Eve De Leon Allen’s Cinderella in the party scene in the Stephen Joseph Theatre’s Cinderella. All pictures: Tony Bartholomew
ON the surface, and certainly from a cursory glance at the press release, this could be a conventional telling of Cinderella’s tale.
Except that this is the Brothers Grimm tale as re-spun by Nick Lane, with music and lyrics by Simon Slater, direction by Gemma Fairlie and stage & costume design by Helen Coyston. Namely the Scarborough team that thinks outside the box to deliver a Yorkshire winter show like no other.
This Cinderella is not pantomime, although slapstick, song-and-dance routines and colourful characters abound, complemented by a gorgeous transformation scene and a singalong Reach for The Stars (a panto staple country-wide).
Life in the fast Lane is inventive, inspired and ingenious, rooted in storytelling, physical comedy, multi role-playing, teamwork and individual flair in Fairlie’s fabulous, free-spirited cast.
Whitbelia’s regal family: David Fallon’s Flarf, with his beloved horse Malcolm, Lucy Keirl’s Delia and Roger Parkins’ Dean
Step forward, and never take a backward step, Eve De Leon Allen (Cinderella/Usher); David Fallon (Charming, Ratface, Flarf, Mouse); Lucy Keirl (Mandy, Delia, Herald); Roger Parkins (Delightful, Dad, Blob, Pumpkin, Dean) and Sarah Pearman (Chief Fairy, Mum, Filania, Frog).
Expect the unexpected with a Nick Lane story and he will still surprise you, while also reprising the hits from past SJT shows: the importance to the tale of Scarborough, its people, culture and seagulls; the digs at nearby places (Whitby’s goths and “inferior fish-and-chip shops”); the silliness yet the poignancy.
Prince Charming has made way for Charming, and there’s a character called Delightful too. The young prince, Flarf, is more interested in spending his days with his horse Malcolm (trained at DisMountview Academy, the programme biog states), rather than bride-finding parties.
Sister act: Roger Parkins’ Blob, left, and David Fallon’s Ratface
Cinderella’s stepsisters are outré fashionistas Ratface and Blob; the outstanding Keirl’s tooth fairy-in-training, 23780, wants to be known as Mandy.
De Leon Allen’s resourceful yet put-upon Cinderella is fixated on maps, and the love she seeks is not that of a “handsome Prince” but the embrace of her missing Mum, still alive she believes but lost to her in a storm when sailing to the magical Land Beyond Beyond, far, far away from Lane’s Scarbodoria and neighbouring Whitbelia.
Lane’s script has headed there too, far beyond routine panto, and anything but lost in such fresh storytelling, where he combines the golden olden with the modern, reinvigorating characters too, whether Cinderella, the prince or the Pumpkin (played by the chameleon Parkins, whose forgetful king is a gem too).
Eve De Leon Allen’s Cinderella andf Lucy Keirl’s Mandy
Fairlie’s cast have such fun with Lane’s flights of imagination, his extravagant, bold, lovable characters (yes, even the stepmother and self-deluded daughter double act); his fearless pushing of boundaries; his love of a joke; the need for mannequins or quick costume changes to keep up with the number of characters required for a scene.
Not least his radical retuning of Cinderella herself to today’s (feminist) sensibilities, delivered with a lightness of touch that is more impactful. She has always wanted to be an explorer, and in turn Lane explores new possibilities for her character.
Add Slater’s witty songs, a nod to The Wizard Of Oz, a notable decrease in Lane’s propensity to bottom-burp gags, and Cinderella is a breath of Scarbodoria fresh air to rival the North and South Bay.
“The most important thing is to be good,” concludes Fairy 23780, sorry, Mandy. A good point on which to finish a very good show. Box office: 01723 370541 or sjt.uk.com
Roger Parkins’ larger-than-life Pumpkin in Cinderella
Did you know?
NEXT year’s SJT “Chrtistmas Spectacular” will be Beauty And The Beast from December 1 to 30. Tickets are on sale already.
Northern Ballet in The Nutcracker. Picture: Emily Nuttall
NORTHERN Ballet may have opened a new chapter with the appointment of Federico Bonelli as artistic director, but the company shows typical Leeds savvy in not closing the book on predecessor David Nixon.
The tenth anniversary of his sensational, sensuous, sinuous, Charleston and tango-filled The Great Gatsby will be marked with a revival in Leeds, Sheffield and London next year.
This autumn and winter comes the return of his most performed work, the festive favourite The Nutcracker, first on tour and now back home in Leeds at the Grand.
It has become the custom for choreographer and costume designer Nixon’s decorative, delightful, dazzling 2007 Northern Ballet production to see out the old year and welcome in the new every few years, most recently in 2018.
This latest return is more welcome than ever, its sparkle and joy, bravura dancing and elegant attire such a counter to this desperately destructive year of hapless politics, financial trauma, international strife and war on European soil.
Magic dances through the air from the moment of arrival, twinkling snowflakes filling the stage front cloth as the seats fill too in readiness for Nixon’s Regency England setting of Tchaikovsky’s gorgeous late-19th century Christmas ballet.
Vital to that magical spell too are Charles Cusick Smith’s designs, works of winter wonder on a grand scale that sweep up audience and dancers alike in the fantastical journey from castle drawing-room party to toy battlefield, snowy fairyland and a world above the clouds.
As in every house, Kirica Takahashi’s inquisitive Clara excitedly awaits the chance to unwrap the presents that lie behind the towering, closed doors on Christmas Eve night.
When the clock strikes midnight, Clara is transported to fantasia by George Liang’s noble Nutcracker Prince, her journey through the snow orchestrated exuberantly by Gavin McCaig’s luxuriously coiffured, nimble-footed Herr Drosselmeyer.
