CHART-TOPPING rapper slowthai will play the Refectory, University of Leeds, on March 18 2022 on his Hell Is Home tour.
Last Friday, he had the rapper’s delight of his second album, Tyron, entering both the UK album chart and UK vinyl chart at number one, already selling more than double the units of his May 2019 debut, Nothing Great About Britain.
A stand-out from Tyron being championed by fans is the affecting album closer, adhd, where slowthai “digs deep and finds untold courage to expose the inner workings of his mind”.
The video is a counterpoint to the commotion caused by those for singles Cancelled and Vex, finding Northampton-born slowthai, 26, in a contemplative space: a one-take shot of him with a city-scape backdrop, feeling distant from the noise and bustle of the world. To watch adhd, go to: https://www.youtube.com/watch?v=MAYNdjIqcFA.
Tickets for slowthai’s Leeds gig, one of 12 dates on next year’s tour, will go on general sale on Friday (5/3/2021) via slowthai.com.
Did you know?
Tyron takes its title from slowthai’s name, Tyron Kaymone Frampton.
A socially distanced audience at the Milton Rooms, Malton, in 2020
THE ambitious programme to transform the Milton Rooms in Malton into a “21st century community and arts venue” is to be boosted by £193,000 funding from Ryedale District Council.
The grant was confirmed at last Thursday’s meeting of the full council, prompting chairman of trustees Ray King to say: “We are grateful for what is the first major investment in the Milton Rooms, probably since it was built in the 1930s, and the money will be focused on key infrastructure areas that our local community and audiences have identified as being issues.”
Welcoming the kick-start funding, King says: “It will allow us to upgrade toilet areas, further address the access challenges that a building of this age presents and look at improving the overall fabric and technical facilities to prepare it for reopening after Covid restrictions are fully lifted.
“But, at the same time, the trustees recognise that this has to be regarded as simply the first in a new phase of investment to transform the building into a 21st century community and arts venue and we are constantly looking for additional funding from a range of sources.
“I believe this funding is also a recognition of the tremendous work that has been put in by the dedicated volunteers past and present, who have kept this iconic building open and available to all.’’
At an earlier meeting, on February 18, Ryedale District Council voted to ring-fence £307,000 in this year’s budget for the Milton Rooms to carry out further improvement work to bring it up to standard as a top-class venue for the 2020s.
The money will be released only for fully costed projects agreed by the Milton Rooms committee and the council and its officers.
King says: “While we are delighted to receive the £193,000, the hard work starts now in developing a business plan to access the further funds and so make the Milton Rooms an even more attractive venue for the community to use and enjoy.’’
Run as a charitable company, mainly by volunteers, the Milton Rooms has just had its Covid-safe accreditation extended for 2021 by British tourism body Visit Britain.
Venue manager Lisa Rich says: “We always welcome new volunteers to the team, particularly any with experience of the technical side of arts production and presentation, so please make contact by emailing info@themiltonrooms.com, should you have a few spare hours.’’
Time to go surfing again: James frontman Tim Booth looks forward to riding the wave of crowd adulation once more at Leeds First Direct Arena in November
JAMES are to release their “sweet 16th” studio album, All The Colours Of You, on June 4.
Billed as a “miraculous conception” by Clifford-born frontman Tim Booth, it was recorded in part before the Covid pandemic struck, with the Grammy award-winning Jacknife Lee on production duties with the Manchester band for the first time.
Lee has been at the desk previously for U2, REM, Taylor Swift, Snow Patrol and The Killers, and has brought a fresh approach to James’s sound. Working remotely from his studio, he liaised with vocalist Booth, his neighbour in Topanga Canyon, California, and bassist Jim Glennie in the Scottish Highlands, reimagining their demos and capturing the band in all their virtual glory.
“The result is a record with the most arena-ready and fresh tracks of their 38-year career; the sound of one of Britain’s best bands deconstructed and reassembled by one of the world’s most renowned producers,” proclaims the press release.
The artwork for James’s 16th studio album, All The Colours Of You, blooming in June
Booth says: “With all the s**t that went down in 2020, this was a miraculous conception and another big jump forward for us on the back of the last three albums. I hope it reflects the colours of these crazy times. Sweet sixteen is a proper album, no fillers and is up there with our best. With love, Tim.”
Glennie is pleased, proud and surprised by the record in equal measure. “Jacknife has pushed us and the songs somewhere new and it’s very exciting,” he says. “After all these years, we are still challenging ourselves and our fans. Enjoy.”
All The Colours Of You follows last December’s release of Live In Extraordinary Times, a live double album and DVD with a title twist on their 2018 studio set, Living In Extraordinary Times.
“As requested by many lovers of the band – a live DVD and album to capture the spirit of the gigs of the last few years,” said Booth at the time. “Hopefully, this will help us through the long nights of lockdown – reliving these gatherings of intimacy and passion. Thank you for coming along for the ride in the crazy world of James.”
“Hopefully, this will help us through the long nights of lockdown,” said Tim Booth, when James released their live double album, Live In Extraordinary Times, last December
All The Colours Of You will be James’s first album since being signed by joint managing directors Jim Chancellor and Mike Roe to Virgin Music Label & Artists Services, formerly Caroline International.
They have a new publishing home too in Kobalt Music, these changes “reinforcing the endless and restless ambition they have” as they approach their fourth decade as a band.
