Anastasia Benham and Danny Mellor in Badapple Theatre’s December 2019 tour of The Snow Dancer
GREEN Hammerton company Badapple Theatre are to present their only indoor performances of 2020 at a socially distanced Joseph Rowntree Theatre, York, on December 5 and 6, subject to updated Covid-19 Government measures.
Danny Mellor and Anastasia Benham will resume their stage partnership in artistic director Kate Bramley’s The Snow Dancer, the Christmas show they toured last year, concluding at Yarm Fellowship Hall on December 29 2019.
In September, they teamed up again for outdoor performances of the premiere of Mellor’s play, Suffer Fools Gladly, as part of Badapple’s 21st anniversary celebrations.
Mellor’s quick-moving, quick-witted hour-long comedy delighted in testing and tracing the merits of always having to tell the truth: a compulsion from which our parliamentarians seem to be socially distanced, alas.
Anastasia Benham and Danny Mellor in Badapple Theatre’s open-air tour of Suffer Fools Gladly in September
Now, Badapple are fundraising to support the performers in the Covid-secure performances of The Snow Dancer through a Crowdfunder appeal that will run until November 30.
At the JoRo theatre, newly equipped with chair wraps to denote the socially-distanced seating plan, Mellor and Benham will stage writer-director Bramley’s cautionary global-warming tale, set in the Great Wood, where something is awry.
The animals are desperate for sleep, but with the onset of climate change, the weather is just too warm. Step in Mellor and Benham’s intrepid heroes, who decide they must seek out the mysterious Snow Dancer if there is to be any chance of ever making it snow for Christmas.
“I’ve worked on a lot of Christmas stories in the past, so even though this one is completely original and doesn’t follow an existing story, there are still recognisable elements,” says Kate.
“We have Ida the March Hare, who is a meddling villain, for example. But, if anything, it’s a classic ‘quest’ story, where the children head off through the woods to save the world and encounter a few setbacks on the way.”
Jonny McPherson in Badapple Theatre’s one-man show An Honorary Yorkshireman: The James Herriot Story
Among those to lend their support to the Crowdfunder appeal is Emmerdale actor Jonny McPherson, who plays Liam Cavanagh in the long-running Yorkshire soap, having appeared in two Badapple productions.
“My absolute pleasure. Least I could do for a wonderful company which has provided me with a some of the most memorable experiences of my life,” says Jonny, who has been tweeting his backing. “Wouldn’t be where I am today without you all. Good luck.”
McPherson toured with Badapple to some of the smallest venues in Yorkshire with the Theatre On Your Doorstep specialists, starring in the one-man show An Honorary Yorkshireman: The James Herriot Story and the original 2012 tour of Bramley’s hit musical Eddie And The Gold Tops.
Tickets for The Snow Dancer on December 5 at 2.30pm and 7.30pm and December 6 at 1pm and 6pm will go on sale on December 2 via josephrowntreetheatre.co.uk, pending the Government loosening Lockdown 2 restrictions.
ALL spaces for independent artists and makers for York River Art Market’s series of online markets in the lead-up to Christmas are fully booked.
The #yramathome Virtual Winter Art Markets will run from 10am to 5pm each Sunday from November 22 to December 20, plus the last Saturday before Christmas Day, December 19.
Online shoppers can browse and buy artworks from a selection of 20-plus different “indie makers” at each market day via Instagram.
Information on each weekend’s makers, along with instructions on how to shop, will be shared via the York River Art Market (YRAM) Facebook page, both in the run-up to the events and during them.
On market days, the artists will be set up via their own Instagram accounts to showcase live videos of their stall and individual images of each item for sale, with details on medium, size and price.
Artists and craft makers seeking to sell artworks from the comfort of their own home under the YRAM umbrella are paying £10 per day to cover administration, advertising and the chance to promote and sell work via Instagram.
Artists and makers on the list for November 22, the first #yramathome market day
Looking ahead to the markets, organiser Charlotte Dawson says: “Shoppers can simply find details of each artist attending the up-and-coming market day via the YRAM Facebook page, which will guide them to each artist’s own Instagram page.
“Here, shoppers may browse the images of each indie maker’s artworks for sale and follow the maker’s simple instructions of how to claim/buy each handcrafted item.”
Charlotte foresees the Virtual Winter Art Markets being welcomed by makers and shoppers alike. “So many physical arts and craft events have been cancelled this year due to Covid-19, such as the York River Art Market’s fifth summer besides the River Ouse,” she says.
“I realise that a Virtual Art Market is a completely different experience to being besides the river, with art exhibited all along the railings down Dame Judi Dench Walk by Lendal Bridge.
“However, I do hope that this version can give support to indie makers and also offer a different and fun experience for shoppers, where they can connect directly with the artist and browse the virtual market place, via Instagram, at their leisure and from their own home.”
