Caroline Gruber (Vashti), Maria Gray (Machine 2) and Gareth Aled (Machine 1) in The Machine Stops. Picture: Ben Bentley
YORK Theatre Royal and Pilot Theatre’s co-production of The Machine Stops will be available to watch online from tomorrow (23/3/2021) to April 5.
E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine.
Adapted by Neil Duffield, The Machine Stops premiered in the York Theatre Royal Studio in May and June 2016 at the outset of a three-venue run and was revived there in February 2017 before embarking on a national tour of nine venues.
Forster’s stage premiere won the Stage Production of the Year in the 2016 Hutch Awards. “In the year when Phillip Breen directed the York Minster Mystery Plays on the grandest scale and York Theatre Royal re-opened with Bryony Lavery’s new adaptation of Evelyn Waugh’s Brideshead Revisited, it wasn’t the expected big hitters that left the deepest impression,” Hutchinson said in The Press, York.
“Instead, an obscure EM Forster sci-fi work, The Machine Stops, became a play for our times in the hands of the Theatre Royal associate director Juliet Forster and Pilot Theatre in the Theatre Royal Studio.
Karl Queensborough as Kuno in The Machine Stops. Picture: Ben Bentley
“Amid the stench of Brexit and Trump intolerance, here was a cautionary story of science friction and human heart told superbly artistically by a cast of four, writer Neil Duffield and electronic composers John Foxx and Benge with humanity’s worst and best attributes thrust against each other.”
Move forward to 2021, to the reflective words of director Juliet Forster, York Theatre Royal’s creative director, who says: “Over this last year, I have thought about this piece many times as the world around us seemed to grow more and more like the incredible world that E M Forster imagined.
“And it’s even more striking today than it was at the time: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”
Esther Richardson, Pilot Theatre’s artistic director, says: “When we produced The Machine Stops in 2016, it already seemed an eerily prescient piece of work. A story-world in which humans have become isolated from one another and living underground, communicating only through screens, offered an engaging space for reflection on perhaps the pitfalls of how our relationship with technology had been evolving.
“To be able to explore this in a live theatre space with an audience gathered together in person and with their technology switched off made it all the more dynamic a tale.
Pilot Theatre artistic director Esther Richardson. Picture: Robert Day
“It’s fantastic that, having spent the last year in different forms of isolation and on screens, we have the opportunity to share this great production, which will now sing with new meaning, meeting a new audience in a new context.”
The Machine Stops features a soundtrack composed by John Foxx, electronic music pioneer and founder of Ultravox, and analogue synth specialist Benge. The production was directed by Forster and designed by Rhys Jarman, with lighting design by Tom Smith and movement direction by Philippa Vafadari.
It stars Caroline Gruber as Vashti, Karl Queensborough as Kuno, Maria Gray as Machine/Attendant and Gareth Aled as Machine/Passenger.
The filmed recording was edited by Ben Pugh and will be released online with kind permission granted by the E M Forster estate.
Analysing the reasons why The Machine Stops transferred so convincingly to the stage, Juliet suggested in 2017: “When you use human beings to the height of their potential, theatre is at its most interesting; when you realise the incredible ability of human body; but at the same time, you can’t shoehorn that into a play. Here, though, to represent the Machine through movement, it absolutely suited it.
York Theatre Royal creative director Juliet Forster
“It also helped that we had the finest soundtrack for a play in living memory, composed by John Foxx and Benge.”
That soundtrack went on to form much of the music on the John Foxx And The Maths album, The Machine, released in 2017 on the Metamatic Records label with artwork by Jonathan Barnbrook, the designer for David Bowie’s last two studio albums, 2013’s The Next Day and 2016’s Blackstar.
The Machine Stops will be available to view for free at pilot-theatre.com/webcast, kick-started by the online premiere at 7pm tomorrow. York Theatre Royal and Pilot Theatre welcome donations from viewers, with all contributions being split equally.
What was Charles Hutchinson’s verdict in May 2016?
The Machine Stops, York Theatre Royal/Pilot Theatre, York Theatre Royal Studio
Caroline Gruber as Vashti in The Machine Stops. Picture: Ben Bentley
IN between those two pillars of early 20th century English literature, A Room With A View in 1908 and Howards End in 1910, E M Forster wrote a science-fiction short story, apparently in response to the outpourings of H G Wells.
It was pretty much ignored until being included in an anthology in the 1930s, but now it should take its rightful place alongside the prescient works of Aldous Huxley and George Orwell.
York Theatre Royal associate director Juliet Forster has cherished wishes to present it since 1999, and at last everything has fallen into place in a brilliant re-opening show in The Studio.
Forster and Forster makes for a perfect combination, assisted by her choice of writer, the experienced Neil Duffield; electronic musicians John Foxx and Benge in their first theatre commission, and designer Rhys Jarman, whose metallic climbing frame stage and hexagonal floor tiles could not be more fitting.
Centre stage is Vashti (Caroline Gruber), soft-boned, struggling to walk and wrapped in grey swaddling wraps, as she embraces her new, post-apocalyptic, virtual life run by The Machine, in the wake of humans being forced underground to self-contained cells where everything is brought to you: food, ambient music; lectures; overlapping messages.
Gareth Aled as Machine 1 in The Machine Stops
No windows; no natural day and night; no physical communication; all you need is at the touch of the screen beside you as technology rules in this dystopian regime. It is the age of the internet, conference calls and Skype, the age of isolation (and the teenage life), foretold so alarmingly accurately by Forster.
In the best decision by Juliet Forster and the writer, they have decided to represent the omnipresent Machine in human form, cogent cogs that slither and slide and twist and turn acrobatically, responding to Vashti’s every request, with an urgent physicality that has you worrying for the health and safety of Maria Gray and Gareth Aled.
Not that The Machine is merely compliant. Just as Winston Smith rebels in Orwell’s 1984, Vashti’s son Kuno (Karl Queensborough), on the other side of the underground world, craves breaking out into the old world above the artificial one, to breathe real air, see the sky, feel the sun on his face, but The Machine will do its utmost to prevent him.
Queensborough’s physical performance, as the desperate Kuno puts himself at risk, is even more remarkable than the gymnastic Machine double act, as he hurls himself around the frames.
Forster’s production has bags of tension, drama, intrigue, and plenty of humour too, especially when Gray and Aled transform into a plane attendant and passenger. Throughout, the Foxx and Benge soundtrack hits the right note, futuristic and mysterious, yet noble too when Kuno makes his move.
Nothing stops The Machine Stops: it is 90 minutes straight through, a story of science friction told superbly artistically with humanity’s worst and best attributes thrust against each other.
Back on the Chain Gang: Miles Salter and his band have a new single out on Sunday
YORK band Miles And The Chain Gang release their third digital single, All Of Our Lives, on Sunday (28/3/2021).
The acoustic song was written in the late-1990s by Syd Egan, a friend of frontman Miles Salter, the group’s regular songwriter.
Joining Miles and band members Billy Hickling (drums) and Tim Bruce (bass) on the recording are fellow York musicians Karl Mullen, guesting on piano, and Holly Taymar-Bilton on backing vocals.
The Chain Gang’s lead guitarist, Alan Dawson, lives in Scotland, while guest accordion player Sam Pirt resides in East Yorkshire.
All Of Our Lives was recorded and mixed in January and February by Jonny Hooker at York’s Young Thugs Studios, above the South Bank Social Club in Ovington Terrace, and filmed by Dave Thorp during Lockdown 3.
“I’ve been singing the song for 20 years,” says Miles. “Lee Heir, a friend of the band who has been helping with PR, said we should put it out, and he kept asking me to do so. In the end, I relented. I was a bit wary because it’s quieter than our first two releases, but everybody who has heard the song loves it.”