The track listing will be: ZERO; All The Colours Of You; Recover; Beautiful Beaches; Wherever It Takes Us; Hush; Miss America; Getting Myself Into; Magic Bus; Isabella and XYST.
From the first line on ZERO – “We’re all gonna die” – Booth addresses difficult subjects throughout the 11 tracks, with themes ranging from politics and climate change to dealing with the loss of a loved one during the pandemic.
James: Touring in the autumn in a maverick Manchester double bill with Happy Mondays
Miss America examines that disunited country’s tarnished image through the eyes of a beauty pageant (“Miss America’s wearing thin, she’s all tiaras and glamour”), while Beautiful Beaches focuses on the fires that ravaged California and follows a vision Booth had of an earthquake that caused his family to flee for refuge (“That life we left behind, we’re racing down to those beautiful beaches”).
The title-track first single tackles the Trump years head on. Based in the USA for many years, Booth, 61, has witnessed at first hand the divisiveness and hatred stoked by the former President. Highlighting the sharp rise of white supremacy during Trump’s four years in office, the song nevertheless ultimately offers hope of a new and brighter future with the refrain “Love all the colours, all the colours of you”.
Recover, the album’s most poignant and delicate song, deals with the death of Tim’s father-in-law from Covid-19 in the UK. Uplifting and joyful in honouring a loved one’s legacy and spirit, it offers a celebration of life, not the sadness of death, affirming that “We will remember how to pass your spirit on”.
All The Colours Of You will be available in myriad formats: standard CD; D2C deluxe CD with bonus artwork, photos and pictures in a DVD hardback book package; standard LP; D2C deluxe LP on swirl coloured vinyl; D2C deluxe LP on picture-disc vinyl; indies and HMV deluxe LP on multi-coloured vinyl and even on cassette. Pre-orders can be made at: https://james.lnk.to/AllTheColoursOfYouSo.
The tour poster to accompany last November’s announcement of James and Happy Mondays’ 2021 itinerary
James will open their seven-date 2021 tour at Leeds First Direct Arena on November 25, supported by fellow Manchester maverick institution Happy Mondays. “Soo looking forward to seeing you,” said Booth, when announcing the gigs last November on Twitter and at wearejames.com. “We’re playing with the brilliant Happy Mondays. Last played with them in 1988, hopefully this time they won’t steal our rider or try and spike my drink…”
The tour has sold faster than any previous James tour, chalking up 60,000 ticket sales for shows in Leeds, Birmingham, Cardiff, Glasgow, Dublin, Manchester and London. Remaining tickets are available at: https://wearejames.com/live/
In the summer, James will headline the Saturday bill at Deer Shed Festival 11, confirmed to run from July 30 to August 1 at Baldersby Park, Topcliffe, near Thirsk. “In light of the recent Government unlocking roadmap, we are now working flat out to bring you an amazing festival,” say the festival team, led by director Oliver Jones.
“We will bring you the maximum possible fun in July and that currently looks like a full fat Deer Shed 11. The safety of everyone in attendance will always come first, and should circumstances change, none of our audience will lose out.” Tickets are available at https://www.deershedfestival.com/tickets/.
History on the move: Neal Foster and Morgan Philpott will be performing Horrible Histories: Barmy Britain on later spring dates than first planned on the Car Park Tour. Picture: Mark Douet
HORRIBLE blow for Harrogate, as the Government roadmap out of the lockdown has consigned the April 3 performances of Horrible Histories: Barmy Britain at the Yorkshire Event Centre to history.
Other dates on the nationwide Car Park Tour booked originally for before April 12 have been rearranged after the proposed timing of the Government’s four-step plan necessitated a later itinerary.
Seventeen locations will accommodate the tour, ranging from racecourses to sports stadia, showgrounds to an airport, an exhibition centre to country houses, but no new space in the diary could be found for the Great Yorkshire Showground show in Harrogate.
By contrast, the April 5 performance of the live-action version of Barmy Britain at Harewood House, near Leeds, has been switched to Sunday, May 2 at 11am.
Tickets holders have been notified of the changes but tickets are still available via carparkparty.com, priced at £39.50 upwards, plus £2.50 booking fee. Further information can be found there too.
Heads you lose: Horrible Histories’ King Henry VIII will not be heading to Harrogate after all
The Barmy Britain tour will present two actors playing a multitude of classic characters from barmy and horrid British history, taking in Queen Boudica, King Henry VIII, Guy Fawkes, Dick Turpin, Queen Victoria and plenty more besides.
Based on Terry Deary’s broad-humoured historical books of the same name, Horrible Histories have transferred from page to stage for 18 live shows presented by Birmingham Stage Company, as well being made into a musical sketch comedy television series.
In the Covid-safe Car Park Tour show, on tour from April 13 to May 3, families sit in their cars watching the actors on stage and on a large screen while listening live on their radios and, if so inclined, honking their horns in appreciation.
Birmingham Stage Company and “concept creators” Coalition Agency “plugged the pantomime-less gap” with Horrible Christmas and now they are teaming up again for two Horrible Histories tour shows: Barmy Britain and Gorgeous Georgians & Vile Victorians.
