Karl Culley: Returning home to play Harrogate Theatre Restoration Appeal concert
ACOUSTIC guitarist and singer Karl Culley will head from Poland to his hometown of Harrogate to play a restoration appeal fundraiser for Harrogate Theatre on June 2.
Accompanying him in the intimate Studio Theatre will be fellow Harrogate musician Dan Webster, from Birdman Rallies, Gosh Hawk and New York Brass Band, who also will play a short set on the 7.30pm bill.
The fundraiser will be presented by not-for-profit Harrogate event organisers Charm, who previously brought the likes of Field Music and Gruff Rhys, of Super Furry Animals, to Harrogate Theatre.
“It’s a rare return to Harrogate from his successful sojourn in Kraków for Karl Culley, who has been hailed by Mojo magazine as a brilliant ‘metaphysical folk pop poet’,” says Charm promoter Graham Chalmers.
Dan Webster: Performing with Karl Culley and playing solo set at June 2 fundraiser
“Karl first appeared at a Charm night in 2005 and has become favourite of our events ever since with his mesmerising performances.”
Culley released debut album Bundle Of Nerves in 2009, put together from recording sessions on the Scottish isle of Jura. His second offering, The Owl, produced by Daniel Webster, was recorded in York and his native Harrogate in 2011 and drew comparisons with both Tim Buckley and José González in a four-star Sunday Express review.”
Three more albums have followed: Phosphor in 2013, Stripling in 2015 and Last! in 2018. “Karl will perform songs from all five and unveil tracks from his new EP, Redshift, which has already been reviewed favourably by folkradio.co.uk,” says Graham.
Charm presents Karl Culley and Dan Webster in a night of acoustic music at Harrogate Theatre Studio Theatre on June 2 at 7.30pm. All profits will go to the Harrogate Theatre Restoration Appeal. Box office: 01423 502116, at harrogatetheatre.co.uk or via email to boxoffice@harrogatetheatre.co.uk.
Steven Jobson, who plays Jekyll/Hyde, and Nicola Holliday, in the role of Lucy Harris, pictured at York Castle Museum
YORK Musical Theatre Company are marking their 120th anniversary with a new staging of Jekyll & Hyde The Musical.
Directed by Matthew Clare, York’s longest-running amateur theatre company are presenting Robert Louis Stevenson’s story of love, betrayal and murder from May 25 to 28, when the epic struggle between good and evil comes to life to the pop-rock score of Grammy and Tony Award-nominated Frank Wildhorn and double Oscar and Grammy-winning Leslie Bricusse.
Jekyll & Hyde has been described as a “niche musical”, prompting Matthew to say: “It was first done in Texas in the 1990s and it’s true it’s not been done commonly. Maybe its subject matter is off-putting to those who want something more family orientated: Annie comes without seven murders, doesn’t it – and I once did 17 productions of Annie in one year!
“But given that the music is phenomenal, we stood the chance of getting a really good cast, doing some music nights with musical director John Atkin going through some of the score, and we ended up with a really good turnout for the auditions.”
Among those auditionees was Glyndebourne Academy alumna Alexandra Mather, who will play Emma Carew. “The music has some operatic elements and strong musical theatre ones too,” she says.
“So, the show has that crossover appeal between the populism of Lloyd Webber and the sophistication of Sondheim. It’s Phantom meets Sweeney Todd, with the big power ballads for the Lloyd Webber factor and the interplay of Sondheim in the ensemble scenes.”
Matthew Clare: Directing York Musical Theatre Company’s production of Jekyll & Hyde The Musical
Stevenson’s tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself – finds both women in love with the same man and both unaware of his dark secret.
A devoted man of science, Dr Henry Jekyll is driven to find a chemical breakthrough that can solve the most challenging of medical dilemmas. Rebuffed by the powers-that-be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons, along with the man that the world would come to know as Mr Hyde.
“It’s a really powerful story rooted in Dr Jekyll looking for a cure for his father’s dementia,” says Matthew. “Most people can probably sympathise with that emotion, that desire, but the issue is that he becomes obsessed with it.”
Alexandra adds: “Jekyll doesn’t have a way to pursue this through the proper channels because it’s a one-man crusade and he ends up having to push Emma away because of what he’s doing.”