#yramathome dates for the diary are: November 22 and 29; December 6, 13, 19 and 20, 10am to 5pm. For information and updates, follow YRAM at @yorkriverart on Instagram and at @yorkriverartmarket on Facebook.
Snowfall In The Woods, mixed media on board, by Sharon Winter
ORIGINAL paintings by Colin Cook, Giuliana Lazzerini, Nikki Monaghan and Sharon Winter feature in The Christmas Show, the latest Blue Tree Gallery exhibition in York until January 16 2021.
“Another lockdown as we open our new show means the gallery is closed, but we are now online till re-opening again in December, we hope,” says Gordon Giarchi, owner of the gallery in Bootham.
“As well as some stunning new paintings from Colin, Giuliana, Nikki and Sharon, we also have some lovely new ceramics, glass, sculpture and jewellery, which would make the perfect gifts and stocking fillers this Christmas.
”Look out for driftwood sculptures by Natalie Parr, Christmas-themed ceramics by Kath Cooper, oxidised steel hanging decorations by David Mayne and linocuts and handmade Christmas cards by Giuliana Lazzerini.”
Christmas cards, handmade by Giuliana Lazzerini
The Christmas Show has gone live on the gallery website at bluetreegallery.co.uk/christmas-show-2020 for views and sales.
Colin Cook, based near Whitby, is a West Londoner who moved north in 1989 to teach at a further education college, specialising in drawing, painting, photography and digital imaging.
“After many years of teaching, I began exhibiting again about five years ago,” he says. “The subject matter and inspiration for my paintings is taken from the north eastern coast and moors and the Lake District. The paintings are representational, based on observation of the constantly changing and intriguing light.
“Most of my paintings are about creating an atmosphere through the use of dramatic light and bold mark making. Compositional tension is important and hopefully created by the careful arrangement of the different pictorial elements: colour, texture, light, etc.”
A Sunny Evening At Saltwick Bay, North Yorkshire, acrylic on canvas, by Colin Cook
Colin’s paintings are reliant on careful “under-drawing” to create the structure for the looser brush marks to sit on. “The strongest shapes are worked in with large brushes and the smaller areas of specific focus are developed later,” he says.
“I prefer to work with acrylic paints and enjoy the flexibility that working with a water- based medium gives. Sometimes, the paint is heavily ‘impastoed’; on other occasions, it is built up in layers or glazes. Acrylic allows for a certain immediacy as it dries fairly quickly.”
Blue Tree Gallery artist-in-residence Giuliana Lazzerini was born in Seravezza, near Pietrasanta in Tuscany, moving to Yorkshire in 1987. “My work is varied and often developed from an idea encountered during a journey that takes me in an unknown territory, where I grow as an artist,” she says.
“I usually work in small series of paintings, where memory and imagination come to interplay. Time made me more familiar with the English northern landscape and it finally has left a mark in some of my work, as I become more intrigued by its drama and atmosphere.”
Dales Glow, acrylic on canvas, by Giuliana Lazzerini
Nikki Monaghan, who has a studio at Falkirk, Scotland, studied at the Scottish College of Textiles, subsequently working over the years as an interior stylist, designer and artist, while contributing to community arts too.
“My subject matter ranges from narrative landscapes and seascapes to quirky birds and figures,” she says. “I love colour and my paintings evolve by layering up acrylics and oil pastels, creating textures within them.”
Nikki’s work varies in size, ranging from small paintings that concentrate on a particular subject, to larger canvases where scenes evolve.
“Working from memory allows my work to take on a stylised abstract feel,” she says. “I’m influenced by many things: the weather, the Scottish landscape, how I feel when I wake up in the morning, anything that sticks in my head! There are no set rules.”
Gypsophilia And Carnations, mixed media on wood panel, by Nikki Monaghan
Sharon Winter graduated from University College, Scarborough, with a first-class degree in Fine Art in 2001, staying on for another year to do a post-graduate certificate in painting, specialising in tempera painting techniques.
Since then, she has exhibited in Yorkshire galleries and undertaken several artist residencies and her work has been commissioned by Scarborough and Bridlington Hospital.
She has designed and painted theatre “flats” for the Spotlight Theatre in Bridlington and the Bridlington Old Town Association and completed a book illustration project in collaboration with poet John Fewings.
“I work with oils, acrylics, and mixed media,” says Sharon. “I love Pre-Renaissance art, especially the gold-embellished icons and medieval illustrations, and the work of artists such as Marc Chagall, Stanley Spencer and Gustav Klimt.
Christmas-themed ceramic, by Kath Cooper
“I’m interested in combining abstract, sometimes decorative, pattern with figurative subjects inspired by myths, memories and dreams.”
For as long as she can remember, Sharon has loved painting and drawing. “I paint from my imagination, inspired by folk tales, poetry, and dreams,” she says. “I build up layers of paint, collage, gold leaf and text until the images, landscapes, characters and narratives have emerged.”
