Steven Isserlis: “Infinitely elegiac encore that seemed to crystallize these sad times”
THE floodgates are beginning to open and performers of stature are returning to our concert halls – those that remain open, that is.
Steven Isserlis brought his cello and his regular pianist, Canadian-born Connie Shih, to become the latest in LeedsTown Hall’s Artists’ Choice chamber music series. Their programme was French or French-inspired, the thrilling exception being Adès’s Lieux retrouvés (Rediscovered Places) of 2009.
The original last movement of Saint-Saëns’s First Cello Sonata of 1872 is not the one normally heard today. He replaced it at the instigation of his mother, who possibly found its themes hard to discern. It still made an energetic opener. A page-turning error near the end (by Isserlis) brought it to a brief halt, but he resumed with redoubled fury. No-one could have minded.
The four Adès sketches contrast aspects of nature – water, mountain, fields – in the first three, with a frantic cityscape at the close. The smoothly flowing waters gradually took on more challenging currents, with heightened cross-rhythms. The mountain proved an arduous ascent to an oxygen-free summit, followed by what sounded like a sudden, disastrous return to base (denied by the composer).
The sweet repose and gently leaping lyricism evoking open fields disappeared into the stratosphere. It was only in the finale – described by the composer as a “cancan macabre” – that we had a moto perpetuo of energetic turbulence, taking both players to their limits. These paintings are not pastels, but brilliantly vivid in their detail. The duo took up the challenge with riveting conviction.
Lullabies by Chaminade and Fauré provided a welcome antidote; they were tenderly delivered. Fireworks returned with Franck’s sonata, originally written (1886) for the violin but here in an authorised transcription by cellist Jules Delsart, published two years later.
Since the piano part remains unchanged, it needs to be handled with care since the lower-voiced cello can easily be swamped. Shih pushed Isserlis hard in the finale, where he tossed his tousled mane without great effect on the balance between the two.
No matter: there was plenty to savour elsewhere, notably in his rich, yearning tone in the second movement and the rambling Fantasia that followed.
Duparc’s only foray into chamber music was a cello sonata, written at the age of 19. Its Lento movement made an infinitely elegiac encore that seemed to crystallize these sad times.
Martin Barrass: Back in pantoland for Strictly Xmas Live In The Park
MARTIN Barrass will be starring in a York pantomime after all this winter.
Dame Berwick’s perennial comic stooge may be missing out on the Covid-cancelled Kaler comeback in Dick Turpin Rides Again at the Grand Opera House, but now he will lead the pantomime section of Strictly Xmas Live In The Park.
Presented by the Bev Jones Music Company in a Covid-secure, socially distanced, open-air performance at the Rowntree Park Amphitheatre, the show will be a one-off on Sunday, December 13 at 2pm.
Martin Barrass as Queen Ariadne in his last York Theatre Royal pantomime, Sleeping Beauty, last winter
“I met Lesley Jones, widow of the formidable York producer and director Bev Jones, five or six weeks ago about doing a Christmas show to get people out and about on a crisp winter’s day,” says Martin.
“I’m thrilled to be taking part, and if you’re wondering why I’m wearing black and pink in the publicity picture, they were Bev’s favourite colours.”
Producer Lesley says: “We are delighted to welcome Martin into our company for this special guest appearance and he fits in so well to the company personality. He will lead the audience in the Christmas song with a drop-down song sheet.”
Martin Barrass, right, with AJ Powell, Berwick Kaler, Suzy Cooper and David Leonard at the February 14 launch of their debut Grand Opera House pantomime, now put back to 2021. PIcture: David Harrison
“I’ve chosen the first song-sheet I ever did at the Theatre Royal…about Yorkshire Puddings!” reveals Martin, as he breaks into song from memory: “‘You can’t beat a better bit of batter on your platter than a good old Yorkshire Pud!’
“I did that with Berwick in Sinbad The Sailor in 1984, and I always remember thinking, ‘Are they going to respond?’, but of course they did!” Nobody does it batter, Martin!
Expect a few seasonal jokes too from Barrass, who will be joined in the festive concert’s panto sequence by Melissa Boyd’s Princess, Terry Ford’s villain and Charlotte Wood’s Silly Billy.
