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REVIEW: Kay Mellor’s The Syndicate, Leeds Grand Theatre, until Sunday ****

Grappling brothers: Benedict Shaw’s Stuart, left, and Oliver Anthony’s Jamie in Kay Mellor’s The Syndicate at Leeds Grand Theatre

THE celebs were out in force on the first night of this stage conversion of Kay Mellor’s BBC drama series The Syndicate, in memory of the late Leeds playwright, screenwriter, actress and producer.

From Bradford pantomime stalwart Billy Pearce to Jodie Prenger and a coterie of Emmerdale soap stars, they gathered in celebration of Kay, who died on May 15 2022 at the age of 71.

Originally Kay was to have directed this premiere with actress daughter Gaynor Faye, who said beforehand: “It is extremely special to be a part of this new theatrical version of The Syndicate and one which my mum was excited to stage.

“Having acted in the last series on TV, when she asked me to assist her in directing the show, I jumped at the chance. Now, it has become my first solo directing role and whilst I am so sad not to be doing it with her, I am also very proud and excited to bring mum’s vision to the fore in her hometown of Leeds.”

The Syndicate cast with Kay Mellor’s grandson, Oliver Anthony, outside Leeds Grand Theatrre. Picture: Aaron Cawood

Playing to a home crowd, so appreciative of council estate-raised Kay’s work on stage and screen, from A Passionate Woman to Fat Friends, Band Of Gold to In The Club, found the Leeds Grand bathing in a mood of nostalgia and reflection but of anticipation too.

The Syndicate ran for four series on the Beeb from 2012 to 2021, each with a different ensemble of six lottery winners, tracing what happened next, the good and the bad.

In the wake of stage adaptations of Band Of Gold and Fat Friends, Kay’s final stage play reprises the comedy drama format from the TV series, this time with a syndicate of five supermarket workers, whose lottery syndicate numbers come in, just as their jobs and livelihoods are under threat from a prospective new superdupermarket next door.

We meet them before Gaynor Faye’s bubby lottery company rep Kay delivers their £24 million jackpot. In the store team are phlegmatic check-out stalwart Denise (Samantha Giles, from Emmerdale); reserved, is-she-hiding-something Leanne (Rosa Coduri-Fulford); old-school, kindly manager Bob (William Ilkley, a familiar face from so many John Godber plays and beyond), and two brothers, struggling Stuart (Benedict Shaw) and jack-flash Jamie (Oliver Anthony, in his highly impressive stage debut, having played Theo in season four of the TV series).

The cast for Kay Mellor’s The Syndicate on Bretta Gerecke’s set design

In trademark Kay Mellor style, the characterisation is both intriguing and fully realised, and the dialogue fizzes with northern truth, observational humour and the warmth of familiarity in its patterns of behaviour. As ever, she draws in her audience to the point of complete connection with what ensues.

Stuart’s girlfriend Amy (Brooke Vincent, from Coronation Street) is pregnant and expectant of a lifestyle he can’t fund. Find a place for them to live, or that’s it, she demands. Cue Jamie suggesting the brothers should make off with the day’s takings from the safe, but the robbery goes wrong when Bob turns up and is hospitalised by a blow from Jamie.

Jerome Ngonadi’s offbeat copper, Newall, starts his investigations just as the syndicate strikes lucky as two storylines then overlap. Will the truth emerge and how will each winner react to sudden wealth, especially as one was not up to date with weekly payments.

Faye’s Kay drives the publicity drive but both brothers have something to keep hidden and so does Leanne, from her past. Giles’s Denise embraces cosmetic surgery; Jamie laps up the sharp suits and the even smarter car; Bob faces crucial surgery; Amy spends, spends, spends like Viv Nicholson, new house, new décor, new clothes. In the best performance of all, and Mellor’s best writing to boot, Shaw’s Stuart is troubled by his conscience.

Life’s a lottery for Brooke Vincent’s Amy in The Syndicate

For all the humour, Mellor is ultimately questioning the cost, the price, of craving money and fame. On the one hand, the self-destructive Jamie flies too close to the sun, but on the other, love will out for Bob, blossoming with new partner Annie (Jade Golding), and the burgeoning feelings of Stuart and Leanne.