Anthony Gardner, cast as lawyer John Utterson, joins in: “Hyde is a diminished part of Jekyll. He’s juxtaposed with Utterson, who has all the correct moral values and represents stability.”
Matthew notes how Hyde is the only honest character in the story. “That’s a really weird thing to say about your villain, who’s always within Jekyll.”
“It’s Phantom meets Sweeney Todd,” says principal cast member Alexandra Mather, describing the musical style of Jekyll & Hyde
How we might behave in any given situation depends on where we are in our lives, suggests Alexandra. “We are not constant,” she says. “Depending on where we are, it can bring out that other side.”
Anthony is playing “one of the more relatable characters”. “Utterson is Jekyll’s best friend but he’s also someone who steps out of the story and becomes a narrator, so as such his voice is one of the ones you can trust,” he says.
“He’s desperate to save his friend but he’s also blind to his faults so he’s always one step behind.”
Anthony has been “knocking around I don’t know how many companies all these years”, from York Light Opera Company to York Opera, the Bev Jones Music Company to York Musical Theatre Company. “But the draw to Jekyll & Hyde for me was very specific,” he says.
“I met my fiancée doing an abridged version at the ROSS Musical Theatre Performance School at Lancaster: a 45-minute version that still had all the murders and the full story.
“I had to play two characters: my first take on Utterson, a role suited to my style, and Spider; my now fiancée was playing Lucy Harris, the prostitute, and now she’s playing Lady Savage next week.
Devoted man of science: Steven Jobson’s Dr Henry Jekyll
“We’re due to get married next year. We got engaged over lockdown, and we’ll be getting married on Kirkgate at York Castle Museum, where, as it happens, we did the photocall for Jekyll & Hyde.”
Anthony’s bride-to-be is Elizabeth Vile. “No, she will not be keeping her maiden name! I had always thought I would go double-barrelled when marrying, but ‘Vile Gardner’ doesn’t quite work, does it?!”
Should you be seeking further reasons to be “immersed in the myth and mystery of 19th century London’s fog-bound streets” in Jekyll & Hyde, here are two more from director Matthew.
“Because of Covid, York Musical Theatre Company haven’t had a full-scale production for two years since Jesus Christ Superstar, just a couple of online concerts, so it’s great to be back,” he says.
“It’s also very interesting to have two performers playing Lucy – Nicola Holliday on Wednesday, Friday and Saturday evening; Claire Pulpher on Thursday and at the Saturday matinee – and seeing how they play her in their different ways.”
York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, May 25 to 28, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Copyright of The Press, York
York Musical Theatre Company’s poster artwork for Jekyll & Hyde The Musical
The poster artwork for Yorkraine, Ian Surgenor’s benefit concert for Ukraine
THE Yorkraine benefit concert for Ukraine brings together York cover bands The Supermodels, The Mothers, The Y Street Band and Sister Madly on May 24.
Acoustic sets from Alex Victoria and fellow York singer-songwriter Mal Fry and contributions from guest speakers complete the “totally York” 7.30pm bill at the Grand Opera House, York.
The evening of pop and rock classics from the past six decades will raise funds for the British Red Cross DEC appeal to aid Ukrainian refugees who find themselves in dire circumstances. All artists, hosts, sound tech and crew have donated their time free of charge.
Concert organiser Ian Surgenor says: “I’m a taxi driver by trade, and when I was working at night, there was a newsflash that Russia had invaded Ukraine. I was mortified, and then, like 99 per cent of the British population, I just felt helpless.
The Supermodels
“The only thing I thought I could do was to arrange a concert for the DEC appeal. I’ve always held York Rocks Against Cancer concerts at the Grand Opera House, so I got in touch.
“The manager, Alice [Long], went out of her way to find us a spot, squeezing us in for May 24, and we’re delighted to be doing the show there as the acoustics are great.”
Explaining the choice of musicians for the night, Ian says: “Cover bands have a broad appeal, and I have a really good relationship with most of them in York, just from doing events and seeing gigs.
“There’s a mutual respect, so I approached Dave Sykes, from The Supermodels, who did the first York Rocks; I knew Rob Wilson, from The Mothers, and I’ve done shows with The Y Street Band.”
