Uninvited Guests in Love Letters Straight From Your Heart. Picture: Bewley Jonathan
UNINVITED Guests bring a “completely digital, wholly personal and wonderfully live experience” to the reopened Stephen Joseph Theatre, in Scarborough, this autumn.
Responding to “our desire for connection in an age of distance”, the Bristol company and Fuel co-present Love Letters Straight From Your Heart in very different performances for Zoom viewing on October 1 at 2.30pm and 7.30pm.
For each show, Love Letters Straight From Your Heart “invites the audience’s words to the stage, where they are given a new shape, look you straight in the eye and offer to dance with everyone in the [Zoom] room”.
In their signature performance style, Uninvited Guests blur distinctions between theatre and social gatherings, creating a performance from the audience’s song dedications and the stories attached to them. Those song dedications and stories are contributed by the audience in advance; details will be given at the time of booking a ticket.
“Every show is unique to its audience: their memories, their current and past loves or friendships, their emotions, laid bare for everyone to witness, acknowledge and support,” says Uninvited Guests’ director, Paul Clarke. “Dedications are spoken, toasts are made, speeches are given, songs are sung and dances are danced on your behalf and with you.”
As an antidote to isolation, you are invited to join Uninvited Guests online via Zoom as they raise their glasses to long-lost loves and latest lovers, to mums and dads, and to absent friends.
Performed by Jessica Hoffman and Richard Dufty, Love Letters Straight From Your Heart was originally a BAC Scratch and Arnolfini We Live Here commission, later commissioned by Leeds Met Studio Theatre too. Now, the digital performance has been co-commissioned by First Art.
Only 45 tickets will be sold for each show on October 1 “in order to maintain the intimacy and warm atmosphere of the performance”. However, any number of audience members can sit at each screen – within the rule of six, presumably – to watch the 60 to 75-minute show.
Tickets cost £10 at sjt.uk.com/whatson or on 01723 370541. The SJT box office is open Tuesdays to Saturdays, 11am to 4pm, for both phone calls and in-person bookings.
Not just Josh: York comic and magician Josh Benson and Patricia the cow team up to to go on the road with the York Theatre Royal Travelling Pantomime. Picture: Anthony Robling
CINDERELLA, you shall not go to the ball, because no pantomime will run at York Theatre Royal this Christmas. There will, however, be three Theatre Royal pantomimes this winter instead. Yes, three.
Rather than the traditional transformation scene of pumpkin and mice into carriage and horses, this Covid-enforced conversion will be a switch from the still-shut St Leonard’s Place building to the York Theatre Royal Travelling Pantomime.
In tandem with new pantomime partners Evolution Productions, this pop-up enterprise will take the Theatre Royal on the road to every neighbourhood in York – all 21 wards – during December and January.
Each location, ranging from community halls to social clubs and sports centres, will be Covid-secure, adhering to Government guidance for staging socially distanced performances with capacities ranging from 35 to 50, and at each show, the audience members can vote for whether they want to see Dick Whittington, Jack And The Beanstalk or Aladdin.
The Travelling Pantomime retains the previously announced Cinderella triumvirate of Theatre Royal executive director Tom Bird, who oversaw the breaking of the chain from 41 years of Dame Berwick Kaler pantomimes, associate director Juliet Forster as director and award-winning Evolution director and producer Paul Hendy as the writer, who will pen three scripts with York references aplenty.
“We believe that Evolution are the most exciting pantomime company in the country right now,” says York Theatre Royal executive director Tom Bird
Their first big signing is the pocket-sized bundle of York energy Josh Benson, magician, children’s entertainer, actor and Corntroller of Entertainment at York Maze, who had signed up for a further two years as the daft-lad comedy turn in the Halifax Victoria Theatre pantomime after his debut in Beauty And The Beast last winter.
Once confirmed that Victoria devotees would not be amused by Jack And The Beanstalk this winter, however, Josh was available to play his home city, and fresh from performing his Just Josh magic show at the Theatre Royal’s Pop-Up On The Patio festival, he quickly came on board for the panto road show.
‘I’m so chuffed to be able to play a part keeping York’s panto tradition alive, in a year where it feels like the majority of traditions have pretty much gone out the window,” says Benson. “What’s really special for me personally is the ‘full circle’ that’s happened, having actually started my professional career with York Theatre Royal, aged ten, in their 2007 panto Sinbad The Sailor.
“It’ll be so great to be back home for Christmas this year, finding a way to spread some panto joy amongst the current craziness.”
Details of venues, performance times and further casting – possibly a cast of five, but more likely four, local actors – will be released in the coming weeks.
A sign of the panto times: Josh Benson prepares to travel all over York in December and January
Tom Bird, who has experience of mounting travelling shows when executive producer at Shakespeare’s Globe in London, says: “Our Travelling Pantomime will be a rip-roaring Christmas treat for the whole family. Audiences can expect hilarity and chaos, music and magic as our amazing actors visit every corner of York.
“It’s called the York Theatre Royal Travelling Pantomime because it does exactly what it says on the tin and will travel to every York neighbourhood. It’ll be a small-scale show with a cast of four or five, where we’ll do whatever we need to do to meet the Government guidance at that time.
“We want it to be this generous offer to each community, where the audience gets to choose between three pantomimes, which gives scope for even more comedy. It’s quite a challenge for the designer [yet to be confirmed], having to design a set for three shows, but still having to taking the audience into another world.”
Bird is delighted that the Travelling Pantomime will still mark the debut of the new Theatre Royal and Evolution partnership. “We believe that Evolution are the most exciting pantomime company in the country right now: they won the Best Panto award again [for750 to 1,500-seat theatres] for Cinderella at Sheffield Lyceum in the 2020 Great British Pantomime Awards,” he says.
“Their pantomimes are dynamic, they’re electric, they’re funny and fabulous, and they’re not snooty, and Evolution are a belting company. I remain convinced that we’ll have one of the best pantomimes in the country when we do Cinderella in 2021 and, in the meantime, we have this exciting opportunity this winter.
Pantomime partnership: York Theatre Royal associate director Juliet Forster and executive director Tom Bird with Evolution Productions producer Paul Hendy
“It’s great that Paul is writing the three scripts: his writing for pantomimes is graceful and funny and his shows are not blue, just good fun, and they’ll have a local flavour too.”