Snippets of pecuniary pop songs, from Pink Floyd to Money’s Too Tight To Mention, pop up throughout, like a Greek chorus: one more canny detail in Faye’s well-judged, strikingly uncomplicated direction.

The glitter is to be found in Bretta Gerecke’s set and costume designs for Vincent’s Amy, but all that glisters is not gold, as a lonely, empty Amy discovers in Mellor’s cautionary finale.

Kay, how we miss your wit, your humanity, your Yorkshire nous, but how glad we are that your plays live on.

Kay Mellor’s The Syndicate, Leeds Grand Theatre, 7.30pm tonight, tomorrow and Friday; 2.30pm and 7.30pm, Thursday and Saturday; 4pm, Sunday. Box office: 0113 243 0808 or leedsheritagetheatres.com.

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How Florence Poskitt stepped in to play Kate in Shakespeare’s battle of the sexes The Taming Of The Shrew for YSP

Florence Poskitt: Taking on principal role of Kate

WHEN University of York student Chesca Downes had to pull out of playing Kate in York Shakespeare Project’s The Taming Of The Shrew, up stepped Florece Poskitt at short notice.

The York actor-musician and member of musical comedy duo Fladam had only a fortnight to learn and rehearse Shakespeare’s problem play for this week’s run at Theatre@41, Monkgate, York, from tomorrow to Saturday.

YSP chair Tony Froud says: “We’re delighted to welcome someone as talented as Flo into the cast and thank her for stepping into the role after Chesca had to withdraw for personal reasons.”

“We are very sorry to lose Chesca, but entirely understand her decision to leave the production,” adds director Maggie Smales.

Florence is a familiar face to York theatregoers, latterly appearing at Theatre@41 as Vera Claythorne in Pick Me Up Theatre’s staging of Agatha Christie’s And Then There Were None and Mishka and a gormless Shopkeeper in York Settlement Community Players’ Government Inspector last autumn.

York Shakespeare Project’s psychedelic poster for The Taming Of The Shrew

Now she is reuniting with Maggie Smales, who first directed Florence in November 2019 in Andrew Bovell’s apocalyptic play When The Rain Stops Falling, again at Theatre@41.

“I was due to have a couple of weeks off after doing my own stuff with Fladam for the past two months, going down to the Greenwich Theatre in London with our Green Fingers show, and then suddenly I got a call from Maggie to say, ‘Can you do this role, Flo?’, and she’s one of those people you just can’t say ‘No’ to!” says Florence. 

“So the second I got back, I threw myself into playing Kate. She’s one of those roles that are such a treat to get to play – though ideally with more rehearsal time! I had just a week’s notice to get it learnt before joining the last week of rehearsals.

“With Shakespeare you can’t just make it work like you can with a modern text; it’s not just knowing your own lines; you’ve got know the feed lines; you have to be able to cue in other actors; you’ve got to become familiar with the blocking.”

Last Thursday night was the first full run, leading to the tech rehearsal on Sunday and dress rehearsal tonight (22/4/2024). “Everyone has been very welcoming, especially Rosy Rowley, who plays Kate’s mum [Baptista Minola] and Jim Paterson, who’s brilliant as Petruchio, as well as doing the music for the show. The chat-up scene up scene with Kate is so funny, it’s been difficult not to laugh in rehearsals.”

Maggie Smales: Directing York Shakespeare Project in The Taming Of The Shrew

As the multi-coloured psychedelic poster proclaims, Smales is setting Shakespeare’s controversial battle of the sexes in 1970 in her first YSP production since her all-female Henry V in 2015.

The Sixties have shaken off the post-World War Two blues; the baby boomers are growing up, primed and ready to do their own thing; the world is opening up, promising peace, love and equality. Surely, “The Times They Are a’Changin’” and the old order is dead. Or is it, asks Smales.

“As a play it’s not designed for a modern audience. Petruchio can be seen as a kind of abuser, and what Maggie and co-director Claire Morley have done with Kate’s monologue is to find a way around the awkwardness of her saying she can do whatever she wants now she is tamed,” says Florence.

“In this version, the ‘shrew’ [Kate] is a normal person and everyone else is abnormal, and you see what she has to go through and how these gaslighters can get to anybody.