Whatever happens following the Lockdown 2 update after December 2, The Christmas Show will continue online until the January 16 closing date.
“We are wishing you lots of goodwill, health and happiness this Christmas and hope you enjoy the exhibition, whether online or, hopefully, from December 3 in the brick and mortar gallery, depending on the new Government guidelines,” says Gordon. “We will keep you posted.”
Brutus Gold and the crowd when The Love Train packed out Leeds Millennium Square in 2019
THE Love Train Virtual Disco Ball will be premiered in its spiritual home of Leeds Millennium Square on December 18.
After drawing a sell-out capacity crowd in Summer 2019, Brutus Gold has “pulled out all the stops to create the ultimate interactive online Christmas disco party in a bid to spread some seasonal joy and solidarity with legions of fans throughout the UK”.
Streamed directly from the Carriageworks Theatre,overlooking Millennium Square, the world premiere of this virtual disco inferno can be viewed from the comfort of home with the promise of transporting people back to the glorious and carefree days of boob tubes, platform shoes and flares.
Pay-per-view video streamers can boogie the night away to a soundtrack of A-Z disco classics, led by Puerto Rican love god and guardian of masculinity DJ Brutus Gold, complemented by his dance troupe, The Brutus Gold Affair, and collective of Seventies’ throwbacks.
Speaking from his luxury yacht, anchored somewhere in the Caribbean, Brutus Gold says:“Hey groovers ‘n’ movers of Yorkshire and the world! We all prisoners, chicky baby. We all locked in!
“Don’t worry, guys ‘n’ gals, your disco hero Brutus Gold and the whole gang are coming to the rescue to bring some joy into your home virtually in December. So, push that sofa back, put on those flares and wigs and turn your living room into a 70s’ nightclub.
“And remember, it’s Christmas time, baby. So, bring out the Blue Nun wine, the Cherry B and Babycham. I want to see your living room transformed to how things were back in the day. Let’s make this a Christmas ball to remember, man.”
Against the backdrop of retro scenery, The Love Train event will feature disco throwbacks, dance-offs, competition giveaways and a full cast of crazy characters, from enigmatic Alberto Balsam, Berni Inns, Chad Valley and Carlito to Disco Dick, Camp David, Ana Glypta and the outrageous Polly Ester.
“Don’t be feelin’ down, don’t be feelin’ blue, Brutus is comin’ to entertain you. That’s right, it’s time to unite for the ultimate disco night,” says Brutus. “Dress up, get down and party with the whole family on board my Love Train this Christmas. I gotta sack full of fun, funk and good times!”
Craig Shackleton, Leeds City Council’s events manager, says: “After sadly missing out on this year’s live summer event in Millennium Square due to the ongoing Coronavirus crisis, we are really excited to be able to re-imagine the ultimate disco party night directly into people’s homes.
“Leeds has a long-standing association and a special relationship with Brutus Gold and The Love Train, and following an amazingly successful sell-out show in the summer of 2019, it simply wasn’t enough for us to only reschedule to next year.
“We appreciate in these tough times that everyone needs a bit of escapism from what is going on around them and what better way to put some smiles back on people’s faces than with a Friday night full of fun, laughter and Seventies’ disco on board the legendary Love Train”
In the lead-up, families can send in pictures from home to compete for the Best Dressers Competition Prize worth £300. The winning entry will be confirmed on The Love Train social media channels.
The Love Train Virtual Disco Ball has been organised in partnership with Leeds City Council and the show is suitable for people of all ages with parental discretion. Pay-per-view tickets go on sale at £9.99 from 10am on Monday, November 16; to buy tickets and watch the show, head to: love-train.co.uk.
Lift-off: Story Craft Theatre’s Janet Bruce, left, and Cassie Vallance are ready to Shine for York charity. Picture: Lucy Bedford Photography
STORY Craft Theatre’s Janet Bruce and Cassie Vallance are to provide 21 hours of craft and storytelling fun this month to raise vital funds for York charity Shine21.
Since Lockdown 1, the pair have moved their interactive storytelling sessions online, attracting audiences from all over the world to their creative and educational classes, held three times a week via Zoom.
Now, Janet and Cassie will host classes for you to enjoy on Zoom on November 27 and 28, running all day each day from 7am. All the duo ask in return is a donation to Shine21.
Story Craft Theatre’s logo
“There are lots of storybook adventures to choose from: Going On A Bear Hunt, The Gruffalo, Hairy Maclary, Aliens Love Underpants and so many more,” says Cassie. “We’re even providing hour-long interactive craft classes.”
All the sessions can be booked online at: www.bookwhen.com/storycrafttheatre. “As these classes are interactive, numbers are limited, so we advise you to book in advance to avoid disappointment,” says Janet. “Tickets are now on sale.
“This 21-hour storytelling event is an opportunity for you to help Shine21, where you don’t even need to attend the two-day event to donate. So, please feel free to donate whatever you can.”