“In addition, we’ll have the Dame, the Fairy Godmother, Prince Charming, Jack Ass and other characters,” says Lesley.
Charlotte Wood as Silly Billy for Strictly Xmas In The Park
“The concert will include all the favourite Christmas songs, such as Santa Baby, Jingle Bell Rock and Band Aid’s Do They Know It’s Christmas?, as well as the fun panto section for all the family.
“There’ll be a visit from Santa Claus for all the children, followed by a moving Carols By Candlelight finale, encouraging a sing-along for everyone.”
Rowntree Park Amphitheatre will play host to a non-alcoholic Festive Mulled Wine Van, selling hot drinks for all the family, whether tea, coffee, hot apple juice or children’s drinks, served with light complimentary snacks.
Melissa Boyd’s Princess and Terry Ford’s villain for the Bev Jones Music Company’s Strictly Xmas In The Park
Rehearsals will be held at Rufforth Institute Hall , socially distanced and under a full Covid risk assessment.
All audience members will be temperature tested on arrival and placed into family private bubble areas.
Family bubble for Sunny Side Up!: John Godber with his wife Jane Thornton and daughters Martha and Elizabeth
“BUMPING” into Britain’s second most performed living playwright as paths crossed while stretching a lockdown leg at Pocklington Canal Head in early July, one question had to be asked.
“Must be plenty of material for a play about Covid-19, John?”. “No comedy there,” replied John Godber.
Nevertheless, the waiting for Godber’s new play is over. Presented by the John Godber Company and Stephen Joseph Theatre, Scarborough, the humorous and moving Sunny Side Up! will open in The Round at the SJT tonight (October 28).
Depicting a struggling Yorkshire coast B&B and the people who run it, the world premiere of the former Hull Truck artistic director’s holiday drama will be a family affair, starring the Godber lockdown bubble of writer-director John, wife Jane Thornton and daughter Martha. Elder daughter Elizabeth – who has just enrolled for a PhD at Hull University, studying the poetry of Emily Dickinson, by the way – is participating too as the company stage manager.
“What a strange time it’s been,” says John. “Shortly after I saw you at Pocklington Canal Head, I got a phone-call from Paul Robinson [the SJT artistic director] saying, ‘We want to open in October; I know you’re in a social bubble with Jane, Liz and Martha; would you like to do a new play together this autumn?
“It was like winning the Oscar, to have the opportunity to do your trade again – we’ve not received any Arts Council funding – and just to be clear, we could only do it in these circumstances as a family bubble.”
Reflecting on life in lockdown and beyond in Covid-19 2020, John says: “If we are following the science, which science is it? Watching all the news coverage on TV ends up making you feel ill,” says John.
Stephen Joseph Theatre artistic director Paul Robinson: Invited John Godber to write a play for the autumn season. Picture: Tony Bartholomew
“We live in a significant property with a lot of space but we’re still going mad, climbing up the walls. What’s it like for those living in a cramped apartment with no garden in lockdown? It must be like [Jean-Paul] Sartre. Do politicians understand that?”
John, the son of an Upton miner, has “always voted Labour for lots of reasons”. “We know Covid has been a challenge, but the Government can find all this money for Test and Trace and to pay nine million people’s wages in furlough, yet what an own goal to refuse to support free meals for schoolchildren in the holidays,” he says.
Sunny Side Up! is not a political comment on Covid times, but more so on how we have reacted to lockdown. “When Paul asked me to write a play, we’d been doing lots of family walks, going to the coast, walking on bridal paths, by canals,” says John.
“I thought there might be something in thinking about what our seaside towns might look like to people going there for the first time or going back after a long time.
“You have to take Scarborough and Filey out of the equation, but I wondered what the function of our seaside towns and villages is. I think they remind us of where we’ve come from, in terms of families enjoying simpler times.”
Fraisthorpe Beach, four miles south of Bridlington, has been one such coastal haven for John. “Have you been there? Mile after mile after mile of unbroken sand, which is just amazing,” he says.
“We’ve started to look at places locally through Covid eyes. I’m certainly looking at simplicity in our lives now. In the early part of lockdown, going on walks from the house, you’d look at a field for the first time that we must have walked past for 30 years and you suddenly think how beautiful it is.
The poster for John Godber’s new play Sunny Side Up!
