MARILLION will play York Barbican on September 21 on their nine-date autumn tour to promote new album An Hour Before It’s Dark.
Tickets will go on sale on Friday at 10am at yorkbarbican.co.uk for the prog rock veterans, who say: “We’re once again looking forward to our shows in September, in conjunction with Kilimanjaro, and we can’t wait to get out there and play the new album to the fans.”
Addressing social, political and personal matters, Marillion “put their finger on the pulse of time” on their March 4 album, whether referencing the last hour of being allowed to play outside as a child before having to go home; the fight against time in relation to the climate crisis or the last minutes in a person’s life.
The poster for Marillion’s September 2022 tour
An Hour Before It’s Dark contemplates the Covid-19 virus, mortality, medical science, care and Leonard Cohen and yet the music is surprisingly upbeat, Marillion’s sound being bolstered by the soulful addition of Choir Noir.
Like its predecessor, 2016’s FEAR (**** Everyone And Run), the new album was recorded at Peter Gabriel’s Real World Studio. Those studios also formed the backdrop for a behind-the-scenes documentary on the making of the album and a performance of Murder Machines released in tandem with the record.
Founded in 1979, Marillion have chalked up 20 studio albums over 43 years. In the line-up at York Barbican will be Ian Mosley, Steve Rothery, Steve Hogarth, Pete Trewavas and Mark Kelly.
Fan-tasia : Becky Gee, curator of fine art at York Museums Trust, at the Beyond Bloomsbury: Life, Love & Legacy exhibition at York Art Gallery. Picture: Charlotte Graham
FROM an ice trail to Spring Awakening, a very happy pig in mud to sibling rivalry in a salon, Charles Hutchinson points you in the right direction for days and nights out.
Exhibition opening of the week: Beyond Bloomsbury: Life, Love & Legacy, York Art Gallery, until June 5
YORK Art Gallery’s spring exhibition, in partnership with the National Portrait Gallery and Sheffield Museums, explores the lives and work of the extraordinary Bloomsbury writers, artists and thinkers.
Active in England in the first half of the 20th century, they included the writer and feminist pioneer Virginia Woolf and her sister, the painter Vanessa Bell, as key figures.
On show are more than 60 major loans of oil paintings, sculptures, drawings and photographs by Bell, Dora Carrington, Roger Fry, Duncan Grant, Paul Nash, Gwen Raverat and Ray Strachey, plus four commissions from Sahara Longe, painted in response to the Bloomsbury legacy, and Bloomsbury-inspired murals and fireplaces designed by graphic artist Lydia Caprani.
York Ice Trail: Thrills in chills this weekend
Spectacle of the week: York Ice Trail, today and tomorrow
MAKE IT York and Visit York invite you to “pack your suitcase, grab your passport and embark on a journey around the world” in the return of the York Ice Trail.
Sculptures of solid ice await discovery at 43 locations this weekend, inspired by international cultures and a love of travel. Live carving is promised too.
In response to the Russian invasion of Ukraine, the National Railway Museum has withdrawn its Faberge’s Trans-Siberian Railway Egg in Low Petergate, but a newly added ice sculpture in support of Ukraine will be on display in St Helen’s Square.
Giovanni Pernice: This is him in This Is Me!, on tour at York Barbican on Wednesday
Dance show of the week: Giovanni Pernice: This Is Me!, York Barbican, 7.30pm
AFTER partnering Rose Ayling-Ellis to Glitterball Trophy success in the 2021 series of Strictly Come Dancing, Giovanni Pernice pays homage to the music and dances that inspired his journey from competition dancer to television favourite.
“I just want to try and do something different, something that you haven’t seen before,” says Sicilian stallion Pernice, 31. “I want to challenge myself and show off my hidden talents.” Cue ballroom and Latin dances and more besides. Box office: yorkbarbican.co.uk.
Peppa Pig in her dressing room, awaiting her call for the Best Day Ever
Children’s show of the week: Peppa Pig’s Best Day Ever, Grand Opera House, York, Wednesday, 1pm and 4pm; Thursday, 10am and 1pm
PEPPA Pig is so excited to be heading off on a special day out with George, Mummy Pig and Daddy Pig in a road trip full of adventures, songs, games and laughter.
From castles to caves, dragons to dinosaurs, ice creams to the obligatory muddy puddles, there will be something for all the family to enjoy. Look out for Miss Rabbit, Mr Bull and Gerald Giraffe too on “the best day ever for Peppa Pig fans”. Box office: 0844 871 7615 or at atgtickets.com/York.
Hair-larious: Buglight Theatre turn the Bronte sisters into salon stylists in Jane Hair
Salon appointment of the week : Buglight Theatre in Jane Hair: The Brontes Restyled, York Theatre Royal, Studio, Thursday, 7.45pm
SIBLING rivalry meets literary debate one explosive evening when stylists Anne, Emily and Charlotte Bronte cut, colour and style while sharing their hopes and dreams in Bradford’s most creative beauty salon.