Set in Manchester, with references to St Peter’s Square and Oxford Road, All Of Our Lives tells the story of an ambiguous relationship. “I wanted to film in Manchester, but lockdown made everything problematic, so in the end we did it in York,” says Miles.
The resulting video features shots of Miles playing guitar, Leeds-based actor Lucy Marshall and cameraman Dave Thorp in the role of Big Issue Salesman.
Miles And The Chain Gang have picked up airplay on Jorvik Radio and YO1 Radio, as well as on several internet radio stations, and they also have been working on social media, with content spread across numerous platforms and sites, drawing 20,000 YouTube views of their second release, Drag Me To The Light.
“Two years ago, we didn’t have anything, but now we have a presence on Spotify, YouTube, Facebook, Twitter and Instagram. It feels like things are building,” says polymath Miles, who is also a published poet, storyteller, presenter of Jorvik Radio’s weekly arts show and former organiser of the York Literature Festival.
One frustration for Miles And The Chain Gang has been a lack of concerts. “The last time we played a gig was at the end of 2019,’ says Miles. “Anybody involved in live music has felt the disappointment over the last year. We’ll get back to gigs as soon as we can.”
Miles and the band have been recording songs at Young Thugs, and plans are shaping up for more releases. “We’ve got some really good songs,” he promises.
All Of Our Lives will be released on Spotify, iTunes and YouTtube on March 28. A trailer for the track and the video can be viewed at: youtube.com/watch?v=cgJxCk5xxw8.
Knight’s move: Emilie Knight will direct York Shakespeare Project’s Sonnet Walks in 2021 after playing Covid Nurse in Sit-down Sonnets at a socially distanced Holy Trinity Church, Goodramgate, York, in September 2020. Picture: John Saunders
YORK Shakespeare Project has appointed Emilie Knight to direct the 2021 Sonnet Walks in a plan to resume open-air theatre in York as soon as conditions allow.
Anticipating the granting of Government permission for outdoor events, but awaiting confirmation on what level of social distancing will be required, YSP is delighted to make the appointment.
“We want to hit the ground running just as soon as we’re permitted to,” says York Shakespeare Project (YSP) committee member Tony Froud.
YSP will make an announcement on performance dates and the audition process for Emilie’s production later in the spring.
Emilie is well acquainted with the Sonnet Walks, having appeared in three productions. First performing as a Sting-obsessed sonneteer in 2018 an d as Mother of the Bride and guide the following year, she found playing Covid Nurse in last year’s Sit-down Sonnets at Holy Trinity Church, Goodramgate, was “one of the most affecting roles I’ve ever played”.
York resident Emilie has made regular appearances with the Knaresborough Players and was involved in the York community projects Blood + Chocolate on the city streets in 2013 and Everything Is Possible: The York Suffragettes at York Theatre Royal in 2017.
Interested in all aspects of theatre, not least costume and tech, Emilie says it was only a matter of time before she would turn her attention to directing: “This is a new adventure for me and I’m thrilled to have been chosen to direct this year’s Sonnets production.
Sting in the tale: Emilie Knight in York Shakespeare Project’s 2018 Sonnet Walks. Picture: John Saunders
“I’m very grateful to the YSP committee for entrusting me with this important feature of the canon. I look forward to the challenge and hard work involved as I know it will be hugely rewarding.
“I was made so welcome when I joined YSP, have learnt so much and have had so much fun. I want others to share that experience too.”
The Sonnet Walks were first performed by YSP in 2014, and since their revival in 2017 they have become an annual event. Until 2020, they took the form of a walk around the streets and snickelways of York, allowing audience members to meet a series of colourful local characters, each with a lively tale to tell and a Shakespearean sonnet to recite.
Last September, Covid-safe restrictions saw the format adapted to the Sit-Down Sonnets, with audience and cast members all socially distanced in the atmospheric setting of the Holy Trinity churchyard.
YSP is confident York audiences are crying out for the resumption of live theatre. “With theatres closed since March, last September’s Sit-Down Sonnets were hugely welcomed by actors and audience members alike,” says Tony Froud.
“We’re hoping for the same response for live performance this year. By appointing Emilie now, we’re making sure that it will happen immediately guidance permits.”
Meanwhile, YSP is “hoping to revive” its production of Macbeth, postponed by Lockdown 1 ten days short of its first night in March 2020. Watch this space for any updates.
RONAN Keating is rearranging his Twenty Twenty UK tour date at York Barbican for a second time, but the title will not change to Twenty Twenty Two.
First moved from June 19 2020 to July 6 2021, the show has been rescheduled to January 23 2022.
A statement on the York Barbican website explains: “It was very much hoped that following the Government’s roadmap-to-lockdown-easing announcement, Ronan’s Twenty Twenty UK tour could take place as scheduled in the summer of 2021.
“Despite efforts by Ronan’s team working closely with the venues, sadly it will not be possible for these tour dates to take place at this time, and as such the date has been rescheduled to January 23 2022.
“Ticket holders should hold onto their tickets as they will remain valid for the rescheduled date.”
The Twenty Twenty tour takes its title from the Twenty Twenty album that Irish boy band graduate Keating released in May 2020 on Decca Records to mark the 20th anniversary of his chart-topping solo debut, Ronan.
Twenty Twenty vision: Ronan Keating wanted to make “a greatest hits of brand new music”
“There’s not a lot of artists that have been lucky enough to do 20 years and still be here,” he said at the time,” appreciative too of sustaining solo and band careers. “I’m very honoured to have had that, so I wanted to mark it with an album like this.”
Dubliner Keating, who turned 44 on March 3, describes Twenty Twenty as “a greatest hits of brand new music”. To help his 20th anniversary celebrations, he made two inspired choices: to dive into his back catalogue to revisit three of his biggest hits and, for some new numbers, to call in some friends.
First single One Of A Kind, despite its title, is a duet, wherein the Irishman is joined by Emeli Sandé. “I guess I’ve been known for those first dance songs at weddings and this has me written all over it,” says Keating. “It’s all about the night before the wedding, the day of the wedding and spending the rest of your life together.”
He decided the song demanded a duet partner, and for Keating there was only one choice: the Sunderland-born, Scottish-raised Sandé.“I was completely honoured when Emeli said she’d love to do it,” he says. “I was just blown away by her vocal. She’s obviously got a brilliant voice, and she’s a lovely, warm person, so the personality she’s brought to the song is just incredible.”
For Twenty Twenty, Keating had production assistance from his longstanding wingman, Steve Lipson, who has worked with such big hitters as Paul McCartney, The Rolling Stones, Annie Lennox, Simple Minds, and Whitney Houston.
Among further collaborations were Love Will Remain with Clare Bowen, The One with Nina Nesbitt, The Big Goodbye with Robbie Williams, Forever And Ever, Amen, with Shania Twain and a 2020 version of When You Say Nothing At All with Alison Krauss.
Ronan Keating last played a York concert in July 2018 with Boyzone at the York Racecourse Music Showcase Weekend
Over the past 21 years, Keating has chalked up 30 consecutive Top Ten solo singles, 11 studio albums, multiple tours and 20 million records sales, on top of 25 million sold with Boyzone, as well as judging on The X Factor and The Voice in Australia; acting in television drama and film; playing Guy in the romantic Irish hit, Once The Musical, in the West End and co-hosting Magic FM’s breakfast show.
In York, Keating last performed with Boyzone at a York Racecourse Music Showcase post-racing show on July 28 2018 on their 25th anniversary tour. His last solo appearance in the city was at York Barbican on September 21 2016. In 2019, the dangers posed by a massive thunderstorm led to his open-air solo concert at Castle Howard, near York, on August 4 being cut short.
To check on ticket availability for January 23 2022, go to: yorkbarbican.co.uk.