“Or through walking along the Pocklington Canal, you start looking at the Industrial Revolution and the growth of Pocklington at that time.”
Summing up his philosophy brought on by Covid restrictions, John says: “It’s not about regression; it’s about simplicity.”
This set him on the path of writing Sunny Side Up!, wherein struggling Yorkshire coast B&B proprietors Barney, Tina and daughter Cath share their stories of awkward clients, snooty relatives and eggs over easy in a “seaside rollercoaster that digs into what our ‘staycations’ are all about”.
“This is not a play about Covid, though it has references. It’s more about social mobility,” says John.
“Sunny Side is a fictitious East Coast Yorkshire resort that is so small, you wouldn’t find it on the map, where B&B owner Barney is very much a Brexiteer, a little Englander.
“Graham, a retired university pro-vice chancellor who’s done very nicely through education is invited there by his sister, Tina, and coming up 70 he’s going back to where he came from – a very ordinary background – but he’s never gone back since…until now.
“He sees it’s a place where they have turned the oxygen off. No jobs; no trains; two buses to get there; the nearest dual carriageway 15 miles away.
“But these are fantastic places, almost mythical, where the colouring and the sweep are incredible, so it’s a play about this guy coming to terms with ‘why haven’t I been back here, because it’s amazing?’. He realises his separation from his small-town roots doesn’t match with his reading of the world.”
On a bicycle made for two views: John Godber and Jane Thornton’s clashing cyclists in The Scary Bikers, Godber’s 2019 play about Brexit, bikes and bereavement.. Picture: Anthony Robling
A fast-moving one-act play, 64 minutes straight through, Sunny Side Up! is a “funny, fish-out-of-water story, but it has pathos and there’s magic realism too”, says John. “It’s not rubbing anyone’s nose in it, but those who get it will know what it’s about.
“You can go anywhere in the country and see places that are suffering, places that have been left behind, places that need water…but many of us wouldn’t spot a real person if we passed them in the street, like Graham wouldn’t.
“But here he’s confronted by people he thinks he’s been addressing [in his academic work], only to find he’s not been able to change that world. Just as the Westminster bubble dilutes the politicians from the reality.
“But having said that, this play is also a very humane, very touching, very funny story of a relationship between a brother and a sister.”
Against the backdrop of Covid-19 and renewed talk of a widening North-South divide, John says: “I think we are becoming divisive. There’s a line in the play that says, ‘we have to start again’. We’ve reached that point where we do have to re-start. I’m 64 now and you would have thought this would have been sorted out when we were younger men. Has it ossified, with social mobility no longer being a thing, but why?”
Rehearsed at home, Sunny Side Up! is the second John Godber work in lockdown. “The first one was in May, when I decided to write a 15-part radio drama for BBC Radio Humberside called Essentials, about a family needing to talk to each other,” says John.
“We recorded it in Liz’s walk-in wardrobe, with Martha’s boyfriend, Henry, doing the technical stuff, and we were all in each eight-minute episode.
“It was like The Archers, set around the family breakfast, with the father being a delivery driver for Tesco, delivering essentials.”
“It had a lot of politics in the early version, with them all saying ‘I think you’ll have a legal problem with that,” says John Godber of the writing process for Sunny Side Up!
When the invitation came to write a play for the SJT, John initially saw it as a chance to “draw anything on the canvas” in the prevailing Covid circumstances. “It had a lot of politics in the early version, with them all saying ‘I think you’ll have a legal problem with that’, and I decided, ‘I don’t think people want to sit there in a mask with me ranting about Boris Johnson.”
Under social-distancing measures, the audience capacity is heavily reduced: a new experience for Godber. “It’s fascinating because I’ve had a career of trying to fill theatres, but now you don’t have to ‘fill’ theatres,” says John, whose seven SJT performances have sold out.
“So it’s a bit like the early stuff: Happy Jack, September In The Rain, which I was going back to with The Scary Bikers last year. It’s that meta thing: taking in politics, self-analysis, class, all neatly told with four chairs and a suitcase.”
Those four chairs and a suitcase will next travel to Hull, after Hull Truck artistic director Mark Babych asked Godber to bring Sunny Side Up! to his former stomping ground. “It’s like Back To The Future; all the props in a suitcase and all our stuff in the back of my car,” says John.
