BRITAIN’S favourite baritone, the ubiquitous Roderick Williams, brought a typically eclectic programme to the Leeds Song festival under the banner “A touch of the exotic”, with Andrew West as his deft collaborator at the piano.
It involved ten composers from Schubert to Sally Beamish, four of them female. It was right to begin with Schubert: he has always been the yardstick against whom song composers measure themselves. His setting of Goethe’s Kennst du das Land? distils the Romantic poets’ infatuation with Eastern climes. Sure enough, Williams’s quickened pulse at ‘Dahin!’ (it’s there!) captured that excitement.
Even more exotic, as more Debussyan, was Denis Browne’s last song, Walter de la Mare’s Arabia (1914), with its delicate piano and opiate aura, a timely reminder of a great talent snuffed out by war.
Arthur Bliss’s pithy Siege and Rebecca Clarke’s elegy A Dream were but preludes to Amy Woodforde-Finden’s much-loved Kashmiri song, where our duo conjured nostalgia without undue sentimentality.
Duparc’s only two settings of Baudelaire, arguably his best songs, were finely drawn. The shimmering impressionism of L’invitation au Voyage was balanced by his last mélodie, the sonnet La Vie Antérieure, which boiled up into a sensuous climax reflecting the flashing foam. The gradual return of the painful secret in the poetry was complemented by West’s beautifully poised postlude.
Sally Beamish’s Four Songs from Hafez were a commission from Leeds Lieder in 2007; it was good to hear them again. They centre on three birds and a fish as translated from 14th century Persian by Jill Peacock.
Much of the composer’s illustrative talent is found in the piano, birdsong of course but also watery undercurrents of excitement in ‘Fish’ where Williams accentuated Hafez’s “wine of creation”. ‘Hoopoe’, a love letter, had some delicate touches here.
Hafez’s wine also featured in Wolf’s Erschaffen und Beleben (Creation and Animation), as answer to a clodhopper’s problems. Williams was well attuned to Goethe’s sense of humour both here and in Wolf’s First Coptic Song.
The Jamaican-born composer Eleanor Alberga’s star has been rising rapidly in recent years. Her early years as a pianist and involvement with dance are both assimilated into The Soul’s Expression (2017), four settings of 19th century female poets. Described as a piano sonata with linking songs, it is through-composed (running without a break).
The songs are wonderfully evocative of nature, with piano interludes that take the place of strings in the original version. After an ecstatic glimpse of heaven in a cornfield, there are two calmer sections involving a gentle breeze at sunset and a shower of rose petals, before the title song, to an Elizabeth Barrett Browning sonnet, delves into more spiritual territory, with the baritone briefly using falsetto against whispering keyboard. It was a touching experience.
More light-hearted, although no less powerful, were Harry Burleigh’s Five songs of Laurence Hope –the pseudonym of Adela Florence Nicolson – which are much influenced by negro spirituals. They include ‘Kashmiri Song’, but using all three of its verses (unlike Woodforde-Finden’s version) and tellingly repeat its ‘Where are you now?’ at the close. There was a glorious climax to ‘Worth while’ and especially strong emotion in the final song, ‘Till I Wake’. Williams and West are a superb duo.
Wire Worms: Performing their “Doom Folk” music at YO Underground on Sunday at The Basement
YORK arts collective Navigators Art will play host to its second YO Underground experimental night on Sunday at The Basement, City Screen Picturehouse, York.
This weekend’s performance showcase will be feature Wire Worms, the Leeds Doom Folk five-piece, whose dark, folk-rooted but boundary-stretching debut album, The First To Come In, explores weird, supernatural and experimental notions, inspired by the traditions of Mumming and Guising found throughout the British Isles.
On the 6pm to 9pm bill too will be Fin O’Hare, who improvises with DIY mechanical devices and repurposed and recycled objects; Some Crew musician Si Micklethwaite; storyteller Lara McClure; Bobby Olley, Muttley and NDE Poetry. For tickets, go to: bit.ly/nav-YOU2.
“The YO Underground title is apt, not only because our venue is The Basement at City Screen Picturehouse,” says Navigators Art co-founder Richard Kitchen. “The format will be familiar from the group’s popular Basement Sessions but features original music, spoken word and comedy with a more experimental edge than usual.
Navigators Art’s poster artwork for YO Underground’s second night of live and left-field music, words and performance
“It’s a platform for local and regional performers whose work may wander off the beaten track but definitely deserves an audience. New and emerging artists will have equal billing with more established names.”
The first YO Underground bill on March 15 presented Say Owt Slam winner and Newcastle stand-up poet Cooper Robson; Leeds Conservatoire performance artist and writer Carrieanne Vivianette; inspiring young poet Oliver Lewis; University of York champion beatboxer Cast; genre-crossing psych-folk musical duo Gorgo, from York St John University, and internationally renowned singer Loré Lixenberg.
“I first met Cooper at a Howlers open-mic night at the Blue Boar in York and he’s become extremely popular with his in-your-face style of performing,” says Richard. “It was a real coup to get Loré Lixenberg to do something so informal. That was major news for us.
“People were knocked out by the show, seeing performers trying out something different. What I liked was that it was very much a platform for performers to experiment with something they might not have done elsewhere.
Bobby Olley: York poet and songwriter taking part in YO Underground on Sunday
“It’s a bit of a departure from the Basement Sessions, our music, comedy and spoken-word venture, which is doing fine and we’ll continue with that series, but it becomes more difficult to find new acts that haven’t been booked in elsewhere already, so we thought we should do something more left field as well and see how that goes.”
Buoyed by the success of the first night, Richard has pencilled in an October date, with the possibility of another night before then too. “We’re lining up York electronic musician John Tuffen and talking to Leeds musician Pefkin about taking part,” he says.
He does not want to pigeonhole the kind of acts that might play a YO Underground showcase. “I think definitive labels are a mistake, as there’ll be crossovers, but we have been trying to seek out acts who are obviously attempting something different in what they do, doing something that’s a little ‘wayward’,” he says.
“Maybe performers who are challenging to audiences in York, whereas Leeds and Sheffield already have an alternative scene for cutting-edge acts. We’ve been given good links to artists from Sheffield and Leeds, comedians from Newcastle, for example, who are edgy in terms of content or style of presentation.