Bird is quick to stress that the Travelling Pantomime shows should not be seen as a Covid-necessitated compromise. “It’s a massive logistical enterprise, taking a show to all 21 York wards,” he says. “I have a history of doing shows like this, taking small-scale projects around the world for Shakespeare’s Globe.
“It really does give a project an artistic energy when you face logistical challenges, like we are in the face of the Coronavirus pandemic.
“Taking the Travelling Pantomime into the York communities is very direct, I hope it’s very democratic and it acknowledges the virus because there may be people that might not want to go into town on a bus but will go round the corner from their home to see a show.”
Bird is delighted to have snapped up the comedic, mischievous nuttiness of Josh Benson. “We’re very excited to have Josh in the show. When we saw him on the patio doing his Just Josh show, we thought, ‘this is exactly what we need’. He’s warm, he’s very engaging, he’s local and he’s loved by people in York, and he’ll help to shape the shows.
“I would really love to be involved in suggesting ‘how about this or how about that?’ for the shows,” says Josh Benson, as full of beans as ever
“It’s also important, coming out of the old panto into the new era, that we should make our pantomime a show for families and Josh helps us to do that.”
Looking forward to leading the Theatre Royal pantomime in his home city, Benson says: “It’s been said of me, ‘if you turn Josh upside down, it says ‘Made In York’, and it’ll be lovely to be in York this winter because I don’t really want to be anywhere else in this strange year.
“I’d signed for one year for the Victoria Theatre panto in Halifax and they then offered me for four more in the comic role, effectively taking over from Neil Hurst, who’d done it for five years before me, and I said, ‘let me do another two’, but when Jack And The Beanstalk had to be postponed, the Travelling Pantomime feels a lovely thing to be able to do and a real honour too.
“It’s nice to be part of a new beginning for the Theatre Royal pantomime, which I think will be great. What’s good for me is that I can dip my toe in a York panto and they can do the same with me.”
He believes it is important to spread his talent wherever possible when still on a learning curve at 22. “This summer aside, I usually do the whole season at York Maze, so you could have too much of a good thing if I do the winter season as well in panto, doing the same jokes and routines!” he reasons. “I’m very much playing the long game, working up to going to the Edinburgh Fringe with a solo show.”
Benson will have to learn not one, but three pantomime scripts. “But that’s a hugely exciting thing to be doing: a choice of three shows each performance. Tom [Bird] did that at the Globe too, and what’s clever about it is that it’ll have a rough-and ready-feel to it, like a village-hall panto, but as Tom has said, it’ll still be a York Theatre Royal panto, with the award-winning Paul Hendy writing it.
“His writing for pantomimes is graceful and funny and his shows are not blue, just good fun, and they’ll have a local flavour too,” says Tom Bird of Paul Hendy’s award-winning pantomimes
“As a pop-up panto, you can open it in that rough-and-ready style, in a conversational tone, so it’s different from the very start, with me going out there as Josh, just like with the kids’ parties I do, jumping up on stage and just talking, whereas normally with a panto in a theatre, the audience are looking at the stage, thinking, ‘Go on, impress me’.”
Doing three shows throws up extra comedic possibilities too for the comic turn with the potential for daft-lad confusion. “I love the idea that I can go, ‘Right, Dick…Jack…I mean, Aladdin’, so suddenly you’re doing that ‘times three’ thing,” he says.
Benson is restlessly creative – he had written and prepared a drive-in show for York Maze, should owner “Farmer Tom” Pearcy have decided to re-open his attraction this summer post-lockdown – and so he will not merely be turning up to rehearsals for the Travelling Pantomime.
“I would really love to be involved in suggesting ‘how about this or how about that?’ for the shows, so I’m going to meet Juliet [director Juliet Forster] in September to talk about it,” he says.
In the meantime, he will keep busy with children’s party magic shows in gardens – whatever the “Rule of Six” permits – after a multitude of lockdown shows on Zoom and Facebook.
Tickets for York Theatre Royal’s Travelling Pantomime will go on sale in November. Oh, and Cinderella, you shall still go to the ball, the glittering party merely postponed from 2020/2021 to 2021/2022.
The box-office team will be in touch with ticket holders with the option of moving tickets to next year, cancelling the booking or donating some or all of ticket cost to York Theatre Royal. Ticket holders are being asked NOT to contact the box office, whose reduced team will contact them as quickly as possible in coming weeks.
Joshing around: Josh Benson in his Just Josh magic and balloon show
Just Josh? Just who is Josh Benson? Let him introduce himself:
“HAVING not conventionally trained in anything, 22-year-old ‘Josh of All Trades, Master of None’ is winging his way through the entertainment industry. But don’t tell his mum…she thinks he’s at university studying for a proper job!
As an actor, Josh’s credits include playing Little Ernie in the award-winning BBC Morecambe and Wise biopic Eric & Ernie; being hit by a car in BBC1’s Casualtyand a cameo in Monroefor ITV. He played Tommo in Gary Barlow and Tim Firth’s Calendar Girls musical The Girls from 2015 to 2017, both in the world premiere at Leeds Grand Theatre and The Lowry, Salford, and at the Phoenix Theatre in London’s West End.
A huge part of Josh’s work is at York Maze, where he is the Corntroller of Entertainments – genuine job title – for the summer season. There, he writes, manages and co-hosts three live-action experiences: a stage show, tractor trailer ride and pig racing. This role has sprung from Josh being a professional children’s and family entertainer for the past seven years, having proudly entertained at hundreds of children’s parties and events, on cruises and in shows.
He is a professional close-up/stage magician and comedian, having performed four seasons of The Good Old Daysat Leeds City Varieties Music Hall, later taking his act down to the Big Smoke for Players Music Hall and the Cockney Sing-Alongat Charing Cross Theatre and Brick Lane Music Hall respectively.
Eric and Little Ernie: Josh Benson in sunshine-bringing dance mode alongside a statue of Eric Morecambe when he landed the role of young Ernie Wise in the BBC’s Eric & Ernie in 2010
As a “grown-up”entertainer, Josh last year debuted his first one-man cabaret evening, It’s Not The Joshua Benson Show/Josh Of All Trades, a two-act show of all his “pointless yet entertaining” skills. This show tours the UK constantly, “whenever it can fit in between everything else”!