As for working in a family bubble: “Martha’s all over me like a rash about the play! She and Liz don’t let me get away with anything. I can take it from Jane, but now it’s from my kids too!”
John Godber Company in Sunny Side Up!, in The Round, Stephen Joseph Theatre, Scarborough, October 28 to 31: 7.30pm, Wednesday; 1.30pm, 7.30pm, Thursday and Friday; 2.30pm, 7.30pm, Saturday. All sold out. Hull Truck Theatre, November 17 to 22: 7.30pm, Tuesday; 2pm and 7.30pm, Wednesday; 7.30pm, Thursday and Friday; 2pm, 7.30pm, Saturday. Box office: 01482 323638 or at hulltruck.co.uk/whats-on/drama/sunny-side-up/
“We’re hoping to engage with anyone in the borough who is creative in their everyday lives,” says Arcade’s Rach Drew, who will host the Scarborough Creatives sessions. Picture: Stewart Baxter
SCARBOROUGH Creatives, a networking group for creative people in the Scarborough borough, will launch next month.
Leading the forum will be led by the Stephen Joseph Theatre and its new associate company, community producers Arcade, in collaboration with COAST, Scarborough’s Local Cultural, Education and Community Partnership.
The group will provide a network for creative talents to talk, share information and collaborate, meeting monthly, initially by Zoom.
Open to all art forms, artistic practices, abilities and levels of experience, professional or otherwise, it will be hosted by Rach Drew, from Arcade, and co-led by Ceri Smith, although it is envisaged this role eventually will be passed onto a freelance artist.
Rach says: “We’re hoping to engage with anyone in the borough who is creative in their everyday lives. That could be a professional actor or artist looking for people to develop projects with, or someone who knits and is unsure how to sell their work.
“We’ll be aiming to promote and support people along their creative journey and help create opportunities to develop funding bids together,” says Stephen Joseph Theatre artistic director Paul Robinson. Picture: Tony Bartholomew
“We’ll be providing creative and practical help and, eventually, we aim to introduce a programme of inspiring speakers, based on what members need.”
Paul Robinson, the SJT’s artistic director, says: “We recognise there aren’t currently as many opportunities for professional development, training, funding or paid work in our area as there are in cities and other regions of the country.
“We’ll be aiming to promote and support people along their creative journey and help create opportunities to develop funding bids together.”
The first meeting of Scarborough Creatives will take place via Zoom on Wednesday, November 11 at 6pm. To join the session, book your ticket at: eventbrite.com/o/rach-drew-arcade-31519674997
Scarborough Creatives is an inclusive and anti-racist group, open to people from all backgrounds. “The aim is that sessions will be as accessible as possible,” says Rach. “Please let us know if you have any access requirements when you express interest.”
REVIEW: Royal Philharmonic Orchestra Brass (and other thoughts), Leeds Town Hall, October 24
TWELVE heroes from the Royal Philharmonic Orchestra – ten brass players and two percussionists – travelled to Leeds on Saturday to play before an audience of around five dozen.
Simon Wright conducted them in a stimulating mixed bag of music from the last 130 years, plus an early interjection from Giovanni Gabrieli.
Harmless though this may sound, the event was hugely significant. Locally based groups, notably from Opera North, have been appearing at the Town Hall since late August. But this was the first time that a professional ensemble from further afield had appeared there since lockdown.
Later this week, there will be two lunchtime events and three evening lieder recitals, all given by musicians of international standing. And that’s just on the classical side. So, it can be done, all within the regulations: distanced seating, masks worn by the audience, no interval or refreshments. But these are small privations compared to the thrill of live music returning. Leeds Playhouse has been equally adventurous.
In other cities, the silence continues to be deafening. Take York, for example, normally a bastion of classical performance. The Minster, the Barbican, University of York’s Central Hall, all are large venues well suited to music and easily adaptable to the new conditions.
Smaller but equally adaptable is the National Centre for Early Music and the university’s Lyons Concert Hall. All remain resolutely shut. Why? Hasn’t government (our) money been made available to keep such venues open?
Back to the brass. They opened with an ingenious arrangement of Elgar’s Cockaigne (In London Town) by one of their own, trombonist Matthew Knight. Given its complexity, it was a surprising choice as opener and took a while to settle.