Sister Madly happen to be Ian’s own band, also featuring two stalwarts of the York musical theatre scene, Jo Theaker, last seen in York Stage’s Calendar Girls at the Grand Opera House, and Ian’s wife, Marie-Louise Surgenor, from Rowntree Players.
Sister Madly, featuring Ian Surgenor, Jo Theaker and Marie-Louise Surgenor
Ian was keen to include acoustic acts too. “I’d seen other venues putting on acoustic singers on such nights,” he says.
“In fact, I provided the sound for the acoustic lounge when Big Ian Donaghy held a fundraiser for the Ukraine emergency appeal at York Sports Club in March, with Huge playing in the main room, and Dan Webster, Emily Lawler, Rich Hardcastle, To The Blue and a young lady called Alex Victoria in the lounge.
“I was blown away by her. ‘What a voice this girl has,’ I thought, and I wondered if she’d like to do the Yorkraine gig. She said she’d be honoured!”
In attendance too will be a civic party led by Andrew Digwood, Undersheriff of the City of York, while a speaker from the British Red Cross will explain “what will happen to the money and what it’s like on the front”.
The Mothers
“We’ll also be welcoming a Ukrainian gentleman, Dimitri, who works for the Studio Cloud Nine fitness company. He drove to Poland to bring a family here, but couldn’t get them into the country, so they ended up going to Portugal, where the children were placed in a school within two days. Amazing what can be done, isn’t it?”
Look out too for a guest appearance by York vocal drag diva supreme Velma Celli, alias York’s West End musical theatre actor Ian Stroughair. “Ian approached me and said he thought what we were doing was amazing and asked how he could help,” says organiser Ian, who duly slotted Velma into the bill.
Surgenor has secured sponsorship from four sources: Nestlé, Vincent & Brown, Ainsty Ales and Fenton Simpson Financial Services. “They’ve covered the costs totally for hiring the theatre, projection, and so every ticket sold, every penny raised on the night from a collection, all the money will go the DEC appeal.”
The last mention goes to Simon Hudson, who is providing the sound and lighting…for free, of course.
Yorkraine, Ukraine Benefit Concert, Grand Opera House, York, May 24, 7.30pm. Box office: 0844 871 7615 or at atgtickets.com/York.
Bolshee trio Paula Clark, left, Megan Bailey and Lizzy Whynes: Premiering Boss B***h at Green Shoots
NEW work commissioned by York Theatre Royal from dozens of York and North Yorkshire professional artists will be premiered in Green Shoots on June 7 and 8.
Poets, performers, singers, dancers and digital artists will take part in this sequel to Love Bites, last May’s two-night showcase that marked the Theatre Royal’s reopening after the lifting of Covid lockdown restrictions.
Forming part of the Rumours & Rebels season, Green Shoots’s diverse bite-sized performances will be focused on “rebooting post-pandemic and looking to the future of the planet”.
Twenty commissions have been selected by the Theatre Royal from the call-out for submissions for a scheme that offers £1,000 per commission plus £150 each time they are performed.
Theatre Royal creative director Juliet Forster says: “Love Bites last year was a joyous event that will live long in my mind, not just because we were re-opening after 14 months of enforced closure, but also because our stage was filled to overflowing with the tremendous talent and ingenuity of local artists.
York Theatre Royal creative director Juliet Forster
“It was moving, spectacular, surprising, thought-provoking and funny in equal measures. We have created this new opportunity with Green Shoots because we are excited to see what they will do next.”
Those who were commissioned have been asked to respond to the title Green Shoots in any way that it can be interpreted. “Pieces might be about hope, recovery, new beginnings, revolution, new life, growth, the environment or anything else that can be imagined as a response,” says Juliet.
Participating next month will be Hayley Del Harrison; Dora Rubinstein; Sam Bond; Fladam; Bolshee; Butshilo Nleya; Ana Silverio; Esther Irving; Gus Gowland; Nettle Soup and Polychrome Studios; Paul Birch and Sam Conway.
So too will be Ella Portnoy; Kate Bramley/Badapple Theatre Company; Robert Powell, Ben Pugh and Kitty Greenbrown; Libby Pearson and Emily Chattle; Alexander Flanagan-Wright; Hannah Davies and Jack Woods; Joe Feeney and Carey Simon.