Shine on: Janet Bruce and Cassie Vallance will be spending 21 hours telling stories and doing interactive crafts for York charity Shine 21 on November 27 and 28. Picture: Lucy Bedford Photography
Donations can be made at: justgiving.com/fundraising/storycraft21. Please note, 100 per cent of the money raised through Story Craft will go directly to the charity.
Story Craft Theatre is a York children’s theatre company run by professional actors and mums Janet Bruce, who appeared in Stephen Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street in the West End, and Cassie Vallance, part of the Shakespeare’s Rose Theatre company at the Castle car park in 2019 and last seen in Park Bench Theatre’s Teddy Bears’ Picnic in Rowntree Park, York, this summer.
Together, Janet and Cassie have hosted sell-out shows at York Theatre Royal and Goose play centre, at Hornbeam Business Park, Harrogate, and this Christmas, Story Craft Theatre will team up with Matt Aston’s Engine House Theatre at Castle Howard, near York.
Ready, Teddy, go: Cassie Vallance performing in Park Bench Theatre’s Teddy Bears’ Picnic in Rowntree Park in August. Picture: Northedge Photography
From December 4, they will present Stories With Santa In The Courtyard Grotto. “Come and join us for a magical storytelling event here in the historic Courtyard,” they say. “Meet Santa’s helpers as they guide you through into our festive library, where children will get to meet Santa, make their Christmas wishes and settle down to hear a brand new, enchanting winter’s tale, The Snowflake, by popular children’s author Benji Davies.”
Last Christmas, Cassie performed in writer-director Aston’s stage adaptation of Davies’s The Storm Whale at the York Theatre Royal Studio.
The Shine21 charity helps to enhance the lives of children with Down Syndrome and their families. Janet Bruce’s second child was born with Down Syndrome and a heart condition, both being discovered after birth.
Whale meet again: Cassie Vallance in The Storm Whale at York Theatre Royal Studio last December. Picture: Northedge Photography
“The diagnosis was unexpected and at first, scary, but the support and advice offered by Shine21 was phenomenal,” says Janet. “Shine21 have supported me and my family every step of the way and introduced us to others who have been through a similar experience.
“The charity does invaluable work to help children and their families, but unfortunately, due to the pandemic, they have not been able to raise the vital funds they need this year. So, we’re providing this chance for you to help Shine21.”
For Castle Howard bookings, go to castlehoward.co.uk/whats-on/Christmas for more details.
Joseph Rowntree Theatre: Awarded grants from Heworth ward committee of City of York Council and the Theatre Trust
THE Joseph Rowntree Theatre, York, has received two grants to help to ensure it will meet Coronavirus recommendations and be Covid-secure with Good To Go status on reopening, whenever that may be.
The Heworth ward committee of City of York Council has donated £4,940; the Theatres Trust, £3,000.
As the JoRo theatre, in Haxby Road, started to make plans to reopen and reorganise the auditorium seating, the social distancing of patrons was of paramount importance.
The Heworth ward grant has facilitated the purchase of 260 Covid-19 distancing chair wraps to block off unavailable seats, ensuring that household bubbles will be kept a safe distance apart from each other.
The wraps will allow for complete flexibility of seating layouts from one performance to the next as they can be repositioned easily.
Dan Shrimpton, chair of the JoRo’s board of trustees, says: “We understand the caution of some people about returning to live-entertainment venues.
The new Covid-19 distancing chair wraps at the Joseph Rowntree Theatre
“These covers will mean our audience will be able to access their bubble area quickly and safely without coming into close contact with others. We’d like to say a very big thank-you to the ward committee from all of us at the theatre.”
The Theatre Trust grant will go towards reopening costs, helping to fund the acquisition of equipment such as sanitiser stations, signage and screens for backstage, to enable the JoRo’s safe return.
Fundraising and events director Graham Mitchell says: “We need to make sure that our venue is abiding by all of the current recommendations for theatres.
“The costs associated with reopening are significant and, of course, we haven’t had any income for many months. We are very grateful to the Theatres Trust for their continued support.”
Only last month, the JoRo announced it had exceeded its fundraising target of £10,000 in a national campaign being run by the Theatres Trust to support theatres nationwide.
This money will be used to fund day-to-day running costs, instead of using up cash savings earmarked previously for essential repair work.
York artist Richard Barnes making his socially distanced delivery of his new York and North York Moors works to According To McGee. Standing in the doorway is gallery co-director Ails McGee
ACCORDING To McGee is still putting art in the shop window despite the here-we-go-again impact of Lockdown 2.
“Culture is in quarantine, but collecting great art continues,” says Greg McGee, co-director of the distinctive yellow-fronted gallery in Tower Street, York.
”And if the doors have to close then we’ll use our window to sell our paintings. It’s opposite Clifford’s Tower – we get a lot of footfall – and it’s huge.”