Neal Foster, actor-director of Birmingham Stage Company, will be joined on stage by Morgan Philpott. “I’m over the moon to be back on tour with Barmy Britain after its hugely successful tour last summer,” he says. “It’s weird and wonderful to be performing in car parks and to see the audience having fun behind their windshields. We can’t wait to get back out there”.
Harewood House, here we come: Morgan Philpott, left, and Neal Foster , will take a humorous journey through history in Horrible Histories: Barmy Britain on May 2 on the Car Park Tour. Picture: Mark Douet
Online session: Forgotten Voices director Sam Dunkley hosts a remote rehearsal with members
POCKLINGTON Arts Centre’s community choir, Forgotten Voices, is reaching out for new members “at a time when some people might need it the most”.
A regular participant in the National Street Choirs Festival, the choir celebrated its tenth anniversary last year and has maintained momentum in lockdown by helping members stay connected and socially engaged through moving rehearsals online.
Forgotten Voices was set up ten years ago, under the directorship of Sam Dunkley, with the aim of helping people rediscover the joys of singing in a friendly, sociable setting.
The group usually meets at Pocklington Arts Centre (PAC) on Tuesday evenings, from 7pm to 9pm, to rehearse songs from a wide range of genres, such as pop, folk, classical and musical theatre.
However, the pandemic has forced Dunkley to move rehearsals online, and while members say they miss their face-to-face sessions, their remote gatherings are not only morale boosting but also help to combat social isolation at this time.
Retired teacher Jane Smith, of Pocklington, joined Forgotten Voices at the very start, spurred on by there being no audition and wanting to find a way to “switch off for a couple of hours”.
Despite missing performing in person and the chance to socialise with everyone, Jane believes the online rehearsals have been good for her mental wellbeing. “Over the years, I’ve made good friends through the choir. I’ve learnt a lot from Sam and he always manages to make us laugh. I love it when we’ve worked on a song and then all the parts come together,” she says.
Forgotten Voices in pre-pandemic days
“It’s so uplifting to be a part of something bigger than yourself. I love it when we can perform for and with other people, whether it’s at a summer fair, a wedding, on stage at the arts centre or around the country as part of the National Street Choirs Festival. It’s an absolute joy.”
Reflecting on the past year, Jane says: “I miss being able to hear everybody else’s voices, being in the same room, with all the parts resounding around us. I miss being able to socialise, have a chat and a cup of tea. I miss having a performance to work towards – and performing.
“On the other hand, it’s been very good for morale, to see friends ‘virtually’ every week, have a little chat and a laugh, as well as singing some old favourites and learning some new songs.
“I think it’s been good for our mental health, at a time when so many of us are isolated from each other.”
Retired teacher Pamela Quarmby, of Stamford Bridge, joined Forgotten Voices a decade ago for her love of singing. “I’ve always enjoyed being a part of the choir, especially being able to sing alto parts and meeting other members,” she says. “While I miss seeing the friends I’ve made, and hearing each other sing, I would encourage others to come and join us – we are like a family.”
At present, the Forgotten Voices community choir meets online every Tuesday, from 7pm to 8pm, with no audition necessary. To find out more and to join a virtual rehearsal, contact Sam Dunkley at info@performingartsetc.co.uk or send a message via the Facebook page, @ForgottenVoicesCommunityChoir.
Penny Whispers: Scarborough duo Harry Bullen and Terri-Ann Prendergast
AN email nudge dropped into the inbox from the intriguingly named Penny Whispers, with its echo of Ian Fleming’s “Bond girls” or a one-hit-wonder Sixties’ pop ingenue.
“You may not remember me but in 2012 you wrote a review for The York Press on York Settlement Players’ version of ‘Black Potatoes’ and quoted me as ‘one to watch’ – a review I’ve held dear to this day,” it began.
Ah yes, Black Potatoes, a musical by Alan Combes and Steve Cassidy, the one with Irish accents, that ran at Upstage Centre Theatre @41 Monkgate, York, in November 2010 (not 2012!).
The “one to watch” – or “definitely one to watch” as the review said even more emphatically of her performance as young wife Peigi – was one Terri-Ann Prendergast, now one half of the Scarborough duo Penny Whispers.
On March 7, Terri-Ann and Harry Bullen release their third single, Upside Down, the follow-up to December’s “ray of hope” lockdown song Wave and their debut, Stay A While.
Penny for your thoughts, Terri-Ann. Here she answers CharlesHutchPress’s questions on her musical past and present, the name Penny Whispers, the impact of Covid lockdowns on musicians, song-writing in 2020/21, album plans and the year ahead.
When did Harry meet Terri-Ann?
“We’re both from sunny Scarborough and we met in 2015, having secured contracts to work on cruise ships, performing to audiences all over the world.
“For the past five years, we’ve been travelling all over the world playing music and have never been in one place for very long. In 2020, we were heading back to the UK to record. We were aiming for London until the pandemic hit and we ended up grounded in Scarborough. It’s been quite nice really as it’s been ages since we were both at home.”
What have you done since your performance theatre student days at York St John? You mention working on cruise ships…
“I’ve done lots of theatre work around Leeds and York, including a stint performing at the York Dungeon! While building up my solo singing career, I performed at some really amazing events including Camp Bestival [at Lulworth Castle, Dorset].