But the main theme emerged triumphant on the trombones just in time for the accelerando towards the close. With the Town Hall so empty, and therefore even more resonant than usual, Gabrieli’s Canzon on the seventh tone had a regal clarity, comparable surely to St Mark’s Venice itself, as the two quartets bounced off another; it might have made a better curtain-raiser.
Imogen Holst’s Leiston Suite (1967) delivered five neatly concentrated miniatures, including a sparkling fanfare, a balletic jig and several flashes of her father’s spare harmony, all tastefully interwoven.
Eric Crees’ skilful arrangements of three Spanish dances by Granados were enchantingly idiomatic, rays of mediterranean sunshine. The colours in Duke Ellington’s bluesy Chelsea Bridge were more muted.
Hartlepool-born Jim Parker’s name may not be on everyone’s lips, but most of us have heard his music through his soundtracks for Midsomer Murders, Foyle’s War, Moll Flanders and any number of films. Why he has four BAFTAS to his name became clear in A Londoner In New York (1987), five attractive cameos of the city’s buzz, including steam engines at Grand Central, a romantic walk in Central Park, and the can-can chorus line at Radio City.
London came to Leeds here and we may all be grateful for the glimpse of normality.
“We’ve been working hard to give our aspiring finalists the best possible experience, even though we won’t be able to welcome them, their friends and family to York,” says NCEM director Delma Tomlin
THE winners of the Young Composers Award 2020 will be revealed by the National Centre for Early Music, York, in a live-streamed performance on November 11.
At 7pm, Ex Corde Vocal Ensemble, the consort of the Ebor Singers, will perform each of the shortlisted pieces for a panel of judges.
The Coronavirus pandemic enforced the postponement of the 2020 awards, but next month online audience can watch the re-scheduled finals free of charge, tuning in to hear music from the composers of the future performed by artists of the highest calibre.
This national annual award is open to young composers up to the age of 25 and resident in the UK in two age categories: 18 years and under and 19 to 25 . For the 2020 award, composers were invited 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.
Competing for the 18 years and under award will be Ethan Lieber’s composition The Flower, Eilidh Owen’s As If There Were No Such Cold Thing and Emily Pedersen’s Pater Noster.
Seeking the prize in the 18 to 25 final will be Noah Bray’s Our Father, Sam Gooderham’s Late-Past, Caitlin Harrison’s The Flower, James Mitchell’s The Lord’s Prayer and Fintan O’Hare’s Come Passing Rain.
The live-streamed performance will follow a day-long workshop when the young composers will join composer Christopher Fox, Professor of Music at Brunel University, and Ex Corde Vocal Ensemble.
Judging the finals will be The Tallis Scholars’ director, Peter Phillips; BBC Radio 3 producer Les Pratt and NCEM director Delma Tomlin. The winners, one from each age category, will be announced after the concert.
The Young Composers Award is deemed an important landmark in the careers of aspiring composers. Every year, the winning compositions are performed in public and recorded for broadcast on BBC Radio 3’s Early Music Show. This year’s winning works will be premiered by The Tallis Scholars in a public performance at the Cadogan Hall, London, on March 24 2021.
Delma Tomlin says: “Once again, the NCEM Young Composers Award has attracted attention from all over the UK. This year, we will be live-streaming the excitement and inviting audiences, friends and aspiring young composers and musicians to join us for this highly regarded annual event.
“For everyone working in the arts and entertainment, the last few months have not been easy. We’ve been working hard to give our aspiring finalists the best possible experience, even though we won’t be able to welcome them, their friends and family to York. We hope to be able to celebrate in style next year with the public performance at the Cadogan Hall.”
Alan Davey, controller of BBC Radio 3 and classical music, says: “Nurturing young composers is one of our key missions here at BBC Radio 3: we are keen on discovering new voices and supporting emerging talent.
“In the current circumstances, our commitment is more urgent than ever, as we need to make sure creativity survives and thrives in these unprecedented times. We can’t wait to delight our audiences broadcasting the winning compositions by some of the most promising young composers in the UK.”
The NCEM was among the first arts organisations to live-stream performances and festivals as a response to the lockdown. The first concert, broadcast on March 21, attracted more than 60,000 viewers from all over the world, from as far afield as Australia and Japan.