IN a second change of date, York Rocks Against Cancer is moving from July 17 this summer to January 8 2022.
All tickets remain valid for the new show; please contact your point of purchase with any questions.
Raising vital funds for York Against Cancer, the 7.30pm concert will feature The Emmerdale Band, featuring cast members from the Yorkshire soap opera; singer-songwriter Chris Helme, the former Seahorses frontman; Sister Madly and “the best musicians and singers York has to offer”. Expect a party atmosphere and a fun night.
LIKE a 90 miles-an-hour Peter Lorimer hot-shot, the impact hits home harder with every passing of an LUFC great from The Don’s team of all the talents.
RIP Lash and thank you for winning us the European Cup in 1975 with that unstoppable cannonball.
#Leeds United #Billy #Don #Gary #PaulM #Norman #Trevor #Jack #Peter
“A beautiful play, a love story, but a universal one about learning in time what matters in the end, about leaving a mark,” says actor Julie Hesmondhalgh of husband Ian Kershaw’s The Greatest Play In The History Of The World…
GREAT news on The Greatest Play In The History Of The World for York Theatre Royal and Hull Truck Theatre audiences: revised dates are in place for Julie Hesmondhalgh’s one-woman show.
The debut tour of Ian Kershaw’s multi award-winning play should have opened at Hull Truck from January 29 and played York from February 16 to 20 as part of The Love Season. Lockdown 3 forced a delay, however, but now History will be made at York Theatre Royal from June 1 to 5 and at Hull Truck from June 7 to 12.
Tickets will go on sale in April at yorktheatreroyal.co,uk or 01904 623568 and at hulltruck.co.uk or 01482 323638, with the release dates yet to be announced.
Produced by Tara Finney Productions in association with Hull Truck Theatre, the tour will begin at the Stephen Joseph Theatre, Scarborough, from May 18 to 22. All tour performances will be socially distanced with Covid-safe measures in place.
Winner of The Stage Edinburgh Award in 2018, The Greatest Play In The History Of The World…takes a heartfelt journey that starts and ends in a small, unassuming house on a quiet suburban road, as Coronation Street and Broadchurch alumnus Julie narrates the story of two neighbours and the people on their street, navigating her way through the nuances of life, the possibilities of science and the meaning of love.
Premiered at the Traverse Theatre at the 2018 Edinburgh Fringe, the debut production transferred to Manchester’s Royal Exchange Theatre Studio in September 2018 and to London’s West End in December 2019. Now, the show has been adapted for the 2021 tour in light of these Covid times and performances will be housed in the larger performance spaces of each theatre.
Julie Hesmondhalgh: “Navigating her way through the nuances of life, the possibilities of science and the meaning of love”
The show is written by Julie’s husband, the Bruntwood Award-winning Ian Kershaw, who has written for Coronation Street, Cold Feet and Shameless, and reunites her with award-winning director Raz Shaw after working together on Margaret Edison’s Wit at the Royal Exchange in 2016.
Explaining the play’s genesis, Julie says: “I had a notion, a romantic notion, that Ian should write a one-woman show for me and we could tour it together into our dotage, like travelling troubadours (or something).
“A couple of Christmases ago, he kept disappearing to the cellar for an hour at a time, wrapping presents maybe, I thought. And then he presented me with this lovely thing: a beautiful play, a love story, but a universal one about learning in time what matters in the end, about leaving a mark.”
Let the show begin: a man wakes in the middle of the night to discover that the world has stopped. Through the crack in his bedroom curtains, he can see no signs of life at all, other than a light in the house opposite where a woman in an over-sized Bowie T-shirt stands, looking back at him. Over to you, Julie, from May 18.
Tickets for the SJT run are available at sjt.uk.com.
Yorkshire performance dates:
Stephen Joseph Theatre, Scarborough, May 18 to 22, 7.30pm; 1.30pm, Thursday; 2.30pm, Saturday.
York Theatre Royal, June 1 to 5, 8pm; 3pm, Thursday and Saturday.
Hull Truck Theatre, June 7 to 12, 7.30pm; 2.30pm, Thursday and Saturday.
Beyond The Barricade: Les Miserables et al at the Clocktower Enclosure at York Racecourse on June 25
AFTER making its socially distanced debut in North Yorkshire last summer, impresario James Cundall’s Sounds In The Grounds is adding a new location to its picnic-concert portfolio for Summer 2021.
Complying with Covid-19 guidelines, the Clocktower Enclosure of York Racecourse will play host to Beyond The Barricade on June 25, Abba Mania on June 26 and A Country Night In Nashville on June 27.
Welburn producer Cundall says: “Audiences can come together and enjoy three evenings of best-loved and internationally renowned bands from their own designated picnic patch – for two, four or six people – that will be socially distanced from others but close enough to share the fun.”
The capacity will be capped at 1,400 for the fully staged productions with LED screens on either side of the stage.
“We’re just trying to do some fun events for this summer, and we’re encouraging concert-goers to come in fancy-dress: will it be showbiz sparkle, platforms or cowboy boots?!” says Cundall, who is best known in York for two summers of Shakespeare’s Rose Theatre in a pop-up Elizabethan theatre on the Castle car park in 2018 and 2019.
Beyond The Barricade, now in its 22nd year, features past principals from Boublil and Schonberg’s Les Misérables in the West End and on UK tours performing much-loved songs from the greatest musicals, among them The Phantom Of The Opera, The Lion King, Evita, Miss Saigon, Chicago, Hamilton and Jesus Christ Superstar, topped off by a spectacular finale from Les Misérables.
From London’s West End to Las Vegas, Abba Mania is billed as the world’s number one touring tribute to the ubiquitous super-Swedes, playing more than 30 countries over the past two decades, delighting millions with platforms, flares and all the hits.
A Country Night In Nashville re-creates the energy and atmosphere of a buzzing Honky Tonk in downtown Nashville in a celebration of country music built around songs from its biggest stars both past and present.
Abba Mania: York Racecourse will be the platform for platforms on June 26
Returning by popular demand, York’s very own party starters, the New York Brass Band– a Glastonbury favourite too, by the way – will be the support act to each concert, performing a different repertoire every night, from jazz to Eighties’ pop to current hits.
Cundall has booked them for no fewer than 17 engagements this summer when his picnic-concert programme will return to 2020’s debut double act of Scampston Hall, near Malton, from June 11 to 13 and Ripley Castle, near Harrogate, from August 20 to 22.
In the new line-up of popular acts for these North Yorkshire country-estate venues will be The Definitive Rat Pack, One Night Of Tina and Killer Queen.
The Definitive Rat Pack presents an uncannily accurate recreation of Frank Sinatra, Dean Martin and Sammy Davis Jr in an evening of swing; Tina Turner’s greatest hits are rolled out in a rock’n’rollercoaster ride through four decades, and Killer Queen recall the iconic songs and showmanship of Queen’s shows in the late Freddie Mercury’s 1980s’ pomp.
Sounds In The Grounds concerts are designed to comply with all official guidance on Covid-19, ensuring audiences can enjoy live music outdoors in a safe and responsible way.
The picnic patches will be defined by painted lines in the grass arena within the grounds, with views of the racecourse and grandstands or stately home. They will be set out in alternating rows, with patches for two people, followed by a row of patches for four people, then for six people. The patches have been designed to be one metre apart within each row, with two-metre aisles between the rows.
Looking back on last year’s launch, Cundall says: “What happened was that Sounds In The Grounds came about because we were sitting in the garden, looking out, thinking, ‘surely there must be something we can do to get artists back to work?’.
“We thought, ‘what if we put people in ‘boxes’ for concerts in the open air, with patches of two, four and six?’.