Lara McClure: Spinning stories on the YO Underground bill
“Those links allow us to fill the next couple of events, and once word gets out about YO Underground, maybe it will also be a case of performers being courageous and saying, ‘well, I do this, how about me?’.”
Richard is delighted that Navigators Art has built up such a fruitful relationship with City Screen Picturehouse for events and exhibitions. “We’re thankful particularly thankful to [City Screen general manager] Cath Sharp and to all the staff, who are always very welcoming,” he says.
“We started using The Basement after Covid, when no-one else was using it, and we did our first event for the York Festival of Ideas there a couple of years ago. That going things rolling again in there, so it’s been mutually beneficial.”
On May 9, Navigators Art will present Opened Ground, A Creative Tribute To Seamus Heaney, devised and curated by Oliver Lewis at The Basement from 7pm to 10pm.
“We’re very big on spoken-word, and last October we held a creative exploration of York-born poet W H Auden in our Co-Audenation night of spoken word, live music and performance art at The Basement,” says Richard.
Oliver Lewis: University of York poet curating Navigators Art’s Seamus Heaney night, Opened Ground, on May 9
“On the spur of the moment , we were talking about poets and reflecting on the Auden night, and we thought, ‘that went really well, let’s do another one’. This one is being curated by Oliver Lewis, an extremely promising writer, aged 20, who’s studying at York St John and has a couple of books out already.
“I came across him at Howlers, where we just got talking and I realised we had something in common, so he took part in the first YO Underground.”
Lewis has lined up a bill of Mexborough love poet Ian Parks; folk duo Where The Deer Go; York-based Irish poet and teacher Aimée Donnell, whose first collection, We Are All Creatures Of Struggle, was published by Olympia, on March 13; White Sail’s Jane Stockdale, setting Heaney poems to music, and York mythical/mystical duo Adderstone, performing a condensed version of Sweeney, their interpretation of Heaney’s work in music and song. Lewis himself will perform with musician Christian Bell in a collaboration premiering new works.
“The idea of the evening is that it’s a creative response to Heaney’s writing, so there’ll be a combination of readings, interpretations of his poems and material inspired by his poetry,” says Richard. Box office: https://www.ticketsource.co.uk/navigators-art-performance/opened-ground/.
Looking ahead, he adds: “Navigators Art encourages innovation, improvisation and collaboration, as well as excellence, and would like to hear from performers in any medium who might suit future events.” Email navigatorsart@gmail.com or follow @navigatorsart on Facebook and Instagram.
Jane Stockdale: Taking part in Opened Ground at The Basement, City Screen Picturehouseon May 9
Gary Oldman in reflective mood in the dressing room as he returns to York Theatre Royal to perform Samuel Beckett’s Krapp’s Last Tape, now into its week of press shows. Picture: Gisele Schmidt
YORK International Shakespeare Festival’s tenth anniversary programme is among Charles Hutchinson’s recommendations as April blossoms.
York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17
OSCAR winner Gary Oldman returns to York Theatre Royal, where he made his professional debut in 1979, to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since 1987.
“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: check availability of returns and additional seats on 01904 623568 or yorktheatreroyal.co.uk.
Katy Stephens’ White Witch and Aslan the lion in The Lion, The Witch And The Wardrobe, on tour at the Grand Opera House, York. Picture: Ellie Kurttz
Touring show of the week: The Lion, The Witch And The Wardrobe, Grand Opera House, York, until Saturday, 7pm plus 2pm Thursday and Saturday matinees
STEP through the wardrobe into the kingdom of Narnia for the most mystical of adventures in a faraway land. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and say hello to Mr Tumnus, the talking Faun (Alfie Richards), Aslan, the Lion (Stanton Wright), and the coldest, cruellest White Witch (Katy Stephens).
Directed by Michael Fentiman, this breathtaking stage adaptation brings magical storytelling, bewitching stagecraft and stellar puppets to CS Lewis’s allegorical novel. Box office: atgtickets.com/york.
Philipp Sommer: Delivering his riposte to Shakespeare’s hatchet job on Richard III in Re-Lording Richard 3.0
Festival of the week: York International Shakespeare Festival, until May 4
YORK International Shakespeare Festival is marking its tenth anniversary with a programme incorporating artists from the Netherlands for the first time; Croatia for Marin Drzic Day; Ukrainian artists from Ivano Frankisk and Bulgaria.
Among the highlights will be Berlin actor Philipp Sommer’s riposte to Shakespeare’s hatchet job on York’s own Richard III, Re-Lording Richard 3.0 (tomorrow); Olga Annenko’s Codename Othello (Friday); York company Hoglets Theatre’s A Midsummer Night’s Mischief with Team Titania and Team Oberon (Saturday); Stillington writer/actor/director Alexander Wright’s immersive, existential Hamlet Show (April 28 to 30); Ridiculusmus’s Alas! Poor Yorick (April 29) and the Shakespeare’s Speakeasy play in a day (May 2). For the full programme and tickets, head to: yorkshakes.co.uk.
George Young’s Henry VI in York Shakespeare Project’s Henry VI Parts 1, 2 and 3. Picture: John Saunders
Condensed play of the week: York Shakespeare Project in Henry VI Parts 1, 2 and 3, “I Am Myself Alone”, Theatre@41, Monkgate, York, until Saturday, 7.30pm and 2.30pm Saturday matinee
UNIVERSITY of California Santa Barbara theatre professor Irwin Appel, artistic director of Naked Shakes, directs York Shakespeare Project in his condensed, physical theatre version of Shakespeare’s Henry VI trilogy.
A bare space, a crown and a throne meet an ensemble cast in a powerful show of “actor-generated theatricality and transformation”, wherein they tell a cautionary tale of power and greed that charts how a tyrant can rise in a torn and broken society. Box office: yorkshakes.co.uk or tickets.41monkgate.co.uk.
Pip Cook, left, Josie Morley and Keeley Lane in Badapple Theatre Company’s revival of Kate Bramley’s The Thankful Village, playing York Theatre Royal Studio from today
Wartime memorial of the week: Badapple Theatre Company in The Thankful Village, York Theatre Royal Studio, today to Saturday, 7pm plus 2.30pm matinees, today and Saturday
IN a new departure for Green Hammerton touring company Badapple Theatre, writer and artistic director Kate Bramley will be playing a live score for the first time to accompany her poignant First World War comedy-drama The Thankful Village.