“I worked alongside The Prince’s Trust for a while and had the opportunity to perform at some really wonderful events for them. In 2015, I joined a band – where I met Harry – and we secured some contracts on cruise ships, travelling around the world and playing music.
“I’ve been song-writing the whole time and it was here that Harry and I started to write songs together.”
Terri-Ann Prendergast, middle row, second from right, pictured in the role of Peigi in York Settlement Community Players’ production of Black Potatoes in 2010
When did Penny Whispers form and why are the duo called Penny Whispers?
“One night after a gig on the ship, Harry and I had a writing session in our cabin and we sort of haven’t stopped writing since! It’s so great when you find someone to write with who just hears what you hear in your head and the music just starts to flow.
“Since we met in 2015, we’ve written hundreds of songs and officially launched Penny Whispers in 2020. One of our first gigs was at The Hard Rock Cafe in Manchester, which was great.
“We chose ‘Penny Whispers’ as we loved the idea that it sounds like some quaint Victorian service like ‘penny for your thoughts’ or ‘penny for a secret’. Because it’s not person specific – it could be a solo artist, or a whole band – it’s not a title that immediately paints the whole picture. It makes you think about it for a second and decide what it says to you.
“One night after a gig, someone said to us, ‘Are you called ‘Penny Whispers’ because ‘money doesn’t talk’ but pennies whisper?’. We said, ‘No…but that’s really cool; we should’ve thought of that’.
“Pennies also have personal meaning to me because my Nan used to collect pennies in a jar for me and my brothers. She saved up so many 1p coins and we used to sit and count them all up into money bags.
“My Nan’s not here anymore but I still find pennies in the most bizarre places and at very peculiar times. One time I was having a bit of a panic in the toilet before an audition and right there in the toilet bowl was a penny! I like to think of it as Nan looking out for me a little, though I wish she would leave me £5 notes instead!”
Where did you record your self-produced pandemic song Wave?
“Wave was recorded in Harry’s mum’s basement. They turned the space into a recording studio and we recorded the vocals there.
“It’s a duet of emotionally charged harmony that balances tragedy and hope beautifully on the uplifting orchestration of Jon Pattison, co-founder and musical director of Beach Hut Theatre Company in Scarborough. He’s written loads of great material, including scores for many of Alan Ayckbourn’s plays at the Stephen Joseph Theatre.
“Harry produced the track after consuming hours of reading and watching YouTube videos. 2020 has given us a lot of time to explore new skills, other than just song-writing. We now aspire to do everything ourselves, 100 per cent DIY independent musicians, multi-tasking from writing and recording to marketing.”
The artwork for Penny Whispers’ pandemic single, Wave, released last December
What’s the story behind Wave, a song for these strange, enervating, fearful days?
“2020 has been a tough time for everyone across the globe, especially for creative people, but sometimes out of the darkest places, something good emerges.
“Amid lockdown 2020, we knew we wanted to say something in response to what was happening around us, but we didn’t want it to come solely from our point of view.
“So, we reached out to our followers on social media, asking them how they were coping, and the response was astounding: an influx of words showing shared feelings of loneliness but also, overwhelmingly, a huge undertone of hope.
“We wrote the song as a direct response to the pandemic, taking the messages we received from our followers and turned them into Wave. They truly were the inspiration behind it.
“The reaction has been really positive. Jonathan Cowap, on BBC Radio York, said the song ‘radiated hope’, which is exactly what we wanted it to bring: hope.
“Music has such a powerful way of lifting spirits and this is something everyone can embrace. We received messages telling us that it made people feel less alone when listening to the song and reading the comments we received from our followers.
“It was wonderful to hear that Wave could be a reflection of 2020, not just from our perspective, but from everyone else’s too. After all, we’ve all felt lonely at times throughout this, but we’ve been lonely together and there’s comfort to be taken from that.
“You can see the messages we received by watching the Wave lyric video on our YouTube channel at https://youtu.be/CnqcfeTuqXM, demonstrating the amazing strength of the human spirit to remain positive in these troubling times.”
What have been the challenges of being a musician in Covid times? How has lockdown affected your life as well as your music-making?
“2020 was a really tough year for us. We were only just launching our first single and had a lot of plans mapped out that were completely wiped. We lost all our income and our home too.
“The toughest thing is, not only did we lose our living, but we also lost the very thing that sort of gives us life! Music is everything; it isn’t just our job. We felt like we sort of lost our place in the world a little bit.
“On a positive note, having the time to write and record has been great as we are often so busy. But after a while, inspiration started to dwindle. How can you write about life when it’s just Groundhog Day every day? We did some live-streams too to try keep people’s spirits up but nothing compares to performing live.
“Making Wave really lifted our spirits at a time when we were feeling uninspired.”
Terri-Ann Prendergast and Harry Bullen wrote Wave in Scarborough as a direct response to the pandemic
What are your plans/hopes for Penny Whispers in 2021?
“All being well, we will be back gigging again by the summer! We’ve been waiting for this moment for so long.
“There’s a fantastic organisation for Yorkshire-based musicians, The Sound of Scarborough, who are creating lots of fantastic opportunities and support for local artists, so we’ll hopefully be doing stuff with them.
“No matter what happens with live performances, we’ve got so much new music to release, so keep an eye on our socials for updates. We want to reach as many people as possible and keep writing songs that people enjoy.”