A Country Night In Nashville: Presenting a country night in York on June 27
“After the shows, people came up and said, ‘that’s amazing, not just for Covid-safe conditions but for the future’. The advantage of this [configuration] is that you can book a patch like you book a theatre ticket: you have a guaranteed place.
“Everyone asked us to continue the concept, which we’ve done, and vaccine or no vaccine, the message is that in our 40s upwards, we’re not going to want to be really close up to other people at concerts.
“Our picnic patch concept enables patrons to pre-book their own designated space, thereby eliminating that mad scramble for the best site, which often mars an outdoor concert. Our audiences can turn up when it suits them and know they will have a safe and fun evening.”
Cundall already had settled on returns to Scampston Hall and Ripley Castle for “fun concerts by bands that play music you know, performed by musicians who’ve worked in shows you know in the West End”.
“Then, late in the day, we thought, ‘why don’t we do something at York Racecourse, where we could get 1,400 people in the Clocktower Enclosure?’,” he recalls.
“We’re thrilled to be adding York Racecourse to our list of prestigious venues! These picnic concerts are a great opportunity to get together and enjoy a fun night of live music in a safe, socially distanced way. From the glorious Broadway classics to Dancing Queen and Dolly Parton, I hope we have something for everyone.”
He is delighted to have signed up the New York Brass Band too. “Without doubt, they are one of York’s best exports and it will be wonderful to get them on stage in their home city,” he says.
“Importantly, it’s an opportunity for both musicians and crew to showcase their talent again after months of inactivity during these difficult times.”
Artist’s impression of the Great Yorkshire Pantomime tented palace for Aladdin that may (or may not) be staged at York Racecourse in the winter
Cundall recalls the finale to last September’s last Sounds In The Grounds concert. “There was a feeling of ‘when will we see each other again’, so what’s key for us with the new season of shows is we’re trying to re-connect artists and audiences.”
York Racecourse may play host to another James Cundall entertainment enterprise in the winter ahead: the Great Yorkshire Pantomime production of Aladdin in a big top.
Produced by Cundall and directed by Chris Moreno, writer-director of the Three Bears Productions pantos at the Grand Opera House in York, the “tentomime” was first mooted for last Christmas, then confirmed for an Easter run from today (19/3/2021) to April 11 before killjoy Covid forced a postponement decision on January 18.
Billed as “a dream come true”, Aladdin would have played in a luxurious heated tented palace to an audience capacity of 976 in tiered, cushioned seating.
The 36 performances would have been socially distanced and compliant with Covid-19 guidance, presented by a cast of 21, including nine principals, and a band on a 50-metre stage with a Far East palace façade, projected scenery and magical special effects.
Will the show go ahead this Christmas? “We’re waiting to see what the Government will do on Covid measures before deciding on what we’ll do with the pantomime,” says Cundall. Watch this space.
Tickets for all Sounds In The Grounds concerts are on sale at soundsinthegrounds.seetickets.com with prices starting at £59 (plus booking fees) for a standard picnic patch for two people. All Covid-19 guidance from the Government is continuously monitored and followed.
Concert times at Clocktower Enclosure, York Racecourse:
June 25
Gates open at 4.30pm; New York Brass Band, 6pm; Beyond The Barricade, 7.30pm, concert finishes at 10pm.
June 26
Gates open at 4.30pm; New York Brass Band, 6pm; Abba Mania, 7.30pm; finale, 10pm.
June 27
Gates open at 3.30pm; New York Brass Band, 5pm; A Country Night In Nashville, 6.30pm; finale, 9pm.
Liina Turtonen: Leading the Level music production placement scheme run by Young Thugs Studio in York
YOUNG Thugs Studio, in York, are to run a six-month placement in music production and studio engineering for women and non-binary people aged 18 to 25 under the title of Level.
Working in partnership with the Youth Music Incubator fund, Young Thugs are offering this opportunity to three people in York and surrounding areas to explore studio production and the chance to build skills as a studio engineer and producer.
Participants in this paid placement, funded through players of the People’s Postcode Lottery, will work with industry mentors, led by Liina Turtonen, to acquire knowledge, skills and a CV and gain direct access to industry professionals.
No qualifications or previous studio experience is needed, although basic music software skills are required, and childcare and travel support can be provided.
“These are very exciting times at Young Thugs despite all the Covid shenanigans,” says Dave Greenbrown, co-director of the studios upstairs at the South Bank Social Club, in Ovington Terrace, York.
“Following on from York band Bull’s EMI deal [in tandem with Young Thugs], not only have we now secured our permanent home with a long lease at South Bank Social Club – saving the building at the same time – but we’re also now in receipt of this Youth Music grant to develop a Women In Music programme in York.”
Outlining the programme, co-director Jonny Hooker says: “Over a six-month period, you will receive ongoing one-to-one studio mentorship, personal development, and be given a chance to work on real-time projects with established artists and industry professionals.
“We’re looking for three women or non-binary people who have a passionate interest in wanting to work in a studio environment. It’s OK if you have no qualifications or studio experience, but this opportunity does require you to have some basic music recording and production experience.”
Jonny continues: “Young Thugs will offer a bespoke support package for you that will cover your time, as well as help with things like childcare and travel if required.
“This programme will give you a toolbox, live project experience and could open up opportunities for you to consider further or higher education and employment.
“This opportunity is open to all women and non-binary people who are 18 to 25 and we really want to hear from you.”
To apply, you need to send your answers to the questions below in written, video or audio format to level@youngthugs.com by the closing date of March 31 2021.
* Your name, age and location?
* Why do you want to take this opportunity now?
* How would this opportunity help you moving forward?
* What previous music experience do you have?
* What other information do you feel we should know about you?
* Do you have any access requirements?
If you need this information in another format, send an email to level@youngthugs.com or call 07812 605833 for more details.
Summing up the Level project, Dave says: “Promoting Women in Music Tech over a six- month period, we will teach, train and mentor three women in music technology and production.
“With a chosen industry mentor and in a safe environment, they will work within a busy professional recording studio, working with female artists or bands to create a series of singles, EPs or an album of their choice from conception to release.”
Finnishing touches: Music producer and musician Liina Turtonen in her studio
RUNNING the programme for Young Thugs will be Nordic-born Liina Turtonen, and aptly for an international woman now living and working in York, CharlesHutchPress caught up with her on International Women’s Day.
“I’ve been in York for about four years and in the UK for eight years,” says Liina, from Finland, who lives in South Bank, where she has a home studio. “I first studied in Scotland, in Ayr, when I’d been travelling around the world from 18 to 21.
“I was in Glasgow, and I’d fallen in love with electronic music. I was supposed to be on my way to Australia but never got there.
“Instead, I studied commercial music at the Ayr campus of the University of West Scotland. Commercial music means ‘popular music’, and the course was a combination of many things, but I just fell in love with studios and technology. You’d find me in the basement, on the soundboards.”
Liina decided her next step should be an MA in music production and duly headed south to the University of York.
How did that go? “I would say it was among best things I’ve ever done,” she says. “York Uni was one of the most supportive environments I could have had, and that’s why I’ve been able to make advances in my career so quickly.”
Liina’s own trajectory tells only part of the story, however. “Only 2.6 per cent of the industry are women producers or engineers, and I would say that’s 2.6 per cent of the whole industry across the world,” she says.
“That tells us why something like this Level placement project is necessary and that’s why it’s great that Young Thugs are doing this for young musical talent in York. I think there’s a lot needed to make sure the levels are better for the future.”
Studying music production, “I always felt very alone as a woman”, reveals Liina. “I didn’t have any female lecturers. I’ve never been taught music production by a woman.
“There were two women in the tech department, but for my course, it was two women studying among 15 guys.”
What characteristics are needed in such an environment for a woman to thrive? “I would say one word: confidence…because confidence opens up all the conversations. Everything comes back to confidence,” says Liina. “What you’re up against is the social structure, the patriarchal society.