A story of hope, humour and humanity is seen through the eyes of three Yorkshire women from the same rural household, below and above stairs. Left behind to cope after their men-folk march off to Flanders, Pip Cook’s Edie, Keeley Lane’s Victoria and Josie Morley’s Nellie each face up to the challenges in their own way as they wait anxiously for news of their loved ones far away. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Matt Goss: Tipping his hat to The Hits & More at York Barbican on Friday. Picture: Paul Harris
Pop concert of the week: Matt Goss, The Hits & More, York Barbican, Friday, 8pm
MATT Goss, the Bros pop pin-up-turned-Las Vegas showman, says: “Trust me, what I’ve learnt over the years being on countless stages around the world, this will be your best night of the year.”
Now living in central London after many years of blue skies in America, Goss, 56, will be celebrating all he has achieved in his music career and beyond in a rock’n’roll show, but still with a horn section (featured previously in the Matt Goss Experience show with the MG Big Band and the Royal Philharmonic at York Barbican in April 2023). Box office: yorkbarbican.co.uk.
Comedy gig of the week: Hilarity Bites Comedy Club, Clayton Jones, Dawn Bailey and Chris Brooker, Milton, Rooms, Malton, Friday. 8pm
HEADLINER Clayton Jones, the 2017 Last Minute Comedy Comedian of the Year winner, covers everyday topics of marriage, children, being mixed race, school life and growing up in London in his observational comedy.
Newly turned 50, affable Dawn Bailey views life as a mum through happy specs and giddy knickers (in her own words). Host Chris Brooker combines infectious energy with original material and inspired improvisation. Box office: 01653 696240 or themiltonrooms.com.
Josienne Clarke: Performing the songs of Sandy Denny with full folk-rock band at Pocklington Arts Centre
Folk gig of the week: Across The Evening Sky: Josienne Clarke Sings The Songs Of Sandy Denny, Pocklington Arts Centre, Friday, 8pm
MELANCHOLIC singer, songwriter and interpreter of traditional song Josienne Clarke leads a full folk-rock band – guitar, piano, bass and drums – in a new show dedicated to Sandy Denny, whose songs are her “north star – a constant guiding light”.
“If I can take one young fan of mine and introduce them to Sandy, in a context that they can grab hold of,” she says. “If they like my music, they will love Sandy. And that would be the whole concept sorted. To pass it on, so that these songs can go on forever.” Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Full steam ahead: The train journey scene in The Lion, The Witch And The Wardrobe, on tour at the Grand Opera House, York
IF you did not head over to Leeds Playhouse between November 18 and January 25 for the most spectacular show of the Yorkshire Christmas season, then you can still venture into Narnia via the wardrobe as Michael Fentiman’s breathtaking production has further magical life, like Aslan, on a long tour.
The narrow Grand Opera House stage is smaller than the Playhouse’s cavernous Quarry Theatre, but much of the grand scale has been retained, except for Katy Stephens’ White Witch no longer rising high above the auditorium in the climax to Act One.
It matters not a jot as that scene still carries its own frightening, shivering beauty amid the flurry of snowflakes in a show replete with magic and illusions by Chris Fisher and wondrous puppetry, designed by Max Humphries and directed by Toby Olie. The wow factor keeps on rising.
Marking the 75th anniversary of C S Lewis’s 1950 novel, and based on the original production by Sally Cookson, this show finds the perfect balance of storytelling and spectacle, delivered by a cast of actor-musicians who are as likely to switch instrument as character as they perform Barnaby Race and Benji Bower’s score rooted in English folk music suffused with the energy of Irish jigs.
Set and costume design by Tom Paris, working from Rae Smith’s original design, are complemented by Jack Knowles’s stellar lighting design and Tom Marshall’s sound design that fills the Grand Opera House auditorium like no other show.
Katy Stephens’ White Witch comes face to face with her nemesis Aslan in The Lion, The Witch And The Wardrobe. Picture: Ellie Kurttz
Pre-show, a pianist in military attire and pith helmet plays favourite tunes of the wartime era, setting the scene for an enchanted story where the Pevensie children will become caught up in a very different battle in Narnia.
Yet the costumes for the Narnian creatures will remind you of the other war the children have left behind: from goggles for Ed Thorpe’s Mr Beaver, to an airman’s flying jacket for Alfie Richards’ Mr Tumnus and a gas mask for Shane Antony-Whiteley’s lupine Maugrin, who moves and fights on all fours with the aid of crutches that propel him around the stage in leaps and bounds.
Typified by Antony-Whiteley’s Maugrin, Shanelle ‘Tali’ Fergus’s choreography is as much physical theatre as ensemble dance and graceful poise for Stephens’ White Witch, all played out on a revolving set that facilitates going into the wardrobe and out the other side into frozen, faraway Narnia, with its signature lamp post atop a piano.
Seen through the eyes of the Pevensie children, evacuated to the avuncular Professor’s Scottish lair, Lewis’s torrid, allegorical tale is told with a sense of wonder as Lucy (Molly Francis, understudying for Kudzai Mangombe), Edmund (Bunmi Osadolor), Susan (Joanna Adaran) and Peter (Jesse Dunbar) “meet new friends, face dangerous foes and learn the lessons of courage, sacrifice and the power of love”. All four deliver terrific performances, with bags of humour and pathos, and room for mistakes and rivalries on a rapid learning curve of empowerment.
Set-pieces deliver time after time, from the journey north on a train, whose individual carriages light up to musical accompaniment as they are carried above heads as the steam hisses, to Aslan miraculously vanishing from his, spoiler alert, resting place. The stage floor lights up to denote the crackling of ice; the huge puppet of Aslan, steered by puppeteers, will rise to his haunches, as impressive as Joey, the horse in War Horse.
The Pevensie children in The Lion, The Witch And The Wardrobe: Edmund (Bunmi Osadolor), Peter (Jesse Dunbar), Susan (Joanna Adaran) and Lucy (Kudzai Mangombe)
All life is here in Fentiman’s company, from Richards’ deceitful but devastated faun Mr Tumnus to Stanton Wright’s embodiment of Aslan’s noble demeanour (standing alongside the roaring puppet); Thorpe and Anya De Villiers’ bickering Mr and Mrs Beaver to Kraig Thornber’s triple bill of roles as the Professor, Father Christmas and Wise Owl. And yes, a comment is made that this is not the season for Christmas!