Lockdown: The Sequel has prompted Greg and co-director Ails McGee to launch the Window Shopping series of exhibitions, kicking off with According To McGee’s biggest-selling artist, Richard Barnes, former head of art at Bootham School.
York Minster: A perennial subject matter for York artist Richard Barnes, featuring once more in his Window Shopping exhibition
“Famed for his man-sized portraits of York, Richard’s latest collection, York And God’s Own County, has some of the largest cityscapes and landmarks he has ever produced,” says a delighted Greg.
Window Shopping’s modus operandi addresses the necessity of locked-down galleries displaying their wares explicitly in the window space and making as much use of the wall space viewable from that vantage point as possible.
“I don’t think it’s a skill taught in curatorial lessons at art college, but these are strange times. ” says co-director Ails. “I organised with Richard a socially distanced drop-off of 15 new paintings, created at his garden studio.
“I was blown away by the quality of the new collection. He has always had a muscular, mischievous approach to composition and colour schemes, but these are stand-out works that show him at the top of his game.
According To McGee co-director Ails McGee with a panoply of new Richard Barnes paintings on display in the Tower Street gallery window opposite the reflected Clifford’s Tower, York
“I have filled the front gallery with his work, from floor to ceiling, and we have already made pre-exhibition sales. Not very minimal or a traditional art gallery approach, but the energy is unmistakable. Window shopping works.”
Richard, who lives in Huntington Road, had done some “window showmanship” of his own in the lead-up to this show. “The paintings I love most hit me in the gut and hit me in my soul,” he says.
“During [the first] lockdown, I exhibited the paintings I was making on the back of my studio, so people using the river path opposite could see them. Somehow the job of making paintings that might hit someone somewhere, or even just give them a bit of pleasure, seemed very worthwhile.
“The new set of paintings at According To McGee are those that people commented on most during those tense lockdown months.”
York artist Richard Barnes, caught up in a riot of colour in his paintings for an earlier show at According To McGee
Richard also became involved in a project to create a huge painting for the new mental health hospital for York being built a little further along the Foss river path [the now opened Foss Bank Hospital in Haxby Road].
“The smaller landscapes in the new exhibition are experiments with light and space that I used to inspire the largest landscape I have ever painted and am still working on,” he says.
Barnes’s work has been a building block of According To McGee ever since the gallery launched 16 years ago. “It is especially pertinent this winter,” says Greg. “I’m honoured to act as the art advisor for the internationally well-regarded poetry zine, Dream Catcher, whose December issue features the art of Richard Barnes exclusively, so this show chimes with that nicely.”
Casting an eye over the new works, Ails says: “Richard has always painted with the risk-taking energy of an excellent painter in his 20s, but there’s a stronger, fiercer element to this collection.
North Yorks Moors, as portrayed by Richard Barnes in his new God’s Own County series
“Maybe he has rediscovered a latent aggression, or mischief, or maybe it’s Lockdown. Either way, these paintings depict York as a modern city and the North York Moors as a location for contemporary landscapes better than any collection on the market. Come look through our gallery window and see for yourself.”
It is no secret that Richard, who has painted ceaselessly since the 1980s, will be bidding farewell York in the months ahead, selling both his studio and house. “Although I am leaving York and Yorkshire, I really hope I will continue my relationship with painting York and According To McGee,” he says.
“I want to thank Greg and Ails for supporting me and many other northern artists. What I have loved most about working with them is their attitude of ‘Why not?’.”
Watch out for news of his York Farewell Show at According To McGee in 2021. In the meantime, whether out exercising or shopping, take a breather in Tower Street to peruse Window Shopping: Richard Barnes, York and God’s Own County; expansive, bold and inviting eye contact behind glass until December 1.
More, more Moor: How do you like it? Another of Richard Barnes’s moorland Yorkshire paintings on sale in According To McGee’s debut Window Shopping show
On screen: National Centre for Early Music Young Composers Award winners Eilidh Owen and Finton O’Hare, with their fellow competitors on Zoom , at last night’s live-streamed final
FINTON O’Hare and Eilidh Owen have won the National Centre for Early Music Young Composers Award prizes in York.
O’Hare emerged as the victor in the 19 to 25 age group, Owen likewise in the 18 and under category, at last night’s final live-streamed from the NCEM, St Margaret’s Church, Walmgate.
Presented in association with BBC Radio 3, the 13th iteration of the NCEM award invited young composers living in the UK to create a new polyphonic work for unaccompanied choir, setting either the Our Father (Pater Noster) prayer from St Matthew’s Gospel or the first and last verses of George Herbert’s poem The Flower.
The eight finalists’ compositions were performed by York musicians Ex Corde Vocal Ensemble, the consort of the Ebor Singers.
Seeking the prize in the 18 to 25 final were Fintan O’Hare’s composition Come Passing Rain, Noah Bray’s Our Father, Sam Gooderham’s Late-Past, Caitlin Harrison’s The Flower and James Mitchell’s The Lord’s Prayer.