New single Upside Down: what’s the musical style, theme and release format?
“It’s been described as ‘fierce lively indie rock and pop mixed with some triumphant energy and even a bit of a folk twang to it’.
“It draws on a deep pool of genres that swim together with waves of influence to create an adrenaline-fuelling track! There’s a haunting quality to this song that’s comfortably uncomfortable. It highlights an inner battle that runs throughout us all, as we strive for meaning and deny unstoppable second guessing.
“The lyrics highlight a push/pull vibe that’s present throughout the song: ‘Falling highs and climbing lows, grabbing hold to let you go’. It’s the idea of wanting something badly but then getting it and discovering it’s not what you expected, but you know you can’t walk away, because you’re already drawn in too deep.
“Upside Down is out everywhere on March 7. You can download the track directly from our Bandcamp and this is a great platform for musicians to be directly supported by their fans. The track is set at a certain price, but fans can pay more for it if they wish, and unlike streaming services, artists keep a much higher per cent of the royalties.”
Is an album on its way?
“We’ve talked a lot about release strategy and what is the best way to release our songs. The industry has changed so much in the past ten years and with music being so accessible, albums aren’t consumed in the way they once were.
“As a new band, our plan is to release singles initially, to allow people to get to know us more and get to know our sound.
“That being said, we do have plans for an album in the future.”
And finally, Terri-Ann, do you still perform in musical theatre shows?
“I haven’t done any musical theatre for a few years now; I decided to shelve it temporarily to focus on music, my first love. “I do miss it, though! I wouldn’t rule it out for the future but for now it’s all about the music. Harry is keen on writing a musical in the future and is forever writing down ideas, so who knows…”
The Howl & The Hum at York Minster: “A unique set to compliment the unique venue”
THE Howl & The Hum are to perform a very special live-stream concert from York Minster on May 25.
York’s long-standing independent promoters Please Please You, independent York grassroots venue The Crescent and legendary Leeds venue and promoters The Brudenell [Social Club] are teaming up with the Chapter of York to present this one-off live performance by the York alternative rock outfit.
The show will be live-streamed at 20:15 (GMT) via ticket.co, and depending on Covid-19 restrictions at the time, a “very limited socially distanced audience may be able to attend”.
Indoor performances with reduced capacities could re-start from May 17 under the Government’s four-step roadmap out of lockdown, and so updates on this possibility will be delivered exclusively via the band’s mailing list.
The poster for The Howl & The Hum’s May 25 live-streamed concert at York Minster
Singer, songwriter and guitarist Sam Griffiths, bassist Brad Blackwell, guitarist Conor Hirons and drummer Jack Williams will perform a “unique set to compliment the unique venue”.
Last May, The Howl & The Hum released their debut album, Human Contact, whose prescient title chimed with pandemic times as such contact became more restricted through the alienating cycle of pandemic lockdowns.
Delighted to confirm York’s most ground-breaking band for a night in the Nave, at the fourth time of pencilling in a date, Please Please You’s Joe Coates says: “We’re very pleased to be able to bring some cheer to town at this time! Particular thanks to the Minster for being helpful and accommodating.”
The Howl & The Hum will be the first rock act to play York Minster since York singer-songwriter Benjamin Francis Leftwich on March 29 2019. Live-stream tickets are on sale via thehowlandthehum.com/.
Benjamin Francis Leftwich at York Minster before his March 2019 concert
One sandwich short of a picnic: Cassie Vallance’s Jo clowns around on her Friends Garden park bench at Rowntree Park in a scene from Teddy Bears’ Picnic last summer. Picture: Northedge Photography
PARK Bench Theatre’s hit summertime children’s show, Teddy Bears’ Picnic, will be streamed by producers Engine House Theatre from today (26/2/2021).
Performed by Shakespeare’s Rose Theatre actress and Story Craft Theatre interactive storyteller Cassie Vallance in all weathers last summer, it was one of three solo performances staged in the Friends Garden of Rowntree Park under Covid-safe conditions, with more than 1,000 adults and youngsters seeing the open-air show over 30-plus performances.
Now, director Matt Aston’s company, Engine House Theatre, is to stream the show, suitable for everyone aged three and over, newly bolstered by a Make Your Own Teddy Bear craft workshop video by Cassie, bringing her Story Craft Theatre craft-making skills to the online venture.
Tickets will give access to viewing for the whole event period of February 26 to March 7, priced at £5 at tpetv.com.
Teddy Bears’ Picnic was inspired by the much-loved John Walter Bratton and Jimmy Kennedy song and based on an original idea by Julian Butler, a freelance children’s theatre composer, lyricist and sound designer who has written several musicals with York playwright Mike Kenny and worked regularly with Aston.
Inspired by Butler’s suggestion when musical director for Aston’s production of Benji Davies’s The Storm Whale, starring Cassie at the York Theatre Royal Studio in 2019-2020, the 30-minute show was co-created by performer Vallance and Engine House artistic director Aston over a few weeks last summer.
Cassie Vallance: Craft-making storyteller for Story Craft Theatre’s Crafty Tales
Now, Matt says: “I’m so pleased to be finally joining the 21st century and having Teddy Bears’ Picnic stream online for people to enjoy at home.