Stephens brings all her Royal Shakespeare Company and Shakespeare’s Globe gravitas to the White Witch, putting the vile into evil that made you swear the Grand Opera House had suddenly turned colder on each entry.
Praise too for the work of fight director Jonathan Holby, musical director Ben Goddard and hair and make-up designer Susanna Peretz. If you see the show elsewhere, that praise will extend to aerial director Gwen Hales.
In the words of director Michael Fentiman: “This production celebrates the magic of live theatre. It is a celebration of the possibilities of the collective imagination and the boundless wonders of individual skill.”
How right he is, and what a special, powerful. moving, beautiful production it is. Make sure to rush to the wardrobe: five-star theatre awaits.
The Lion, The Witch And The Wardrobe, Grand Opera House, York, until Saturday 7pm plus 2pm Saturday matinee. Box office: atgtickets.com/york. Also Alhambra Theatre, Bradford, September 23 to 27, 7pm plus 2pm Wednesday and 2.30pm Saturday matinees (box office, 01274 432000 or) and Hull New Theatre, September 30 to October 4, 7pm and 2pm Thursday and Saturday matinees (box office, hulltheatres.co.uk). Age guidance: six upwards.
Formed in 1989, the Birmingham band spent six years fine-tuning their sound before lighting up the Britpop party with three Top Five albums, 1996’s Moseley Shoals, 1997’s chart-topping Marchin’ Already and 1999’s One From The Modern.
A run of nine Top 20 singles took in The Riverboat Song, You’ve Got It Bad, The Day We Caught The Train, The Circle, Hundred Mile High City, Travellers Tune, Better Day and It’s A Beautiful Thing (with PP Arnold).
In all, they have accrued five Top Ten albums (that list being completed by 1997’s B-sides, Seasides And Freerides and 2001’s Mechanical Wonder), alongside 17 Top 40 singles, with six making the Top Ten. They last released a studio album, Painting, in February 2013, reaching number 49.
The poster for Ocean Colour Scene’s July 26 show at York Barbican
In the line-up are singer and acoustic guitarist Simon Fowler, guitarist and keyboard player Steve Craddock (who also plays in Paul Weller’s concert band and on the Modfather’s albums); drummer Oscar Harrison and bassist Raymond Meade. Together, their live performances are noted for communal outpourings of hope, joy and life-affirming sing-a-longs.
Over the past decade, Ocean Colour Scene have honed their craft in the spirit of the soul, folk and blues greats who inspired them, returning the favour in 2018 when they took Motown legend Martha Reeves and The Vandellas out on tour. “We couldn’t quite believe that Martha Reeves was supporting us, it seemed absurd,” said Fowler. “But our crowd loved it, she went down really well.”
Fowler and Harrison appeared previously at York Barbican in An Evening With Simon & Oscar in October 2015, later playing an acoustic gig together at Harrogate Theatre in June 2023.
George Young as the weakling king Henry VI in York Shakespeare Project’s Henry VI, Parts 1, 2 and 3, I Am Myself Alone. Offering support are Jack Downey’s Suffolk, left, Frank Brogan’s Clifford and Nick Jones’s Somerset. Picture: John Saunders
IRWIN Appel, Professor of Theater at University of California Santa Barbara, first saw York Shakespeare Project in Maggie Smales’s all-female Henry V on his European research travels in 2015.
He vowed that one day he would direct YSP, and this spring that day has arrived with his condensed version of Henry VI, shrunk from a trilogy to a “thrillogy” of an action-packed 160 minutes (interval included) as part of the 2025 York International Shakespeare Festival.
Professional actor, director, composer and sound designer to boot, he has previous form for serving up Appel slices of Shakespeare’s History plays in the award-winning The Death Of Kings. To borrow a technique from the kitchen, he knows the power of reduction to strengthen the intensity, and in doing so he lets the full flavour flood out.
Henry VI director Irwin Appel, left, with York Shakespeare Project chair Tony Froud, who plays Humphrey of Gloucester
There is a swaggering confidence, brio rather than braggadocio, to his directorial decisions, matched by placing his faith in the power of performance by his community cast of 21. They, in turn, have the most collective impact of any YSP company your reviewer has encountered since the project started in 2002.
This is aided by the physical theatre work of his fellow Americans, choreographer and movement director Christina McCarthy and fight choreographer Jeffrey Mills, to complement the mental muscularity of the dialogue, often wittier than you might have expected too, amid the carnage of the ever-rising body count.
Look out for the use of sticks, black face masks and black costumes in the burning of Pearl Mollison’s Joan La Pucells (Joan of Arc] and later Adam Price’s Richard York, with red gloves to denote his decapitation. Bob Fosse would have loved that choreography, redolent of Chicago.
Eyes on the prize: Adam Price’s Richard York in York Shakespeare Project’s Henry VI. Picture: John Saunders
Appel’s Henry VI starts at the end, with Harry Summers’ glowering Richard Gloucester to the fore, foreshadowing his reign as Richard III (a link further emphasised by Appel concluding his production with Richard delivering his Winter of Discontent opening speech from Richard III, bringing the “Now is” forward to now. Seeing Summers’ incipient, spring version of Richard after the full lumpen winter coat of YSP’s April 2023 production of Richard III is canny casting too.
This is but one of several directorial flourishes by Appel, the best of them being Price’s outstanding Richard York giving a beginner’s guide to the chronology of the warring Houses of York and Lancaster and the followers of Nick Jones’s Somerset and scene-stealing Jodie Mulliah’s mutinous Jack Cade switching indecisively from one side to the other with every new promise that each makes. That scene is worthy of Monty Python’s The Life Of Brian.
The mutual flirting of Jack Downey’s Suffolk with Lily Geering’s hot-blooded Veronese queen Margaret is a delight too, although her later screaming histrionics need more variation in tone.
Pearl Mollison’s feisty Joan La Pucelle, aka Joan of Arc
Theatre@41, Monkgate, is a black box theatre, with the emphasis all the more on the black in Richard Hampton’s end-on set design, where everything is black, from the throne to assorted boxes. This enhances the contrast with every other colour, from the silver crown to the glinting daggers, the white and red roses for York and Lancaster to the myriad shades of bleu for the French (from berets to cloaks in Judith Ireland’s costumes).
Appel uses the “theatre of the absurd” skills of regular YSP music director and pianist Stuart Lindsay to disruptive effect, his score being as jagged as discordant jazz, and percussive too for the sound design as the brutal deaths pile up.