Buglight Theatre writers Kirsty Smith and Kat Rose-Martin offer this chance to meet the modern-day versions of three determined young women from Yorkshire who set the literary world on fire. For returns only, ring 01904 623568.
Josh Liew and Amy Hawtin: Playing the leads, Melchior Gabor and Wendla Bergman, in Central Hall Musical Society’s Spring Awakening at Theatre@41
Musical of the week: Central Hall Musical Society in Spring Awakening, Theatre@41, Monkgate, York, Thursday and Friday, 7.30pm; Saturday, 2.30pm, 7.30pm
CENTRAL Hall Musical Society (also known as CHMS, York), from the University of York, present Duncan Sheik and Steven Slater’s 2006 rock musical revamp of a once-banned Frank Wedekind play, directed by Abena Abban.
A group of teenagers in a small German village in 1891 find the oppressive structures upheld by their parents and teachers to be at odds with their own awakening sexuality.
Spring Awakening explores themes of sex, puberty, coming of age and a yearning for a more progressive future, refracting old-fashioned values through a 21st-century lens. Box office: tickets.41monkgate.co.uk.
Le Navet Bete’s motley crew of pirates in Treasure Island at York Theatre Royal
Family show of the week; Le Navet Bete in Treasure Island, York Theatre Royal, Thursday, Friday, 7.30pm; Saturday, 2.30pm and 7.30pm.
LAST in York last September to reveal a vampire’ secrets in Dracula: The Bloody Truth, physical comedy company Le Navet Bete now go in search of buried treasure in a swashbuckling family adventure, Treasure Island.
Peepolykus artistic director and writer John Nicholson directs a cast of four, playing 26 characters in a fresh take on Robert Louis Stevenson’s tale laced with contemporary comedic twists, tropical islands, an unusual motley crew of pirates, a parrot called Alexa (straight from the Amazon), a white-bearded fish finger tycoon and unforgettable mermaid. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
David Ford: Living in interesting times at Pocklington Arts Centre on Thursday
Gig of the week outside York: David Ford, Pocklington Arts Centre, Thursday, 8pm
WHAT happens when you shut a creative force in a room for two years? The answer is a tornado blast of a new album from Eastbourne singer-songwriter David Ford documenting the tumultuous events of 2020 and 2021, as he charts the rise of Covid and fall of Trump, although both are still stubbornly refusing to go away.
Ford will air songs from the imminent May You Live In Interesting Times, along with compositions written in two days and recorded in one with American support act Annie Dressner. Look out for their six-track EP on sale at the Pock gig. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.
Bagged up: The artwork for Black Country, New Road’s second album, Ants From Up There
AS Black Country, New Road head out of the departing Isaac Wood’s song world, podcasters Graham Chalmers and Charles Hutchinson review sophomore album Ants From Up There and ponder where they might roam next, now they are six.
Under debate too in Episode 79 of Two Big Egos In A Small Car are PJ O’Rourke’s righteous literary legacy; Peter Jackson’s newly revealing Beatles rooftop concert film and American musicians’ love of British indie acts.
DAVID Ford’s sixth studio album, May You Live In Interesting Times, is on its way but when?
“I should probably know the date, shouldn’t I?” says the self-styled international songsmith from the Sussex resort of Eastbourne.
“But for me, making the record is the best thing; promoting it is the worst thing. I just want to move on and do something else.”
Nevertheless, promote it he will at Pocklington Arts Centre on Thursday on the Interesting Times Tour. “It’s likely the album could be available on the night,” he says without total conviction (and still no release date on his website).
His lack of certainty is forgivable in such uncertain times, brought on by the pandemic lockdowns that have elicited his “demonstration of just what happens when you shut a creative force in a room for two years”.
David already has an album sitting restlessly on his studio shelves. “I’d recorded what was supposed to be my new album in 2019, a record that I still find incredibly exciting,” he says.
“I made it with a quartet of jazz musicians, whereas usually I just go into my studio and play all the instruments myself, taking months to finish it, but this one I did in a day and a half, and I was like a child in a sweetshop.”
The poster for David Ford’s Interesting Times Tour
The jazz players threw themselves in at the deep end. “They didn’t rehearse. They’d never heard the songs,” says David. “It was all very strange but exhilarating. I just gave them the chord sheet, with an idea for the tempo, and they’d start playing. Then, depending on the tone, they would adapt their playing.
“I didn’t play a note on it. I just sang. Before that, I’d always considered myself an adept musician, but this was like going back to school.”
David will be taking that album on tour with a jazz band in October, so keep an eye out for further announcements.
Putting that still hibernating album to one side, the one-time Easyworld frontman found the experience of being in lockdown “more productive than I’d been in years”.
Out went his tour with Texan-born singer and storyteller Jarrod Dickenson that would have brought the co-headliners to The Crescent in York. Twice kicked down the road, it is now consigned to the “one day, hopefully” drawer.
In came a burst of songwriting at home. “I recorded songs as I went along, and then I decided there was a record there with connected themes about the last two years, and what we’ve been through in various states of lockdown, starting with that order to stay home,” says David.