For full details on how to watch the Young Composers Award 2020 performance, go to ncem.co.uk.
HELLO again, Lionel Richie will play Scarborough Open Air Theatre next summer.
The Alabama soul luminary’s June 9 show on the East Coast this summer was ruled out by the Covid-19 lockdown, but now he is booked in for June 12 2021.
This will be 71-year-old Richie’s second appearance at Scarborough OAT, having made his sold-out debut there in 2018.
“I was really excited to be playing at Scarborough Open Air Theatre this summer as I enjoyed a truly wonderful night there in 2018,” says Richie.
“I was very sad that, like so many things, the show had to be delayed but obviously, everyone’s health and safety comes first. I’m now looking forward to it even more and know we’ll all have such an incredible night of partying together.”
Richie’s set-list will span his early years in The Commodores to the present day, taking in such favourites as Three Times A Lady, Easy, Truly, Dancing On The Ceiling, Say You, Say Me, Running With The Night, Endless Love, Hello and All Night Long.
“I’m now looking forward to it even more and know we’ll all have such an incredible night of partying together,” says Lionel Richie of his re-arranged Scarborough Open Air Theatre concert
The American has sold more than 125 million albums worldwide and has received an Oscar, Golden Globe and four Grammy Awards, along with the Ivor Novello PRS for Music Special International Award. On June 28 2015, he drew a crowd of 200,000 at Glastonbury festival. Last year, he released the concert album Live From Las Vegas.
Programmer Peter Taylor, of Scarborough OAT promoters Cuffe and Taylor, says: “We are incredibly proud and excited that Lionel Richie – one of the most successful and celebrated music artists of all time – is returning to Scarborough Open Air Theatre.
“His 2018 sold-out show here was just a brilliant night and this is going to be another amazing show by an undoubted global superstar. Roll on June 12 next year. We cannot wait!”
Cuffe and Taylor also booked Richie for the closing concert of their inaugural York Festival at York Sports Club on June 21 this summer, only for Coronavirus to intervene.
Tickets for June 12 2021 will go on sale from 8am on Friday, October 30 at scarboroughopenairtheatre.com.
TODAY is the start of York Design Week, a festival for change that will seek to design a positive future for the city under five themes: Play, Re-Wild, Make Space, Trust and Share.
In Covid-19 2020, the festival will feature in-person events with social-distancing measures in place, complemented by a wide range of online workshops, exhibition seminars and talks.
Look out for workshops bringing together homeless people and architects to work on solutions for housing; sessions on innovation and rule-breaking; an exhibition inspired by a York printing firm; discussions on community art and planning and city trails designed by individual York citizens.
Go to yorkdesignweek.com for the full programme, plus information on social distancing and events that will be accessible online.
Supported by the Guild of Media Arts, York Design Week is also teaming up with organisations such as SEED, Yorkshire Wildlife Trust and Wild Streets to educate, inspire and demonstrate the creative ways to reduce carbon emissions and increase biodiversity.
York Design Week co-founder Rich Corrigan, from the Dogeatcog Agency, says: “We’ve worked hard to ensure all our events are as inclusive and immersive as possible, as York Design Week is an opportunity for people of York to really make their mark, actively shaping the city into a place we want to spend our time.”
Fellow co-founder Rebecca Carr, owner of the Kaizen Arts Agency, says: “We believe that to enable good change we need to create a population of activists, people who make space to do what they love, for the right reasons.
“We want to see York’s citizens take control of their local environment and communities to help shape the city they want to live in. York Design Week is one of those opportunities for people to start making their mark.”
The Covid-19 pandemic has had an impact on myriad festivals, in particular leading to the recourse to mounting many events online, but Rebecca looks on the bright side. “It’s been good in one way because it’s made us think bigger and further out, and hopefully the consequence will be that it will draw people to York for next year’s York Design Week,” she says.
“Both universities in York have been really supportive in putting together this year’s event and the York Festival of Ideas has been very helpful too.”
York Design Week has received £1,000 from the Guild of Media Arts and a Citizens Cultural Fund campaign on GoFundMe has raised a similar sum, but essentially this is a volunteer-run festival of free events.
“Coronavirus shut down funding applications and then when they did open again, we didn’t have enough time to write a good enough application in time for this year’s event,” says Rebecca.