“The difference between male and female confidence is that, for men, lack of confidence doesn’t stop you doing what you’re supposed to be doing, but not having confidence can stop women from doing what they’re inspired to do. It’s so powerful that it literally stops us.
“It needs so much constant effort, so much courage, to be the minority in this industry. So much so, a woman may not want to go into a studio as the only woman there, feeling you’re not going to know what you’re doing, so you fear being called out. It’s about imposter syndrome, and there’s benevolent sexism too.”
Liina’s own experience affirms why the Level programme is so important to give more women and non-binary people the chance to break into music production to change the prevailing landscape.
“It’s such a strong feeling that even if you know how to do it, like going to university to study – that’s a very encouraging environment, but then you go into a space where you’re the only one that looks like you and people talk to you in a slightly different way, so you start thinking you can’t do it,” she says.
“I would say I’ve encountered that every single day of my career, every day I go into a studio. I go into the studio for the fifth time and I still have to prove that I’m worth it, both to myself and others, which is exhausting. It’s part of my everyday life to prove that I deserve to be where I am, but I have the courage to keep doing it.”
The Level project, with its emphasis on a safe environment to nurture women producers, working with women musicians, is but one avenue for Liina. The musician, songwriter, music producer and educator also hosts LNA Does Audio Stuff, her own music production-focused YouTube channel, featuring tutorials, reviews, vlogs and fun audio challenges.
“I’ve been doing it for two years and it’s one of my key jobs,” she says. “I’ve just published a song made by 90 women and non-binary people, made long-distance with six women producers pulling it together.
“My channel is mostly an educational forum, but it’s also my point of view from my life.”
In addition, Liina is co-founder of Equalize Music Production with Emily Johnson, aka Emily J Electric, a performer, musician and DJ. Proud members of the Musicians’ Union and associates of the Yorkshire Sound Women’s Network, they deliver courses and workshops in music production, song-writing and performance…and creative confidence (that word again).
“Because of that we got to know Young Thugs, and that’s why I’m doing this project with them,” says Liina. “What they’re doing as a male-led organisation is exactly what every studio should do, asking what we need, which is not something I’ve seen before.”
Looking forward to working with three placement participants, Liina says: “I can’t wait to see them, bringing them to spaces where they don’t need to prove themselves every day.
“The great thing is that they don’t really need to know anything in advance; they just need to be passionate. This programme says: ‘Everybody is good enough. Just get yourself in there!”
Creating a safe space is vital. “Even as a professional music producer, I know studios are very male dominated, so many women I know prefer to work from home, but for Level we will make it a very approachable space,” says Liina.
“I feel very comfortable in a studio, and when we feel comfortable, men do too, making such spaces less toxic.
“We’re still far away from it not being like a locker-room male environment, but these projects fight against that environment for everybody. We want great music, great musicians, great producers, great engineers.”
Do apply, stresses Liina: “If there’s someone who really wants to apply, or someone has a daughter who wants to apply, but maybe needs some encouragement, then go on, apply, even if they’re not confident, because it’s an amazing opportunity.
“I wish I’d had this chance when I was starting because my journey would have been easier and more pleasant if it had been easier, and maybe that’s why I always work so hard to achieve things.”
Sue Clayton’s portrait of Holly from her exhibition 21, opening tomorrow at All Saints Church, Pocklington
YORK portrait artist Sue Clayton is joining forces with Pocklington Arts Centre to present an outdoor exhibition, 21, in celebration of World Down Syndrome Day.
On display on the railings of All Saints Church, Pocklington, from tomorrow (19/3/2021) to April 19, the 21 portraits are all inspired by children and adults who have Down Syndrome, especially Sue’s energetic son James.
Sue, whose portraiture is marked by a vibrant palette and social purpose, has chosen the theme of 21 not only in a nod to World Down Syndrome Day (WDSD) falling on March 21, but also to symbolise the extra 21st chromosome that people with Down Syndrome have.
21 will be the second such exhibition to be staged by Pocklington Arts Centre (PAC) in lockdown after Karen Winship’s NHS Heroes outside “the Cathedral of the Wolds” from late-November to January 4.
Sue says: “I’m delighted to once again be teaming up with Pocklington Arts Centre to unveil 21 to mark World Down Syndrome Day.
Todd, by Sue Clayton
“I take a huge amount of inspiration from my son James, who celebrated his 18th birthday in lockdown, so I’m very much looking forward to bringing this collection of portraits featuring children and adults with Down Syndrome at work and play to Pocklington.
“I really hope it helps to not only celebrate some incredible people but also perhaps to challenge some people’s perceptions of Down Syndrome to coincide with this international awareness-raising campaign.”
The 21 exhibition comes a year after Sue held a record-breaking attempt to create the world’s largest pair of knitted socks at PAC, where the huge socks formed the backdrop to her studio exhibition Downright Marvellous At Large.
The project involved keen knitters from the Pocklington community and beyond knitting and donating brightly coloured squares that were joined together to make the enormous odd socks.
“Why odd socks,” you ask? Odd socks are worn to mark WDSD as part of the global fundraising campaign Lots Of Socks to represent the odd number of chromosomes, whose shape matches a sock.
“We’re delighted to be working with Sue Clayton once again on what promises to be a fantastic exhibition to help raise awareness of a worthwhile cause,” says Pocklington Arts Centre director Janet Farmer
Sue’s original Downright Marvellous! exhibition at PAC in 2015 mainly depicted young children who have Down Syndrome, but her new portraits in part focus on the “unrepresented and significant” social presence of adults with Down Syndrome at work and at leisure. This is in keeping with her artistic vision to “represent those who are sometimes socially unseen”.
PAC director Janet Farmer says: “We’re delighted to be working with Sue Clayton once again on what promises to be a fantastic exhibition to help raise awareness of a worthwhile cause.
“Sue’s previous exhibitions at PAC have always proved to be so popular, so we’re looking forward to being able to make 21 happen as an outdoor event while the venue remains closed to the public.
“We hope as many people as possible enjoy this truly unique and inspiring collection of works.”
Sue, from Wigginton, is drawn to portraiture because “it insists upon the idea that the more you look at a face, the more you see. Every single aspect – the eyelids, the nostrils, and the complexion – reveals the personality and character of every individual person”.
Sue Clayton with her York Heroes portrait of Andrew Fair, stalwart Sainsbury’s worker at Monks Cross
After making a radical mid-career change to become a full-time artist, self-taught Sue soon gained recognition from Britain’s Got Artists in 2012 and later as Outstanding Visual Artist in the York Culture Awards for her York Heroes project in 2017-2018, shown at York Hospital.
Selected by the York public for Sue’s portrait challenge, the six “heroes” were Dame Berwick Kaler, York Theatre Royal pantomime legend; Mary Chapman, founder of Nuzzlets Animal Charity in Great Ouseburn; Professor Steve Leveson, York Against Cancer co-founder and chairman; Ian Donaghy, motivational public speaker, charity fundraiser, author and Huge singer; the late PC Suzanne Asquith, who was awarded a BEM in the Queen’s Birthday Honours for her work with young people, and Andrew Fair, the perennial friendly face on the trolleys at Sainsbury’s at Monks Cross.
Sue’s portrait of Andrew in uniform, with his yellow hi-viz jacket and orange Sainsbury’s name tag, subsequently featured on the opening episode of Grayson Perry’s Grayson’s Art Club on Channel 4 during Lockdown 1 last spring.
Influenced by Rembrandt, York artist William Etty and more contemporary painters such as Jenny Saville and Tim Benson, Sue enjoys working with dynamic colours to make marks “that should not be there but somehow work”, and her modus operandi is to capture both the likeness of her subjects and their inner life.