Appel applies sound and fury to signify everything rather than nothing in a world where George Young’s Henry VI is the weakling boy king on crutches that no-one ever hears. Young (they/them) is making their YSP and Shakespeare debut in the title role and is quietly impressive as the essence of being put in the corner.
The Yorks in York: Sonia Di Lorenzo’s George Clarence, left, Katie Flanagan’s Edward IV and Harry Summers’ Richard, Duke of Gloucester. Picture: John Saunders
Philip Massey’s stentorian-voiced Talbot, Maggie Smales’s turncoat Warwick and Yousef Ismail’s vainglorious Charles Dauphin bring eye-catching character to supporting roles in a production in which bellicose ensemble heft has equal weight with blunted individual journeys, where Richard Gloucester is not alone in being “myself alone”.
Adding to the international flavour, American actress Katie Flanagan takes to an English stage for the first time in the role of Edward IV, a late arrival in proceedings but well worth the wait for a supremely assured performance.
Defining Henry VI as “a cautionary tale of power and greed that shows how a tyrant can rise in a torn and broken society”, Appel has made it feel anything but a History play, but a play for the madness, malevolence and mayhem of today.
Crowning moment for Katie Flanagan’s Edward IV in the courtly company of Maggie Smales’s Warwick, left, Harry Summers’ Richard Gloucester and Sonia Di Lorenzo’s George Clarence. Picture: John Saunders
In the raw, high-energy style of his Naked Shakes productions at UC Santa Barbara, he makes imaginative, impactful, intelligent, instinctive theatre out of “a bare space, a crown and a throne”. It is truly international, but resonant in York too, especially with its image of Richard York’s severed head being stuck on “the gates of York”.
York International Shakespeare Festival presents York Shakespeare Project in Henry VI: I Am Myself Alone, Theatre@41, Monkgate, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: yorkshakes.co.uk or tickets.41monkgate.co.uk.
A Conversation with Irwin Appel, interviewed by Professor Anne-Marie Evans, York St John University Creative Centre Auditorium, Saturday, 5pm, admission free; tickets at yorkshakes.co.uk.
“I am myself alone”: The loneliness of George Young’s Henry VI in Irwin Appel’s condensed version of Henry VI, Parts 1, 2 and 3. Picture: John Saunders
York Shakespeare Project in rehearsal for Irwin Appel’s production of Henry VI, Parts 1, 2 and 3, I Am Myself Alone. Picture: John Saunders
HOW come an American theatre professor is directing York Shakespeare Project’s production of Henry VI for York International Shakespeare Festival next week?
Irwin Appel, Professor of Theater at University of California Santa Barbara and founder and artistic director of Naked Shakes, first encountered YSP in 2015 when he came to York on a tour of Europe researching Shakespeare’s History plays. He saw Maggie Smales’s all-female Henry V, a few days after visiting Agincourt, and loved it so much, he vowed to come back to direct for YSP.
Ten years on, that vow comes into play from April 22 to 26 when Irwin stages Henry VI Parts 1, 2 and 3, I Am Myself Alone, in a version of the trilogy condensed into one play running for two and a half hours for a York community cast of 21.
“In 2014 I had the ridiculous idea to distil the eight Shakespeare History plays into two plays, and I wanted them not to be ‘marathons’ but each to be the length of a typical Shakespeare play: no more than three hours,” recalls Irwin, who has been producing the Bard’s work in the United States and internationally since 2006.
“I entitled it The Death Of Kings, a line from Shakespeare’s Richard II, divided into I Came But For Mine Own, comprising Richard II, Henry IV Parts 1 and 2 and Henry V, and The White Rose And The Red, comprising Richard III and the Henry VI trilogy.”
He then went on a year’s sabbatical that brought him to Europe in 2015. “I’m also a professional actor, director, composer and sound designer, who’d never imagined he would be a college professor,” says Irwin, who trained at Princeton University and the Juilliard School in New York City.
“I was pursuing ‘being a star’ as an actor, but then came to the point where I wanted an artistic home, and I’ve been at University of California Santa Barbara for 26 years now, but also continuing to direct and design throughout the United States, Europe and in China.”
He used his research sabbatical to seek out plays, theatres and sites in Britain and France. “I wasn’t looking for historical accuracy per se in plays, because I wanted to feel the ground beneath my feet, to observe how the light came into a room or a castle, for example, and went to some extremely interesting places, like being on the battlefield of Agincourt on October 25 2015, the 600th anniversary of Henry V’s victory there. That was a quite a feeling,” he says.
He decided he would travel from London to York and it was then that he saw a small advert for YSP’s Henry V. “I fell in love with the production, set in a munitions factory in the First World War. I fell in love with York. I love cities that are very contemporary but at the same time present their history, and I reckon York does that with great balance.
Welcome to York: York Shakespeare Project chair and producer Tony Froud, right, greets American university professor Irwin Appel, director of next week’s production of Henry VI
Once Irwin’s Henry VI application was successful, he headed back to York for auditions last November at Southlands Methodist Church. “I was in Europe, playing Shylock at the Estates Theatre in Prague, where Mozart had debuted his opera Don Giovanni in 1787,” he recalls. “After that I came to York and was very excited to cast Maggie [Smales] as Warwick after seeing her Henry V.”
Creating his Henry VI has been a labour of love. “Through The Death Of Kings, I have an affinity for the History plays, which I feel have some of Shakespeare’s greatest material,” says Irwin .
“I’ve condensed the plays to tell the story and the character arcs at a manageable length. I’ve chosen I Am Myself Alone [as the subtitle] as it’s a line that Richard, Duke of Gloucester – later to be Richard III – says about himself at the end but it also applies to Henry VI and many other characters in the play and encapsulates what the play is about.”
Building his production around a bare space, a crown and a throne, he will utilise his ensemble cast to “engender actor-generated theatricality and transformation in a physical theatre piece that tells a cautionary tale of power and greed that shows how a tyrant can rise in a torn and broken society”.
The theatrical style will be in keeping with Naked Shakes, the company he founded at UC Santa Barbara and is now into its 20th season.
“Our desire is to create raw, energetic and thrilling Shakespeare productions through using the power of the actors and the imagination of the audience,” says Irwin, who has been joined in the rehearsal room by movement coach Christina McCarthy, from UC Santa Barbara, and fight director Jeff Mills, from DePaul University, Chicago.
