Saturday, June 19, with Covid-secure, socially distanced measures in place. Opening hours are Tuesday to Saturday, 10am to 4pm.
Artists Andy Goldsworthy (left) and Kane Cunningham at Southfield House for their collaboration with Ryedale Folk Museum. All pictures: Tony Bartholomew
SCULPTOR Andy Goldsworthy will be among six artists collaborating with Ryedale Folk Museum, Hutton-le-Hole, to explore the impact of the pandemic on artists and their creative practice.
Goldsworthy will feature in a series of videos, created by Scarborough landscape painter Kane Cunningham for sharing in May and June, that will include photographer Joe Cornish, landscape painter Peter Hicks, photographer Tessa Bunney, sculptor Peter Coates and painter Francesca Simon too.
The collaboration will culminate in an open exhibition in September, bringing together professionals, amateurs and hobby artists in response to the northern landscape.
Cheshire-born sculptor and land artist Goldsworthy specialises in site-specific installations involving nature and the passage of time.
His latest work, Southfield House, has been developed on the North York Moors from conditions created by the pandemic and forms part of Goldsworthy’s quest to explore the environment through natural materials.
“It was conceived during lockdown and made between lockdowns,” says Goldsworthy, 64. “I wanted to make something during that period that has that sense of being uplifting,” he says. “The work is now connected to that moment in time.”
Kane Cunningham, left, and Andy Goldsworthy on the North York Moors
Funded by Arts Council England, the Ryedale Folk Museum project “grew out of a strong awareness of the lack of access to the natural environment in adherence to the Government’s Stay Home message at the height of the pandemic”.
Like everyone else, artists have found their travel restricted during the series of three lockdowns, hence museum director Jennifer Smith says: “At its heart, the project is an opportunity for artists to share their experiences and to encourage others who may have seen significant changes to their output because of Covid-19.
“Through Kane Cunningham’s films, we are seeing honest and open discussions about the challenges – and, sometimes, the opportunities – faced by the artistic community.
“Situated within the North York Moors National Park, we needed only to look outside the museum window to realise that there was nobody here during lockdown. One question that interested us was what impact that was having on artists who respond directly to the landscape and who make their living from that inspiration.”
The partnership between the museum and Cunningham, founder and co-director of Scarborough’s Festival of Big Ideas By The Sea, was a natural one.
“For 20 years, I’ve travelled from Scarborough to St Bees, coast to coast,” says Cunningham, whose studio is in the Old Parcels Office at Scarborough railway station. “In a normal year, my art takes me over hill and dale and across mountain pathways to find the perfect view.”
Andy Goldsworthy at Southfield House for the Ryedale Folk Museum project exploring the impact of the pandemic on artists and their creative practice
The sense of loss during lockdown led to Cunningham’s desire to reach out to others on this theme: “I felt the need to discover more about the landscape and what it means to me and other artists in these challenging times,” he says. “Has it changed the way they think about their work? Has it changed the way they think about the landscape?”
Ryedale Folk Museum hopes that sharing the contemplations of assorted artists will inspire people to create new work or to reflect on a piece created since the start of the pandemic, to feature in the open exhibition of 2D and 3D work from September.
The submissions window will be open from this week to June 30, whereupon works for the exhibition will be selected by a panel that will include Cunningham, Joe Cornish and ceramic artist Layla Khoo.
In addition, artists and other creative practitioners, of any art form, are invited to send their own brief film clips – less than a minute long – to be shared on social media, responding to the question: “How has your creative practice changed in the past 12 months?”.
Full details can be found on the museum’s website: ryedalefolkmuseum.co.uk/art-gallery/
George Benson: Give Me The Night…but now another night in Leeds after his 2021 tour is out back to 2022
AMERICAN jazz, blues and soul guitar virtuoso George Benson is moving this summer’s eight UK shows to June 2022, among them his only Yorkshire gig at Leeds First Direct Arena.
Tickets will remain valid for the new date of June 22 next summer after the ongoing pandemic and present restrictions on indoor events enforced the decision.
Benson, 78, from Pittsburgh, Pennsylvania, will perform his greatest hits with his band, such as Give Me The Night, Lady Love Me (One More Time), Turn Your Love Around, Inside Love, Never Give Up On A Good Thing and In Your Eyes.