“There were two large themes of global significance: the rise of Covid and what I hoped would be the end of Trump and the handing over of the presidential baton.
“One of the things I liked about this record: it’s a time capsule,” says David Ford
“So, there are songs about the specifics of lockdown and the specifics of the American Presidential election and then the more general mood of the world.”
Alas, for David, both Covid and Trump are still stubbornly hanging around, but that thought comes only in hindsight. The songs on May You Live In Interesting Times were written on the spur of the moment.
“They’re my thoughts on that time, and that’s one of the things I liked about this record: it’s a time capsule. Like the song Six Feet Apart; which I wrote in March/April 2020 with the line that ‘maybe September, we’ll all get back together’, and yet here we are, two years down the road.
“That thought now seems charmingly naïve when we’re still trying to find a path out of Covid, while ‘learning to live with it’.”
Ford’s scalding lyrics are noted for their dark irony and whiplash wit, but a different tone emerged in the first lockdown, at least initially. “In the early days, I had a strange amount of optimism about what Covid might teach humanity about its connectedness, when we might otherwise seem poles apart,” says David.
“Here was a chance to think about how we treat others politically, internationally, financially; a chance to re-set ourselves for the future.
“But that optimism lasted only two months, with only the already wealthy doing well out of it. My optimism dissipated very quickly, but there are still reasons for optimism in that the pandemic has affirmed faith in humanity’s ability to deal with a crisis. Especially the speed we came up with the vaccine.
Annie Dressner: Special guest on David Ford’s tour
“The triumph of science, though some people don’t seem to be able to get behind that as a good thing, but I think it’s a modern miracle, where people who are really smart essentially have saved millions of lives.”
He wrote a song in response to that medical breakthrough. “It’s called Two Shots, which already shows its age, because we’ve now got the booster!” says David.
He will be playing solo in Pocklington. “I thought I’d strip it down and play in the traditional way, since it’s been a while since I played live, but then I couldn’t resist myself, building machines again [to build a cathedral of sound with looping and effects pedals]!” says David.
“But it’s still essentially a ‘Get Back Out On The Road’ show with the chance to enjoy being in a room with people again, playing highlights from over the years, rather than just trying to flog the new album.”
He will not be wholly solo. “I’ll be playing a few songs with my support act, my new good friend Annie Dressner [a New York singer-songwriter, now based over here].
“We got on very well at our shows in Otley and Sheffield in January, and we thought, ‘why not record and mix some songs together?’,” says David.
They duly completed six songs in two days in Eastbourne, resulting in the 48 Hours EP being available exclusively on the Interesting Times Tour.
David Ford plays Pocklington Arts Centre, supported by Annie Dressner, on March 10, 8pm. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.
SIX York artists and makers are taking part in the Arnup Studios Group Exhibition at Blossom Street Gallery, Blossom Street, York, until March 28.
Arnup Studios, in Panman Lane, Holtby, near York, was originally the home and workplace of renowned painter and potter Mick Arnup and sculptor Sally Arnup. Now their daughter, potter Hannah, is continuing its creative story.
This Could Be, by Michelle Galloway
Exhibiting alongside her are Michelle Galloway, Emma Frost, Kate Pettitt, Reg Walker and Emma Welsh, who all have studio space in the village studios.
In Sally’s Studio, Hannah creates stoneware decorative pottery, handmade for everyday use and enjoyment, her pieces appealing to both practical and aesthetic values. She also enjoys making one-off sculptures and tripod pots that form a delightful addition to this month’s exhibition.
Watford Pylons, by Emma Frost
Working in the Pottery Studio, Michelle Galloway paints calm, harmonious watercolours, quiet and contemplative, atmospheric, yet gentle and light, punctuated by the intensity of her oil paintings. Her inspiration comes mostly from her interest in archaeology, architecture and man-made structures.
Landscape artist Emma Frost works in acrylic paint in the North Studio, where she conjures scenes that depict the world around her, exploring the constant presence of power lines and structures in her daily life, resulting in a body of work showcasing pylons, telegraph poles and such like. Work is nearly entirely created using palette knives, incorporating some large brush work.
Breathe, by Kate Pettitt
Based in the Gallery Studio, Kate Pettitt specialises in studio and plein air paintings and drawings of the natural environment and the human form. She works in a variety of media from oil to charcoal, her work being elemental, instinctive and often textural.
Reg Walker constructs abstract sculptures, both contemplative and playful, mostly in steel and aluminium, in the Kiln Studio. He also makes small pieces for the hand, in bamboo, and distinctive collages in natural materials. For Blossom Street Gallery he has created a collection of paperbark collages from the natural shedding of the Japanese birch tree in his garden.
Paperbark collage, by Reg Walker
From the South Studio, Emma Welsh creates silver, gold and platinum jewellery. Each piece is hand-made individually using traditional techniques. For this exhibition she has assembled a fossil-themed collection inspired by happy days spent searching for ammonites along the coast.
Kate Pettitt and Reg Walker will attend a Meet The Artist event at Blossom Street Gallery, York, on March 12. Gallery opening hours are 10am to 4pm, Thursday to Sunday.