In pantomime, Josh’s career began in 2007, at the tender age of ten, among the babbies and bairns in York Theatre Royal’s Sinbad The Sailor. He was lucky enough to more festive fun in 2008 for Dick Turpin and in 2011 returned to York Theatre Royal as John Darling in Peter Pan,part of the In The Round summer season.
Christmas 2018 saw Josh’s panto comic debut as Buttons in Cinderellaat the Pomegranate Theatre, Chesterfield, and last year he took over as comic at the Victoria Theatre, Halifax, for Beauty And The Beast.
He was due to return there this year for Jack And The Beanstalk, now postponed until 2021. He is delighted – and feels incredibly lucky! – to have been offered the fantastic alternative of York Theatre Royal’s Travelling Pantomime for the winter season.”
Testament: Leeds rapper, writer and beatboxer commissioned for new piece for Connecting Voices. Picture: Anthony Robling
OPERA North and Leeds Playhouse are collaborating on a celebration of the power and expressiveness of the human voice that will bring audiences back into the Quarry Hill theatre next month for the first time since the March lockdown.
They will co-produce Connecting Voices: six new and existing 40-minute pieces of live performance staged safely and Covid-securely in four areas of the Playhouse, played over three weekends in October, fusing classic and contemporary theatre on themes of isolation and connection, resilience and reflection
Leeds rapper, writer and world record-holding beatboxer Testament has been commissioned to explore the power of the solo voice within a communal space and the relationship between performer and audience, while freelance artists Matthew Eberhardt and Khadijah Ibrahiim will be devising new work together with musicians, poets, actors and young people
Running from October 2 to 17, Connecting Voices will mark the reopening of Leeds Playhouse six months after lockdown began by “partnering with the wider arts industry to find new and innovative ways of reintroducing audiences to live theatre, in a safe and secure environment, contributing to the life and vibrancy of the Leeds city region”.
Orpheus In The Record Store, written by Testament and directedby Aletta Collins, will fuse spoken word and beatboxing with players from the Orchestra of Opera North in a collaboration in the Quarry Theatre that gives the Greek myth of Orpheus a contemporary Yorkshire twist.
“I’m so excited to be back at Leeds Playhouse with Opera North, especially after this turbulent period,” says Testament. “To be commissioned to create a new piece of work is a massive honour.
“The Playhouse was one of the first organisations to take a chance on me as a theatre maker and it feels like home; their help and support has been invaluable to my growth as an artist. And only last year I got to work with Opera North as an artist on their Resonance programme, which opened my eyes to new possibilities as a composer.”
Looking forward to live performances returning to Leeds Playhouse, Testament says: “There is much to say and share right now, and I passionately believe theatre has an almost spiritual role in making the direction we wish to go in as a society tangible.
“I can’t wait to be back in front of an actual audience – being together enjoying worlds that we make together in those moments of live connection.”
Khadijah Ibrahiim: Writing and directing Reflections: Dead And Wake for Connecting Voices
What can next month’s audiences expect? “Right now, I’m in the lab creating, pushing buttons, and I’ve got something planned as a beatboxer that has never been like this way before,” says Testament. “I am also super-excited about connecting with Opera North musicians: we are planning to take the crowd on an epic journey with music, spoken word and live theatre.”
Playing alongside Orpheus In The Record Store will be topical re-awakenings of two pieces from 1958 that present characters isolated from others and struggling to connect again through technology.
The first is Irish playwright Samuel Beckett’s monologue Krapp’s Last Tape, to be performed by Niall Buggy in the Bramall Rock Void, directed by Dominic Hill.This will be counterpointed by Francis Poulenc’sshort opera La Voix Humaine, performed by Opera North soprano Gillene Butterfield in the Barber Studio, directed by Leeds Playhouse’s Sameena Hussain.
In the Courtyard Theatre, each of the three weekends will see a different and newly devised piece of work from Leeds spoken-word artist Khadijah Ibrahiim and two pieces by freelance director Matthew Eberhardt, whose credits include Opera North’s Street Scene.
They will work with singers, actors, young people and musicians, including classically-trained singer Keertan Kaur Rehal, Amy J Payne and stalwart Playhouse actor Robert Pickavance, to create contemporary responses to the themes of remembrance, collaboration and the act of storytelling.
James Brining, artistic director at Leeds Playhouse, says: “Re-opening the Playhouse after six months of enforced closure and being separated from each other has made us value even more than before the act of live performance and what that means.
“Our beautifully refurbished building provides us with many opportunities to safely welcome audiences and artists back into the Playhouse. Connecting Voices is a carefully curated programme exploring isolation and connection, resilience and reflection, as well as the relationship between performer and audience member in a shared space.”
Brining is delighted to be working once again with Leeds company Opera North. “We’re pooling our resources to help the city of Leeds to get back on its feet and bring joyous and powerful communal shared experiences back to the lives of its citizens,” he says.
“As we head into our 50th year at this challenging time, it’s vital that we reconnect with audiences and communities and collaborate with bold and diverse voices from across the region. We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again.”
“We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again,” says Leeds Playhouse artistic director James Brining
Richard Mantle, Opera North’s general director, says: “Connecting Voices is a compelling exploration of the power of the human voice and the profound desire to establish meaningful ties out of experiences of isolation and loss.
“We are delighted that we are able to begin the process of welcoming audiences safely back to live performance through this collection of work in partnership with Leeds Playhouse.
“Connecting Voices brings together voices spoken and sung from across the city and wider region, and we are especially thrilled to be collaborating with such a diverse and talented group of freelance artists, singers, musicians, poets and directors who all share artistic ties to both Opera North and to Leeds Playhouse.
“Now, more than ever, it is apparent how strongly intertwined the artistic and cultural community in our region is, and how important collaboration will be in ensuring a vibrant future for the arts and audiences across the city.”