“It seems such a long time ago that we all suddenly had to live and work in a very different way to bring live theatre back to York and I’m still extremely proud of the Park Bench Theatre season and of all the wonderful people who worked on it and helped make it happen.
“We didn’t have any plans to stream the shows, but once we’d gone into this third lockdown, we had a look at what footage could be used. We’re still hopeful we can stream the other two shows as well, featuring Chris Hannon in Samuel Beckett’s First Love and Lisa Howard in Every Time A Bell Rings [a play written by Matt in response to the lockdown].”
The director adds: “I’m also thrilled that Cassie has brought her crafting skills from her award-winning company Story Craft Theatre to present a short film so everyone van make a cardboard teddy at home.
“With the announcement of the Government’s roadmap earlier this week, there seems to be light at the end of the Covid tunnel. Hopefully, Teddy Bears’ Picnic will be another of those small treats to help families get through the final days of home schooling.”
In Park Bench Theatre’s Teddy Bears’ Picnic, every year, Jo’s family used to have a big family gathering: a teddy bears’ picnic. It was always brilliant, but then she grew too old and too cool for that sort of thing, so she stopped going. Now she has grown up, however, she wishes she could have those picnic days all over again.
Matt Aston: Park Bench Theatre artistic director and co-creator/director of Teddy Bears’ Picnic on a Friends Garden park bench. Picture: Livy Potter
Recalling the co-writing experience, where technology came in handy, Cassie says: “I’d write a bit, Matt would write a bit, and we’d share thoughts on Zoom. We then started working on the physical aspect of the show from the beginning of August, as I’m much more of an up-and-about physical person, and then we began running it.
“The main thing, when working on it, was to be flexible, with it being for children and an outdoor show. Visually, it had to have lots of big stuff, and our thinking was, ‘if we can say it physically, let’s do that’, but it’s also a play full of memory moments, which we’ve made more intimate.”
Now, Teddy Bears’ Picnic can be enjoyed all over again, online, teddy bear-making craft workshop and all. “Considering how life has changed so dramatically for so many over the past months, I once again find myself feeling very grateful to be able to be part of creating a piece of live theatre for families,” says Cassie.
Did you know?
The song Teddy Bears’ Picnic combines a 1907 melody by American composer John Walter Bratton with lyrics added by Irish songwriter Jimmy Kennedy, a Dublin University graduate, in 1932.
It has been recorded widely since Peckham crooner Henry Hall’s idyllic version that year, being used in television series, commercials and films. Recordings range from Bing Crosby to The Grateful Dead’s Jerry Garcia, while Deep Purple’s Ian Gillan recited the lyrics as a poem at the start of a recording of Bad Attitude.
Any good at the hurdles? Cassie Vallance tries to negotiate the gate to enter the Friends Garden at Rowntree Park. Picture: Northedge Photography
WHAT was the CharlesHutchPress verdict last summer?
REVIEW: Teddy Bears’ Picnic, Park Bench Theatre, Engine House Theatre, Friends Garden, Rowntree Park, York, August 22 to early September 2020. ****
THROUGH stealth and goofy coming timing, Cassie Vallance had stolen Twelfth Night, the Jazz Age hit of last summer’s Shakespeare’s Rose Theatre in York before the rest of Joyce Branagh’s superbcast could do anything about it.
After that Pop-Up Elizabethan theatre season on the Castle car park, Vallance has popped up again at York Theatre Royal’s Pop-Up On The Patio festival, presenting Crafty Tales with her Story Craft Theatre cohort Janet Bruce last Saturday lunchtime.
She would have done so again this Saturday too at 1pm but for the fact she needs to be at Rowntree Park for the 1.30pm performance of Teddy Bears’ Picnic, her solo performance for this summer’s Park Bench Theatre season.
For all her oodles of comic energy, not even Vallance can be in two places at once and so Janet Bruce will be bringing a picture-book story to life on her own on the patio this weekend.
In between Twelfth Night and Teddy Bears’ Picnic came Vallance’s starring role in director Matt Aston’s adaptation of Benji Davies’s The Storm Whale stories for the York Theatre Royal Studio’s Christmas show for children.
Cassie Vallance in The Storm Whale at the York Theatre Royal Studio. It was during this production that musical director and composer Julian Butler first came up with the idea for a production of Teddy Bears’ Picnic, based on the song
Now, Aston, artistic director of Engine House Theatre, resumes his creative partnership with Vallance for this season’s Park Bench Theatre resurrection of outdoor theatre for the post-lockdown age.
Together, they have co-created a new version of the Teddy Bears’ Picnic story spun from the threads of the popular children’s ditty and an original idea by musical director Julian Butler; Aston directing, Vallance performing with all that impish clowning, physical comedy and pathos that has marked the York actor’s performances over the past year.
If you go down in the Covid-secure Friends Garden tomorrow, or on various dates until September 5, you are in for a children’s show to delight three year olds and upwards. Take a picnic, take a child or two, or more, within a family bubble to sit in socially distanced pods marked out by chalk circles, with room to accommodate your favourite teddy bear too.
On arrival, you will pick up the necessary equipment to listen on a head set to the feed of Vallance’s storytelling, sound effects (from lasers to a send-up of The Six Million Dollar Man intro for the adults present) and reprises of the familiar song, complemented by Julian Butler’s incidental music.