Ore Oduba strikes a pose in the obligatory dress code for playing Brad Majors in The Rocky Horror Show. Fishnets? Tick? High heels? Tick. Picture: Shaun Webb
ACTOR, presenter and 2016 Strictly winner Ore Oduba will be donning his fishnets in Richard O’Brien’s Rocky Horror Show at the Grand Opera House, York, from March 14 to 19.
Delighted to be resuming his role as squeaky clean Brad Majors in Christopher Luscombe’s touring production from January to June, he says: “I’m so excited to be extending my stay with our amazing Rocky family. Truth is, when you know how it feels to wear a corset and heels, it’s very hard to take them off – at least it is in my case!
“It’s been a wild ride so far. This show is the perfect remedy to everything we’ve all been through. People want to laugh and be uplifted and to be able to forget about everything for a couple of hours. It’s all about ‘Leave your inhibitions at the door – we haven’t got time for that’.”
In O’Brien’s risqué and riotous 1973 sci-fi musical sextravaganaza, Oduba’s preppy Texas student Brad Majors and his college-sweetheart fiancée Janet Weiss (Haley Flaherty) inadvertently cross paths with mad scientist Dr Frank-N-Furter (Stephen Webb) and his outrageous Transylvanian coterie.
“I think there’s a lot of Brad in me and in a lot of people, ” says Ore Oduba
In a shock’n’roll sugar-rush of fruity frolics, frocks, frights and frivolity, Ore ends up in assorted states of undress. Previously seen on a Yorkshire musical theatre stage as swoon-inducing crooner Teen Angel in Grease, The Musical at Leeds Grand Theatre in July 2019, he signed up to play Brad from last summer, but not before he checked with his wife, television researcher Portia.
“It’s such an iconic show and so well loved, but I thought, ‘I wonder what my wife is going to say about audiences seeing me in stockings?’. I needn’t have worried because what I’d forgotten is that Rocky Horror is one of her and her family’s favourite shows of all time. She was beside herself!
“Then she started chuckling at the idea of me being on stage in just my briefs for the early part of the show, then coming out later in stockings and high heels.”
Ore’s nerdy Brad undergoes a spectacular shedding of inhibitions at the hands of Frank-N-Furter, “just a sweet transvestite from transsexual Transylvania” as he calls himself.
Given how Ore has gone from studying sports and social sciences at Loughborough University to presenting on Newsround, BBC Breakfast, Radio 5 Live and The One Show, to dancing to Glitterball success with Joanne Clifton on Strictly Come Dancing, to musical theatre roles as Teen Angel and songwriter Aaron Fox in Curtains in the West End, he can connect with Brad’s transformation.
Ore Oduba as Teen Angel in Grease at Leeds Grand Theatre in 2019. Picture: Antony Robling
“I think there’s a lot of Brad in me and in a lot of people,” he says. “It’s the idea of being kind of caged animals, because we all have a lot of reservations and inhibitions and things we hold back. We’re just waiting to be unleashed.”
Not that his Strictly sparkle and burst of musical theatre roles came out of the blue. At 13, he won the school drama prize for his performance in the musical Seven Golden Dragons. “Then at secondary school I did every production under the sun,” recalls Ore, now 36. “It was only when I went to university that I turned my attention to broadcasting, but Strictly reminded me ‘Oh my gosh, I love being on stage’.
“On the surface, doing musical theatre now might seem like a big change-up but when I look back to where I felt happiest and most comfortable when I was younger, it was always on stage. In many ways it’s kind of what I always wanted to do. After Grease and Curtains, Rocky Horror is another step up in my so-far short musical theatre career and a lovely chance for me to do something liberating, fun and a little bit different.”
Ore has taken performing the signature song-and-dance routine The Time Warp in his stride, after continuing to dance since his Strictly triumph, both in the BBC show’s tours and in musicals. “I took up tap dancing too, although my wife and I then decided to renovate the house and turn the garage I was practising in into a kitchen,” he says.
Preppy but unprepared for what lies in store at deliciously, devilishly deviant Dr Frank-N-Furter’s castle: Ore Oduba’s Brad Majors and Haley Flaherty’s Janet Weiss. Picture: David Freeman
“So, I no longer have my tap space. Blame it on the kitchen! But every time I get to do something involving choreography, it gets me as excited as I was when I did Strictly. I love it.”
Wearing fishnets and high heels is altogether more over the top than anything he sported in tandem with Joanne Clifton on Strictly. “We did wear Latin heels but they’re not as high as the ones I have to wear in Rocky Horror,” says Ore.
“I remember the first time I was asked to wear something a little bit sheer on Strictly and I thought, ‘I don’t want to be too much of a show pony, I want it to be about dancing’. But by the time it came to the end, I was like, ‘You can put me in whatever you want’.”
Cue Frank-N-Furter doing exactly that to Ore’s Brad Majors in The Rocky Horror Show.