Hayley Del Harrison: Choreographer and theatre-maker
Hang On Little Tomato, Hayley Del Harrison.
HANG On Little Tomato is about a young woman, growing her very first tomato plant. Some people believe that plants respond emotionally when you talk to them but our novice gardener takes this to the next level. It turns out the shared experience delivers mutual support, faithful companionship and that tiny bit of vibrancy they both needed to feel a little less alone.
Spring In My Step!, Dora Rubinstein
THIS contortion and acro-dance piece is a physical exploration of how it feels when the sun shines again after a long winter. The feeling of sunlight on your skin; the smell of freshly cut grass; the sight of daffodils. The feeling that light, connection, joy, is back, and the dark days are over.
All The World Is Green, Sam Bond
LONELY retirees Jamie and Clara meet by chance at a concert in their Yorkshire Dales village, bringing love unexpectedly back into their lives. A story of new beginnings, All The World Is Green blends live performance and film to look at the power of memories, life after loss and finding love again in old age.
Greenfingers, Fladam
DID you ever hear the tale of Greenfingers? The wicked boy born with unsightly green hands, who spoils all he touches. But has history misjudged this green-fingered boy? Is he even a boy at all? Find out in this deliciously Dahl-esq treat from madcap musical duo Fladam, alias Adam Sowter and Florence Poskitt.
BOSS B***H, Bolshee
BOSS B***H explores the infamous statement made by influencer Molly-Mae Hague and celebrity media personality Kim Kardashian that we all have the same 24 hours in a day as Beyonce. Cue five minutes of female voices, beats and moves. “Let’s challenge the toxic boss bitch narrative,” say Paula Clark, Lizzie Whynes and Megan Bailey.
Butshilo Nleya: Healing stories
Tatu Dances: Stories Of Healers, Butshilo Nleya
A PLAY with dances, songs, poetry about healing the mind, the body and the spirit celebrated by three generations of displaced, dejected, denigrated and defiant African healers.
Green Shoots, Ana Silverio (Terpsichoring)
ANA’S solo dance piece, specially created for the Green Shoots commission, explores the processes and emotions of starting over again after an unexpected interruption. This work is about perseverance and the search for possibilities.
Her Face/My Face, Esther Irving
WHAT do you do when you no longer recognise the face that looks back at you in the mirror? How can you re-connect the life you had with the one you live now?
Your Own Road, Gus Gowland
THIS original song takes its inspiration from a quote from James Herriot’s memoir All Creatures Great And Small: “When all t’world goes one road, I go t’other”. Performed by Joe Douglass, this uplifting and empowering anthem encourages you to follow your own path and see hope in the world around you.
Stones On The Riverbed! Nettle Soup and Polychrome Studios
HAVE you ever heard of the legend of the five white stones? This piece of verbatim theatre explores what the residents of York are looking forward to in the future, unearthing their hearts’ truest desires.
Gus Gowland: Uplifting and empowering anthem
Beanstalk, Paul Birch
FOR hundreds of years, you have been telling the story of Jack And The Beanstalk completely wrong. Beanstalk is the recently discovered true account of the tale, told from the Giant’s point of view. Any similarities to any persons now living, lying or misusing public funds is entirely coincidental.
‘Don’t Mow, Let it Grow!’, Sam Conway (Little Leaf Theatre)
THIS piece extols the benefits of letting the grass in your garden grow throughout spring. Incorporating dance, music and video, Little Leaf Theatre endeavour to bring a serious message to the stage in a light-hearted and engaging way.
Baby Bird, Ella Portnoy
A MONOLOGUE about breaking out of an egg and feeling new-born after lockdown – being a gosling and pottering around in the world, full of curiosity.
The Three Allotmenteers, Kate Bramley/Badapple Theatre Company
A CURIOUS late-night game takes place at The Gardener’s Arms as The Three Allotmenteers play for what was left after the sudden death of their friend. An unexpected discovery sows the seeds of a joyous outcome to their current situation
Beckon, Robert Powell, Ben Pugh and Kitty Greenbrown
THIS five-minute performance and film-poem drew initial inspiration from a remarkable medieval church window in York. Beckon invites its audience on a brief but powerful journey through a landscape of shared memory, confusion, fear and wonder towards a sense of hope.