Please note, in line with Government guidelines, audiences will be of limited capacity with social distancing and temperature checking will be conducted too. Tickets will go on sale to Leeds Playhouse’s Supporters’ Club, Playhouse Pass holders and Opera North Patrons from Monday, September 14 and on general sale from 12 noon on Tuesday at leedsplayhouse.org.uk and on 0113 213 7700.
Connecting Voices: the full programme
Krapp’s Last Tape, by Samuel Beckett, directed by Dominic Hill
A 69-year-old man listens to the voice of his 39-year-old self. Looking back on his loves, failures and losses, Krapp rewinds through his life with humour and heartache. A classic Beckett play, both punchy and personal.
Performances: October 2, 9 and 16, 8pm; October 3, 10 and 17, 3.30pm and 8pm, Bramall Rock Void, Leeds Playhouse.
Humour and heartache: Niall Buggy in Krapp’s Last Tape. Picture: Robert Workman
La Voix Humaine, by Francis Poulenc, directed by Sameena Hussain
A devastating short opera exploring the pain and fear of rejection in the rawest fashion. Through the lone voice of the woman, Poulenc expresses the full range of human emotion with a score of caressing warmth and intimacy. This powerful one-woman performance will be sung in English.
Performances: October 2, 9 and 16, 6pm, and October 3, 10 and 17, 1.30pm and 6pm, Barber Studio, Leeds Playhouse.
Orpheus In The Record Store, by Testament,directed by Aletta Collins
Orpheus is alone, playing tunes in his record shop. When an old friend arrives, music and stories collide as the ancient and contemporary merge. Testament takes inspiration from the classical Greek myth in a show that fuses spoken word and beatboxing with classical music from the Orchestra of Opera North.
Performances: October 2, 9 and 16, 9pm, and October 3, 10 and 17, 4.30pm and 9pm, Quarry Theatre, Leeds Playhouse.
Reflections: Dead And Wake, written and directed by Khadijah Ibrahiim
Experience a Jamaican “Nine Night” with literary activist and theatre maker Khadijah Ibrahiim. This thought-provoking performance explores Caribbean rituals around death through poetry, music and ghost [duppy] stories, featuring turntablist DJ NikNak and Paulette Morris. The event also includes performers from the Sunday Practise with their creative response to living through the last six months.
Performances: October 16, 7pm and October 17, 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
Reflections on La Voix Humaine, directed by Matthew Eberhardt
Take your seat on the stage of the Courtyard Theatre, look out into the auditorium and witness actors and musicians explore themes of isolation and connection, of resilience and reflection, through words both spoken and sung. This is a contemporary reflection on Poulenc’s La Voix Humaine and can be enjoyed either alongside the original piece or independently.
Performances: October 2 at 7pm and October 3 at 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
Reflections on Krapp’s Last Tape, directed by Matthew Eberhardt
Relish the power and expression of the solo voice from the stage of the Courtyard Theatre in this celebration of the return of live performance. An actor and a musician collaborate, filling the auditorium with words and music that reflect upon the themes of Samuel Beckett’s monologue Krapp’s Last Tape.
Performances: October 9 at 7pm and October 10 at 3.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
The running time for each Connecting Voices performance is 40 minutes.
David Gedge: Creative consultant for a new musical based around his songs for The Wedding Present
DO you have a gift for a Wedding Present project?
To explain, a crowdfunder campaign is being launched to support the creation of a musical based on the songs of David Gedge’s “semi-legendary“ Leeds group and John Peel favourites, The Wedding Present…with “some brand new material” from Gedge too.
The driving force behind Reception, The Wedding Present Musical, is York writer, theatre director and Engine House Theatre artistic director Matt Aston, fresh from mounting this summer’s season of Park Bench Theatre monologues in the Friends Garden at Rowntree Park.
Gedge, who turned 60 in April, will be the creative consultant for a show that will incorporate his songs for both The Wedding Present and Cinerama, plus the aforementioned new material, targeting 2022 for a Leeds premiere.
The crowdfunder campaign “gives fans the opportunity to get involved at the very beginning of an exciting journey – and pick up a bunch of specially commissioned artwork and merchandise, only available here, in doing so”.
Matt Aston: Artistic director of this summer’s Park Bench Theatre season at Rowntree Park, York, now working on a musical play inspired by his favourite band The Wedding Present. Picture: Livy Potter
Reception is the story of a group of friends from Leeds University who keep in touch over two decades of trials, tribulations, and receptions. Their stories are rooted in Gedge’s songs and the title is inspired by the name of The Wedding Present’s original record label, Reception Records.
The idea of doing such a musical has been brewing for writer/director Aston for several years. When he met Tony Ereira, director of the Come Play With Me and Clue Records record labels – where else but at a Wedding Present gig, in Leeds in early 2019 – the concept was batted around still futher.
The concept of the play started to take shape, with the documentary nature of Gedge’s candid, darkly humorous song-writing in the never-ending minefield of love and loss, lovers and losers, longing and lost opportunity suited to transferring those anguished stories and their quotidian protagonists on to the stage.
As Gedge himself said in Gigslutz on August 24 2015: “I’m interested in the minutiae of relationships. I like to write about what actually happens, rather than some imaginary situation cloaked in metaphor, hence the references to the everyday, though I have been known to decorate the songs with science fiction or comic book references!”
“I first saw The Wedding Present in Derby in 1988, so you could say this musical is over 30 years in the making,” says Matt. “I’ll always be grateful to my older brother and his mates for taking his little 15-year-old brother to his first ever gig.
Writer-director Matt Aston in a Wedding Present T-shirt in rehearsals with actor Chris Hannon for Park Bench Theatre’s production of Samuel Beckett’s First Love. Picture: Northedge Photography
“I got a T-shirt, a set of badges and a nosebleed. Not to mention a new favourite band. I’ve always felt there was something very theatrical about David’s songs. The storytelling, the arrangements, the anguish.
“And, as proven with Cinerama’s re-recording of The Wedding Present’s Valentina album, they have the flexibility to be arranged in a number of different, epic and dramatic ways. Although the show will, of course, still have plenty of fast guitars too!”
Aston and Ereira put the idea to Gedge, along with an early synopsis for the story, and, never one to shy away from a new medium to present his work, Gedge was equally excited to explore the idea further.