Richard O’Brien’s Rocky Horror Show runs riot at Grand Opera House, York, from March 14 to 19; Monday to Thursday, 8pm; Friday, Saturday, 5.30pm and 8.30pm. Box office: 0844 871 7615. Fancy dress encouraged.
Yaamin Chowdhury’s Subhi, the boy dreamer in refugee captivity in Pilot Theatre’s The Bone Sparrow
The Bone Sparrow, Pilot Theatre & York Theatre Royal, at York Theatre Royal *** Performances: 7.30pm tonight and tomorrow; 2pm, 7.30pm, Saturday, then on tour. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Age guidance: 11 plus
ZANA Fraillon’s 2016 Australian detention centre novel, The Bone Sparrow, is rooted in the power of the imagination in brutal circumstances.
S. Shakthidharan, an Australian playwright born in Sri Lanka with Tamil ancestry, retains the importance of imagination in his stage adaptation for York company Pilot Theatre’s world premiere.
Pilot’s pioneering social, cultural and political theatre is targeted at teenage audiences – Leeds Trinity Academy pupils in smartest blazers were seated in the two rows in front of your reviewer, who passed two more excited school groups en route to Thursday afternoon’s matinee – and Shakthidharan and director Esther Richardson have made two bold decisions.
One is to entrust young audiences with taking in all the minutiae of a highly theatrical, if episodic production that runs to Shakespearean lengths, as the clock ticked towards 10.20 from a 7.30pm start on press night.
Australian writer S Shakthidharan
The other is to place so much faith in imagination, in tandem with our need for stories as a mechanism for survival in the face of adversity, in a piece full of symbolism, from the bone sparrow of the title to a talkative, comical, “riduckulous” duck that looks like Shakespeare (should that be a Duck Bill Platypus?).
All is seen through a 12-year-old child’s eyes, albeit with the writer’s secondary voice ever present too. That means not everything is easy to comprehend, which in turns makes Richardson’s production more challenging for younger audience members, although those Leeds schoolchildren were fully attentive throughout.
Could the storytelling have been clearer? Could the running time have been shorter? Yes to both questions, and potentially, a snappier running time would have demanded a more concise, less florid form of storytelling.
Yet, to counter that instinctive reaction, there is a freedom to the storytelling that matches the birds seen in flight so often in Daniel Denton’s beautiful video designs and illustrations. Not everything, however, lifts off from the page amid the text-heavy burden of subplots.
The 12-year-old boy is Subhi (Yaamin Chowdhury), who was born in an Australian refugee camp and remains a limbo kid there with his mother (Kiran L Dadlani) and his firebrand sister Queenie (Siobhan Athwal), their persecuted Rohingya Muslim family having fled the violence of Myanmar without the father.
Elmi Rashid Elmi’s Eli, left, Yaamin Chowdhury’s Subhi and Siobhan Athwal’s Queenie in a heated scene in The Bone Sparrow
The play begins in Subhi’s world of his imagination, as he is shown forever making drawings in his little book, as depicted in Denton’s backdrops.
Suddenly the fences close all around him in Miriam Nabarro’s design, and the daily dirge of a future constantly on hold is mirrored in the menu of endless porridge meals and confinement to sleeping on steel beds in tents.
One guard, Harvey (Devesh Kishore) strives to be considerate, even helpful; another, the over-assertive Beaver (Mackenzie Scott), calls the refugees by their numbers only and is a racist thug and a bully, clashing with Elmi Rashid Elmi’s freedom-craving Eli.
Into the story – leading to comparisons with The Boy In The Striped Pyjamas – comes the outsider, Jimmie (Mary Roubos), an illiterate but inquisitive girl from up the hill who wants Subhi to read the stories collated in her late mother’s notebook.
As with Subhi’s bursts of imagination – where he conjures the seas he has never seen – these stories are told with the camp barriers removed and the mythical characters of newly-weds Oto and Anka represented by oversized puppet heads, miming the horrors of facing another menacing regime.
The girl from the outside: Mary Roubos’s Jimmie
There is humour and mystery, escape and discovery, drama and danger in this account of a burgeoning friendship, captured so well by Chowdhury and Roubos, as it is interwoven with the grim realities of camp life.
Is Jimmie real or pulled from Subhi’s dreamscapes? The way that Roubos plays her at first makes you wonder, another plus to her engaging performance opposite Chowdhury’s Subhi, a resilient boy bursting with restless thoughts, undaunted by authority and stymied circumstances.
For comic relief, look no further than puppeteer Jummy Faruq and his Duck, as opinionated as Ray Alan’s indiscreet Lord Charles.
Yet like Arun Ghosh’s score, that comic relief takes a back seat. Such is the overpowering shadow of this week’s plight of fleeing Ukrainians seeking sanctuary in Poland and beyond, and the intolerant message given by Brexit and now the Nationality and Borders bill over here, when there is such need for a common humanity, heightened by pandemic times.
Alas the bitter reality is that it will take more than a captive boy’s imagination or a novel to trigger change, but everything must start with highlighting what’s wrong and positing how we could make a better world.