“You don’t have to change the text. You have to change the meaning, and Maggie and Claire have been very clever at doing that. There’s very much a stereotype of what a ‘shrewish woman’ would be. We’ve decided that she fits the shrewish stereotype in wanting to fit in, but she doesn’t want to be wed. That leads to her being isolated for not being understood.”

Fladam’s Florence Poskitt and Adam Sowter

The 1970 setting has led to a more open attitude. “Kate gets her comic moments, so does Petruchio because he’s so ridiculous. Once he was perceived as heroic, definitely not so now, but even though his behaviour is not right, Jim’s Petruchio is still endearing,” says Florence.

“I also gathered from Maggie that she chose 1970 as it was then that women started to be working women rather than housewives – and that connects with Kate not wanting a husband and wanting to be just herself.”

Playing Kate will be Florence’s first Shakespeare work since doing a training project at Newcastle Theatre Royal, performing snippets from Much Ado About Nothing in the role of Beatrice in 2021.

“The last time I worked with York Shakespeare Project I did the costumes for The Winter’s Tale and that’s when I first met Maggie, who was playing Paulina. “I’m really grateful for the opportunity. I did originally audition for Kate, but I would have been too busy with Fladam, but now it’s worked out well, even if I wish I’d had more time,” says Florence.

“I love doing comedy and musical theatre, but it’s lovely to do something different, to break the mould, to prove I can do more than Victoria Wood – though I would say I do play Kate quite like a Last Of The Summer Wine character. She’s quite grumpy!”

York Shakespeare Project in The Taming Of The Shrew, York International Shakespeare Festival, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk

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REVIEW: Steve Crowther’s verdict on The Rake’s Progress, English Touring Opera, York Theatre Royal, April 20

Jerome Knox, left, Trevor Elliott Bowes, Frederick Jones and Nazan Fikret in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

STRAVINSKY’S The Rake’s Progress is a great opera and English Touring Opera’s production was very good indeed, but it wasn’t without its problems.

I thought one of the issues would be quality of sound delivered by the ETO orchestra in the Theatre Royal pit. Not a bit of it. The short opening prelude, introduction really, was rhythmically razor sharp, every instrumental detail crystal clear both here and throughout the entire work.

Of course, this is not a surprise given the quality of the players, but conductor Jack Sheen must take much of the accolades; he was superb. And young. And clearly one to be watched.

Polly Graham’s direction was highly intelligent, but busy. I know it is a fine line between breathing life into a form in which stasis is the norm. But there was just too much movement at times and for no seemingly obvious purpose.

I had problems with April Dalton’s design at the start of the First Act; it was too full both physically and metaphorically. The detail overload included a maypole, Punch and Judy pantomime box and singers with masks. OK I get it. The masks reference Greek Theatre which, like Stravinsky’s neo-classical opera, represents distance, objectivity.

Jerome Knox and Fredereick Jones with the Ensemble in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

This also alludes to the Greek tragedies: the character flaw and what dramatically unfolds with a bit of catharsis at the end: the devil makes work for idle hands.

But why the Punch & Judy reference? Well, this was a traditional seaside, working-class puppet show. The devil and hangman Jack Ketch make an appearance and (deep breath) the character Mr Punch was begotten from the commedia dell’arte Neopolitan character, Pulcinella; the title of Stravinsky’s ballet.

What I did admire about Ms Graham’s direction and Ms Dalton’s design was that they took chances. It was memorable. And I suspect that many of the issues mentioned above would not have been so critical in a larger theatre space.

The opening scene between Tom Rakewell (tenor Frederick Jones) and Anne Trulove (soprano Nazan Fikret) takes place at a May Day festival. The balance between soloist and an excellent chorus was not good. It was particularly difficult to hear Nazan Fikret that clearly, especially in her lower register.

Having said that, Ms Fikret sang superbly throughout. She has a lovely tone and there was real feeling and convincing dramatic conviction. However, I thought the image of her dressed in Wagnerian battle mode to rescue Tom was a bit naff; it is supposed to be salvation through love, through goodness.