“When I set out to do The Death Of Kings, I was not looking to do ‘museum Shakespeare’ but Shakespeare as an allegory for our times. When I did it in the States, it was at the time of the primaries when Donald Trump first ran to be the Republican presidential candidate – trying to be king.”
Looking forward to next week’s run, Irwin says: “I feel that this is a truly special company. I’m honoured that they invited me and I would like to make the people of York proud that they allowed an American to direct a play about the House of York in York.”
York International Shakespeare Festival presents York Shakespeare Project in Henry VI: I Am Myself Alone, Theatre@41, Monkgate, York, April 22 to 26, 7.30pm plus 2.30pm Saturday matinee. Box office: yorkshakes.co.uk or tickets.41monkgate.co.uk.
In Focus: A Conversation with Irwin Appel, York St John University Creative Centre Auditorium, April 26, 5pm
Irwin Appel
IN this special session, Professor Anne-Marie Evans interviews Irwin Appel to discuss his varied and distinguished career, Henry VI,the importance of the York International Shakespeare Festival and York Shakespeare Project, and all things Shakespeare.
Evans is Professor of American Literature and Pedagogy and Head of School for Humanities at York St John University; Principal Fellow of the Higher Education Academy, and a long-time Shakespeare fan.
As a professional director, actor, and composer/sound designer, Irwin Appel has worked with the New York, Oregon, Orlando, Utah, New Jersey and other prominent Shakespeare and regional theare companies throughout the United States.
In Europe, he has played the title role in King Lear for Lit Moon World, as well as Shylock in The Merchant of Venice and Sir John Falstaff in Henry IV, Part 1 for the Prague Shakespeare Company.
In November 2024, he played Shylock at the Estates Theatre in Prague, where Mozart premiered the opera Don Giovanni in 1787. He is the founder and artistic director of Naked Shakes, producing Shakespeare’s plays in the USA and internationally since 2006.
In 2023, Naked Shakes was selected to bring his original adaptation of eight Shakespeare’s history plays entitled The Death Of Kings as the closing performance in the Verona Shakespeare Fringe Festival in Italy.
He has led workshops and presentations about Naked Shakes throughout the US and in China, Poland, Hungary, Austria, Greece, Italy, Switzerland and the Czech Republic.
He is Professor of Theater at University of California Santa Barbara and is a graduate of Princeton University and the Juilliard School.
Gary Oldman in rehearsal for his return to York Theatre Royal in Samuel Beckett’s Krapp’s Last Tape, now heading into a week of press shows. Picture: Gisele Schmidt
YORK International Shakespeare Festival’s tenth anniversary programme is among Charles Hutchinson’s recommendations as April blossoms.
York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17
OSCAR winner Gary Oldman returns to York Theatre Royal, where he made his professional debut in 1979, to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since 1987.
“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: check availability of returns and additional seats on 01904 623568 or yorktheatreroyal.co.uk.
The Counterfeit Sixties: Swinging into Sixties’ recollections at the Joseph Rowntree Theatretonight
Tribute show of the week: The Counterfeit Sixties Show, Joseph Rowntree Theatre, York, tonight, 7.30pm
THE Counterfeit Sixties pay tribute to 25 acts of the Swinging Sixties in a show encompassing everything from that golden pop age, from the clothes to flashbacks of television programmes, adverts and clips from the original bands.
The Beatles, The Rolling Stones, The Who, The Dave Clark Five, The Kinks and The Monkees all feature in a hit parade performed by musicians who have worked with The Searchers, The Ivy League, The Fortunes and The Tremeloes. Tickets update: Limited availability on 01904 501935 or josephrowntreetheatre.co.uk.
Some Enchanted Evening: Celebrating Rodgers and Hammerstein with the English Musical Theatre Orchestra at the Grand Opera House, York
Show tunes of the week: English Musical Theatre Orchestra presents Some Enchanted Evening, Grand Opera House, York, Sunday, 7.30pm
EXPERIENCE the grandeur of Broadway as the English Musical Theatre Orchestra serenades you with show tunes from I Could Have Danced All Night ,People Will Say We’re In Love and You’ll Never Walk Alone to Getting To Know You and My Favourite Things.
Two star vocalists join the orchestra of 26 musicians, placing the music of Rodgers and Hammerstein centre-stage in renditions of songs from Oklahoma, The Sound Of Music, South Pacific and The King And I. Box office: atgtickets.com/york.
Full steam ahead: next stop Grand Opera House, York, for The Lion, The Witch And The Wardrobe on 2025 tour
Touring show of the week: The Lion, The Witch And The Wardrobe, Grand Opera House, York, April 22 to 26, 7pm plus 2pm Wednesday, Thursday and Saturday matinees
STEP through the wardrobe into the kingdom of Narnia for the most mystical of adventures in a faraway land. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and say hello to Mr Tumnus, the talking Faun (Alfie Richards), Aslan, the Lion (Stanton Wright), and the coldest, cruellest White Witch (Katy Stephens).
Directed by Michael Fentiman, this breathtaking stage adaptation brings magical storytelling, bewitching stagecraft and stellar puppets to CS Lewis’s allegorical novel. Box office: atgtickets.com/york.
Philipp Sommer: Performing Re-Lording Richard 3.0 at York St John University Creative Centre Auditorium on April 24 at 7.30pm as part of York International Shakespeare Festival
Festival of the week: York International Shakespeare Festival, April 22 to May 4
YORK International Shakespeare Festival is marking its tenth anniversary with a programme incorporating artists from the Netherlands for the first time; Croatia for Marin Drzic Day; Ukrainian artists from Ivano Frankisk and Bulgaria.
Among the highlights will be Berlin actor Philipp Sommer’s riposte to Shakespeare’s hatchet job on York’s own Richard III, Re-Lording Richard 3.0 (April 24); Olga Annenko’s Codename Othello (April 25); York company Hoglets Theatre’s A Midsummer Night’s Mischief with Team Titania and Team Oberon (April 26); Stillington writer/actor/director Alexander Wright’s immersive, existential Hamlet Show (April 28 to 30); Ridiculusmus’s Alas! Poor Yorick (April 29) and the Shakespeare’s Speakeasy play in a day (May 2). For the full programme and tickets, head to: yorkshakes.co.uk.