Review by Charles Hutchinson
Yaamin Chowdhury’s Subhi and fellow Pilot Theatre cast members, against the backdrop of Daniel Denton’s video design, in Pilot Theatre’s co-production with York Theatre Royal, Derby Playhouse, Belgrade Theatre, Coventry, and Mercury Theatre, Colchester
Ryedale Youth Theatre’s two casts for Matilda Jr, The Musical in the rehearsal room
RYEDALE Youth Theatre members are loving every moment of rehearsals for their Easter production of Roald Dahl’s Matilda Jr, The Musical.
Under the guidance of director/choreographer Chloe Shipley and musical director Rachael Clarke, they will perform the show at the Milton Rooms, Malton, from Aril 12 to 16.
Chloe is joined once again in the production team by another former Ryedale Youth Theatre leading light, professional West End actress and singer Lauren Hood, as assistant director/choreographer.
Ryedale Youth Theatre principals in rehearsal
Lauren, who is living in Spain at present, flew over for the February half-term rehearsal, held at Malton School.
Matilda Jr will be Ryedale Youth Theatre’s 30th annual show, a milestone that should have been marked by their production of Oliver!, until Covid-19 forced its cancellation.
Scripted by Dennis Kelly with music and lyrics by Tim Minchin, Matilda Jr is packed with multiple featured roles. “Blessed with so many talented and enthusiastic young people within the company, it was decided to double cast the show to give everyone who auditioned the opportunity to perform in the principal roles,” says publicist Barbara Wood.
Ryedale Youth Theatre’s poster for Matilda J, The Musicalat the Milton Rooms, Malton
Ryedale Youth Theatre has added two extra performances to allow both teams four performances each of a show that runs to just over one hour with no interval.
In Dahl’s story, Matilda is born with a genius mind and a vivid imagination. Unfortunately, her less-than-brilliant family fails to value the qualities that make the unloved Matilda so special.
Whereupon she is sent to an abysmal school led by the monstrous headmistress, Miss Trunchbull. Buoyed by the help of her friends and the kind Miss Honey, Matilda starts a revolution and proves that everyone has the power to change their own story.
Tickets for the 7pm evening shows and 3pm Thursday, Friday and Saturday matinees cost £12, concessions £10, at yourboxoffice.co.uk.
Ryedale Youth Theatre cast members being put through their paces
Reyahn King: Leaving her post as chief executive of York Museums Trust after seven years . Picture: Richard Kearns
REYAHN King is to step down as chief executive officer of York Museums Trust to be the National Trust for Scotland’s director of heritage properties in a summer return to her birthplace.
Reyahn has been in post since September 2015, leading the independent charity that cares for the City of York’s collections and operates York Castle Museum, Yorkshire Museum, York Museum Gardens, York Art Gallery and York St Mary’s.
As CEO, she has steered York Museums Trust through one of the toughest periods in its history, when facing the need for lockdowns in the Coronavirus pandemic.
During her seven-year tenure, Reyahn has achieved great change for the trust. Under her leadership, she introduced a new vision and mission that puts audiences and communities at the heart of its work, while strengthening the charity’s fundraising activity and generating increased revenue from commercial activities.
York Art Gallery has presented such public exhibitions as the Grayson Perry: The Pre-Therapy Years ceramics and chart-topping Leeds band Kaiser Chiefs’ award-winning fusion of art and sound, When All Is Quiet, as well as championing experimentation in Strata- Rock- Dust- Stars.
Alongside this step change in the public programme, Reyahn oversaw the opening of two new permanent galleries: Jurassic Yorkshire at the Yorkshire Museum and Shaping The Body at York Castle Museum.
Cocktail Party, 1989, from last year’s Grayson Perry: The Pre-Therapy Years exhibition at York Art Gallery
Reyahn will leave a lasting legacy for York Museums Trust, having overseen the acquisition of the St Mary’s Abbey 13th-century Limoges Figure of Christ and the Ryedale Roman Bronzes, soon to go on display at the Yorkshire Museum in April 2022. She worked with City of York Council, stakeholders and the public to develop a compelling vision for York Castle Museum.
Reyahn has been a leading figure within the museum sector championing inclusion, diversity and equality. She has championed the inclusion of diverse and underrepresented artists within the public programme, with exhibitions such as Sounds Like Her and The Sea Is The Limit. and has led a significant internal inclusion, diversity and anti-racism culture change programme at York Museums Trust.
As chair of the York Cultural Leaders Group, Reyahn led the development of York’s Culture Strategy, which sets out to “create a more collaborative, higher-profile cultural city that truly benefits residents”.
Reyahn says: “It has been a joy and a privilege to lead the amazing staff at York Museums Trust and to be part of York’s cultural scene. I’m thrilled to be joining National Trust for Scotland at a time when NTS is doing such important work for Scottish culture, heritage and nature.”
James Grierson, York Museums Trust’s chair, says: “Reyahn has been a wonderful chief executive, modernising the organisation and culture of York Museums Trust, bringing in some great new talents, enriching our collections and staging some important and inspiring exhibitions.