Nazan Fikret’s AnneTrulove in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

A lot of Ms Graham’s casting did work really well, not least the image of Tom and Shadow as alter egos. The black-and-white dress, even in the shadow boxing match. Jerome Knox (baritone) was an utterly convincing Shadow, dripping with elegant charm and seductive malevolence.

Another standout performer was mezzo- soprano Lauren Young as the bearded lady Baba. She was confident, funny and compassionate. Quite a remarkable achievement for a woman with a two-foot beard.

Amy J Payne proved to be a very seductive Mother Goose; that provocative, surrealist costume was alarming to say the least.

The take on turning water into wine, here stone into bread, as a means to end famine, and offer a path to redemption and recapture Anne’s heart, was very effective as were the consequences of this folly in the auction which included Baba herself. There is a cruel price to pay. After a year and a day and a game of cards, Tom is left half alive and half dead: Shadow’s curse is insanity.

Frederick Jones, utterly brilliant throughout, sang the final Bedlam scene with such heartbreaking tenderness. Not a dry eye in the house, I expect. Then, like Mozart’s Figaro, the soloists and chorus re-enter the stage to reassure us it’s only make-believe, to be mindful of idle hands and have a safe journey home. Oh yes, and that “good or bad, all men are mad”.

Review by Steve Crowther

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REVIEW: Martin Dreyer’s verdict on English Touring Opera, Manon Lescaut, York Theatre Royal, April 19

English Touring Operas in Manon Lescaut. Picture: Richard Hubert Smith

THE secret to this strange production lay in a programme note by its director, Jude Christian. Anyone who had not read it would have been floundering.

After a perfectly reasonable summary of the trials undergone by Manon, Ms Christian launched into an angry tirade about the perils facing young women today, including pornography, deep-fakes and treatment at the hands of police, along with a sweeping indictment of the place of women in opera. Much of it was undeniable, but almost completely irrelevant to the piece in hand.

Her anger led her to interpret Puccini’s first two acts as a “surreal nightmare”. The chorus here are in fancy dress at a poolside party, both designed by Charlotte Henery, with water coolers lined around the edge: all are camping it up to the utmost degree, prancing around like animals.

Manon joins them in a blue wig and inappropriately tight dress. “What do you think of my hair?” she asks her brother. “It’s a choice,” he replies. A terrible one.

Christian’s other indiscretion is to list herself as librettist. Presumably this is meant to excuse her paraphrase – not a translation – of Luigi Illica’s original (although he gets no mention anywhere).

The net effect of these hijinks is to hijack Puccini and present us with a comedy, or at least extreme parody, which has exactly the reverse effect to the one intended. How can one take this Manon’s trials seriously, let alone as a reflection of modern woman’s predicament?

Fortunately, the second half is a little more to the point. A young woman (Manon’s alter ego, perhaps) is asleep at her desk and wakes up slowly, reminding us that it’s all been a dream. Manon’s downhill slide thereafter seems inevitable, given that the two men she has had to choose between are obviously unsuitable.

Des Grieux who arrived in a white suit riding a dolphin, with a fuzzy wig, is far too self-interested to be much use in the long term. Geronte, clad in pink, with a gigantic sombrero, is a figure of fun from the start, even if he offers her wealth.

After their voyage, Manon and Des Grieux find themselves in a desert where he is unable to find water. She dies of thirst. Hence, we now realise, the water in abundance at the start: her life has been prolonged irony.

There are plenty of redeeming features in the music. Jenny Stafford’s game Manon never lets up, if occasionally underpowered. Gareth Dafydd Morris as Des Grieux sports an unfailingly resonant tenor that he could use more subtly. But they are never quite on the same wavelength. Edward Jones’s bass lends gravitas to Geronte, despite the director’s apparent intentions.

Adrian Edwards is a happy-go-lucky Lescaut in a French beret, with a baritone ideally suited for English song. Brendon Spiteri leads the choral capers well as Edmondo.

But the heroes of the hour are the orchestra, conducted with confidence and vigour by Gerry Cornelius, who sustains a lively momentum. His woodwinds are exceptionally crisp.

It is just a pity that the director allows righteous anger to rule her emotions and feels the need to steer so clear of what the opera is really about.