Andrew Tomlinson’s Mouse King shows dashing bravery in defeat in Act One, whose climax mirrors the traditions of pantomime in a transformation scene graced with the most beautiful imagery of all, lit exquisitely by Mark Jonathan.
Act Two is even more of a triumph, its tempo set by Saeka Shirai’s enchanting Sugar Plum Fairy, who receives the loudest cheers of all, in tandem with Joseph Taylor’s Cavalier.
A kaleidoscopically colourful pageant of national dances – Spanish, Arabian, Chinese, French, Russian – ensues, showcasing company members in democratic spirit with a playfully competitive edge overseen by McCaig’s gleeful Drosselmeyer. None surpasses Jin Ishii’s Spanish solo.
Throughout, Nixon complements Tchaikovsky’s joyous score with the poetic eloquence of his choreography, ever beautiful and charming, full of spectacle and heart, with room for mischievous humour too.
As ever, you would be crackers to miss The Nutcracker.
Northern Ballet in The Nutcracker, Leeds Grand Theatre, until January 7 2023. Performances: December 29, 7pm; December 30, 2pm, 7pm; December 31, 2pm; January 3 and 4, 7pm; January 5, 2pm, 7pm; January 6, 7pm; January 7, 2pm, 7pm.Box office: 0113 243 0808 or leedsheritagetheatres.com
York Shakespeare Project in The Tempest in Autumn 2022. A new chapter will open in springtime
DR Daniel Roy Connelly is to direct the first production of York Shakespeare Project’s second cycle of Shakespeare plays.
As was the case when YSP began its 20-year mission to present all the Bard’s works with the October-November 2002 production of Richard III at the Joseph Rowntree Theatre, so Richard of York’s winter of discontent will be the opening play once more, this time at Friargate Theatre from April 26 to 29.
Dr Connelly, a newcomer to York, will be at the helm, having directed in places as diverse as Shanghai, Rome, America and the Edinburgh Festival.
This former British diplomat, theatre director, actor, poet and professor will hold auditions at Southlands Methodist Church, in Bishopthorpe Road, on January 10 and 11, from 6.30pm to 9.30pm, and January 14, 2pm to 5pm.
Dr Daniel Roy Connelly: Director of York Shakespeare Project’s 2023 production of Richard III
“If you want to audition, but these dates don’t suit, please indicate on the form and we will see what we can do,” advises YSP’s Facebook notice.
Richard III will be one of two YSP productions at the 2023 York International Shakespeare Festival. Auditions for a semi-staged version of Shakespeare’s narrative poem The Rape Of Lucrece, directed by Liz Elsworth, will take place in late-January.
This autumn, YSP completed its goal of performing all 37 of Shakespeare’s plays with its 35th production and first tour: Philip Parr’s production of The Tempest, whose travels concluded at York Theatre Royal on October 1.
YSP begins a new chapter in 2023 with a 25-year project to stage not only those plays again, but also the best works by his contemporaries.
“This expanded remit allows both for a new generation-spanning mission to perform the whole canon of Shakespeare’s works, alongside a wider vision of celebrating and sharing Elizabethan and Jacobean theatre with new audiences,” says YSP.
Dame Prue Leith: First tour at 82 next year (or 83, as her birthday falls on February 18, part-way through the 34-date run)
SHE is “probably nuts to try it”, but nevertheless The Great British Bake Off judge Dame Prue Leith will mount her debut tour next year at the age of 82.
Nothing In Moderation is in the 2023 diary for March 2 at the Grand Opera House, York, as part of a 34-date British and Irish itinerary that will run from February 1 to an April 6 finale at the London Palladium.
Nothing is off the menu – apart from cookery demonstrations – in this frank, funny, foodie show, wherein Dame Prue will share anecdotes about her life: taking audiences through the ups and downs of being a restaurateur, chef, cookery school supremo, food writer, businesswoman and Bake Off judge.
Dame Prue says: “I’ve never done a stage show before and at 82 [83 by the time she plays York] I’m probably nuts to try it, but it’s huge fun, makes the audience laugh and lets me rant away about the restaurant trade, publishers, TV and writing, and sing the praises of food, love and life.”
Gourmet guru Dame Prue has been a judge on the world’s biggest baking TV show, The Great British Bake Off, since when 2017, when she joined Paul Hollywood after the switch to Channel 4.
Before Bake Off, South African-born Prue had long enjoyed success in her career, running her own party and event catering business in the 1960s and ’70s, then setting up Leith’s Food and Wine to train professional chefs and amateur cooks.
From feeding the rich and famous to cooking for royalty and even poisoning her clients, all will be told for the first time in Nothing In Moderation.
Her ever-busy diary left only ten minutes on Zoom for this interview, but that’s still time enough to take the microwave fast track to asking questions. How did it all start, Dame Prue? “I was at Cape Town University, flailing around failing at everything, so I persuaded my father that I should go to France, with a view to becoming an interpreter for the United Nations, but I fell in love with French food. I do love France anyway and you can’t live in Paris for two years and not appreciate it.”
London now has more Michelin-starred restaurants than anywhere but Paris, but when Dame Prue headed to England, it was the nadir of cooking. It took Elizabeth David to change all that. “Before then, olive oil was something you bought at Boots for your ears!” she recalls.
Think of England served on a plate back then, and it would be overcooked meat, industrial gravy, slopped out with two veg.
Prue Leith was determined to rectify that. “I don’t think of myself as having been on a mission, but I’ve always wanted to be at the forefront of change, and there are some things I’m very passionate about, like having English cheese on the menu when no posh restaurant would not have had French cheese, or writing the menu in English, rather than French,” she says.