Benson’s latest album, Weekend In London, was recorded at his 2019 performance at the 250-seat Ronnie Scott’s Jazz Club, almost half a century since he played the London club as the hottest property on the American jazz scene of the early 1970s.
Honoured by the National Endowment of the Arts as a Jazz Master, Benson has won ten Grammy awards: Record of the Year for This Masquerade (1977); Best Pop Instrumental Performance for Breezin’ (1977) and Mornin’ (2007); Best Male R&B Vocal Performance for On Broadway (1979) and Give Me the Night (1981), and Best R&B Instrumental Performance for Theme From Good King Bad (1977) and Off Broadway (1981).
Benson summed up his musical evolution neatly in his 2014 autobiography: “…from blues cat to blues-jazz cat…from blues-jazz cat to jazz cat…from jazz cat to soul-jazz cat…and from soul-jazz cat to R&B-jazz cat.”
Tickets for June 22 2022 are available from ticketline.co.uk or on 0844 888 9991.
JULY I will be Ed Byrne’s night in York when the observational Southern Irish comedian headlines an all-star bill for the Live At The Theatre Royal Comedy Night.
Byrne, 49, from Swords, County Dublin, has presented the television shows Just For Laughs and Uncut! Best Unseen Ads and co-hosted BBC2’s The World’s Most Dangerous Roads, Dara And Ed’s Big Adventure and Dara And Ed’s Road To Mandalay with fellow Irish humorist Dara O Briain.
He is a regular guest on numerous television panel games, most notably Mock The Week and Have I Got News For You and has appeared on TV cooking shows, such as Comic Relief Bake Off 2015.
Byrne last played York in March 2018, presenting his Spoiler Alert tour show at the Grand Opera House, where he explored the thin line between righteous complaining and brattish whining as he asked: “Are we right to be fed up or are we spoiled?”
Joining Bryne will be Mock The Week’s whipsmart wordsmith Rhys James and Have I Got News For You panellist-in-lockdown Maisie Adam, who performed from her living room on the second Your Place Comedy bill with prankster Simon Brodkin last May, as part of the virtual home entertainment series organised by Selby Town Council arts officer Chris Jones in tandem with ten independent Yorkshire and Humber arts centres and theatres during lockdown.
July 1’s 7.30pm show will be hosted by legendary compere-beyond-compare Arthur Smith, the veteran gloomy weather-faced comedian and presenter from Bermondsey, London.
Tickets cost £20 at yorktheatreroyal.co.uk or on 01904 623568.
Holy Moly & The Crackers: “Always putting on such an energetic, vivacious show”
FIERY gypsy folk’n’rollers Holy Moly & The Crackers will return to Pocklington Arts Centre on October 16 as the East Yorkshire venue “excitedly resumes its live events”.
The North Yorkshire and Newcastle band are noted for sparking up a raucous, feelgood party atmosphere at their blazing live shows, built on soul, rock indie and Balkan folk.
Pocklington Arts Centre director Janet Farmer says: “Holy Moly & The Crackers always put on such an energetic, vivacious show, featuring their unique sound that has our audiences foot stomping and dancing in the aisles, so we can’t wait to welcome them back after their sold-out show back in February 2019.”
The band formed in 2011 almost by mistake, when singer, guitarist and trumpet player Conrad Bird, fellow singer and violinist Ruth Patterson and costume designer and accordion player Rosie Bristow met at a house party in Leamington Spa, of all places, in their late teens.
Enamoured by Rosie’s party-prop accordion, the three decided to start playing music together, mainly stomping Irish, American and Balkan folk and drinking songs at open mics and dive bars, as an alternative to Smack, Leamington’s main student club that provided the only other option for a night out.
After moving north, the founders were joined by jazz/funk bass player Jamie Shields and drummer Tommy Evans in 2015, when they released the single A Punk Called Peter, a “sort of New Orleans funeral march mixed with some fine and highly danceable reggae”.
Holy Moly & The Crackers’ artwork for Take A Bite, their 2019 album
Second album Salem marked the 2017 launch of their own label, Pink Lane Records, and a heightened profile for the band after lead single Cold Comfort Lane was picked up by Hollywood producers to turbo-boost the stick-it-to-the-man comedy crime caper Ocean’s 8 in 2018.
Classically trained but psychedelic and DIY punk-inspired guitarist Nick Tyler came on board that year to add to The Crackers’ grunt and diesel power.