During lockdown, she has been teaching weekly online art classes. To find out more about Sue’s classes and her work, visit sueclayton.com. For further information on World Down Syndrome Day, and how to show support by wearing odd socks on March 21, visit downs-syndrome.org.uk.
Self Portrait, by Sue Clayton
Here, CharlesHutchPress turns the spotlight on Sue Clayton with a broad canvas of questions.
How will you and James mark World Down Syndrome Day on Sunday, March 21, Sue?
“We’ll be definitely wearing our odd socks on WDSD. We’ll be donning the official design odd socks from the Down Syndrome Association, but everyone is warmly encouraged to show support by wearing any odd socks they like, with the odd socks representing the extra sock-shaped chromosome.
“We’ll also be taking part in an online disco party that starts at 3.21pm on Sunday, so beware some serious Mum dancing! The day before, James and I will be doing an online portrait workshop with James debuting as my model. All monies raised from this will go to the local Down Syndrome support group.”
Sue Clayton’s poster for Saturday’s workshop, marking son James’s debut as a model
What works make up the 21 portraits in 21 in 2021?
“The exhibition features seven new portraits of young people from our region, with a new sketch of James from his 18th birthday included. The other portraits have been selected from past Downright Marvellous exhibitions. There’s a range of mediums used this time from pen sketches, acrylic, oils and watercolour.”
Your past Pocklington Arts Centre exhibitions have been held indoors. This time, the works will be on show outside, becoming street art, on view to all. What extra oomph does that bring to this show?
Sue Clayton’s sketch of James on his 18th birthday
“Pocklington Arts Centre strikes again; they are such a great asset to the community. What a fantastic initiative this is. When most artists are struggling during this time PAC are helping by funding these exhibitions.
“I’m particularly excited as I’m passionate about making art accessible for all. This way, art is shown in an open environment to people who may not go to art galleries. If people can’t go to galleries and art centres, they will come to you!
“The paintings are vibrant and positive; it’s great to think they might make people smile as they pass by All Saints Church. I’m hoping the portraits will dispense the label and instead focus on the individual.”
Artist Sue Clayton, centre, with Janet Farmer, director of Pocklington Arts Centre, and Dr Reverend Jake Belder at Friday’s launch of the World Down Syndrome Day exhibition, 21, outside All Saints Church, Pocklington
You say you want to “perhaps challenge some people’s perceptions of Down Syndrome to coincide with this international awareness raising campaign”. What do you think those perceptions are and how can they be changed?
“I hope to share the individual and unique character of any person I paint; these models are no exception. A misconception may be that people with Down Syndrome will live sheltered lives, never leaving the family home or having a job.
“Many adults with DS make a great contribution to society, working in paid jobs or volunteering within the community. My greatest wish for James in the future will be that he holds down a fulfilling job to him; has a strong, loving relationship and can live as independently as possible, all of which I hope for my daughter too, who doesn’t have DS.”
“Vibrant, young, positive”: The qualities radiating from Rotherham Covid-19 ward nurse Rachel Beal in a photograph that inspired Sue Clayton to paint her for the #portraitsfornhsheroes” national project in 2020. A new NHS commission is on its way
What are you working on and when might your next exhibition be?
“I’ll soon be working on a new commission linked with the NHS, which I am very excited about. More details to follow nearer the time.
“I’m also working on a project that incorporates both large-scale paintings of the portrait and the nude side by side. Yet again, I hope to challenge the perceptions we make of people as we view the same person in a different way: do these change and why?”
How are the Zoom art classes going?
“I’m loving delivering art classes via Zoom. I can’t believe I was so reticent at the start of lockdown; I love it now! The thing I have found lovely is the sense of community and friendship that can form in a virtual class.
“I now have people from across the UK and even have someone Zooming in weekly from the Netherlands.”
Joe, by Sue Clayton
What has Zoom taught you about the possibilities of opening up to new opportunities?
“The beauty of the classes is no travelling to venues, no forgetting art materials, plus it allows freedom to experiment more with materials as everything is on hand at home.
“I do two watercolour paint-along sessions each week, which allow participants to see in detail how to create the painting. Everyone can view it easily on thier own screen.
“Also, reference photos are much easier to share and I’ve created an online gallery so we can look and share our work together, again building the sense of community. Many of my learners have had to shield, so this has been a great way to still participate and not feel so isolated during this time.
Bethany, by Sue Clayton
“From a personal point of view, I’ve linked to a lot of art talks myself, expanding my art history knowledge. I particularly enjoyed taking part in one from Washington DC examining Van Gogh’s letters and the paintings described within them. Great stuff!”
How have you dealt with lockdown x 3 as a creative person?
“When lockdown began this time last year, my yearning to paint portraits waned; I’m very pleased to say this didn’t last long. Discovering I could continue to teach was a real bonus as, like so many creatives, I was very anxious how I could still earn money.
“The classes have been essential on many levels. They feed my creativity as I need to think about new and exciting challenges for my learners, but it’s also a wonderful time with fellow painters as we share thoughts and ideas.
“I’ve had the challenge of two children home-schooling and having a young person with special needs 24/7 can have its ups and downs but overall it’s been good.
Andrew, by Sue Clayton
“I often compensate by working into the early hours but I’m very grateful to have the opportunity to do this and keep my loved ones safe.
“It’s definitely been a time to learn for me; I’ve invested in learning more about art history. Excitingly too, I’ve now found avenues to link up with models far further afield than I ever thought possible, thanks to technology.”
What do you know about yourself that you didn’t know a year ago pre-Covid?
“Hmm…tricky question! Like so many people, I’ve had to embrace tech more and never thought I would enjoy it so much. I’ve learnt to have more patience as I’ve had to time apart from my partner but equally learned our love is very strong and how thankful I am that he’s in my life.
“I know I enjoyed slowing down a little and how much I appreciate those around me. I now know that I have the scope to teach to a much wider audience and I’ve loved how much I’ve enjoyed it.”
“I really like the way he shows respect for all the artists, whoever they are, allowing them time to talk about their art and listening,” says Sue of artist Grayson Perry on Grayson’s Art Club
Why has Grayson’s Art Club on Channel 4 been such a breath of fresh air for the art world in general, championing people’s art?
“Grayson Perry is just fantastic; I can’t wait to see him in York later this year [Grayson Perry: A Show For Normal People, York Barbican, September 6].
“The TV show is wholesome and heartening and really brings home the fact that art is for everyone and everyone can make it. He’s such a good communicator and shows an understanding of humankind with his empathy.
“I really like the way he shows respect for all the artists, whoever they are, allowing them time to talk about their art and listening. The connection between [his wife] Philippa and Grayson is great to see too. In a time of crisis, it truly shows the power of art, to create, to distract, to absorb, to think, to just be!”
Sue Clayton’s exhibition, 21, is on display outside All Saints Church, Pocklington, from March 19 to April 19, presented in tandem with Pocklington Arts Centre. For Sue’s short video on 21, go to: https://www.youtube.com/watch?app=desktop&v=lpoeCJW3_5I.
Bubbling up: A Year Of Change: My Bubble project leaders Donna Maria Taylor and Katie Hill at South Bank Studios with bubble artwork submissions for the community art exhibition. Picture: Carolyn Coles/ Nicola Lee
THE first cases of the Covid-19 virus in the UK were identified in a York hotel, and today marks one year since the first UK lockdown was announced with the Government advice to “avoid unnecessary social contact”.
Soon to follow was the Stay Home, Protect The NHS, Save Lives edict as lockdown kicked in March 23 2020.
A year on, Lockdown 3 has reinstated that mantra, and March 23 2021 brings a new deadline, in the form of the closing date for a pandemic community art project launched by South Bank Studios artists Donna Maria Taylor and Katie Hill on January 31 to “help people through lockdown and isolation”.