Vallance is playing Jo, struggling with her big case as she tries to negotiate her way through the not very high gates to the Friends Garden on a sunny Thursday afternoon.
Who would name a teddy after a beach? Cassie Vallance’s Jo would do exactly that, holding Filey aloft in Teddy Bears’ Picnic. Picture: Northedge Photography
Eventually, she does so, taking up residence on and around the park bench beneath the linden tree in the garden corner, as a squirrel looks on, front paws in that distinctive squirrel position where they look to be on the cusp of bursting into applause.
Vallance’s Jo is in three quarter-length dungarees with yellow buttons and matching head band and anything but matching pumps (purple instead), her bravura attire denoting a funny woman has just entered the garden.
Jo begins to unpack the case, taking out case after smaller case, as if opening up a Russian doll. She puts up bunting, does a spot of juggling. Vallance has said nothing, as much mime artist or silent movie actor to this point, but once she puts on a pair of spectacles, she “realises” she has an audience and starts talking…excitedly.
She seeks to give this re-telling a context for Covid-19 2020, as Jo talks to the children about the experience of coming out to play again, to see friends again, to be outdoors again, to be enjoying a Teddy Bears’ Picnic again, after being stuck inside in lockdown for an eternity.
“It’s a bit weird,” she says, and who would disagree. “There’s been lots of Zooming,” she notes. “For a word that sounds so fast, it seems to take so long!”
A teddy bear in Park Bench Theatre’s production of Teddy Bears’ Picnic last summer. Now, Cassie Vallance will lead a cardboard teddy bear craft-making video session to accompany the streaming of the show. Picture: Northedge Photography
Picking a banana from her picnic, Vallance’s Jo bounces around the audience, revelling in “just being”, “feeling happy”, “enjoying stuff”, but then her thoughts turn to memories. “All memories are important. They may not be happy, but that’s OK, they can help us learn,” she says.
At this juncture, Jo transforms into her younger self, recalling childhood Teddy Bears’ Picnics in Rowntree Park, surrounded by her teddies, all except her favourite, Kelly, who came off worst in an unfortunate encounter with her father’s Flymo mower.
Vallance’s crestfallen pathos at this juncture is a joy, so too are the Scottish and Welsh accents she adopts for Jo’s mum and dad (even though they are from Welwyn Garden and Fulford!).
Aston and Vallance’s charming short story ends on a positive and reassuring note in these strange times for children and adults alike, Jo saying that things can and always will change…and “change can be really, really good”.
Ironically, the only sting in this tale was, well, not a sting but a horsefly bite suffered by director Matt Aston pre-show. Kelly went to hospital in the story, Aston to A&E with his arm swollen. Is ted not dead? Did both have a happy ending? That would be telling!
Iestyn Davies: York countertenor will perform with viol specialists Fretwork at the Awaken weekend
THE National Centre for Early Music, in York, is to play host to an online celebration of music for springtime on March 27 and 28.
The weekend programme of Awaken will feature celebrated British musicians, working across a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”.
The two days of festivities will begin with a musical whistle-stop tour led by the all-male vocal group The Gesualdo Six, directed by Owain Park at 1pm on March 27. Beyond These Shores: A York Tapestry will explore the musical “jewels in the crown” of Renaissance Europe, as revealed in the stained glass and manuscripts of the City of York.
The journey will show off some of the city’s most beautiful buildings, such as Holy Trinity Church, Goodramgate; St Olave’s Church, Marygate, and the mediaeval splendour of the Merchant Adventurers’ Hall, Fossgate.
At sixes and sevens: The Gesualdo Six with director Owain Park, middle, back row
The weekend’s grand finale, on March 28, will feature I Fagiolini in Super-Excellent, directed by Robert Hollingworth in a 7pm concert filmed in York. They will be joined by the English Cornett & Sackbut Ensemble to present a multi-choir extravaganza of music from the Italian Renaissance, taking a musical journey across Spain to the New World and back again.
Also appearing in Awaken will be York international countertenor Iestyn Davies, performing with the instrumental viol specialists Fretwork on March 27, as they bring light to the 17th century world of JC Bach and his contemporaries, interlaced with the 20th century genius of Ralph Vaughan Williams, in a 7pm programme entitled The Sky Above The Roof.
Directed by Olwen Foulkes, rising stars Ensemble Augelletti will make their York debut at the NCEM’s home, St Margaret’s Church, Walmgate, presenting A Spring In Lockdown on March 27 at 3pm, and BBC New Generation artists The Consone Quartet will perform Schubert’s Quintet in C major with cellist Alexander Rolton on March 28 at 3pm.
Looking forward to the reawakening weekend, NCEM director Delma Tomlin says: “As we gradually move into spring, we are delighted to bring you Awaken, which through music brings us the promise of hope, joy and warmth for the coming months.
“Through music, Awaken brings us the promise of hope, joy and warmth for the coming months,” says NCEM director Delma Tomlin
“Since the very first lockdown, we have continued to bring you some of the finest music streamed from our beautiful base of St Margaret’s Church. For Awaken, we’ve branched out further and are very excited to be able to show off some of the city’s architectural gems, which provide us with a fitting backdrop for the glorious music.
“We’re also pleased to welcome back some of our most popular performers and to introduce a few new faces. We hope you’ll join us for these sublime sounds of spring.”