“With this crowdfunder campaign, we are looking to raise initial funding to get a first draft of the script written, some artwork and branding in place, and to start preparing for a period of research and development in early 2021 to road test our ideas – Covid-19 permitting – with a group of actors/musicians and some brand new material from David,” says Matt.
“The intention is to be in a position to premiere the musical in Leeds in 2022 – and this campaign is a chance for fans to get involved from the beginning with a bunch of rewards that are all exclusive to this production, including specially commissioned artwork from Lee Thacker, illustrator of David’s autobiography, Tales From The Wedding Present.”
To support the project, go to: https://www.crowdfunder.co.uk/reception-the-musical
Helen Wilson in a damned spot of Scottish bother in York Shakespeare Project’s Sit-down Sonnets at Holy Trinity churchyard, Goodramgate, York. Picture: John Saunders
MUSICAL theatre in a park, drag cabaret at a sports club, Shakespeare sonnets and songs in churchyards, high-speed film action at an airfield and chamber music online catch Charles Hutchinson’seye
Graveyard smash of the week: York Shakespeare Project’s Sit-down Sonnets, Holy Trinity churchyard, Goodramgate, York, until Saturday
WHEN York Shakespeare Project’s Macbeth bit the dust in March, put on hold by the Covid lockdown, York’s purveyors of Shakespeare’s Sonnet Walks decided to stage a sit-down, but not as an act of protest.
Director Mick Taylor and producer Maurice Crichton hatched a plan to present assorted familiar Shakespeare characters, brought into the modern world, to reflect on the pandemic with an accompanying sonnet.
Holy Trinity’s churchyard, with its five park benches, tree shelter and mown grass, provides an ideal socially distanced open-air setting. Bring a rug, cushion, camp chair, flask and biscuits, suggests Maurice, to performances at 5.45pm and 7pm, plus 4.15pm on Saturday.
Polly Bolton: Sharing a double bill with Henry Parker in the NCEM churchyard
Double bills in another churchyard: Songs Under Skies, National Centre for Early Music, St Margaret’s Church, Walmgate, York, tonight, September 16 and 17
SONGS Under Skies brings together the National Centre for Early Music, The Crescent, The Fulford Arms and the Music Venues Alliance for an open-air series of acoustic concerts.
The opening night with Amy May Ellis and Luke Saxton on September 2 was driven inside by the rain. Fingers crossed for more clement conditions for Wolf Solent and Rosalind tonight, Polly Bolton and Henry Parker on September 16 and Elkyn and Fawn the following night.
Gates will open at 6.30pm for each 7pm start; acts will perform either side of a 30-minute interval with a finishing time of 8.30pm.
The Bev Jones Music Company in a socially distanced rehearsal for Sunday’s show at the Rowntree Park Amphitheatre
Musical theatre showcase part one: Bev Jones Music Company, Strictly Live In The Park, Rowntree Park Amphitheatre, York, Sunday, 3pm.
THE Bev Jones Music Company stage a full-sized musical theatre concert with more than 20 socially distanced singers and a five-piece band on Sunday afternoon.
Strictly Live In The Park promises a “spectacular show for all the family, with popular show music, pop music, dance and comedy”, under the musical direction of John Atkin with choreography by Claire Pulpher.
Expect numbers from Adele to Robbie Williams, Cabaret to Hairspray, Mack & Mabel to South Pacific, The Full Monty to Chess, Miss Saigon to the finale, Les Miserables, all arranged by the late company driving force Bev Jones. Also expect temperature tests on arrival.
Conor Mellor in York Stage Musicals’ first show at the Rowntree Park Amphitheatre, York. He will be back for the second one too. Picture: Jess Main
Musical theatre showcase part two: York Stage Musicals present Jukebox Divas, Rowntree Park Amphitheatre, York, September 18 to 20, 7pm
AFTER the sold-out three-night run of York Stage Musicals’ first ever outdoor show last month, producer/director Nik Briggs and musical director Jessica Douglas return to their Rowntree Park psychedelic igloo to stage Jukebox Divas.
Jessica’s band line-up has changed, so too has the singing sextet, with Conor Mellor from the debut show being joined by Dan Conway, Sophie Hammond, Grace Lancaster and Eleanor Leaper.
“With music from We Will Rock You, Mamma Mia! and more modern releases like + Juliet and Moulin Rouge, audiences will be entertained for 90 minutes with vocal tributes to artists such as Elvis Presley, Queen, Meat Loaf, Katy Perry, Carole King and many more,” says Nik.
Baby Driver: one of the films with high-speed thrills to be screened at AA Getaway Drive-in Cinema at Elvington Airfield
Car experience of next week: AA Getaway Drive-in Cinema, Elvington Airfield, near York, September 18 to 20
AFTER Daisy Duke’s Drive-in Cinema on Knavesmire, now comes a celebration of high-speed thrills and derring-do skills at Elvington Airfield…on screen, courtesy of AA Getaway Drive-in Cinema.
Tickets have sold out already for the September 19 screenings of James Gunn’s 2014 space chase, Guardians Of The Galaxy (12A), at 2.30pm and James Mangold’s 2019 Ford v Ferrari race-track clash, Le Mans 66 (12), at 7.30pm.
Bookings can still be made, however, for Guardians Of The Galaxy on September 18 at 2.30pm and September 20 at 7.30pm and Edgar Wright’s 2017 getaway-car heist thriller, Baby Driver (15), September 18, 7.30pm, and September 20, 2.30pm.
No more kitchen-sink dramas for Velma Celli as York’s drag diva deluxe swaps live-streaming for the great outdoors in Acomb tomorrow
Stepping out of her Bishopthorpe kitchen into the York open air: Velma Celli: An Evening Of Song, York RI Community Sports Club, New Lane, Acomb, tomorrow, 8pm.
AFTER a spring and summer of concerts live-streamed from home, York drag diva Velma Celli takes to the outdoor stage at a sports club.
“The show will be a mixed bag of whatever I fancy on the day – pop, rock, impressions and some musical theatre obviously – and of course requests online. Message me on Facebook,” advises Velma.
Very special guests are promised: definitely York soul powerhouse Jessica Steel will be among them.