The dramatic collage of spoken word, film and sound conjures both past and present times to address our current situation – a world at once treasured and threatened.
Alexander Flanagan-Wright: “Just words, and a little bit of music”
The Sapling!, Libby Pearson and Emily Chattle
SASHA’S history has bonded her to nature in general and to trees in particular, and she knows that sometimes even the smallest of gestures can have the biggest of impacts. Meet Sasha as she tells her personal story of discovery and making a difference.
If There Was Ever Anything Worth Hoping For Then I Hope, Alexander Flanagan-Wright
“THIS is a story. It’s a short story. It’s only five minutes long. But it’s about loads of stuff. It’s about everyone, I guess,” says Alex. “It’s about everything that got each of us to here and it’s about what we do next and, importantly, what we hope will happen after that.
“It’s just words, and a little bit of music. But it’s come from your yesterday, your week before, the years that got you here. And it’s about tomorrow, or next week, or next year. If you’re after a fresh start, they perhaps don’t exist. But tomorrow does, so let’s pin some of our hope on that, shall we?”
The Ballad Of Blea Wyke!, Hannah Davies and Jack Woods
THE traditional selkie myth is reworked for the Yorkshire East Coast, set against the dramatic landscape of Ravenscar. Here the ancient story of the seal-people is re-imagined, placing it in a world not too far off from our own, where cliffs are crumbling and some people have never seen the sea, despite the rising water levels.
Green Man!, Joe Feeney
AT the end of his tether witnessing the climate emergency’s destructive charge towards certain oblivion, and feeling utter powerlessness, an ordinary man calls on the mythical Green Man of yore to save the world.
Ocean/Jura, Carey Simon
PRESENTING two poems with a backdrop of classical music. Ocean focuses on the seething fury of the mighty unabashed ocean, the passion and the volatility of its rolling motion that conceals its briny, gloom-shrouded depths from frail eyes above.
Jura is an elixir that transcends the bounds of the spirit-taste divide. Smoothness, translucence overflowing the senses into something more. Deliciousness, a notion leading to Nirvana’s devotion.
Tickets for the two 7.30pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
London Glassblowing founder Peter Layton, holding a Gito vase, and Pyramid Gallery owner Terry Brett
PETER Layton, London Glassblowing workshop founder and British studio glass movement grandee, will make an appearance at Pyramid Gallery on Thursday from 4.30pm to 6.15pm to herald the York art emporium’s 40th anniversary celebrations.
Gallery owner Terry Brett says: “In that period, Peter has taken part in many exhibitions of glass here and for at least 30 years he has been represented by the gallery, as have many associates of his workshop in Bermondsey Street, London.
“To mark 40 years of promoting British studio glass, we’re displaying 40 pieces of art glass that have a connection to London Glassblowing, which is itself celebrating an important anniversary: 45 years. Please join Peter for a glass of wine or a soft drink and a chat.”
Amber Glacier, by Peter Layton, at Pyramid Gallery, York
Peter is presenting 18 glass works from various ranges in the 40 Pieces Of Glass anniversary show, exhibiting alongside Bruce Marks, Layne Rowe, Anthony Scala, Sila Yucel, Cathryn Shilling and Sarah Wiberley, complemented by William Watson West’s exhibition of abstract acrylic paintings, A New Normal.
Peter trained in the 1960s as a ceramicist, but while teaching at Iowa University he experimented with glass and soon adopted it as his preferred medium. On returning to Britain, he became one of the pioneers of the British studio glass movement in London, establishing the London Glassblowing workshop in Rotherhithe in 1976.
When Terry took over Pyramid Gallery in 1994, Peter was already well established with the gallery, having supplied founder Robert Feather with glass in the early 1980s.
“I recall selling a piece of Peter’s glass on my first day of opening on May 31 1994,” says Terry. “A German glass collector came into the shop and immediately went to a tall white glass bottle that was in a cabinet.
Ice-Cap Pyramid, blown and cast glass, cut and polished, by Peter Layton
“It took no longer than five minutes for him to make a decision and purchase the object, that I now know was a Peter Layton ‘Floral’ flacon. It seemed a lot of money to me, who knew nothing about studio glass.
“I was shaking inside as I took the payment and wrapped the object in a box, but I knew it was a watershed moment for me and I have adored glass ever since.”