“Before Elizabeth David, olive oil was something you bought at Boots for your ears,” says Dame Prue
“When I was on the board at British Rail, I took all their top chefs to Paris for a week to experience nouvelle cuisine. They were scornful, thinking it was a little bit of food on a big white plate, not realising how exact it was, with a balance of top-quality ingredients. It was interesting to then see these scornful chefs thinking, ‘I could do that’.”
In today’s cuisine scene, “the most interesting food in England right now is street food, where refugees in lockdown started doing street food,” says Dame Prue. “Often it leads to them opening restaurants.”
To create her stage show, she wrote a script, then did a few try-outs in Leamington Spa and Bath, using a back projector to screen clips from her past or for jokes, before taking the show to New York and Los Angeles for two nights in each American city.
“At the beginning, I wasn’t loving it; my heart was beating so hard, but I got 100 per cent of the audience saying they would recommend the show to their friends, which was amazing,” says Dame Prue.
“Before I even started in LA, as soon as I walked on stage, they were hollering and whooping, and there was this great wave of appreciation. It’s the best feeling in the world. I quite understand why some comedians never retire!”
Will she change the show’s content ahead of the UK tour? “I still think there are too many funny stories about cooking for the royals and catering disasters,” she says.
Alas, the ten-minute noose was tightening, so there was no time for Dame Prue to relate those stories, but come March 2, York Barbican audience members can seek answers to “what they’ve always wanted to ask” her when she is joined on stage by Clive Tulloh in the second half.
“We curate the questions because it’s a mistake just to take a microphone to the audience, where sometimes someone just has a bee in their bonnet, rather than wanting to ask a question. To avoid all that, we ask people to write their questions and Clive then brings them together.”
One final question for Dame Prue: does she prefer The Beatles’ psychedelic 1968 version of Dear Prudence or Siouxsie And The Banshees’ post-punk 1983 cover version?
“Well, it would be The Beatles,” she says without hesitation, forever a devotee of the Fab Four generation. “People ask me what my favourite song is and I say, ‘Lucy In The Sky With Diamonds’.”
Prue Leith: Nothing In Moderation Live Tour 2023, Grand Opera House, York, March 2 , 7.30pm. Box office: atgtickets.com/York.Also: Sheffield City Hall, February 28, 7.30pm. Box office: sheffieldcityhall.co.uk.
The poster for Dame Prue Leith’s Nothing In Moderation tour, visiting York next March
Hookline and singer: Paul Hawkyard’s Captain Hook performing his big number In All New Adventures Of Peter Pan at York Theatre Royal. All production pictures: Pamela Raith
AT the heart of York Theatre Royal’s pantomime, All New Adventures Of Peter Pan, is a tearaway triumvirate of madcap maritime mayhem.
Paul Hawkyard’s histrionic Captain Hook and fellow returnee Robin Simpson’s daft dame, Mrs Smee, are joined by Jonny Weldon’s cheeky piratical henchman, Starkey, in the troublemaking trio.
Over the past year, Hawkyard and Simpson have been regular partners on stage. “Peter Pan is our fourth show together in that time,” says Paul.
“We did our first panto together, as Mardy and Manky, the Ugly Sisters in Cinderella this time last year, then two shows in Harrogate Theatre’s rep season, Mike Leigh’s Abigail’s Party and John Godber’s Men Of The World, and now this panto. You [Robin] have probably spent more time with me than you have with your wife this year!”
Ship-shape: Robin Simpson’s Mrs Smee, the dame in All New Adventures Of Peter Pan
Pantomime is a demanding form of theatre, in terms of the intensity of the rehearsal period, the performance schedule and the boisterous audiences. “It’s that thing of belonging to the theatre for the winter,” says Paul. “You just go home to sleep.”
Robin concurs: “I just roll out of my bed as late as I can, pull on some clothes, shower at the theatre, grab a coffee and then the day starts again,” he says.
Paul and Robin have shared a dressing room as well as the stage since their days with Shakespeare’s Rose Theatre at the Eye of York. “There was a point where we just looked at each other on stage and we knew we were on the same wavelength,” says Paul.
“You can share a dressing room, but it’s when you’re on stage, and you catch each other’s eye, and you’re thinking, ‘this is Shakespeare’ and you know you can rely on the other person not to break the magic of the moment too early,” says Robin.
Starkey and stripes: Jonny Weldon in All New Adventures Of Peter Pan
“But we’re also respectful of each other’s space in the dressing room,” says Paul, assessing why their partnership works so well.
“Until you get in front of a crowd, you don’t know if that chemistry will click with them, but then you go, ‘oh, it works’,” says Robin. So well did it work in Cinderella that Paul and Robin were nominated for Best Ugly Sisters in the 2022 British Pantomime Awards.
Familiarity boosts their performances together. “It’s a safety thing, like when going into the clash with Robin’s character in Men Of The World,” says Paul. “You might be nervous beforehand, but that stops and you know it’s down to you to pull that scene together; you know you’ve got someone who has your back, without a competitive edge there.
“It’s like throwing the ball to each other, not taking it off someone, just knowing they will pass it back or say ‘have it back’.”
Nautical naughtiness from Jonny Weldon’s Starkey and Paul Hawkyard’s Captain Hook
Now there is a third player in that game, Jonny Weldon’s Starkey. “It’s two idiots led by an idiot,” says Paul. “Or the Three Stooges,” says Robin.
Jonny, an actor since childhood days in Mary Poppins in the West End and latterly a viral hit on social media with his comedy sketches, was lying on a beach when his panto role as Starkey was set up. “I was trying not to get a tan as I was filming something for TV that annoyingly I can’t talk about as I’m sworn to secrecy,” he says.
“Paul [Hendy, Evolution Productions’ writer for the York pantomime] called me in the spring to ask, ‘would you do the comedy role in York?’. Starkey wasn’t in the book, so Paul has invented this new character for me – and I barely leave the stage!”