Tickets cost £10 for individual online concerts or £40 for a weekend pass on 01904 658338, at ncem.co.uk or by emailing boxoffice@ncem.co.uk. Full programme details can be found at: ncem.co.uk/awaken. The concerts will be available on demand until April 30.
Before Awaken, The Gesualdo Six will mark Early Music Day by performing a 3pm concert on March 21, toasting the genius of Josquin des Prez, French composer of the Renaissance age. The live-stream from the NCEM will form part of the annual celebrations organised in association with the European Early Music Network, REMA.
The Consone Quartet: Performing Schubert’s Quintet in C major with cellist Alexander Rolton on March 28
The musicians taking part in Awaken will be:
The Gesualdo Six: Owain Park, director; Andrew Leslie Cooper, Guy James, countertenors; Josh Cooter, Joseph Wicks, tenors; Michael Craddock and Sam Mitchell, basses.
Ensemble Augelletti: Olwen Foulkes, recorders, director; Ellen Bundy, Alice Earll, violins; Elitsa Bogdanova, viola; Carina Drury, cello; Harry Buckoke, bass/gamba; Toby Carr, theorbo; Benedict Williams, harpsichord/organ
Fretwork: Richard Boothby, Emily Ashton, Joanna Levine, Asako Morikawa, Sam Stadlen, viols, with Iestyn Davies, countertenor.
Consone Quartet: Agata Daraškaite, Magdalena Loth-Hill, violins; Elitsa Bogdanova, viola; George Ross, cello, with Alexander Rolton, cello.
I Fagiolini: Robert Hollingworth,director; Martha McLorinan, Nicholas Mulroy, Matthew Long, Greg Skidmore, singers; William Lyons, Nicholas Perry, dulcians, shawms; Catherine Pierron, James Johnstone, organs; Eligio Quinteiro, Lynda Sayce, theorboes, guitars.
English Cornett & Sackbut Ensemble: Gawain Glenton, Conor Hastings, cornetts; Emily White, Miguel Tantos-Sevillano, Tom Lees, Hilary Belsey, Andrew Harwood-White, Adrian France, sackbuts.
Eboracum Baroque: Leading online story-telling and music project for primary schools
STORY Orchestra: Four Seasons In One Day, an online project for primary schools, will be launched by the National Centre for Early Music, York, next month.
Funded by East Riding Music Hub and presented by York ensemble Eboracum Baroque, led by director, conductor, trumpet player and teacher Chris Parsons, the project is suitable both for pupils who are in school or those learning from home.
This specially created work, based on the book The Story Orchestra: Four Seasons In One Day, illustrated by Jessica Courtney-Tickle, includes a live-streamed performance broadcast from the NCEM’s home, at St Margaret’s Church, Walmgate, on Tuesday, March 23 at 2pm.
The Story Orchestra: Four Seasons In One Day performance will be available to download from ncem.co.uk and can be accessed to watch again until Friday, May 28, and it will be accompanied by a raft of resources and activities, such as arts, crafts, drawing and painting.
Through story-telling, Story Orchestra provides a light-hearted introduction to Vivaldi’s Four Seasons. As the music unfolds, the story follows the adventures of a little girl and her dog as they travel through the four seasons and discover the beautiful sounds of Vivaldi’s 1723 composition.
This online project finds the NCEM continuing to be at the forefront of engaging digitally with schools and communities. During the past year, the NCEM has offered an extensive package of teaching resources to contribute to learning, health and wellbeing during the Coronavirus pandemic.
Director Delma Tomlin says: “We’re delighted to be bringing you this exciting project for primary schools that will now be available online from March 23. We had planned to take it to schools across the East Riding in the run-up to the 2021 Beverley & East Riding Early Music Festival, but circumstances have compelled us to rethink.
“We’re looking forward to working with Eboracum Baroque, a young professional group of musicians who are experts in sharing their enthusiasm for music,” says NCEM director Delma Tomlin
“We’re very grateful to the East Riding Music Hub for their support in enabling us to share this magical project online with schools across the region. The music of Vivaldi tells a wonderful story of the seasons, from the shivering chills of winter through to the haze of the summer heat.
“We’re also looking forward to working with Eboracum Baroque, a young professional group of musicians who are experts in sharing their enthusiasm for music, encouraging children to discover their creativity.”
Emma Calvert, head of the East Riding Music Hub, adds: “The NCEM has responded to the need for children to have access to high-quality creative activities, whether at home or school, to support their wellbeing during the pandemic, and the East Riding Music Hub is thrilled to be partnering with the NCEM and Eboracum Baroque to bring you Four Seasons.
“With the added resources available to schools, it allows you to build an exciting programme of art and craft activities alongside the online performance, accessible to those learning in school or accessing remote learning from home.”
The NCEM will be launching additional resources for primary schools this spring:
* Songs On Safari with the Gesualdo Six and Eboracum Baroque;
*Palisander Project, a selection of videos from young recorder quartet Palisander, partners in the Young Composers Award 2021;
*Musical News, providing lesson plans, resources and other inspiration for teachers and pupils aged seven to 11.
Full details will be available soon. Tickets for the March 23 live-stream cost £15 for a standard ticket for the whole school, £10 for East Riding schools, and can be booked at: http://www.ncem.co.uk/story-orchestra-project/