“Are you looking for an art project to do during lockdown,” they asked. “To mark this year, we’d like to invite our friends in York to take part.
“Even those of us lucky enough to have a studio outside of our homes have had to do much more work than usual at home, so we’d like to represent this by inviting you to make a small artwork at home on the theme of A Year Of Change: My Bubble.”
Bubble-shaped works must then either be delivered to Southlands Methodist Church letterboxes on either the Southlands Road or Nunmill Street entrances, marking the envelope FAO My Bubble, or posted to My Bubble (South Bank Studios), Southlands Methodist Church, 97, Bishopthorpe Road, York, YO23 1NX.
The ever-expanding online exhibition is already up and running at southbankstudios.co.uk/onlinegallery, and a physical exhibition will follow at Southlands Methodist Church, once the lifting of lockdown restrictions permits the Covid-safe reopening of the church building.
“So that we can put all of the artworks together in 2D – and possibly 3D – forms for the physical exhibition, we’re asking that the artworks should be a specific size and shape,” say the organisers. “So the design must be contained within a circle, somewhere between 12cms and 21cms in diameter.”
One of the bubbles for My Bubble. All the works are to be exhibited anonymously
Here, South Bank Studios community art project leaders Donna Maria Taylor and Katie Hill answer Charles Hutchinson’s questions on My Bubble:
What gave you the idea for this lockdown project, Donna?
“I decided I wanted to give something back. And being involved in a community art project was at the top of my ‘To Do’ list at the beginning of this year.
“For personal reasons, I wasn’t in a position to get involved in any of the projects many artists were getting involved in during the first lockdown: making masks, scrubs, painting portraits for NHS Heroes etc.
“I contacted Katie in mid-January to ask if she’d be interested in working with me on the project and we launched it by the end of that month.
“Since Katie had recently taken on the role of ‘studio rep’ for the loft studio spaces at South Bank Studios, she seemed like a good person to approach to work with on the idea. It’s always great to have others to work with on projects like this as you can throw ideas back and forth.
“Katie came up with the timescale idea, linked to the first Covid cases in York and the initial lockdown date [March 23] became the project’s deadline date. She also came up with the title ‘A Year Of Change’.
“We were originally looking at asking people to produce designs within squares but then the ‘My Bubble’ idea suddenly came to me in the middle of the night, as these things tend to do!
“It all happened quite quickly once the idea was formed, and since then we’ve been meeting on Zoom on a regular basis to discuss progress and look at different ideas on how we could promote the project. Our friends on social media have been brilliant at helping us to do that and we’re very grateful to them for that assistance.
“Initially we were going to limit the project to adults, but we soon realised that it would also give families a chance to do something creative together while they were stuck at home doing home schooling, so we opened it up to cover all age groups.”
What drew you to become involved in My Bubble, Katie?
“I’ve worked on a lot of community art projects in Leeds and only moved to York in January 2020, just before lockdown, so it’s been a strange time to arrive in a new city. This project was an opportunity to get involved in something with the local community, to get to know people and do something positive during a very challenging time for everyone.”
How many bubbles have come in so far? How many do you anticipate exhibiting?
“We’ve had around 40 bubbles arrive so far and we’re expecting quite a few more will arrive in the next week – people love working to a deadline.
“We’ve been in touch with a number of groups in York who we hope will get involved, such as York Carers, York Mind and Refugee Action York, but we really don’t know how many we will receive until the deadline.
“We’d love to get 365, one per day of the year, but however many we get it will make a great exhibition.”
When will the exhibition open online and when might you hope to put the works on display at South Bank Studios?
“We’ve already set up an online exhibition on our website where we’re adding ‘bubbles’ as they come in. You can see it online at: https://www.southbankstudios.co.uk/onlinegallery.
“We’re also doing regular posts on our social media sites, and we’re planning to have an exhibition of all the ‘bubbles’ together at some point over the summer months and certainly hope to coincide this with the two York Open Studios weekends: July 10/11 and July 17/18.”
Why are community projects important to you? Why are community projects important full stop?
Donna first: “I’ve always enjoyed working with other people and love to see all the original artwork that comes in when you ask people to get involved in something like this. I’ve been involved in many in the past – particularly in my association with York Learning – and in some ways it always amazes me how different the artwork produced is, although obviously I know it shouldn’t.
“Imagine if all the artwork that came in was exactly the same. Now that really would be worrying! I think projects such as this inspire people; they make them feel part of a whole and help to bring people together. Not to mention the huge therapeutic benefits that doing any sort of arts and crafts has on the health and wellbeing of individuals.
Katie: “The Covid crisis has highlighted many things, including the importance of connecting with your community, taking action to maintain your physical and mental wellbeing, and the value of creativity for mental health.
“Hopefully, this project brings those things together. Community projects are so important to create opportunities for people to connect with each other and to express themselves and their experiences.
“We were really aware that the last year has been a very mixed experience, with some severe hardship and distress, and as artists we really believe that doing something creative can help during challenging times.”
In a year of change, what changes have been for the better?
“It’s definitely been a time to get to know our local community and neighbours much better. We’ve also been able to connect online: as artists we’ve started to have regular online meetings, which has really transformed how the studios are run and the sense of community there.
“People have become more aware of local projects and businesses, plus there’s the huge environmental positives, of course.”
What changes have been for the worse?
“So many people have suffered in this last year. So many people have died, and so many have been separated from their loved ones for long periods of time.
“Some people have lost their livelihoods and it’s difficult to imagine how some of that will recover, including live music and theatre.
“Living with the anxiety of feeling vulnerable to a horrible virus for a year has been a huge challenge for mental health, particularly for young people, and for key workers. There have been many changes – some things will never be the same again.
“It’s certainly a historic time we’re living in and we’re grateful that we’ve been able to record this in some way.”
What challenges have been thrown at you as an artist and what have you learned over the past year about your artistic vision and practice?
Donna: “My theatre work has all dried up, of course. I’ve only actually had one theatre job in the last year. And all my teaching has moved online.
“Again, like everything, it seems there are positives and negatives. Not being able to get into the studios all the time has been strange, but the time the pandemic has afforded me has actually meant that I’ve had more time to experiment and move forward with my art, which I may not have been able to do otherwise.”
Katie: “I’m a lecturer and all of my teaching suddenly went online, which actually created a lot of time to do craft and artwork while talking on video calls.
Katie Hill preparing artworks for exhibit in A Year Of Change: My Bubble. Picture: Carolyn Coles/Nicola Lee
“In the first month of lockdown I crocheted three blankets and realised that I needed to find other things to do. I’ve started working in sketchbooks for the first time in years and am developing ideas for textile arts and surface pattern design.
“I’ve been taking lots of photos of leaves and flowers on my exercise walks, which I have then used as inspiration for artwork. I never used to go for walks at all, so that’s a huge change for me.
“I’ve also been able to learn some new techniques by attending online classes with artists all over the world. So, creatively it has been a time of huge growth for me.”
In what ways has South Bank Studios been able to connect with the community during lockdown?
“As well as setting up this community art project, we’ve started free online ‘Create and Chat’ sessions to help the studio and church community through lockdown and loneliness. We also ran a stall outside the studios before Christmas, as part of Planet South Bank’s Crafty Crawl, which was very successful.
“Our studios are housed within Southlands Methodist Church and the church does a lot of creative community projects too. They’ve just put a spring flower display in the church windows and had a community Christmas tree outside at Christmas time that people could add their own decorations and messages to.
“The church is also working on a community garden, which will be a great asset particularly if it continues to be safer to be outdoors. Maybe we can run some outdoor community art sessions in the summer.