“She led the leadership team’s highly professional response to the enormous challenges of the last couple of years and, notwithstanding the shadow the pandemic has caused, leaves the trust in good heart.
“The richness of experience she has had in York will, I am sure, be put to very effective use with the National Trust for Scotland and, while my fellow trustees and I will be sorry to lose her, Reyahn leaves behind a significant legacy, and one of the most exciting jobs in the sector, and I’m confident that her successor will be very well placed to take York Museums Trust on the next stage of its journey.”
Kaiser Chiefs band members at the December 2018 launch of their When All Is Quiet: Kaiser Chiefs In Conversation With York Art Gallery exhibition, winner of the Museums + Heritage Award for Partnership of the Year
Phil Long, chief executive of the National Trust for Scotland, says: “The National Trust for Scotland’s portfolio of properties is the foundation of all that we do. Caring for them also means caring for the stories of Scotland and enabling everybody to find out about and be inspired by our shared heritage.
“That’s why Reyahn’s appointment is so important for the trust and, given her track record of success with York Museums Trust and other organisations, we are delighted that she will be joining us to bring to the trust her experience and insight.”
Recruitment for Reyahn King’s successor in York will begin this spring.
Reyahn King: the back story
AS chief executive of York Museums Trust, Reyahn has strategic and operational responsibility for museums, an art gallery, botanic gardens, scheduled monuments and Museums Development Yorkshire.
Before moving to York, Reyahn had been head of the Heritage Lottery Fund West Midlands, director of art galleries at National Museums Liverpool and head of interpretation and exhibitions/masterplan at Birmingham Museums & Art Gallery.
Reyahn is an experienced leader who brings people together to develop new visions for culture and heritage. She is on the board of Culture Perth and Kinross and is thrilled to be returning to work in the country of her birth as the National Trust for Scotland’s director of heritage properties from this summer.
Passionate about diversity and equality, Reyahn began her career as a curator and programmer who produced exhibitions notable for their relevance to a wider, more diverse range of audiences, such as curating the ground-breaking Ignatius Sancho: An African Man Of Letters at the National Portrait Gallery, London.
Yaamin Chowdhury as Rohingya refugee Subhi in Pilot Theatre’s The Bone Sparrow. Picture: Robert Day
YORK company Pilot Theatre’s world premiere of The Bone Sparrow is international, not only in its subject matter of asylum seekers but in its journey from page to stage.
Artistic director Esther Richardson and her cast have ‘met’ playwright S. Shakthidharan only on Zoom, although he does plan to travel from Australia to Britain later during the tour of a co-production mounted with York Theatre Royal, Derby Theatre, Belgrade Theatre, Coventry, and Mercury Theatre, Colchester.
Shakthi, as he is known for short and on the corner of his Zoom screen for this interview, is a writer, storyteller, composer and film and theatre director-producer, from western Sydney, with Sri Lankan heritage and Tamil ancestry.
“The commission came from Esther. She contacted me out of the blue,” says Shakthi. “She’d heard about the play I wrote and premiered in Australia in 2019 [Counting And Cracking], and I think she’d read the script.”
This was no ordinary debut play. Staged by Belvoir and Co-Curious at the 2019 Sydney and Adelaide Festivals, his script won the Victorian Premier’s Literature Prize and the New South Wales Premier’s Nick Enright Prize for Playwriting; the three-hour epic production won seven Helpmann and three Sydney Theatre Awards.
“Esther had been interested in adapting Zana Fraillon’s book for some time and so she approached me,” recalls Shakti. “When I read it, I immediately connected with it because I’d worked with a lot of asylum seekers in Australia and was familiar with the different types of stories that were being told.”
In the story by children and young adults’ novelist Fraillon, Subhi is a 12-year-old Rohingya refugee boy, born in an Australian permanent detention centre after his mother fled the violence of her distant homeland. Life behind the fences is all he has ever known, but as he grows, his imagination grows too, until it is bursting at the limits of his world.
One night, Jimmie, a scruffy, impatient girl, appears from the other side of the wires, bringing a notebook written by the mother she lost. Unable to read it, she relies on Subhi to unravel her own family’s mysterious and moving history, but will Subhi and Jimmie both find a way to freedom as their tales unfold?
Mary Roubos as Jimmie in The Bone Sparrow at York Theatre Royal. Picture: Robert Day
“Subhi, the protagonist, lives in the world of his imagination and doesn’t realise what’s going on around him,” says Shakthi. “Instead, he’s lost in his own charming world, and it’s fascinating that he can have such an enchanting world in such a brutal situation.”
By now, Shakthi had been joined on the Zoom screen by his own young son, awoken from his sleep – it was 8.45pm in Sydney – by the sound of voices.
“So often we are beaten down by the world,” says Shakthi. “We reshape ourselves to fit into it. Subhi’s story is different. In The Bone Sparrow this imaginative young boy discovers within himself a strength that will change the world around him.
“It’s a classic coming-of-age story and yet so much more. The Bone Sparrow is by turns a wondrous tale of epic, mythical adventure; a realistic appraisal of what it means to grow up without freedom; and a vision of renewed solidarity across our supposed divisions.”