Competing for the 18 years and under award were Eilidh Owen’s As If There Were No Such Cold Thing, Ethan Lieber’s The Flower and Emily Pedersen’s Pater Noster.
The evening also featured performances of works by Owain Park and Alexander Campkin, winners in 2010 when Owain took home the 18 and under prize. Both have become well established composers, providing good examples and inspiration for the 2020 entrants. Music by Alec Roth and Ben Parry was performed too.
“This year has been very different, moving the final and the workshop online, but we’re sure that the composers enjoyed this exciting experience,” said NCEM director Dr Delma Tomlin
Last night’s final followed a day-long online workshop from the NCEM, where composer Christopher Fox, professor of music at Brunel University, and Ex Corde Vocal Ensemble were joined virtually by the young composers.
The 2020 panel of judges were BBC Radio 3 producer Les Pratt, The Tallis Scholars’ director, Peter Phillips, and NCEM director Dr Delma Tomlin.
Reflecting on the 2020 competition, played out against the backdrop of the Covid-19 pandemic, Delma said: “The NCEM Young Composers Award continues to attract composers of the highest calibre from all over the UK.
“This year has been very different, moving the final and the workshop online, but we’re sure that the composers enjoyed this exciting experience. We’re looking forward to the concert at the Cadogan Hall next year with the wonderful Tallis Scholars performing the winning pieces.”
Next March’s London premiere of O’Hare and Owen’s compositions will be recorded for broadcast on BBC Radio 3’s Early Music Show.
Delma concluded: “Congratulations to our talented young composers and a special thank-you to the Ex Corde Vocal Ensemble, who helped make the award possible. I’d also like to say a big thank-you to my fellow judges and, last but not least, BBC Radio 3 for their invaluable support
“We look forward to meeting in person for the 2021 award. Details will be announced on BBC Radio 3’s Early Music Show on November 29.”
Last night’s live-streamed performance can be viewed at ncem.co.uk/composersaward.
Winners: L’Apothéose in the grounds of the National Centre for Early Music after their success in the 2019 York International Young Artists Competition. Picture: Jim Poyner Photography
THE 2021 York International Young Artists Competition is to be postponed for a year.
In response to the Covid-19 pandemic, the prestigious classical music event will take place on July 13 to 16 2022 instead and subsequently will be staged every two years.
The competition is open to Early Music ensembles with a minimum of three members, who must have an average age of 32 years or under with a maximum age of 36.
The ensembles must demonstrate historically informed performance practice and play repertory from any period, spanning the Middle Ages to the 19th century, on period instruments.
This longstanding competition for young ensembles takes place at the National Centre for Early Music, St Margaret’s Church, Walmgate, as part of York Early Music Festival.
Recognised as an international platform for emerging talent in the world of Early Music, the competition attracts musicians across the globe, offering a boost to young professional careers with opportunities for performance, recording and broadcasting and international exposure.
“Every year, we are overwhelmed by the superb quality of the performances from these fantastically talented young artists,” says NCEM director Delma Tomlin
The 2019 competition final included ten ensembles with artists from 14 different countries. Winners L’Apothéose, from Spain, received a professional recording contract from Linn Records, a £1,000 prize and chances to work with BBC Radio 3 and the NCEM.
NCEM director Dr Delma Tomlin says:“The competition brings together young musicians of the highest calibre and is one of the highlights of the York Early Music Festival. With the competition attracting artists from all over the world, in the current climate we decided to move it to 2022.
“Every year, we are overwhelmed by the superb quality of the performances from these fantastically talented young artists and we hope that up-and-coming ensembles will take the opportunity to enter this world-renowned competition.”
2019 winners L’Apothéose say: “Winning the York competition was an extremely important and prestigious recognition of our career, and taking part was an immensely joyful experience.”
Fellow former winners Sollazzo Ensemble say: “Winning the competition was a turning point in our career, bringing us to the attention of both a wider audience and professionals throughout Europe.”
For details of how to apply, ensembles should go to ncem.co.uk or send an email to yorkcomp@ncem.co.uk.
Just Joshing: York entertainer and magician Josh Benson larks around on the York Theatre Royal stage as rehearsals begin forThe Travelling Pantomime. Picture: Anthony Robling
REHEARSALS are underway for York Theatre Royal’s Travelling Pantomime, the neighbourhood show that will tour to all 21 wards in York.
Culture Secretary Oliver Dowden’s confirmation that theatre rehearsals could continue behind closed doors during Lockdown 2, despite all entertainment venues being closed from November 5, has facilitated director Juliet Forster bringing the cast together for sessions in the Covid-secure billiards room in the De Grey Rooms.
“It was a huge relief,” says Juliet, the Theatre Royal’s associate director. “We anticipated he would because he’d said film and TV rehearsals wouldn’t stop, but he hadn’t mentioned theatre at that time, so there was that awful feeling of not knowing, but it was great when the news came out at 9pm that night.”