Since that day, at least 30 more glass artists from London Glassblowing have exhibited at Pyramid, along with 270 other glassmakers whose work has sold through the gallery in Stonegate.
40 Pieces Of Glass will run until September 24; after July, it will become part of a mixed show with other artists. Exhibition pieces can be viewed at both the gallery and online at pyramidgallery.com.
Pyramid Gallery owner Terry Brett, holding a glass form by Peter Layton. On display too are a glass ring by Colin Reid, a yellow sculpture by Bruno Romanelli, a plate by Barry Stedman and pictures by Hilke Macintyre and Mick Leach
Gary Barlow: First there were two, now there are four shows
GARY Barlow is adding a FOURTH show at the Grand Opera House, York, on June 9 after his June 10 and 11 performances and hastily added Sunday matinee on June 12 all sold out.
The Wirral singer, songwriter, composer, producer, talent show judge and author will be presenting his theatrical one-man show A Different Stage, ahead of the September 1 publication of his autobiography of the same name by Penguin Books.
“Now I’ve done shows where it has just been me and a keyboard,” says the Take That mainstay, 51. “I’ve done shows where I sit and talk to people. I’ve done shows where I’ve performed as part of a group.
“But this one, well, it’s like all of those, but none of them. When I walk out this time, well, it’s going to be a very different stage altogether.”
Tickets for June 9’s 7.30pm show are selling fast at atgtickets.com/York or on 0844 871 7615.
The Simon & Garfunkel Story: On tour at the Grand Opera House, York
THE Simon & Garfunkel Story returns to the Grand Opera House, York, on May 27 to celebrate the songs of the folk-rock duo from Queens, New York.
The 7.30pm performance features a cast of West End actor-musicians telling the story of elementary school friends Paul Simon and Art Garfunkel, from their humble beginnings as rock’n’roll duo Tom and Jerry, through to their 1960s success, relationship troubles and dramatic break-up in 1970, finishing with a re-creation of their 1981 Central Park reunion concert.
Using a large projection screen, the show features 1960s’ photos and film footage while a live band performs such favourites as The Sound Of Silence, The Boxer, Mrs Robinson, Cecilia, Bridge Over Troubled Water, Homeward Bound, I Am A Rock and America.
The Simon & Garfunkel Story heads to York on the back of a week-long West End run at the Vaudeville Theatre and sold-out performances in 50 countries worldwide,
Tickets are on sale on 0844 871 7615 or at atgtickets.com/york.
Keith Allen as brutal patriarch Max, ruling his sons with threats and violence, in The Homecoming
KEITH Allen is completing a hattrick of roles spread over 25 years in Harold Pinter’s darkly comic power struggle The Homecoming, on tour at York Theatre Royal from tonight.
At the National Theatre, in 1997, the Welsh actor, comedian, television presenter, documentary maker and rousing punk musician played university professor Teddy, returning from America with his wife Ruth to find his two brothers, Joey and Lenny, and elderly father Max still living at their North London family home.
In 2015, at the Trafalgar Studios, London, he was cast as Uncle Sam. “Now I’m playing Max but that’s as far as I can go because I’m too old to play Joey or Lenny,” says Keith, 68. “Max is the patriarch of a very misogynistic household. Every character is repressed to the nth degree but while most of them repress their rage Max doesn’t.
“He had a very interesting relationship with his now-dead wife that has coloured his whole life and he’s in a household where they’re all playing games and trying to top each other. Everything that’s done is for a reason and it’s usually to get one over on someone else.”
Keith compares former butcher Max to a raging sheep: “If you’ve ever been in a field with a very angry tup, you don’t want to be there. I’ve been there and they don’t back down.”
Director Jamie Glover and actor Mathew Horne, who is playing pimp Lenny, always had Allen in mind for their Pinter project “They’re close mates, and the genesis of the idea to do a Pinter play came from them. They took their idea to Danny Moar at [the Theatre Royal] Bath, originally wanting to do The Caretaker, but the Pinter estate offered the rights to The Homecoming instead.”
Glover and Horne were unsure whether Allen would want to return to Pinter’s 1965 fractured family drama, but “Max is a part I’ve always had my eye on,” says Keith. “I was very lucky to be offered it and I’m very pleased to be doing it.”