Jimmie’s story is as significant to Shakthi as Subhi’s tale. “Immigration, asylum and race is such an important issue in Australia, where it has swung elections for 20 years now and changed government policy,” he says.
“What the children’s relationship does is bring out a common humanity within people, unlike so much of the dialogue, both by those who are well meaning and those with no compassion. Subhi and Jimmie’s friendship obliterates all that: they are two kids who develop a love for each other and have a lot of fun together as well.”
Shakthi continues: “It’s a political play but it’s not a didactic one. I love works that present the complexity of humanity, so the central relationship is so important here.
“What wasn’t in the book so much is that it’s a Rohingya Muslim family. In Zana’s story it’s portrayed with a lighter touch, but I’ve been very keen to have the Rohingya community involved in the project.”
Mackenzie Scott, as Beaver, left, and Elmi Rashid Elmi, as Eli, in the detention centre in The Bone Sparrow. Picture: Robert Day
To that end, Esther has liaised with the British Rohingya community, based in Bradford and especially with Sirazul Islam, who began the project as a consultant and is now the assistant director. Like Subhi, Sirazul was born into a refugee camp, and he speaks in public about his experiences of being Rohingya.
In addition, the production team has spoken to other Rohingya people and young sanctuary-seekers, who have been consulted on the script. “The play has a stronger sense of that culture now,” says Shakthi.
Reflecting on his own childhood, he says: “I was born in Sri Lanka in 1982; when the riots happened in 1983, it deepened into civil war, and that’s when my family moved to Chandhai in India, hoping to come back to Sri Lanka.
“That’s the thing about war; it can take a while before anyone calls it a war. We moved first to India, then Singapore, then Australia by the time I was three. We never did go back to Sri Lanka. I’m an Australian, with a lot of family in England as the Tamil diaspora spread everywhere.”
Fraillon’s story of Subhi has many resonances for Shakthi. “I understand what it means not to be in your homeland because of your race, and I understand what it means for a relatively small country to descend into violence,” he says.
“Subhi’s tale is one of growing up distanced from his culture, but he reaches a crisis point in his young life where he finds strength in that culture.
“In my case, my parents pushed me into assimilation in Australia, and so I didn’t really connect with my [Tamil] culture until my late-20s.”
Assimilating meant doing things like supporting Steve Waugh’s Australian cricket team, recalls Shakthi. “I would follow what my white Australian mates were doing, whether it was music or sport,” he says.
The Pilot Theatre company on stage at York Theatre Royal in The Bone Sparrow. Picture: Robert Day
“But then you find your own culture is far more sophisticated than you realised, and through all that pain of leaving your own country, now I really appreciate both my Sri Lankan culture and my Australian culture, so that’s a bonus that other people don’t have: being able to look at the world in different ways. That stops you from being pompous.”
Addressing the thorny subject of immigration, detention centres and sanctuary seekers, Shakthi says: “You can talk about this stuff endlessly politically, but the thing I always come back to is thinking: ‘is it fair to make one group a scapegoat for everyone else?’.
“The Australian government thinks that putting one group of people in detention will be a deterrent to others, but what does it say about that one group? We have to find other ways.
“It’s very easy to make people have knee-jerk reactions on this issue – all that talk of ‘taking our jobs and protecting our borders’ – but the success of the UK, USA, Canada and Australia is co-dependent on welcoming people. You can’t have one without the other. Generally, when people come, they work their butts off, doing jobs others aren’t willing to do.
“That’s why Jimmie’s relationship with Subhi is so vital in the story. She doesn’t apply labels to him. She just sees him as a boy and a friend.”
Living in suburban western Sydney, Shakthi is in a community where many migrants have settled. “In its time, it’s had the most diverse population in the world,” he says. “Going for a cup of coffee in the morning, you pass every culture.”
Plenty of cups of coffee later, The Bone Sparrow is up and running at York Theatre Royal. “I’ve had a great deal of fun collaborating with Pilot to develop a grand theatricality for this work and deepen its relationship with the Rohingya community,” says Shakthi. “I hope audiences are as delighted and moved by this story as we were in the process of adapting it.”
Pilot Theatre’s premiere of The Bone Sparrow runs at York Theatre Royal until Saturday, then on tour from March 8 to April 2. York box office: 01904 623568 or at yorktheatreroyal.co.uk.
S. Shakthidharan: Writer, storyteller, composer, director and producer for stage and screen
S. Shakthidharan in profile:
Shakthi is a western Australian writer, producer, composer and director for screen and stage of Sri Lankan heritage and Tamil ancestry. His 2019 debut play, the three-hour epic Counting And Cracking, had a profound effect on the Sri Lankan community in Sydney.
He has a new commission in development with Sydney Festival; a number of plays with Belvoir; a feature film with Felix Media and two new television projects.
He is the artistic director of Kurinji and lead artistic consultant at Co-Curious, a sister company to CuriousWorks, where he was the founder and artistic director from 2003 to 2018.