Tim Lowe: York Chamber Music Festival artistic director and cellist
Festival of the month: York Chamber Music Festival, September 18 to 20
THE 2020 York Chamber Music Festival is going online to live-stream three concerts from the National Centre for Early Music, Walmgate, York, in a celebration of the 250th anniversary of Beethoven’s birth.
Festival artistic director and cellist Lowe will be performing with Simon Blendis and Charlotte Scott, violins; Matthew Jones, violin and viola; Jon Thorne, viola, and Katya Apekisheva, piano. For full details on the programme and on how to watch the concerts, go to ycmf.co.uk.
Strictly between us: Anton du Beke and Giovanni Pernice’s tour poster for Him & Me next summer at the Grand Opera House, York
One for the 2021 diary: Anton & Giovanni, Him & Me, Grand Opera House, York, July 12
STRICTLY Come Dancing staples Anton du Beke and Giovanni Pernice will link up for their debut tour together, Him & Me, next year.
Details are sketchy, but the dapper Sevenoaks ballroom king and the Italian stallion say: “This show promises to be thebest night out in the Summer of 2021 for all ages…A true dance extravaganza!”
Anton and Giovanni will be joined by a “world-class cast” of dancers and singers for a show produced by Strictly Theatre Co and directed by Alan Burkitt.
And what about…?
A visit to the reopened Bar Convent Living Heritage Centre exhibition in Blossom Street, York. Malton Harvest Food Festival on Saturday. New Light Prize Exhibition, with more than 100 artists, opening at Scarborough Art Gallery on September 19. York Walking Festival, running or, rather, walking until Sunday (details at iTravel York website).
Jon, by Laura Quin Harris, at the New Light Prize Exhibition at Scarborough Art Gallery
“On this album, I’m tapping into that terrible looming dread of what could go on in the future,” says Joshua Burnell. Pictures: Elly Lucas
THERE is no time like the present for Joshua Burnell’s new album: the place where a retro past meets a bold other-worldly future.
Newly released through Proper Music, Flowers Where The Horses Sleep finds the York multi-instrumentalist returning to writing his own songs.
“The last two records, 2018’s Songs From The Seasons and last year’s The Road To Horn Fair, were traditional, so that was cheating!” says Joshua, winner of the Rising Star accolade in the 2020 Folking Awards.
“Certainly it’s been a big liberation to go back to my own song-writing for the first time since Into The Green [his 2016 fantasy epic].”
His website introduces his work as “folk-fused baroque’n’roll”. Some call it prog-folk with leanings to contemporary classical and vintage pop-rock too. His press release talks of Joshua “seemingly having his own musical time machine”, giving him the ability to teleport listeners between music’s yesterdays and tomorrows.
This is the moment for us to ask questions,” says Joshua
Or no more tomorrows, given his concern for our future. “On this album, I’m tapping into that terrible looming dread of what could go on in the future. There’s a doomsday feeling to some of the songs,” says Joshua.
“What’s going on now, with the pandemic, is a taster. What we’re going through is nature’s way of saying this is what you deserve, you horrible lot. But climate change ultimately is the bigger concern.”
In the transportation ballad Look At Us Now, Joshua imagines a future where we live on Mars in a tale combining folklore, climate change and space travel dreamer Elon Musk. “Definitely science fiction, yes, but science fiction is only science fiction until someone invents it for real,” he says.
“An uninhabitable Earth is something we can foresee, so while that song is sci-fi, with elements of doom and gloom thrown in, this is the moment for us to ask questions.
“What are we doing? Where are we going…when we take pleasure from all the delights of the 21st century that are a wonderful distraction from what’s happening?
“We’ve gone for a folky Bowie look, a folky, darker Aladdin Sane,” says Joshua, explaining Elly Lucas’s photographic portfolio for promoting his new album
“The problem comes down to economic greed. With all these advances, we wouldn’t be going there unless there was something to be made from it.”
Does Joshua consider himself to be a soothsayer? “There’s a romantic aspect to it, but folk singers have often talked about now and warned about the future; folk musicians are almost like political activists,” he says.
“But unlike politicians, folk musicians have the advantage of sitting on the sidelines, being able to be more daring in what they say, which fulfils the same role as punk music did.”
Equally adept on Hammond organ, acoustic guitar, accordion, mellotron, synths and a Steinway grand piano, Joshua’s boundary-pushing musicianship spans layered theatrical soundscapes and starker arrangements.
“What I’m trying to do is tell stories and take people somewhere else, taking them from the here and now, sometimes with a moral tale,” says Joshua, who was born in the Haute-Savoie in France but now lives, writes music and teaches in York.
“Folk singers have often talked about now and warned about the future,” says Joshua
“A lot of that comes from Tolkien…because so much of his work includes his own folk songs. Those stories are not fantasy rubbish. They’re giving people messages, but he didn’t want them to be allegorical. You can take something into the real world from them, or you can see them just as stories.
“From my teenage years, I adopted that as my ethos as a storyteller, where there’s something deeper there if you want to find it.”
Finished only two days before lockdown, Flowers Where The Horses Sleep is timely…and NOT all doom and gloom. “The songs were all inspired by people, past and present, and explore humankind’s remarkable ability to find beauty, even in the hardest of times,” he says.
Should you be wondering, the album title came from a story on the Family Ghosts podcast wherein a Japanese-American woman, interned in an American concentration camp during the Second World War, recalled how the prisoners, forced to live in stables, grew flowers to bring beauty into the ugly reality of their days.
Mumbai husband-and-wife artists Hari & Deepti’s papercut artwork for Joshua Burnell’s album cover
Beauty extends to the papercut album cover by Mumbai husband-and-wife artists Hari & Deepti, whose imagery plays out in the song Run To Me, recounting a surreal experience when Joshua and partner Fe [vocalist Frances Sladen] explored a ruined fortress near Harewood House, only to be approached by men carrying guns.
They took to their heels. “As we were running, a deer leapt out of the undergrowth and for one gloriously fairy-tale moment locked eyes with me and ran alongside us,” says Joshua.
Flowers Where The Horses Sleep is broad-ranging. Joan Of The Greenwood is a traditional folk song pastiche so authentic, you would swear it must come from a dusty old folk songbook.