English Touring Opera’s Manon Lescaut is on tour until May 27.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Leeds Lieder Festival, Schubertiade, The Venue, Leeds Conservatoire, April 14

German soprano Nikola Hildebrand

LEEDS Lieder Festival celebrated the start of its 20th anniversary season with a Schubertiade on its opening Sunday.

The common denominator of the lunchtime and evening recitals was the German soprano Nikola Hillebrand, with festival director Joseph Middleton as her piano partner.

We were told that she was experiencing the first signs of a cold, which entailed her cutting two songs. But we would not have guessed she was in any trouble.

She switched seamlessly between the two emotions of Rückert’s Lachen Und Weinen (Laughter

And Tears) before moving to two night songs. Mayrhofer was second only to Geothe in the number of his poems set by Schubert, who always seemed to find a brighter side to the poet’s generally depressive tendencies.

The low-lying Nachtstück (Nocturne) brought out the soprano’s confidential tone and her closeness to the text of Nachtviolen (Dame’s Violets), now in C major after the former’s C minor, was the epitome of intimacy.

In Gretchens Bitte (Gretchen’s Prayer), in the version completed by Britten, she plumbed the dramatic emotions of the girl’s remorse. But always she communicated directly with us.

The first three of Mignon’s songs from Goethe’s Wilhelm Meister were extremely well suited to the almost vibrato-free tone she brought to them, evoking the young teenager’s yearning. The fourth she omitted. Her sense of theatre was more than once threatened by Middleton’s quite forceful interjections, not quite what her announced vocal fragility needed.

Any such fragility vanished in Der Hirt Aus Dem Felsen (The Shepherd On The Rock), where they were joined by Oliver Casanovas Nuevo, principal clarinet of Opera North. It was impossible to believe that this was the work of a composer only a month from his death, so compellingly blithe and high-spirited was it here.

The trio blended superbly. The moment that crystallised the music’s pastoral poise was the clarinet’s mini-cadenza before the dancing finale, when Hillebrand’s carefree coloratura was effervescent.

The evening gala added the baritone of Rodney Williams and the pianist Roger Vignoles. It was dedicated to the memory of Jane Bonner, a faithful servant to Opera North for more than 40 years, latterly as company manager.

Middleton and Vignoles joined forces in the Fantasie in F minor for piano duet, D.940. It was not the tidiest account but it acted as a powerful elegy to her. Williams also comically imagined her presence as page-turner but without a shred of disrespect.

He and Vignoles opened the first lieder group, Figures In A Landscape. In the setting of Schmidt von Lübeck’s Der Wanderer, which rivalled Erlkönig for popularity during Schubert’s lifetime, Williams evoked a touching picture of alienation and Vignoles added to his plight; Ganymed provided a predictably upbeat antidote.

To Be Sung On The Water brought us Meeres Stille (Calm Sea), where Williams sustained a very steady line, without vibrato, and Auf Der Donau (On The Danube), perhaps Schubert’s most telling setting of Mayrhofer, in which we sensed the menace leading up to a spine-chilling Untergang (Destruction), totally at odds with the serene introduction.

There was a real feeling of partnership between Hillebrand and Middleton in Fischerweise (Fisherman’s Ditty), with the piano’s bass line reflecting the soprano’s smiles. Her facial features were equally important in Die Gebüsche (The Thicket), as she mirrored man’s connections with nature.

Hillebrand is a born communicator. The final group, Songs Of Night And Nature, had her sustaining a lovely line in Winterabend and finding a very personal touch in Berta’s Lied, with its sham lullaby.

Williams and Vignoles plumbed the mysteries of Nachtstück, equating sleep and death, with an astonishing intensity, but then escaping the fetters of night with a highly theatrical Waldesnacht. It was an evening packed with treasures.

Review by Martin Dreyer

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Prima Vocal Ensemble to perform Luminous Night of Scandinavian and American music at NCEM on May 19

Ewa Salecka: Prima Vocal Ensemble’s artistic director, producer, conductor and percussionist

YORK contemporary choir Prima Vocal Ensemble presents Luminous Night at the National Centre for Early Music, York, on May 19.

Over the past few years, artistic director and producer Ewa Salecka has been the creative mind behind a series of intimate choral and instrumental concerts with the choir and an array of guest musicians.