He was attuned to Simpson and Hawkyard’s stage chemistry from seeing Cinderella last winter. “I came with my girlfriend, Lucy Carne, who was playing Belle in Beauty And The Beast at the Georgian Theatre Royal in Richmond,” he recalls. “I loved York; the Roman tour; I loved the panto.”
Last winter, Jonny had not one but two pantomime roles. “I was in the panto at St Albans, playing Muddles in Snow White, when it was stopped for asbestos in the building, so now I’m an expert on asbestos and how is stops actors from working,” he recalls.
Love-a-duck: Robin Simpson’s dame in All New Adventures Of Peter Pan
“When I got to Richmond, I thought I’d be having a nice three weeks off, only to be told, ‘the CBeebies presenter in the show at Canterbury has Covid; could you get on the train now?’!
“I got sent the script and a We Transfer recording of the show, where the signal kept cutting out and buffering on the train. I ended up doing a week of shows and was off the book in two days, playing Bobby, Jack’s best mate, in Jack And The Beanstalk, at the Marlowe Theatre.”
Earlier this year, Jonny appeared as Samwell, the Targarian family’s lute-playing minstrel, in the Game Of Thrones spin-off House Of The Dragon. “Just one episode, no sex, no death, just playing the lute,” he says.
This summer he played one of the puppy thieves in 101 Dalmatians at the Regents Park Open Air Theatre in London, and his sketch video success has brought him TV roles as an evil property developer in Christmas On Mistletoe Farm (Netflix) and The People We Hate At The Wedding (Amazon Studios).
Paul Hawkyard’s Captain Hook clashes with Jason Battersby’s Peter Pan
Talking of weddings, Jonny and Lucy will be tying the knot in March. “We’re getting married in Herefordshire. Neither of us is from there – I’m from Hampshire, Lucy from Cheshire – but we just like it,” says Jonny, whose grandad will be his best man at 91.
After six pantomimes and plenty of children’s shows too, Jonny is “not particularly sentimental about Christmas”. “I’m used to spending it with landladies,” he says.
Another comedy video could be on its way while he is in York to add to more than 25 so far. “When I get a new idea, I’ll be filming it in my dressing room and putting it up,” he says.
All New Adventures Of Peter Pan runs at York Theatre Royal until January 2 2023. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jonny Weldon’s poster pose for his specially created role as Starkey in All New Adventures Of Peter Pan
The Nutcracker in Into The Woods at Castle Howard. All pictures: Peter Seaward
CASTLE Howard’s winter installation, Into The Woods, A Fairytale Christmas is drawing record numbers.
After the frosted, icy spectacle of Christmas In Narnia last winter, Charlotte Lloyd Webber Event Design and The Projection Studio have returned to transform North Yorkshire’s stateliest home’s grand rooms into a “wonderland of happily-ever-afters, fair maidens, magical forests and faraway kingdoms”, bringing cherished fairy tales to life with a sight-and-sound combination of theatrical installations and state-of-the-art soundscapes.
“All around the house, tales which have drifted through the forests of our memory since early childhood now weave amongst each other to conjure up the world of once-upon-a-time,” say Nicholas and Victoria Howard in the visitors’ guide.
“Reinvented again and again, these fairytales are as much a part of our heritage as the walls of this house and its towering dome. Their names alone are enough to plunge us into the warm milk of childhood memories.
“Weave your way through this magical fairytale world and who knows? Maybe you’ll live happily ever after your visit to a Christmas like no other.”
Creating A Fairytale Christmas’s world of fantasy, inspired by Stepehen Sondheim’s 1987 musical Into The Woods, is the work of a multi-disciplined team, headed by artistic director/interior designer Charlotte Lloyd Webber and design director Adrian Lillie, co-directors of CLW Event Design.
The Christmas table at Into The Woods at Castle Howard
Senior designer Dave O’Donnell, sculptor Mandy Bryson, model and prop designer Mark and the floristry team of Laura Newby and Celina Fallon play their part.
So does the Production Studio duo of video projection designer Ross Ashton and sound designer/audio artist Karen Monid, whose light and sound installation Platinum And Light illuminated the nave of York Minster from October 20 to 27 this autumn, just as their Northern Lights installation had done so in October 2019.
Charlotte and Adrian have known each other for 25 years – originally as an actress/producer and costume designer respectively – and have overseen the magical winter transformations of Castle Howard for six years.
“This gig came about slightly by accident,” recalls Adrian. “We’d come up to do some outdoor Shakespeare, but the programme planning changed. Victoria [Howard] then said, ‘we need someone to design a Christmas installation. Do you know anyone who could do it?’. We thought, ‘well, we could’!
“That first year, we were very conscious of taking it back to the house’s roots, to architect John Vanbrugh’s theatrical roots. We used a lot of dry floristry and delicate fabrics, and we soon found we needed a lot more ‘product’ as it can be sucked up in such grand rooms.
“Year on year, we lay on more and more, and so Into The Woods is our most ambitious installation yet.” Be it Rapunzel’s tower looming over the Great Hall, where her golden braid offers an escape route; Jack’s giant beanstalk, winding its way around a steel construction up to the roof of the Garden Hall, or the 20,000 baubles glittering in room after room.
York artist Emily Sutton’s artwork for the Into The Wood press invitation, publicity leaflet and visitors’ guide
“We use ‘filler’ from the previous year’s story, like on the China Landing, where the materials have been used before, but with a new top layer created for the new theme,” says Adrian of a scene where the mirror forms the archway into the woods.
“We still re-use items from the first year; we use paper and silk, we avoid plastics, so we’re always thinking about sustainability. For the last four years, the big Christmas tree had come from Scotland but to discover there were suitable trees on the Castle Howard estate for this Christmas was wonderful.”