Let Me Fall Down evokes Berlin’s decadent Kit Kat Club in its burlesque account of greed, while the Steinway on the album-closing Two Stars recalls the cabaret piano on David Bowie’s Hunky Dory album.
“What we’re going through is nature’s way of saying this is what you deserve, you horrible lot,” suggests Joshua.
Yet Flowers Where The Horses Sleep also marks a progression in Joshua not over-elaborating in any of his song structures. “I used to throw everything into the mix, but now, knowing when a song is finished has been a case of deciding what is enough,” he says.
“I’ve been trying to do a lot more of stripping it back for a song to have more space…though I still love those prog-rock elements with multiple textures!”
Combining artwork from Mumbai with recording in England and mastering at Stirling Sound in New York, not to mention the video for stand-out track Le Fay being made in New York too, the creation of the album spans three continents, such are the possibilities of our technological age. “I must go for four continents next time!” says Joshua.
The promotional imagery carries a closer-to-home Yorkshire stamp: the Sixties polo neck and make-up were fashioned by photographer Elly Lucas at Light Space Leeds. “We’ve gone for a folky Bowie look, a folky, darker Aladdin Sane,” says Joshua. “She works in a very hipster space and has become the go-to photographer of the folk scene, working with The Unthanks, Eliza Carthy and Martin Carthy, and I loved how she used black curtains, yellow light and dividing panels and did all the make-up herself.”
Inevitably his autumn tour with his six-piece band has been postponed until the spring, when Pocklington Arts Centre, among others, awaits. In the meantime, invest in Flowers Where The Horses Sleep: Joshua Burnell in full bloom.
York artist Judy Burnett with her painting Looking Towards Bempton
JUDY Burnett and Lynne Porter are to hold a joint exhibition at Jenny Morten’s bright new gallery in the Old Town, Bridlington.
International ceramicist Jenny has opened the Morten Gallery in the High Street after returning from working and teaching in California.
Running there from September 19 to October 31 will be Judy and Lynne’s show of new works entitled Bridlington And The Wolds: Through The Artist’s Eye. Both artists will be at the Saturday launch between 1pm and 4pm to discuss their work.
York artist Judy, a regular participant in York Open Studios at her home studio by the River Ouse in New Walk, has loved studying the Yorkshire coastline since her student days in Hull.
Every vacation, she worked at a restaurant perched on the cliff edge at North Landing, Flamborough, and latterly she has been re-visiting these favourite cliff-top areas.
“Flamborough Head has a magical quality, and I constantly attempt to capture the majesty of the monumental cliffs and the huge expanses of sea and sky in my paintings,” says Judy.
“The white cliffs take on different tones in the changing light and the grasses on the cliff tops move in the wind as the waves roll below.”
In her paintings, rapid mark-making is balanced with areas of flat colour and textured surfaces, aiming to keep the work fresh and spontaneous while echoing the power of the elements.
On The Edge Of Understanding, acrylic on wood, by Lynne Porter, at the Morten Gallery, Bridlington
Just south of Flamborough Head lies Bridlington, a seaside town with “a totally different atmospheric quality,” Judy says. “The wide-open golden beaches of the two Bridlington bays appear to be endless when the tide recedes; the wide vistas of sand, sea and sky contrast with the busy visual activity of boats in the harbour,” she notes.
Judy’s work begins with observational sketchbook studies on-site and is developed in her York studio with acrylic paints and hand-printed paper collage. “The resulting mixed-media paintings reflect the transient effects of the ever-changing weather, from hazy mists to brilliant sunshine,” she says.
Fellow exhibitor Lynne Porter, who lives on the Yorkshire coast, is a mixed-media artist who works in oils, acrylics, charcoal and collage.
Her paintings are rooted in her meditative experience of studying the woods, hills and valleys of the Wolds, as well as the coastline.
“My work concerns my interaction with the landscape,” she says. “I’m inspired by the coast and countryside and I love to experiment, being particularly driven by texture and colour.
“I work on location, going out into the landscape and making loose, painterly sketches, using all my senses to get the right expressive feel.”
Once back in the studio, Lynne’s intuition takes over as she tears selected areas out of the sketches to set the making of her abstract paintings in motion.
“These are pasted into sketchbooks. I may then add collage and/or mark making to these,” she says. “The results inspire the paintings and, I hope, capture that ‘sense of place’.”.
Meanwhile, Jenny has opened an annexe to her gallery to display the entire archive of her late husband, artist Geoff Morten. More than 1,000 works are on show, ranging from large canvasses to small paintings, etchings to monoprints.
One of Barry Stedman’s terracotta vessels from his new collection at Pyramid Gallery, York
CERAMICIST Barry Stedman is completing a hat trick of exhibitions at Pyramid Gallery, Stonegate, York.
On show are 12 distinctive constructed terracotta vessels, complemented by a few from the gallery’s own collection.
“All are available for purchase from our website, pyramidgallery.com, but we would not want to distract anyone from coming to the gallery to see them on display,” says owner Terry Brett. “The gallery is open with restrictions to one or two groups at a time.”
Ceramicist Barry Stedman: Explores contrasts of light and shade, hard and soft, warm and cool, rough and smooth
Stedman’s studio in his Buckinghamshire home is “the place where clay, colour and ideas come together”. “My intention is to use the vessel forms that I make, loosely thrown and altered on the wheel or constructed from slabs, as vehicles to explore contrasts of light and shade, hard and soft, warm and cool, rough and smooth,” he says.
“I’m interested in the way edges meet and overlap and the rhythms, tensions and harmonies created between colours, spaces, lines and textures in form and surface.”
Stedman tends to work in series influenced by natural phenomena, places and emotions, developing ideas from drawing, painting and previous firings. “I like the warmth and brightness of earthenware, using slip, oxides and underglazes over a red clay body,” he says.
“The surfaces are created in layers, firing in between, using thin washes, wiping back and building up rich zones of colour. I then glaze chosen areas to add further depth, tone and texture.”
One of a dozen: Another vessel from Barry Stedman’s latest Pyramid Gallery collection
Stedman came to ceramics later in life after a career in retail. “I’ve always been interested in drawing and mark making and when I discovered ceramics at evening class, I was seduced by the possibilities of clay as a way of expressing abstract ideas of colour and form,” he says.