Now comes a 7.30pm programme of modern choral music for voices, strings, piano and percussion under Salecka’s baton at the NCEM, St Margaret’s Church, Walmgate.

The evening features pieces with a Scandinavian and American theme accompanied by professional musicians Beatriz Carbonell and Chloe Fletcher on violins, Katie Jarvis on viola, Rachel Gray on cello, Greg Birch on piano and Salecka herself on percussion instruments.

Selected by Salecka, Luminous Night showcases two pieces for voices, piano and string quartet by Norwegian composer Ola Gjeilo: Dark Night Of The Soul and Luminous Night Of The Soul.

Prima Vocal Ensemble in concert

“These works, with their meditative, cinematic sound, are raised to new levels by the use of poetry and lyrics by Charles Anthony Silvestri and St John of the Cross,” says Ewa.

The programme also features Arvo Pärt’s Fratres for string quartet, music by Dan Forrest and Elaine Hagenberg, Nordic folk tunes arranged by Frode Fjellheim and “breathtakingly beautiful” pieces by Ivo Antognini and Eugene Butler.

“Our recent sell-out concert series have proved very popular and there will be something for everyone in this event, which coincides with Prima’s 14th anniversary of providing memorable concert opportunities for singers and their audiences: the only choir to perform to this high standard without the need to audition,” says Ewa.

Throughout the first half of 2024, the choir is in parallel preparations for two noteworthy concerts in “Old” York and New York. “In June, we’ll return to New York City and Carnegie Hall for We Sing! We Rise! We Soar!, The Music of Christopher Tin & Greg Gilpin, produced by Distinguished Concerts International New York,” says Ewa.

“No strangers to the iconic venue, Prima will join international performers in a programme that will include multi-lingual music from Christopher Tin’s Grammy award-winning albums. So, if you happen to be in New York on June 9, come and hear Prima in this collaborative performance.”

Prima Vocal Ensemble’s poster for Luminous Night

Reflecting on Prima’s progress, Ewa says: “We’ve covered so much musical ground since our first rehearsal in May 2010. When I think back, I’m amazed by the variety and complexity of music we’ve performed, the amount of programme covered and the individuality of each and every event.

“There are some singers who have been there from the very beginning and I am extremely grateful to still be in this position after 14 years, promoting new music and new concerts in York.

“If anyone is looking for a unique creative outlet, then now really is the perfect time to join us. Rehearsals offer a warm and welcoming atmosphere with an emphasis on a positive, engaging learning experience. We are always welcoming singers who are team players, want to improve their vocal technique and expand their musical palette.”

For tickets for Luminous Night, go to primavocalensemble.com. “Limited spaces are available, so early booking is highly recommended,” advises Ewa.

“To find out more about Prima and the opportunities you can enjoy, please visit primavocalensemble.com.”

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Andrew Clay to leave Scarborough Museums and Galleries for Sea Life Scarborough general manager’s post

Andrew Clay: Leaving Scarborough Museums and Galleries for Sea Life Scarborough. Picture: Tony Bartholomew

ANDREW Clay, chief executive of Scarborough Museums and Galleries, is leaving to take up a new role.

He has been appointed as general manager of Sea Life Scarborough and will take up his new position at the North Bay attraction on Monday, April 29.

Scarborough Museums and Galleries (SMG) trustees will be seeking a new incumbent for the chief executive’s role in the coming months, but in the meantime the position will be fulfilled on an interim basis by Malton-based heritage professional Sarah Oswald.

Clay moved to Scarborough in 2007 to become director at the newly created Woodend Creative Industries Centre. In 2017 he also became chief executive of Scarborough Museums Trust, which ran Scarborough Art Gallery and the Rotunda Museum. In 2017, the trust and Woodend merged to become Scarborough Museums and Galleries.

“It has been a huge privilege to work at Woodend and latterly Scarborough Museums and Galleries,” he says. “I feel very honoured to have worked with such talented and capable people, who over years have supported my efforts to deliver an exciting cultural offer for the people of Scarborough and visitors to this amazing seaside town. 