This year, CLW Event Design also created Bamburgh Castle’s Christmas installation, The Twelve Days Of Christmas – whose first version was on display at Castle Howard in 2018 – as the Lloyd Webber-Linnie partnership thrives on ever-growing challenges. “We’ve worked together so long, we finish each other’s sentences,” says Adrian.
“We learn more every year, thinking outside the box, trying to be more outrageous and bringing in the team to get their ideas – and we have an incredibly strong team now, who are so encouraging.”
Adrian revelled in doing the Long Gallery finale for the first time this year for Prince Charming’s Ball, with its golden coach and lavish gowns, but his favourite is the Music Room, where the Elves must deal with a massive order of party shows for the upcoming ball.
The Wicked Queen Grimhilde, the Snow Queen, the Wolf, Princess Aurora, Red Riding Hood, Rapuunzel and Gretel have all submitted their measurements. “That room has a really lovely feel,” says Adrian. “It required lots of shoe shopping online and buying in sales! For all the joy I had with the costumes, finding the right boots and shoes has been a lot of fun too, capturing each character in their footwear.”
Castle Howard ventures into fairytales for Christmas
Look out for Red Riding Hood’s thigh-high boots, the big bad Wolf’s killer heels in polka dots and the Sugar Plum Fairy’s ballet shoes, gorgeous all of them!
Audio artist Karen Monid took on a new task for Into The Woods. “There are voices in the installation this time [such as Francine Brody for Wicked Queen Grimhelde and Beth Hayward for the Witch], and because each room focuses on a particular tale and character that I could draw on, I then had to pick the right emotion,” she says.
“Charlotte produces her mood board to say what each room represents, and I also had to be aware that it’s a trail with a beginning and an end. Last year it was easier because it was just one story [C S Lewis’s The Chronicles Of Narnia]; this year there are so many stories and characters; at least ten stories, four of them in the first four rooms [Princess Aurora, alias Sleeping Beauty, Red Riding Hood, Hansel & Gretel and Snow White].
“The most difficult was the fourth one [the Castle Howard Bedroom], where Snow White’s mother is essentially dead and the Wicked Queen is very much alive. You think, ‘how do I do that in sound in one room?’. I decided to treat the mother like a ghost, so even though the new queen has moved in, there’s always an echo of the mother she could have had from before, with the angelic quality of the harp playing, which then fades away as more strident music comes in.”
Attention to detail is paramount, from the Goose honking to the elves starting to hammer when an alarm goes off. “The passing of time and the sense of the tempo picking up runs through the installation [leading to the clock striking 12 at Prince Charming’s ball]. If you pick up on the chimes as you walk round, you will find that the time is getting later,” says Karen.
“In Hansel & Gretel’s room [the Castle Howard Dressing Room], the cuckoo clock strikes three; in the ‘creators’ room’ [the New Library] for The Nutcracker, the clock strikes six in a scene with a steam punk edge to it. In the Crimson Dining Room, the Sugar Plum Fairy is a clockwork figure.
The beanstalk climbs to the Garden Hall ceiling in the Into The Woods installation. Look out for the tiny figure of Jack starting his ascent
“That’s why this installation feels so full, with all that detail, like the music changing to reflect the origins of each story, some being French, some German, and only one English, Jack And The Beanstalk.”
Listen to the female voices. “All the good female characters sing, while the bad characters only speak, and they say too many words, like the Witch still talking in the Great Hall while Rapunzel is singing in her tower,” says Karen. “Music is of the heart, connecting with the soul, that’s why they sing.
“I love it when Rapunzel hits her high notes and the glass shatters. ‘Lovely,’ says Rapunzel! That brings a pantomime touch to it, but you always know you’re in their world.”
Ross, who voices the Giant in the Jack And Beanstalk scene, has brought his projection skills to the Octagon Room, as he did last year for Narnia, Aslan the lion and Father Christmas, and now the Long Gallery too.
“We designed a system for the Long Gallery with as little impact on the space as possible, so you’re not aware of the equipment I use, such as the low-key projector stands,” he says.
“It’s something I learnt when projecting onto Buckingham Palace. No-one wants to see the wires or gaffer tape. Now we’ve done this year’s design, we’ll do even more with it next year.”
Attention to detail in Castle Howard’s Into The Woods installation
As in Sondheim’s musical, the characters from different fairytales interact and conjoin in the story, leading to the happy-ever-after vibe of the young characters turning up as their teenage selves for a party.
That ties in with Charlotte’s desire for regeneration, renewal and sustainability in CLW Event Design’s future. “Everyone took stock during Covid, thinking about ‘what are the events that can address the bigger issues [the environment, climate change] in a joyous way, rather than doom and gloom?’,” she says.
“I come from the world of entertainment but entertainment with a purpose, telling a story in a real-life context.
“We have so little manufacturing left in this country, but if we can find glass manufacturers here, bauble makers here, rather then having to import them from China, people who make things out of wood, if we could rely on cottage industries over here, keeping them in work, that would be a good policy for our installations.
“Next year, I’m hoping to really build that up, starting locally, then regionally, then nationally, rather than importing.”
Into The Woods, A Fairytale Christmas enchants at Castle Howard, near York, until January 2 2023. Tickets: castlehoward.co.uk
The “creators room”, evoking The Brothers Grimm, Charles Perrault and Professor Drosselmeyer amid a multitude of Nutcrackers in Castle Howard’s New Library
Castle Howard’s fairtyale Christmas installation goes online for virtual tour
FOR the first time, a virtual tour of Castle Howard’s Christmas installation is available to watch online.
The North Yorkshire stately home, near York, has created a 37-minute video of Into The Woods: A Fairytale Christmas for those who “who can’t visit in person, from international tourists who are still facing travel restrictions to Yorkshire locals unable to get out and about as easily”.