“We decided we would just crack on and do it…and we’re grateful for the backing that we have received.
“In the absence of major funding, we’re relying on word of mouth, communities and people caring about what happens to York in future to spread the word about the week ahead.”
Summing up why York Design Week is an important contributor to the York culture and community diary, Rebecca says: “We’re trying to bring about more participatory decision-making in the arts and city life because we really care.
“All the team involved in running York Design Week really want to invest in York and Design Week shows that.”
Delighted to back York Design Week, Olivia Chatten, Master of the Guild of Media Arts, says: “It’s a major opportunity to show how creativity in design and active participation can make York a better place to work, live and play.”
Heading to the yorkdesignweek.com website, the first words that greet you are: “Be an activist”. What a positive start to the week ahead.
“It’s all about taking away as many barriers as possible, opening up York Design Week to families and young people, who might not usually engage in such events,” says Rebecca. “We want to empower the next generation to shape their city.”
Let the York Design Week team have the collective last word: “Our aim is to create a city of activists who engage day to day in making stuff better, in small ways and big ways. We all have the power to shape positive change.
“We hope together we can move towards a shared vision of a happier, more sustainable, fairer and more creative future for our city.
“So, if we know where we want to go, how do we want to get there? Join us for some events where we explore different ways and means of creating a city fit for future generations.”
Westlife’s poster for next summer’s Scarborough Open Air Theatre concert
IRISH grown-up boy band Westlife will play an exclusive north of England outdoor show at Scarborough Open Air Theatre next summer.
The top-selling album band of the 21st century should have played both the Yorkshire coast venue and the inaugural York Festival in 2020, but the Covid lockdown enforced their cancellation.
Instead, Shane Filan, Mark Feehily, Kian Egan and Nicky Byrne will perform in Scarborough four days before their headline show at Wembley Stadium.
Westlife’s official statement reads: “Some exciting news! We are delighted to announce that Scarborough Open Air Theatre have invited us to join next year’s line-up on Tuesday, August 17.
“Given the current circumstances, we really are hopeful to announce more shows in the new year and look forward to being back with you all as soon as we can.
Westlife will perform such hits as Swear It Again, You Raise Me Up, My Love, Flying Without Wings, Uptown Girl, Unbreakable, When You’re Looking Like That and World Of Our Own, as well as picks from their chart-topping tenth album, 2019‘s Spectrum, Hello My Love among them.
Venue programmer Peter Taylor, of Scarborough OAT promoters Cuffe and Taylor, says: “Westlife fans were heartbroken when this summer’s tour was postponed due to the global pandemic, so we are delighted the boys will be coming to Scarborough OAT next summer.
“This is a real exclusive: Westlife’s only outdoor show in the north of England and four days before their headline show at Wembley. It’s going to be a brilliant night here!”
Westlife were booked to play Scarborough OAT on June 17 and York Festival at York Sports Club, Clifton Park, on June 20 as part of their 2020 Summer In The Stadiums tour before summer was scrapped.
Tickets for August 17 will go on sale via scarboroughopenairtheatre.com at 9am on Friday, October 30.
Scarborough Open Air Theatre’s 2021 season so far comprises: June 19, UB40 featuring Ali Campbell and Astro; June 20, RuPaul’s Drag Race: Werq The World; July 9, Keane; July 10, Olly Murs; August 17, Westlife, and August 20, Nile Rodgers & Chic. More concerts will be added; watch this space.
Did you know?
ALL ten of Westlife’s studio albums have reached the top five in the Official UK Albums Chart, five of them peaking at number one. Fourteen of their singles have made the top spot too.
Bottled up: Simon Slater as heavy-drinking, voyeuristic photographer Derek Eveleigh in Douglas Post’s Bloodshot
REVIEW: Simon Slater in Bloodshot, in The Round, Stephen Joseph Theatre, Scarborough, 7.30pm tonight; 2.30pm, 7.30pm tomorrow. Box office: sjt.uk.com/whatson or 01723 370541
SIMON Slater in Bloodshot? Make that a quartet of Simon Slaters in Bloodshot, a one-man, four-part noir tale of murder, vaudeville, magic and jazz, wherein he plays a booze-addled London photographer, a ukulele-strumming Irish comedian, an American saxophonist and a Russian magician.