Welcoming the cast of Robin Simpson, entertainer and magician Josh Benson, actor-musician Anna Soden, Reuben Johnson and Faye Campbell, chief executive Tom Bird says: “We’ve put Covid safety measures in place and will be carefully following Government guidelines over the weeks ahead, but we’re thrilled that we can carry on with our plans to take our pantomime out to the people of York this year.”
Revised dates – moved to a later start after Lockdown 2 was announced – are now in place for a run from December 3, with more to be added. The preview night on a pop-up theatre on York Theatre Royal’s main stage on December 3 will be filmed for broadcast so anyone who misses out on a ticket can still enjoy the show, co-produced by York Theatre Royal and new pantomime partners Evolution Productions.
“Be assured, one way or another, York Theatre Royal’s Travelling Pantomime will be coming to you,” says Tom.
“Panto really benefits from the input of the live audience, so that’s why it was always our intention to do the recording in front of an audience,” says Juliet.
York Theatre Royal associate director Juliet Forster and chief executive Tom Bird with Paul Hendy, producer of pantomime partners Evolution Productions
Joined in the production team by Pop-Up On The Patio designer Hannah Sibai, choreographer Hayley Del Harrison and musical director James Harrison, Juliet will be working on not one, but three 70-minute pantomimes written by Evolution producer Paul Hendy for each audience to vote whether to see Jack And The Beanstalk, Dick Whittington or Snow White.
Three pantomimes? Plenty to rehearse there, Juliet?! “It’s do-able, and thanks to the Government, we have a bit more rehearsal time now,” she says.
A cast of only five will help too. “Because we’re working on a small touring stage, it wouldn’t have made sense to do a big-sized show with a dance ensemble,” says Juliet. “You may lose some spectacle, but in terms of story-telling, chatting with Paul [writer Paul Hendy], we decided that having just the five key characters intensifies the story, investing in each character’s journey.”
Actor and writer Reuben Johnson will play Fleshcreep and Ratticus Flinch, the villain’s roles, after working previously with Juliet last year, appearing as the thoroughly decent Marco in the Theatre Royal’s autumn production of Arthur Miller’s A View From The Bridge.
“It was quite a different show from doing a panto!” he says. “We met on Skype to talk about it, and it’s a perfect chance to work on something fun in such dark times.”
“Reuben has such comedic funny bones, which you wouldn’t have seen in A View From The Bridge, but even there he mined a few comic moments,” says Juliet. “Sometimes you get someone in your head when you read a script, and they keep coming back into your head, like Reuben did, even though I think of him as a very serious actor. Some of my best casting has come that way.”
“I’m trying to find the humour and likeability of the villain, which really contradicts the audience’s thoughts and expectations,” says Reuben Johnson as he prepares to play Fleshcreep and Ratticus Flinch. Picture: Anthony Robling
Reuben may be a pantomime debutant but says: “I’m a theatre fan in general. I love Shakespeare, new plays, physical comedy, pantomime. Panto wouldn’t normally be number one, but I enjoy all theatre and we do need some big fun right now.”
Reflecting on taking on the villain’s role, he says: “I’ve played baddies quite a bit, and what I like to think I can bring to them, when playing stereotypical villains, is trying to find the humour and likeability of that character, which really contradicts the audience’s thoughts and expectations about that person.
“When I watched them as a child, I often thought that bad guys were hilarious to be around, very rowdy, exciting. Now I’ve got the chance to go to town with it in pantomime.”
One rule of acting asserts that you do not have to sympathise with the characters you play, but you should at least empathise with them. “As long as you know your motivation, it’s how you then go about playing the villain,” says Reuben.
“In pantomime, you’ll want to hear people both laughing at you and with you. It’s that love/hate thing.”
Robin Simpson was last seen on the Theatre Royal stage in Northern Broadsides’ Much Ado About Nothing in May 2019 and has Theatre Royal credits to his name in The Railway Children, The Wind In The Willows, Pinocchio and Pygmalion.
This winter he returns in the juiciest of all pantomime parts, the Dame, a role he has played for the past three years at the Lawrence Batley Theatre, Huddersfield. “This time feels very different because of the current situation and the nature of the show,” says Robin, who played Dame Dolly in Jack And The Beanstalk, Widow Twankey in Aladdin and Nanny Fanny in Sleeping Beauty.
“We didn’t mine that name for any humour, I can assure you! We were all very grown up about it, weren’t we!”
“It’s like being the best kind of party host,” says Robin Simpson, summing up the joy of playing the dame in York Theatre Royal’s Travelling Pantomime. Picture: Anthony Robling
Defining the dame’s importance to pantomime, Robin says: “It’s like being the best kind of party host, being welcoming, over the top, ebullient, everyone’s friend, which is so nice to play.”