The online video offers a detailed exploration of Into The Woods’ fairytale-themed installation that fills Castle Howard’s grand rooms with decoration, soundscapes and projections.
The tour is presented by CLW Event Design artistic director Charlotte Lloyd Webber, who reveals behind-the-scenes details and the creative team’s inspirations room by room.
Abbigail Ollive, head of marketing, sales and programming, says: “Christmas at Castle Howard is famous for its wow factor, and we welcome thousands of visitors through our doors this time of year.
“We wanted to create an enchanting virtual tour that allowed people to experience the magic from their own homes, including local people who can’t get to us; people across the UK who can’t travel to us, and international tourists who are still limited by travel restrictions.”
Profits from the Into The Woods in person and the Virtual Tour experience will be directed towards Castle Howard’s conservation deficit to restore and protect the historic buildings and beautiful landscape stewarded by the estate.
The Virtual Tour is available via castlehoward.co.uk for£8, giving viewers unlimited access to watch the video. No closing date for this online service has been set yet.
Solomon’s Knot: Thrilling programme of Christmas cantatas. Picture: Dan Joy
York Early Music Christmas Festival, Solomon’s Knot, Johann Kuhnau: Christmas Cantatas, National Centre for Early Music, York, December 16
JOHANN Kuhnau’s name has not carried much resonance in this country until recently. Even if you have played some of his keyboard music, you might still be unaware that he wrote some terrific music for voices.
That is all changing, thanks to Solomon’s Knot and its director Jonathan Sells. His ensemble of eight voices (including the bass of Sells himself) and 18 players delivered a thrilling programme of Christmas cantatas, three of them British premieres, which is extraordinary when you consider that the German composer died exactly 300 years ago.
The London premieres, incidentally, took place the following night: another feather in this festival’s cap.
So who was he – and why have we taken so long to acknowledge him? The fault lies with J S Bach, who in 1722 succeeded Kuhnau as Kantor (music director) at the prestigious Thomasschule in Leipzig.
Kuhnau’s choral works have slumbered in Bach’s long shadow ever since. Not Bach’s fault really, of course, but we have been distracted. For Bach learned a lot from Kuhnau and the proof was right here.
All five cantatas followed a similar pattern: a short orchestral intro (not a full overture) preceded a combination of recitative, aria and choruses, many of those being a heady mixture of chordal material and fugal procedures.
Unlike Bach, he made little use of formal chorales, incorporating them into orchestral textures. Nor did he mark off the various styles into separate numbers: they flow seamlessly from one to another. This enormously enhances their dramatic effect.
Alex Ashworth: Smoothly sung bass aria
The first of the premieres, Singet dem Herrn, which uses two trumpets and a bassoon alongside strings and continuo, bore similarities to what in this country we call a verse anthem, solo voices incorporated into predominantly choral passages.
The final fugue ended slowly and majestically, à la Handel. O Heilige Zeit was not a premiere but is known to have a libretto by Erdmann Neumeister, Kuhnau’s go-to poet, who was widely popular for his cantata texts.
It opened with what to my ears was a full-scale double fugue. After a forceful bass aria, alternating long melismas with syllabic text-setting and sung by Sells, it peaked with a persuasive contralto aria delivered by Kate Symonds-Joy with excellent diction, before the final chorus.
Clarino trumpets returned for Das Alte Ist Vergangen, another premiere, which contrasted the old year and the New Year, via an analogy with the Old and New Testaments. Thus an old-style alto aria larded with coloratura was complemented by a more ‘modern’ bass aria smoothly sung by Alex Ashworth. The final ‘Happy New Year’ chorus was decidedly upbeat, trumpets dancing in triple time.
Not a premiere, but making colourful use of the familiar chorale of the same name, was Wie Schön Leuchtet der Morgenstern, where horns – with their bells upwards – and flutes added to the joy of the choruses.
Finally, and closest in style to Bach, we had another premiere in Frohlocket, Ihr Völker, which was notable for a stunning tenor aria beautifully articulated by James Way (who must make a superb Bach Evangelist). Its opening chorus, with trumpets and timpani back in the fray, had set the scene sensationally – and the finale was almost its equal.
The excitement generated throughout the evening was the musical equivalent of discovering Tutankhamun’s tomb: Solomon’s Knot has put Kuhnau firmly back on the map, and in marvellous style.
Review byMartin Dreyer
York Early Music Christmas Festival 2022 is streaming until January 31 2023 at ncem.co.uk, for £10 per concert or £45 for all seven festival events recorded at the NCEM.
Bojan Čičić: “The prospect of his playing Bach’s three solo partitas was irresistible”
York Early Music Christmas Festival: Bojan Čičić, Part 2, JS Bach Partitas, National Centre for Early Music, York, December 17
IT was never my intention to cover both Bojan Čičić recitals, but so compelling was the first – Bach’s solo violin sonatas on December 10 – that the prospect of his playing Bach’s three solo partitas was irresistible.
The partitas are essentially suites of dances. In addition, each of the four dances of Partita No 1 in B minor is followed by a ‘Double’. Common in French harpsichord suites, a double is a variation on the dance it partners, usually twice or three times as fast as the original. Thus, after the Corrente (Courant), there is a double marked Presto. Čičić took this at an incredible pace, showcasing his daring virtuosity.
In the Sarabande that followed his triple-stopping was chordal and deliberate, with an arpeggiated double to follow: in its way, this was as breath-taking as the Corrente.
No 2 in D minor was no less striking. After an intimate Allemanda, with fluent ornamentation, the different registers of the Corrente were strongly differentiated, so that we sensed three simultaneous lines.
The Giga was another dazzler. The concluding chaconne started innocently enough, but built into some fearsome runs, which were despatched nonchalantly. In the middle of all this was a D major interlude of teasing suspensions.