York Shakespeare Project in rehearsal for Irwin Appel’s production of Henry VI, Parts 1, 2 and 3for York International Shakespeare Festival.Picture: John Saunders
Condensed play of the week: York Shakespeare Project in Henry VI Parts 1, 2 and 3, “I Am Myself Alone”, Theatre@41, Monkgate, York, April 22 to 26, 7.30pm and 2.30pm Saturday matinee
UNIVERSITY of California Santa Barbara theatre professor Irwin Appel, artistic director of Naked Shakes, directs York Shakespeare Project in his condensed, physical theatre version of Shakespeare’s Henry VI trilogy.
A bare space, a crown and a throne meet an ensemble cast in a powerful show of “actor-generated theatricality and transformation”, wherein they tell a cautionary tale of power and greed that charts how a tyrant can rise in a torn and broken society. Box office: yorkshakes.co.uk or tickets.41monkgate.co.uk.
Matt Goss: Tipping his hat to The Hits & More at York Barbican next Friday. Picture: Paul Harris
Pop concert of the week: Matt Goss, The Hits & More, York Barbican, April 25, 8pm
MATT Goss, the Bros pop pin-up-turned- Las Vegas showman, says: “Trust me, what I’ve learnt over the years being on countless stages around the world, this will be your best night of the year.”
Now living in central London after many years of blue skies in America, Goss, 56, will be celebrating all he has achieved in his music career and beyond in a rock’n’roll show, but still with a horn section (featured previously in the Matt Goss Experience show with the MG Big Band and the Royal Philharmonic at York Barbican in April 2023). Box office: yorkbarbican.co.uk.
In Focus: Badapple Theatre Company in The Thankful Village, York Theatre Royal Studio, April 24 to 26, 7pm and 2.30pm Thursday and Saturday matinees
Pip Cook, left, Josie Morley and Keeley Lane in Badapple Theatre Company’s revival of Kate Bramley’s The Thankful Village, playing York Theatre Royal Studio next week
IN a new departure for Green Hammerton touring company Badapple Theatre, writer and artistic director Kate Bramley will be playing a live score for the first time to accompany her poignant First World War comedy-drama The Thankful Village.
Bramley is an international touring musician, who started her professional music career aged 17, with tours of the USA and UK, but this will be the first time that she has made a musical contribution to a show by her Green Hammerton company, specialists for 27 years in touring “theatre on your doorstep”.
Kate Bramley: Playing a live score in a Badapple Theatre Company production for the first time at York Theatre Royal Studio
“It has been our ambition since the play was created back in 2014 to have a live score accompanying the story,” says Kate. “Thanks to our collaboration with York Theatre Royal, I will appear with the stellar 2025 cast of Pip Cook, Keeley Lane and Josie Morley.
“I’m delighted to be performing at York Theatre Royal this spring. One performance is already sold out, so we’re looking forward to an exciting time at my favourite local theatre.”
Boasting original songs and music by Sony Radio Academy Award winner Jez Lowe, Bramley’s story of hope, humour and humanity is seen through the eyes of three Yorkshire women from the same rural household, below and above stairs.
Badapple Theatre Company in the rehearsal room for The Thankful Village
Left behind to cope after their men-folk march off to Flanders, Pip Cook’s Edie, Keeley Lane’s Victoria and Josie Morley’s Nellie each face up to the challenges in their own way as they wait anxiously for news of their loved ones far away. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Did you know?
“THE Thankful Villages” were those rare places that lost no men in the Great War because all those who left to serve came home again.
Badapple Theatre Company’s poster for The Thankful Village at York Theatre Royal Studio
Matt Goss: Tipping his hat to The Hits & More in Hull, York and Leeds in April. Picture: Paul Harris
ANNOUNCING The Hits & More tour, Matt Goss proclaimed: “Trust me, what I’ve learnt over the years being on countless stages around the world, this will be your best night of the year!”
Three Yorkshire shows in quick succession offer the chance to take the Bros pop star-turned- Las Vegas showman at his word at Hull Connexin Live on April 24, York Barbican on April 25 and Leeds Grand Theatre on April 28, the tour’s closing night.
On the road since March 8, Goss will be celebrating all he has achieved in his music career and beyond since Bros’s 1987 debut smash with When Will I Be Famous?
He will be returning to York two years to the week since The Matt Goss Experience show with the MG Big Band and The Royal Philharmonic, rearranged to April 20 2023 on medical advice after the recurrence of a shoulder and collar-bone injury.
“I couldn’t believe how much I loved York, the history, the buildings. I fell in love with it,” recalls Matt. “Everything I love about this country was there. I really enjoyed it a great deal – and I loved the audience there.”
“There are challenges here compared with the States, but I’m very lucky to be part of the furniture,” says Matt Goss
The 2023 tour show combined Goss’s biggest hits with new original music and a tribute to Cole Porter in an evening of “unashamed swing, glitz and swagger”. “I take great pride in my arrangements with the horn section,” he says of that show. “This time it will be more of a rock’n’roll set-up , still with a horn section, but a bit harder sounding, taking things I’ve learned from my Caesar’s Palace residency in Las Vegas, adding rock’n’roll.”
Matt would prefer not to have to “compartmentalise my Matt Goss career, my Bros career , my Las Vegas career”. “I don’t have to go through this in America, where I’m allowed to be a singer, to be more much more expressive, but there’s so much history here, and as much as I love it here, they can compartmentalise you,” he says. “In America, it’s more profound, more supportive.
“But I have landed in a very fortunate place here. There are challenges here compared with the States, but I’m very lucky to be part of the furniture.”
So, yes, there will be the hits, but the “And More” element is equally important. “It’s everything I’ve learned in Las Vegas; how I connect with my audience, the communication side. It’s everything I’ve learned in the last 38 years of my career,” says Matt, 56.
“I couldn’t believe how much I loved York, the history, the buildings. I fell in love with it,” says Matt Goss, recalling his 2023 visit to the York Barbican. Picture: Paul Harris
In practical terms, there is more immediacy to a rock’n’roll show than “the big turning circle of a big band”. “You’re meant to feel the difference,” says Matt. “You can get away with more when you play live, pushing it harder, breaking it down instantaneously.”
Going forward, Matt says: “I want my live work to be much more frequent here, and not all my big moments to be on the States, as it’s what I do best.”