In dame tradition, from Dan Leno to Berwick Kaler, he has settled on his distinctive persona. “If you’ve got something that works, if it ain’t broke, don’t fix it,” Robin says of the upcoming prospect of playing three variations on Dame Dolly next month.
“My dame is like Bugs Bunny, Elmer Fudd and Daffy Duck rolled into one! There won’t be any variation, except trying to remember who I’m playing each time, with the different frocks denoting the character.
“It’s very much a case of the dame generally being a working-class single mother, with numerous children; hard working, straight talking and funny. I’m sort of basing it loosely on northern women when I was growing up. That Ena Sharples character [in Coronation Street], gossiping over the wall; that matriarch; that Les Dawson send-up with Roy Barraclough.
“There’s lots of love there, but she’s also as hard as nails, and you don’t see that much anymore, but hopefully it’s still recognisable. But ultimately with the dame, she comes on stage as a bloke in a dress who tells jokes.”
Lockdown in March turned the lights out on stages across the country but both Johnson and Simpson have sought to keep busy. “I’ve done OK,” says Reuben. “Fortuitously for me, I write as well, doing spoken-word, so I’ve got by on that, with a few little acting jobs as well, but I’ve been craving getting back to work on a stage and that’s not been possible until now. Returning to the rehearsal room has been like a dream.”
Robin, who is also a storyteller, working in schools, libraries and museums all over the country, says: “I don’t want to complain too much because I know people have been going through worse. I’ve worked online, recording stories, learning skills like how to record and creating little films and kids’ stories on Facebook Live for Oldham Libraries,” he says.
York actor-musician Anna Soden, who will play Fairy and Sea Captain and a multitude of musical instruments in The Travelling Pantomime. Picture: Anthony Robling
“I think there’s merit in recording shows as I can reach places I couldn’t do with live performances for the library service, though you’ll never beat the ‘liveness’ of a show.”
Juliet rejoins: “It all comes back to the shared experience.” “That’s what we’re all desperate for,” says Robin.
“That’s why we couldn’t let go of the need to do a Theatre Royal pantomime this Christmas, even when we knew we weren’t going to be able to open the theatre,” says Juliet. “The prospect of not doing a panto felt wrong.
“We’d talked about community touring and rural touring, and our research told us that audiences would feel more comfortable going to a show locally with their neighbours, rather than coming to the theatre with people from all over the place.
“That’s why we decided to take something so synonymous with Christmas out of the theatre into York’s community centres, church halls and schools for families to have some festive fun with Paul’s shows that are really warm, funny for all ages, packed full of good characters and not innuendo.”
For tickets, dates and more details for The Travelling Pantomime, go to yorktheatreroyal.co.uk.
Here, there and everywhere: York Theatre Royal’s poster for The Travelling Pantomime
YORK THEATRE ROYAL’S TRAVELLING PANTOMIME schedule of performances. Confirmed so far:
December 2: Members-only preview, York Theatre Royal (pop-up theatre on main stage).
December 3: Preview, York Theatre Royal (pop-up theatre on main stage).
December 4: Tang Hall Community Centre, 4.30pm and 7pm.
December 5: New Earswick Folk Hall, 4.30pm and 7pm.
December 8: The Reading Room, Dunnington, 7pm.
December 9: Wiggington Recreation Hall, 7pm.
December 10: St Barnabas Primary School, Holgate. Afternoon school performance; public
Performance, 6pm.
December 11: Clifton Church Hall, 4.30pm and 7pm.
December 12: Elvington Village Hall, Wheldrake, 4.30pm and 7pm.
December 13: The Poppleton Centre, 4.30pm and 7pm.
December 15: Acomb Parish Hall, 7pm.
December 16: Carr Junior School. Afternoon school performance; public performance, 6pm.
December 18: Copmanthorpe Methodist Church Hall, 4.30pm and 7pm.
December 19: Clifton Green Primary School, 4.30pm and 7pm.
December 20: York Pavilion Hotel, 4.30pm and 7pm.
December 22: Heworth Christ Church, 4.30pm and 7pm.
December 23: Archbishop Holgate’s School, 4.30pm and 7pm.
Additional venues to be confirmed.
Brushing up on his role: Josh Benson goes to work at York Theatre Royal
Tickets cost £10 for adults, £5 for children, with a maximum party size of six people in a household or support bubble.
Up to 25 per cent of tickets will be made free of charge to families in need this Christmas.
Capacity at some venues is small. Tickets are available on a first-come, first-served basis to anyone living in a York city ward.
Did you know?
TRAVELLING Pantomime musical director James Harrison was musical supervisor/director for Evolution Productions’ award-winning 2019-2020 pantomime, Cinderella, at Sheffield Lyceum Theatre. He was awarded the Best Music prize at the Great British Pantomime Awards.
Please note: York Theatre Royal’s planned 2020/21 pantomime, Cinderella, will not go to the ball until next winter.