“Another artist, Rebecca Mason, has also set up a fundraising page for Cancer Research, and our friends at Planet Food – who share the building on a Thursday – have continued to offer weekly support to members of our community through their zero food waste initiative.”
What is the symbolism of the circular shape for a piece of art in My Bubble?
“We wanted a format that would unify all of the artworks, so that people could do a range of art in different styles, but they would all fit together, so we knew we wanted everyone to do something that was the same shape.
“Obviously the ‘Bubble’ idea links to social bubbles in lockdown, so the circle fits with that idea too. We’ve received some gorgeous artwork so far: the circle idea is working really well.”
What pieces are you each doing for My Bubble?
Donna: “Mine will be based on a photograph I took on New Year’s Eve as I walked through the empty streets of York city centre in the early evening with my daughter. It was deserted and symbolises what York has been like throughout the various lockdowns.
“For those of us who live in York, we know that we’d usually find lots of revellers everywhere at this time on the evening of a New Year. It was quite eerie in a way.”
Katie: “Following on from my flower art from daily exercise walks, I’m drawing and painting a bubble full of plants and flowers, including plants that have connections to my friends and family.
“With much more time at home than usual, I’ve done a lot of work in my small garden and am enjoying growing plants that have been given to me by my family and friends over the years.
“It’s a way to feel connected to them when we can’t be together in person. For example, my front garden is full of pale pink Hesperantha that were given to me by my mother, from her garden, so I really think of her when I see them.
What are you both working on?
Donna: “I’m planning two new online classes, Experimental Watercolours and Spring Sketchbooks, which I’ll be delivering on Zoom. Although most of my learners are based in York, I’m now also teaching people as far away as Edinburgh, Brighton and Herefordshire. I’m also workin on a new series for York Open Studios.”
Katie: “I started a full-time PhD in January at Northumbria University on Social Design, which is where we use design processes and design thinking to work with communities on social and environmental projects.
“I’m going to be doing a community project as part of it in 2022, so I’m planning that at the moment. I’m also teaching online: design history and theory, and employability skills for designers.”
Which South Bank Studios artists will be participating in York Open Studios in July?
“There’ll be seven of us exhibiting: Donna Maria Taylor, Carolyn Coles, Caroline Utterson. Colin Black, Nicola Lee, Rebecca Mason and Karen Winship. It’s definitely one of the highlights of this year for those of us who are taking part and we’ve been looking forward to it for a long time now. More details about the event can be found at: yorkopenstudios.co.uk.
“We’re also planning to have other events as the building opens up and we’re safely able to do so: further craft fairs, coffee mornings and art exhibitions/installations.
“As a studio community, we’ve lots of ideas for the future and very much look forward to things getting back to normal, so we can explore all the ideas that we do have, both within the studios themselves and also in the space in and around the building.”
Carolyn Coles: One of the South Bank Studios artists who will be taking part in York Open Studios at Southlands Methodist Church on two weekends in July
Where might we all be in a year’s time?
Donna: “This is a tricky one. Personally, I would imagine my theatre work will slowly come back, but I will certainly be continuing with my online classes for a while. I’d like to think that I could go back to some real-life teaching at some point too, but for now I’m just planning things a couple of months in advance.
“In many ways, as artists, we’re very lucky as we’re used to change and insecurity. Historically too, interesting/innovative art often comes from challenging situations and living through difficult times.
“Looking forward, I also like the idea of running further community art projects from South Bank Studios, so watch this space.
Katie: “It’s so hard to imagine. If you had said in March last year that we would still be in lockdown a year later, I would have found that difficult to believe, so that makes me think that progress will continue to be slow.
“I think we’ve experienced a huge and rapid change in our use of technology and those changes will stay with us, so in a year’s time we will still be doing a lot of work from home and online.
“I hope that as a community we will all be working on taking care of each other and healing some of the trauma caused by this year of the pandemic, and that we will continue to nurture our sense of community and our creativity.”
Submissions for A Year Of Change: My Bubble
A Year Of Change: My Bubble: how to take part
Submission deadline: Tuesday, March 23 2021
Exact requirements of your artwork: Your design must be enclosed within a circle that is a minimum diameter of 12cms (the size of a CD) to a maximum diameter of 21 cms (the width of an A4 sheet of paper).
If your design is on a piece of paper, card or similar, please do not cut out the circle! Instead, leave it with at least a square around it.
“This is because we may join some ‘bubbles’ together to form a 3D display,” say the organisers. “You can decorate this area if you like but do be aware that it may have holes punched into it at a later date, or it may be cut off, depending on the final overall outcome. Therefore, please concentrate your main design within ‘the bubble’, which will not be tampered with.”
Your artwork must be lightweight enough to Blu Tack to a wall.
Your piece should be personal to you and inspired by your life in York during Covid-19 times.
Donna and Katie are hoping for a range of responses but some of the ideas/themes you may wish to explore as initial lines of enquiry include:
Neighbours; home school; working from home; loss; support for essential workers.
Or how about: hobbies and interests; walks or exercise regimes; your garden; view from you home; family & friends; specific objects that are important to you; home comforts; a close-up of a room in your house; your lockdown clothing/footwear?
You may use any medium you choose, so your artwork could be sewn, painted, drawn, collaged etc. Or you could use a mix of materials.
Important notice!
Only one entry per person.
Before submitting your artwork, you must ensure that you write the following information on the back (or write it on a separate sheet and include it as part of your submission):
Your name
Your age (if under 18)
A contact email address (PLEASE USE CAPITAL LETTERS)
A contact phone number
Your postcode
You may, if you wish, also write a short description about your piece/inspiration. Only a sentence or two will do but this is not absolutely necessary.
Where to deliver your artwork:
Please deliver you final piece through one of the letterboxes at Southlands Methodist Church, marking the envelope FAO: My Bubble. You will find the letterboxes at the Southlands Road and Nunmill Street entrances.
Or post your finished artwork (making sure you add an appropriate stamp to cover the cost!) to:
“My Bubble” (South Bank Studios), Southlands Methodist Church, 97, Bishopthorpe Road York, YO23 1NX.
If you are shielding and are unable to do either of the above, Donna and Katie can arrange to collect your artwork from your doorstep. Use this email address if this is the case: southbankstudiosyork@gmail.com
Communications:
After submitting your My Bubble artwork, all correspondence will then be via email. In taking part in the project, you will be added to the South Bank Studio mailing list that has been set up so everything can be collated, keeping you up to date on progress so far and physical exhibition dates.
By taking part you are agreeing that you are happy for your name, email address and contact number to be on this list. You will be asked at the end of the project if you would like to be deleted from this list – or you can, of course, unsubscribe at any time by sending in an email.
Website/Social Media:
Donna and Katie will publish the images of the artwork produced on the website southbankstudios.co.uk and associated social media accounts, but individual names and contact details will not be published.
“We are aiming to get 365 ‘bubbles’ to represent a year, but if we do not have enough entries by the deadline (March 23), we shall open it up, so there may be an opportunity for you to submit more than one piece after this date,” they say. “We will let you know via email if this is the case.”
Return of artwork:
Artwork will be available for collection after the exhibition has finished. You will be contacted via email to inform you of when it can be collected.
Additional information:
If you would like any further information, or if you would like to take part in the project but do not have any materials, please contact Donna and Katie, who will do their best to help at: southbankstudiosyork@gmail.com.
Extra support if you need it:
Donna and Katie say: “We have designed this project in the hope that it will provide something positive for those who live within our city, although we appreciate that for some these times have been extremely challenging.
“Therefore, if you do feel like you need additional support in any way,we would encourage you to please reach out. Here is a really good link to the organisations and people in York who can help you and they are only a phone call or text away: https://www.livewellyork.co.uk/FeelRealYork.”
More bubbles than at a West Ham United home match…