After all, The Homecoming is considered to be Pinter’s finest work in its exploration of toxic masculinity, stultifying patriarchy, one-upmanship feuds and sexual powerplays. “I’ve always thought Pinter was a poet before he was a playwright and the poetry is amazing. This whole play is about language and very particular choices of words, which is why as an actor you have to be very on-the-ball about the grammar.
Keith Allen’s Max, seated, and Mathew Horne’s Lenny, centre, in The Homecoming
“I think the lyricism of the play is extraordinarily attractive and the tension has people constantly going, ‘What on earth is happening and what’s going to happen next?’.”
Keith praises not only the writing, but the “brilliant structure” too, describing it as a feat of engineering. “As an actor, you just get your skis on and let the skis guide you,” says the skiing enthusiast.
What does Keith recall of his first performance in The Homecoming? “That was in 1997, directed by Roger Michell, who died last September, bless him. I remember feeling I’d let the cast down in rehearsals, as I would forget my lines, make things up and trip my way through it, playing Teddy to Lindsay Duncan’s Ruth.
“But I got a handle on it in the end, and it was a brilliant way to learn about being still on stage, which is a great skill to master, when a lot of actors get scared if they’re not doing anything.”
Comparing the productions, Keith says: “I have to say that all three have had very different qualities. This one is very funny, much funnier than the other two, because the director chose that path. Jamie Lloyd’s production in 2015 was much bleaker; this one is genuinely funny but also very discerning.
“A hefty contributory factor to that humour is that these men are idiots. They’re fantasists, all trying to be top dog, and that’s funny to watch.”
Assessing The Homecoming’s impact on audiences in 2022, by comparison with 1965, Keith says: “Misogyny is very present in the play, as is generational jealousy within a family. The mother is dead but she looms very large in everyone’s memory, especially Max’s because he loathed her.
“When the play was first performed, I don’t think anyone had seen anything quite so vicious and measured before. Now it’s interesting for different reasons because we’re living in a time where women are becoming far more recognised and are on a far more equal footing.
“As an actor, you just get your skis on and let the skis guide you,” says Keith Allen of the art of performing in a Pinter play
“There are things in the play that could be misconstrued as being abusive to women and, because of the times we’re living in, audiences might react very quickly to certain things which they wouldn’t necessarily have reacted to before.”
Keith has “previous” for Pinter, not only appearing in The Homecoming but also in Pinter 3: Landscape/A Kind Of Alaska in the West End and The Celebration and The Room, both directed by Pinter himself at the Almeida Theatre, London, in 2000 and in New York in 2001.
“You very quickly realised that Harold chose people for what they could do; he was very careful in his casting,” Keith recalls. “He wouldn’t ask you to act a part, but to ‘be’, so he left you alone and watched.”
As for Pinter’s advice on his notorious use of pauses, “he once quite frivolously said to us, ‘if the pauses don’t work, **** it’, but actually they do work,” says Keith. “It works like a musical score in that what comes before dictates what comes after. It’s all about rhythm.”
After a five-year hiatus, Keith will enjoy his return to York, where he was last seen on stage as Inspector Rough in Patrick Hamilton’s thriller Gaslight at the Grand Opera House in February 2017. ” York is lovely because you’re near the river and there are some lovely pubs,” he says.
“I really like touring. I like the fact that you’re on the move and it’s as if you’re having an opening night every week because you’re in a different space, in a different theatre, with a different ambience.
” I like to fit in some golf wherever I go and I have an ingrained curiosity about corrugated iron chapels and buildings, so I always see if I can find one or two to go and have a look at.”
Theatre Royal, Bath, presents Harold Pinter’s The Homecoming, York Theatre Royal, tonight until Saturday; 7.30pm, plus 2pm, Thursday; 2.30pm, . Box office: 01904 623568 or at yorktheatreroyal.co.uk
Keith Allen as Inspector Rough and Kara Tointon as Bella Manningham in Gaslight at the Grand Opera House, York, in February 2017
AS album number three arrives so soon, why are the Irish band being as prolific as the early Beatles? Two Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson discuss Skinty Fia in Episode 89.
Plus: what happens to the BBC when the licence fee ends? Anything else? Sheffield Leadmill update; The Divine Comedy at York Barbican review; Gary Barlow’s show with a difference, and why Mischief and Penn &Teller’s Magic Goes Wrong is wand-erful.