In this Covid-restricted new theatre age of small casts and bubbles, Scarborough-born Slater’s Swiss Army Knife of skills makes him perfect for the Stephen Joseph Theatre’s return to live performances when even the Christmas show, The Snow Queen, will be a solo piece for Polly Lister.
Save for a quick look-around the Pavilion Theatre on the Cromer Pier while on holiday in Norfolk earlier this month, Wednesday night marked the first time CharlesHutchPress had set foot in a theatre auditorium since Pick Me Up Theatre’s Tom’s Midnight Garden at Theatre @41 Monkgate, York, on March 13.
Rather than the clock striking 13, time came to a devastating stop for theatres only three days later, but the SJT has come out of hibernation this autumn, first for films upstairs in the McCarthy and now for theatre shows too.
A one-way system is in operation at the former Odeon Art Deco building, where you still enter through the familiar glass doors, but exit by the usually unseen back stairs. You take a temperature test, screen the NHS test and trace app, apply hand sanitiser and make your way to your seat, rather than to the bar, although drinks can be ordered from the ushers, ever busy on the stairways with trays in hand and sanitiser at hand.
No exhibition is in place on the corridor, no programmes are available, but the shop is still open.
The camera never lies…or does it in Bloodshot?
The 569 capacity in The Round is reduced to 80 for this show, with the audience on three sides only, each available socially distanced seat marked with a tick that makes you feel positive about being back in a theatre at last.
Yet how strange it feels. Normally 80 in the house would represent a flop; now it is a full house and a cause for celebration. Wearing a mask throughout your time in the building is the new norm. We must adjust, and so must the performer, as Slater observes. “You know that theatre expression, ‘you can’t hear a smile’. Well, now you can’t see one either,” he says, comparing his experience to playing to 70 Lone Rangers.
It feels good to break the ice with the first laugh and to burst into applause when Slater sings a song like an Irish variation on George Formby, or plays the jazz sax from behind dark glasses or munches his way through razor blades before regurgitating them on a piece of string in a magic routine rooted in his childhood love of Dinsdale’s, the Famous Joke & Trick Shop on the Scarborough sea front.
Now an associate artist at the SJT, Slater knows the theatre well, just as he knows Bloodshot well. He has chalked up 300 performances in the nine years since asking American playwright and good friend Douglas Post to write him a solo thriller over a late-night drink in a Chicago bar.
He last performed Bloodshot four years ago in Chicago before returning to the “only one-man thriller I’ve ever heard of”, but now attuning to the loneliness of the socially-distanced solo performer at the Watermill Theatre, Newbury, for four weeks this autumn under the fluent direction of Patrick Sandford.
Now comes the Scarborough finale, preceded by a Monday night rehearsed reading with Jemma Redgrave of Simon Woods’s brutally honest political satire, Hansard.
On a knife edge: Simon Slater as the Russian magician in Bloodshot
Slater’s Derek Eveleigh, enervated and broken, is standing on a bridge, contemplating suicide as the play starts at the end. Aided by back-projected photographic slides, music and video, Slater is at once narrator, protagonist and character actor, to go with his aforementioned deft skills of magic and music and his ear for an accent.
The setting is London, 1957, and Eveleigh reveals he is a former policeman whose photography of murder scenes brought on the alcoholism and Post-Traumatic Stress Disorder that led to his dismissal.
He has since made a career of filming women in public, but has fallen on hard times, and when a mysterious envelope arrives from a stranger asking him to take secret pictures of an elegant young Caribbean-born woman, Cassandra, in Holland Park, the reward is too handsome to refuse.
Eveleigh is sucked into a seedy Soho nightlife suffused with dubious underground characters: the ageing Irish comic, New York sax player and club-owning Russian magician. Witnessing a bloody event, he vows to learn the truth, in particular how the three shady men, with their differing, contradictory stories, were connected to Cassandra.
Making light of a damaged shoulder, Slater says the show is “absolutely knackering”, but he throws himself into the murky maelstrom, combining his set-piece skills with a potent psychological portrait of the increasingly troubled, infatuated, sensitive Eveleigh, who is no angel among villains in a convoluted but increasingly rewarding murder mystery with surprises to the last.
A thrilling night in every way as theatre makes its SJT comeback.