Reuniting with Salem producer Matt Terry, they recorded swaggering third album Take A Bite in 2019, once again at Vada Studios, built in a 1260 chapel near Alcester on the Warwickshire /Worcestershire border.
“Apparently it’s called Vada Studios because the owner is obsessed with Star Wars’ Darth Vader,” says Conrad, whose band stayed in one of the outhouses.
Teaming up with Terry for a second time proved fruitful. “He’s worked with bands like The Prodigy and The Enemy and he has really good ideas for pop sensibilities,” says Conrad. “I was always against ‘pop’, but there’s a real skill to it. There was a chance for us to go with another producer, but we felt we could do more with Matt to develop our sound.”
Whereupon The Crackers hit the road in full throttle, joining shanty punks Skinny Lister on tour around Europe, before appearing at more than 30 festivals and undertaking a victorious headline lap of the UK, culminating in selling out their biggest show to date at Sage Gateshead on the banks of the Tyne. Ruth and Conrad tied the knot that busy year too.
2020 saw the band blasting out of the blocks with the single Road To You, “a shot of espresso that comes loaded and ready to work in a short, sharp shock”. Twenty-seven dates across ten countries should have added up to their biggest European tour to date, to go with support slots for fan Frank Turner across France and Germany and a return to Glastonbury for its 50th anniversary, but we all know what happened next.
Tickets for Holy Moly & The Crackers’ 8pm gig cost £20 at pocklingtonartscentre.co.uk.
Tom Rosenthal: The last show at Pocklington Arts Centre before the first lockdown last March
POCKLINGTON Arts Centre (PAC) has been closed to the public since March 17 2020, curtailing that year’s 20th anniversary celebrations after comedian Tom Rosenthal’s Manhood show on March 14, but the venue will “hopefully be re-opening our doors this summer”.
Watch this space for further updates, but already director Janet Farmer and venue manager James Duffy have confirmed that the PAC-programmed Platform Festival at the Old Station, Pocklington, has been called off for a second successive summer.
Festival shows by the likes of comedian Omid Djalili, Richard Thompson and Shed Seven duo Rick Witter and Paul Banks in acoustic mode initially had been moved from 2020 to 2021, although former Led Zeppelin lead singer Robert Plant’s Saving Grace acoustic gig with fellow vocalist Suzi Dian never had a new Platform date set in place.
“Robert hasn’t rescheduled any of his 2020 shows, originally because he was recording with Alison Krauss in Nashville,” says James.
“We looked into moving Richard Thompson’s date too, but he’s cancelled his plans because amid the continuing uncertainty over Covid, he’s not sure where he would stand, what with being based in the United States.”
More details are yet to be confirmed, but Pocklington Arts Centre is contemplating reopening with a film programme from July 2, followed by the full reopening in September, with greater clarity once the Government roadmap is rubber-stamped.
Velma Celli: Drag diva to play Pocklington Arts Centre in December
“It will be a slow re-start at first to restore audience confidence in coming to PAC, and film is a good way of doing that,” says Janet. “With films, you naturally socially distance to get the best view.
“But that’s why we couldn’t go ahead with the Platform Festival, because there are still uncertainties and it made sense to call it off.”
Plans are afoot instead for Primrose Wood Acoustic, a short series of outdoor shows in a 60 to 70-capacity woodland setting at Primrose Wood, Pocklington, in early July. Two shows are pencilled in for PAC in July too, subject to the Government’s Covid statements. Again, watch this space for more info as and when.
Within PAC, the lavatories have been refurbished and upgraded; air-purifying units to increase air flow are being installed around the building; a Covid-secure screen is in place at the box office, and such Covid measures as an app for ordering drinks, anti-bacteria spray “foggers” and hand-sanitising stations will be the way forward.
The frustrating year of lockdown x 3 has kept Janet and James busy rearranging concerts by, for example, The Felice Brothers and Courtney Marie Andrews three times and New Yorker Jesse Malin twice.
The management duo have been working their way through 20 years of paper work in the attics and have set up a beehive on the flat roof as part of a PAC environmentally friendly package.
So, now there is a buzz about the place in more ways than one, and on the Pocklington horizon is a theatrical ghost-walk promenade, commissioned from Magic Carpet Theatre founder Jon Marshall for the dark nights of November before the December dazzle of glam cabaret supreme in the company of York drag diva deluxe Velma Celli (date TBC).