“I completed an HND in 3D design at Barnfield College, Luton, and was lucky enough to be accepted on the ceramics degree course at the University of Westminster in Harrow. It’s here that I was encouraged to really explore and develop my ideas.
“I now have work in various galleries in the UK and abroad and have taken part in many ceramic shows and exhibitions, and I’ve done some teaching and technician work too.”
Barry Stedman: Ceramic Vessels will run until the end of October and is open from 10am to 5pm, Monday to Saturday.
“The project will see both Pocklington Arts Centre and its audience members, new and old, go on a journey as it evolves the way it presents its artistic output,” says venue manager Janet Farmer
POCKLINGTON Arts Centre has been awarded a £4,100 grant from East Yorkshire’s I Am Fund for a digital theatre project this autumn.
The Market Place venue, with its track record for presenting high-quality children’s theatre and workshops, will work with Hull company Magic Carpet Theatre and DigiFish Film & Animation to stage two online family theatre productions with accompanying online workshops and social-media content.
Magic Carpet specialise in circus skills, magic and audience participation and have a long-standing relationship with Pocklington Arts Centre, having staged numerous sold-out events there.
The new productions and follow-up content will be made free with optional donations, removing any economic barriers from children and families accessing the resources.
Venue director Janet Farmer says: “The funding will enable us to have an enhanced online presence for families and young people, open up new programming opportunities for Pocklington Arts Centre (PAC) and will allow us to support venue staff, alongside regional artists and creative partners, in these difficult times.
“The project will see both PAC and its audience members, new and old, go on a journey as it evolves the way it presents its artistic output. The long-term aim is to see sustained arts engagement, during the closure/Covid period and beyond, from younger generations and increased attendance at PAC events.
“We are extremely grateful to the I Am Fund and Smile Foundation for their support on this application and we look forward to delivering a highly successful programme of events.”
The I Am Fund was established with funding from the will of the late Audrey Mosey, an East Riding resident with a passion for the arts. The fund is part of the Hull and East Yorkshire Smile Foundation, which, alongside the fund committee that includes Pocklington resident Andrew Bowden, aims to support performers and inspire future stars, while also helping East Riding residents to benefit from what the performing arts have to offer.
Andrew Barber, chief executive officer of Smile, says: “This is one of many grants that are being invested into the arts community across East Yorkshire. We recognise the value that venues such as the Pocklington Arts Centre have to play in supporting and inspiring young people to connect, participate and perform in the arts.
“The committee, led by friends of Audrey, with the support of Smile, look forward to hearing how the funding makes a difference in Pocklington and surrounding areas.”
KATIE Melua has called off her 45-date autumn tour, scuppering her York Barbican return on November 7.
Her official statement reads: “Due to the current Coronavirus outbreak and the Government measures implemented to limit its spread, Katie Melua’s October & November 2020 shows have been cancelled. Customers will be given a refund on their ticket purchase from their ticket agent.”
Melua adds: “I’m sad that we can’t play for you this year. When all this is over, I promise we’ll have an amazing time. K x.”
Georgian-born Melua had earlier announced the October 16 release of Album No. 8 – yes, her does-what-it-says-on-the-tin eighth studio album.
The accompanying tour was put in place last November in days of innocence before Covid re-wrote the rules of human engagement, but that does not stop the delivery of Melua’s “most cohesive and assured recording to date after a prolonged period of musical rediscovery” at 35.
Billed as her most personal yet, her lyrics “attempt to reconcile the knotty complexities of real-life love to its fairytale counterpart, as Melua draws from the vernacular of folk songs to evoke a sense of magic-hour wonder mirrored by string arrangements whose depth and movement evoke Charles Stepney’s work with Rotary Connection and Ramsey Lewis”.
On her first studio set since 2016’s In Winter the full track listing will be: A Love Like That; English Manner; Leaving The Mountain; Joy; Voices In The Night; Maybe I Dreamt It; Heading Home; Your Longing Is Gone; Airtime and Remind Me To Forget.
Already doing the rounds is first single A Love Like That, a cinematic exploration of love, with lyrics by Melua, production by Leo Abrahams and a cast of musicians that embraces drummer Emre Ramazanoglu, flautist Jack Pinter and the Georgian Philharmonic Orchestra.
Katie Melua’s cover artwork for Album No.8
The video is the first in a series of collaborations between Melua and director Charlie Lightening, who has worked previously with Paul McCartney, Liam Gallagher and Kasabian. Joining Melua on screen is Star Wars, Dunkirk and MotherFatherSon actor Billy Howle.
“I’m really proud of the video,” says Katie. “I loved working with Charlie Lightening. We had lots of talks about how to make it a meaningful work and deal with the new limits on filming. We went with just me and Billy Howle on screen, we tried to show with subtle gestures and nuances the truth of love in its early stages. Hopefully, everyone can enjoy watching it.”
Charlie says: “It was so nice to collaborate with Katie on this project. We talked through the idea at length and honed what we wanted to achieve. It’s always so good when the artist has a strong idea of where the visual needs to go.
“It meant we could create a character and figure out this narrative journey that you go on throughout the film. The music is so cinematic so to create this film has been so rewarding. Everything just came together perfectly in the end.”
Katie says of the writing process for A Love Like That: “This song is asking the essential timeless question about mad love, ‘How do you make a love like that last?’ But before it became about love between a couple, it started its life centred on my relationship with work and the stamina required to keep being an artist in the music industry.
“It was only after my co-composer Sam Dixon and I wrapped our session that I retreated to a cottage in the Cotswolds for three weeks to wrestle with the song’s lyrics. A Love Like That continues a narrative that is across the new album. And in the context of love, it’s about having the courage to speak openly and freely.”
Producer Leo Abrahams picks recording the orchestra in Tbilisi with Katie as his highlight. “The arrangement is written to convey the protagonist’s changing state of mind throughout the song: from turbulent to calm, sentimental to defiant. Technically, this was probably the simplest arrangement on the record but we had to do almost 20 takes of the tremolando introduction to get the right amount of aggression but with an elegant resolution. The players seemed to enjoy it.”
Melua last played York Barbican in December 2018, when she was joined by the Gori Women’s Choir.