Matt loves being in control in his live shows, where there is “always room for a laugh” and he looks at ease. “The second you’re uncomfortable is the second the audience is uncomfortable. You’ve got to remove fear as the audience can pick up on that. I’m single-minded on stage, taking pains to make sure they’re enjoying themselves and not worrying about their bills in that moment.”
By comparison, he found taking part in Strictly Come Dancing in 2022, straight off the plane from America, to be a restrictive experience, losing out in a Week Four dance-off against Kym Marsh when paired with professional dancer Nadiya Bychkova.
“I respected everyone on there,” he says. “But you’re told what to say, you’re told how to dance, and I just felt completely removed from myself because, by definition, on that show you never have communication. They want soundbites. It was everything I didn’t want to do.
The poster for Matt Goss’s The Hits & More tour
“I don’t mean that negatively but it didn’t agree with me on any level. Nadiya was fantastic, but I didn’t feel it was me. I know how to move on stage, I’ve been doing it for 38 years, but suddenly you’re beholden to the dance you’re given. It’s not a space to communicate. It’s not for me.
“I’m a singer, I’m an artist, I don’t mind presenting or having my own show, but I don’t want to be in this celebrity force-fed atmosphere. There are very few shows that don’t erode your artistry. In a weird way, it’s like being a dancing monkey in a zoo. It’s not encouraging a cerebral connection. It’s all soundbites.”
After 25 years of blue skies in America, Matt made the “massive decision” to move to central London last year. “There was an element of fear, but in my relationship with the media, no-one has thrown a side-swipe for a long time.
“The weather is pretty challenging, but I love the architecture, the parks, the venues; I love my food, I love travelling around the country too. I’m happy to be back.”
Matt Goss: The Hits & More, York Barbican, April 25, 8pm. Also plays Hull Connexin Live, April 24 and Leeds Grand Theatre, April 28. Box office: mattgossofficial.co.uk; yorkbarbican.co.uk.
Laura Soper’s Noi with the beached Storm Whale in The Storm Whale at York Theatre Royal Studio. Narrator Charlotte Benedict looks on. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
YORK writer-director Matt Aston launched his premiere of The Storm Whale at York Theatre Royal Studio in December 2019.
Now his adaptation of two enchanting Benji Davies stories, The Storm Whale and The Storm Whale In Winter, takes the plunge for a second time in a run that coincides with the Easter holidays in a co-production by Aston’s company, Engine House Theatre, York Theatre Royal, The Marlowe, Canterbury and Little Angel Theatre, London.
Apparently it takes only two and a half minutes each to read Davies’s award-winning works. Put together in one show, they are stretched to 75 minutes, including an interval, with your reviewer’s guarantee that children aged four upwards will have a whale of a time, topped off by a little “mild peril” in Act Two.
Lydia Denno’s original set was metaphorically lost at sea after Covid, and so she has re-created the delightful sea-front design with its scaled-down versions of a lighthouse and the island home where a little boy, Noi (York-born Laura Soper) lives with his fisherman Dad (Richard Lounds).
So do their six cats with such Kent town names as Deal and Sandwich, the family favourite represented by a puppet that has a habit of leaping onto Dad’s shoulder. The other five occupy picture frames, or more precisely, appear to be bursting out of the frames with playful intent.
The Storm Whale writer-director Matt Aston
The house front seen in miniature is then replicated in full scale, with a washing line, fishing netting, steps, a boat and a porch, from where Soper’s awkward, restlessly inquisitive Noi surveys the waves, craving company when hard-working Dad is fishing at sea.
Noi tries to reassure himself that “it’s OK to be on your own but not OK to be lonely”, but that loneliness is threatening to come crashing over him like a wave.
Loneliness that is shared by Flo, Davies’s narrator, played with a joyous heart by York actress Charlotte Benedict (formerly Charlotte Wood), who begins by looking back on the story from the distance of humorously erratic adult memories.
Childhood days when she would lick her strawberries and cream-coloured lighthouse home in the hope of a sweet flavour. Flo’s own story will flow in and out of Noi’s tale, and she too is often on her own, both back then and 20, 30, 40 years on.
Charlotte Benedict’s Narrator in The Storm Whale at York Theatre Royal Studio. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
Aston’s beautifully told production delights in theatre’s time-honoured tools of storytelling and puppetry, coupled with Julian Butler’s acoustic folk songs (one with a hint of The Pogues’ Fairytale Of New York, no less), as we encounter the height of a storm and Noi’s subsequent encounter with a little whale, washed up on the sand.
Soper brings comedic physical theatre skills to Noi’s struggle to lift the whale into the house bath (later to double as Dad’s fishing boat) as the bond of friendship grows and audience hearts swell with the loveliness of it all.
Post-interval, the forewarned “mild peril” takes the form of Dad undertaking his last fishing trip, when his boat becomes stuck in the frozen waters of deep winter. In his enforced absence, Noi desperately wants to see the whale once more, whereupon two storylines overlap with a sense of wonder at the finale, enhanced by the puppetry’s finest moment.
Soper captures the insatiable curiosity of a ten-year-old boy, in movement and facial and vocal expression, depicting a child seeking treasures, experiences and friendship alike, with bountiful love to give, as he comes to terms with the loss of his mother.
Lounds’ widower Dad has a phlegmatic front, necessary for his fishing work, but a jolly disposition too, full of kindness yet burdened by the weight of responsibility of now being Noi’s sole guide on their isolated island.
The poster for Matt Aston’s production of The Storm Whale
You will love the detail in Denno’s set and costume designs, from the cotton-wool snowy rooftops in winter to the starfish “badge” on Noi’s striped jumper.
Hayley Del Harrison’s movement direction flows as pleasingly as the storytelling, and when the lighthouse light switches on as a beacon to guide Dad to safety, it also serves to remember the work of original lighting designer Jason Salvin (whose torch is now carried by Christopher Flux).
“The Storm Whale was Jason’s last show before he passed away in November 2020,” says Aston. “The show is always now dedicated to him.”
What a magical, moving, beautiful show it is.
York Theatre Royal, Engine House Theatre, Little Angel and The Marlowe, Canterbury present The Storm Whale at York Theatre Royal Studio, today and tomorrow, 10.30am and 1.30pm. Running time: 75 minutes, including interval. Age guidance: Four upwards. Box office: 01904 623568 or yorktheatreroyal.co.uk.