The pastoral No 3 in E major was a gentler affair. Its well-known Gavotte was positively bouncy, its two minuets exquisitely graceful and its final Gigue (offshoot of the original English jig) brilliantly steady. This unassuming virtuoso had worked his magic again.
Reviewby Martin Dreyer
YORK Early Music Christmas Festival 2022 is streaming online until January 31 2023 at ncem.co.uk, at £10 per concert or £45 for all seven festival concerts recorded at the NCEM.
Hold on, is that Noddy Holder? No, it’s a nod to Noddy Holder as tribute band Slade UK invite you to Cum On Feel The Noize at the Victoria Vaults
SLEIGHS and that Slade song, pantomime mayhem and New Year parties signify the changing of the diary for Charles Hutchinson, with one eye on 2023.
Merry Xmas Everybody: Slade UK, Victoria Vaults, Nunnery Lane, York, Christmas Eve, 7pm
SO here it is, Merry Xmas, everybody’s having fun as Slade UK, tribute act to the Wolverhampton wonders, roll out that 1973 festive chart topper and a whole heap of misspelt Slade smashes, from Gudbuy T’ Jane to Cum On Feel The Noise, Coz I Luv You to Mama Weer All Crazee Now.
“We’re really looking forward to having Slade UK at the Vaults,” says owner/manager Chris White. “It’s going to be a great evening and a lot of fun.” DJ Garry Hornby will be on the decks. Box office: theyorkvaults.com.
Mayhem, mischief and nautical naughtiness: Jonny Weldon’s Starkey, left, and Paul Hawkyard’s Captain Hook in York Theatre Royal’s The All New Adventures Of Peter Pan
Still time for pantomime, part one: The All New Adventures Of Peter Pan, York Theatre Theatre Royal, until January 2 2023
CBEEBIES’ science ace Maddie Moate and three stars of last year’s Cinderella – Faye Campbell, Paul Hawkyard and Robin Simpson – head to Neverland in York Theatre Royal’s third collaboration with Evolution Productions.
Moate plays naughty fairy Tinkerbell, Campbell, plucky Elizabeth Sweet, Hawkyard, histrionic Captain Hook and Simpson, dame Mrs Smee, joined by Jason Battersby’s Peter Pan and Jonny Weldon’s madcap pirate Starkey in creative director Juliet Forster’s production, scripted by Evolution’s pun-loving Paul Hendy. Look out for acrobats Mohammed Iddi, Karina Ngade and Mbaraka Omari too. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Goose in the Grand Opera Hoose: Dame Berwick Kaler’s Mrs Plum-Duff in The Adventures Of Old Granny Goose. Picture: David Harrison
Still time for pantomime, part two: The Adventures Of Old Granny Goose, Grand Opera House, York, until January 8 2023
PETER Pan is not alone in flying across a York pantomime stage this winter. Dowager Dame Berwick Kaler does likewise at 76 in his second season at his adopted home, presented with the Grand Opera House’s new partners in panto, UK Productions.
Joining his ad-libbing granny, Mrs Plum-Duff, are sidekick Martin Barrass’s Jessie, villain David Leonard’s Lucifer Nauseus, principal gal Suzy Cooper’s Cissie, AJ Powell’s Brum Stoker and ever-game dancer Jake Lindsay’s Jakey Lad. Look out for Boris Johnson’s cameo as a dummy, me babbies, me bairns. Box office: 0844 871 7615 or atgtickets.com/York.
New Year Gala Concert, Harrogate-meets-Vienna style
Viennese waltzing into 2023: International Gilbert and Sullivan Festival’s New Year Gala Concert, Harrogate Royal Hall, January 7 2023, 7.30pm
CELEBRATE the dawning of the New Year in the company of the National Festival Orchestra on a whirlwind tour of bygone opulence, taking in the cafés of Vienna, the bars of Paris and the drawing rooms of London.
Enjoy waltzes, ballads and Gilbert and Sullivan favourites in a gala concert conducted by Christopher Milton and featuring international opera stars. Box office: gsfestivals-tickets.gsfestivals.org.
New Year Party, Ukrainian style: The Ukrainians mark Malanka at The Crescent, York
New Year on a different calendar: The Ukrainians: Malanka, The Crescent, York, January 14 2023, 7.30pm
ON the eastern calendar, New Year falls on January 13 and is marked in Ukraine with a variety of festivities known as Malanka.
The Ukrainians have been playing their brand of Ukrainian music for three decades on folk and roots stages, clocking up eight albums and 1,000 gigs. High-energy party songs and a few surprises are promised. Box office: thecrescentyork.com.
Heavy Spring Showers, by John David Petty, on show at Kentmere House Gallery from February 3
Exhibition on the horizon: Lost and Found, East Riding paintings by John David Petty, Kentmere House Gallery, Scarcroft Hill, York, February 3 to April 2 2023
WHERE does Kentmere House Gallery owner Ann Petherick find her artists, she is often asked. “The best ones always have to be searched out, and I think I first found John David Petty in Beverley Minster, showing a collection of wonderful paintings of doors and windows of Holderness churches,” she says.
Petty is more often to be spotted outdoors, among the flatlands of the East Riding, where this former graphic artist relishes the solitude and wide landscapes.
Favouring oils, acrylics and charcoal, his church work uses the same techniques of deeply etched lines, with the addition of paper collage to capture the texture of ancient stonework. For opening hours, go to: kentmerehouse.co.uk.
Matt Goss: Bros hits, new songs and a celebration of Cole Porter at York Barbican
What’s Matt doing next after Strictly? The Matt Goss Experience, with the MG Big Band and Royal Philharmonic, York Barbican, March 4 2023, 8pm
STRICTLY Come Dancing 2022 contestant and former Bros frontman Matt Goss, 54, performs his biggest hits, new original material and a tribute to songwriter Cole Porter in an evening of swing, glitz and swagger.