Paul Merton, front, and his Impro Chums Mike McShane, Richard Vranch, Kirsty Newton and Suki Webster
HAVE I Got News For You regular Paul Merton teams up with his Impro Chums to flex their off-the-cuff comedy muscles tonight at the Grand Opera House, York.
In their first antics roadshow since August 2019, seasoned improvisers Merton, Richard Vranch, Suki Webster and Mike McShane are accompanied by latest addition Kirsty Newton on piano.
“What audiences like about what we do is that we haven’t lost our sense of play, our sense of fun, the sort of thing that gets knocked out of you because you have to get married or get a mortgage or find a job,” says Merton. “We play and they enjoy watching us play.”
Let the adlibbing fun and games sparked by audience suggestions begin at 8pm, with tickets still available on 0844 871 7615 or atgtickets.com/York.
Here, the Impro Chums discuss their return to the stage.
Do you expect Covid to be mentioned during a game?
Richard Vranch: “I did quite a few shows back at the Comedy Store after a 16-month break and weirdly it hasn’t come up from an audience in any of the suggestions. I’ve made a couple of jokes about it, because they were very funny, but other than that it hasn’t actually been mentioned.”
Paul Merton: “My own view is that people would want to get away from it. Not every comedy show has to hold up a magnifying glass to society and be about how we live today. The whole idea of entertainment, for me, is to take you somewhere else, not to remind you of where you are.”
Suki Webster: “I think the particular form of comedy we do is about us having fun and being silly; it doesn’t lend itself to satire or in-depth discussion on difficult subjects because you’ve got four or five minds on stage all weaving in and out.
“The depth of it is in the joy and connection with each other and the audience. And we’re all so giddy with excitement at being back together that I can’t see it being a focus.”
What have you missed about the touring life since 2019?
Richard: “The thing I’ve missed is laughter. I’ve been watching a load of telly and there has been wonderful stuff produced by an arts industry that has been having a hard time. But I’ve really missed laughing with mates on the bus on the way to the gig and on stage during the gig.”
Mike McShane: “The last tour was exemplary for us as a group; it felt like a Marx Brothers show in the best way possible. We now had music from Kirsty [on her first tour] and it was all very nice. Getting on the bus, checking in on each other, hanging out, acting like idiots. And doing the show is fantastic and everything you hope for. “
What was your over-riding memory of Kirsty’s first Impro Chums tour of duty in 2019?
Kirsty Newton: “I felt as though I’d been let into the coolest, funnest club ever and we had such a wonderful time. My over-riding sense of it is that it’s probably the best job in the world; just consistent fun and loveliness all the way.
“I’d say I have the best seat in the house: I’m up close and personal with everyone on the stage and I get to direct the music, making them explode into song mid-scene. Quite often I don’t know what’s going to come out of my fingers; that’s the joy of it.”
Paul: “To adapt an old saying, you can lead Paul Merton to music but you can’t make him sing. But it was great having Kirsty there and there was more music in that show than before. Mike and Suki are very strong singers and Richard is very musical, of course, but I stay out of the way.”
Kirsty: “I have one brilliant memory of going through the Scottish Highlands and sticking my head out of the bus going, ‘this is wonderful’!”
For a show without a script, how do you get the comedy muscle moving before the start?
Paul: “The most important thing is to be together beforehand. So, we’ll throw a ball around to be in each other’s orbit and to just tune in to each other.”
Richard: “The preparation for the show is the decades that we’ve known and worked together. With a scripted show or a rock band, you’d start to get ‘musical differences’ round about year 15. I think I first appeared on stage with Paul in 1984, and with impro it’s about a group attitude and sense of fun.
“Weirdly, that matures like a good cheese or wine over the years and doesn’t fester like a rock band. So, we put the work in by simply having done it for all this time and it just gets better and better.”
How important is the audience to making an Impro Chums show the best it can be?
Suki: “If you’re doing a play or stand-up there’s a bit of us and them, but with our show it’s about everybody, because their energy and their suggestions build it in a way that no other show can have. Everything is happening in the moment and what they’re doing is absolutely crucial. When it goes right that means everyone is involved and having a good time. It’s like a big party!”