Having headlined Las Vegas for 11 years, Goss is back doing what he loves, singing with a big band and a philharmonic orchestra. Box office: yorkbarbican.co.uk.
Jimmy Carr: Still Terribly Funny in 2023
Repeat offender…or not?! Jimmy Carr, Terribly Funny 2.0, York Barbican, September 12 2023
AFTER completing a hattrick of York performances on his Terribly Funny tour – November 4 and 9 2021 and April 15 this year – provocative comedian and television panel show host Jimmy Carr is to return to the city on his Terribly Funny 2.0 itinerary.
Carr, 50, says his show “contains jokes about all kinds of terrible things. Terrible things that might have affected you or people you know and love. But they’re just jokes – they are not the terrible things”. New material is promised. Box office: yorkbarbican.co.uk or ticketmaster.co.uk.
Wrapping: Unwrapping, more like, as Australian singer-songwriter Julia wears nothing more than snowflakes. Diaphanous would not cover it. Song titles in classic festive red on the back of this prompt re-issue of an album released too close to Christmas to draw media attention last winter, but now making it onto HMV’s Yuletide shelves in York, alongside Sir Cliff, the Bocelli and Estefan families, Aled & Russell, Joss Stone, Alicia Keys and Backstreet Boys (but not Chris Isaaks’s Elvis-lite Everybody Knows It’s Christmas, alas).
Gifts inside: Julia’s 14-track debut Christmas collection, recorded in a week in the Reservoir Studio in Midtown, New York, with producer Thomas Bartlett (piano, keys), Sam Amidon (banjo, guitar, violin), James Gilligan (pedal steel & bass), Leigh Fisher (percussion), Nico Muhly (string arrangements) and Ross Irwin (trumpet, horns).
“This record encapsulates my fondest childhood memories tinged by the reality that so many are forever missing from my life today,” Stone says, as she picks hymns (Come All Ye Faithful, The First Noel, Away In A Manger, Joy To The World), standards (It’s Beginning To Look A Lot Like Christmas, Jingle Bells, Winter Wonderland, Have Yourself A Merry Little Christmas) and latterday Christmas gems (Mariah Carey’s All I Want For Christmas Is You, Wham’s Last Christmas and Joni Mitchell’s River).
Style: Imagine Kylie singing Dolly Parton’s bluegrass take on Christmas, or Eartha Kitt guesting on Bruce Cockburn’s classic folk-rooted 1993 album, Christmas. Soulful Mariah makes you believe what she wants for Christmas will definitely arrive; doleful Julia, by comparison, probably not. More Boxing Day rueful reflection than Christmas Eve hope.
’Tis the reason to be jolly: Those Carols, especially Away In A Manger in a duet with Amidon, and the arrangements, wherein Irwin’s horns, Amidon’s banjo, Gilligan’s pedal steel and Muhly’s strings add wintry magic and variety.
Scrooge moan: No new songs amid the bleak winter stalwarts. The backing vocals on Last Christmas sounding as uncommitted as dads told by the dame to sing the panto song-sheet.
White Christmas? Oh yes, a beauty, bedded in for winter with Bartlett’s piano and Amidon’s violin.
Blue Christmas? Very blue, like how frozen Julia looks on that snowy cover. “Everything is a celebration, and everything is painful. Everything is love and everything can be lost. Everything is Christmas,” she said, when announcing the album. That is how she sings, as lonesome as the solo choirboy on the first line of Once In Royal David’s City.
Stocking or shocking? The mournful, moving, yet beautiful record to match the downbeat mood at the fag end of 2022, a shocker of a year. What Julia needs for Christmas is Satchmo’s Cool Yule (see below).
Satchmo’s Santa on the sleeve of his “first ever Christmas album”
Louis Armstrong, Louis Wishes You A Cool Yule (Verve) ****
Wrapping: Satchmo in Santa garb, trademark trumpet on his lips, looking heavenwards amid stars and snowflakes. More trumpeting on the reverse beside a Christmas tree, more stars, more snowflakes, and the track listing. Inside, notes by Ricky Riccardi, Armstrong biographer, lecturer and director of Research Collections for the Louis Armstrong House Museum.
Gifts inside: Armstrong never made a Christmas album, although 1957 delivered the Armstrong As Santa Claus set, while Ella & Louis and Louis & Friends Christmas compilations are readily available. Anyway, 51 years after his death, here are his six Fifties’ Christmas singles for Decca and duets with Ella Fitzgerald (the romantic I’ve Got My Love To Keep Me Warm) and a sultry Velma Middleton (the fruity Baby, It’s Cold Outside, replete with Louis double entendres). Plus his last ever recording, a previously unreleased February 1971 reading of Clement Clarke Moore’s A Visit From St Nicholas, aka The Night Before Christmas, newly accompanied by Sullivan Fortner’s jazz piano.
Style: Louis’s rumble of a larynx is as much the voice of Christmas as Noddy Holder’s holler, Shane MacGowan’s slur or Bing Crosby’s bonhomie. Warming as mulled wine, rich as fruit cake. Then add that jazz swing, all in “the cause of happiness”, with Benny Carter and Gordon Jenkins’ bands and The Commanders.
’Tis the reason to be jolly: Cool Yule, Winter Wonderland, Christmas In New Orleans (his hymn to his home city), ‘Zat You’, Santa Claus?. Sung in that voice.
Scrooge moan: What A Wonderful World is not a “holiday song” but…on the other hand, what a wonder it is, the message of hope ever resonant.
White Christmas? Yes, the best version ever, no less.
Blue Christmas? Only the temperature on Baby, It’s Cold Outside.
Stocking or shocking? What a wonderful present this would be.