Sarah Oswald: Interim chief executive officer of Scarborough Museums and Galleries. Picture: Tony Bartholomew

“Soon I will be embarking on a new voyage of discovery, and I can’t wait to learn more about the extraordinary marine world in our oceans. I wish all at SMG the very best of luck for the future.”

Sarah Oswald provides coaching and consultancy services to the museums, heritage and cultural sector through her business, The Authentic Spark. Recently she has completed a 14-month part-time contract as Museum Development Officer for North Yorkshire as part of Museum Development Yorkshire.

Before establishing The Authentic Spark, Sarah was an owner and director of PLB, a leading Yorkshire-based heritage design consultancy.

She says: “After getting to know Scarborough Museums and Galleries through my role with Museum Development Yorkshire, it’s exciting for me to now be stepping in to work with the board and the team here at SMG. I’m looking forward to the opportunity and also wish Andrew well in his new role.”

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REVIEW: Steve Crowther’s verdict on Ensemble Intercontemporain, Sir Jack Lyons Concert Hall, York, April 17

Ensemble Intercontemporain: “The Rolls-Royce of contemporary music performers“

YorkConcerts presents Ensemble Intercontemporain, Sir Jack Lyons Concert Hall, University of York, April 17

ON Wednesday evening, the Rolls-Royce of contemporary music performers, Ensemble Intercontemporain, performed an extraordinary programme of music by Martin Suckling, Thomas Simaku and Olivier Messiaen.

The concert opened with Martin Suckling’s Visiones (after Goya), an inspired response to a specific drawing from Goya’s unique, if somewhat unsettling, Witches and Old Women Album. The Visiones depicts an intimate dance between a possibly inebriated old couple with another chap looking on, or rather on the floor looking up. The image seems to have an uncomfortable erotic edge, perhaps sex in old age.

Anyway, to Mr Suckling’s work. In response to the Goya sketch, Visiones (after Goya) has three instrumentalists, cello, clarinet and piano, and three sections. In the first part, the clarinet and cello dance, serenade each other in ‘repeated microtonal lyrics’.

The percussive piano creates distance and commentary. The effect is very distinct, haunting and not a little spooky. Yet there is intimacy and it is this, as well as the superb playing by Martin Adámek (clarinet) and Renaud Déjardin (cello), that draws you into this sound world.

There is also a genuine warmth of engagement. This is particularly obvious in the second section ‘lullaby’ before the dance becomes ritualistic. The third section is a kind of distorted recapitulation; a memory, a nightmare. Maybe.

The piano (the imperious Dimitri Vassilakis) now sings the song, the clarinet has the role of ‘soft multiphonics’ commentary whilst the cello lets rip to very dramatic effect. The dance returns but now transformed. To be sure the piece was, like the Goya, unsettling. But it was true to the artist’s multi-layered complexity, and beauty. The performance was illuminating.

I had a bit of an issue with a2(b) for violin and cello by Thomas Simaku; not with the forceful piece itself, nor with the thrilling performance by soloists Jeanne-Marie Conquer (violin) and Renaud Déjardin (cello), but with the extensive programme note.

OK, the instrumental explanation of a2 (a due) was fine; it made perfect sense. However, the dramatisation of opposites – a response to the ‘remnants of the wall in Bernauer Strasse’, a tale of contrasting cities, of brutally conflicting ideologies representing oppression and freedom in 1945 Berlin – did not.

To be fair to the composer, he clearly stated that the musical and extramusical could not be separated; they are two aspects of the same song. But for me the piece did not (and could not) deliver an image of complete opposites: because the most striking and distinguished aspect of Simaku’s music is its mastery of an organic, cellular and uniform musical language. The uncompromising, almost violent, gestures and mood swings worked perfectly well on and in their own terms.

However, the piece was jaw-droppingly good and technically seriously accomplished. I thought the fast, driving conclusion with its spent, exhausted epilogue was very effective indeed. The performers were on top of their game, and they needed to be.

Just one minor whinge before the interval: what was it with the photographer taking shots from the back of the auditorium? It was distracting and utterly unnecessary.

After the interval we were treated to the most illuminating performance of Messiaen’s Quartet For The End Of Time. For what it’s worth, the balance of the opening Crystal liturgy didn’t seem quite even, but given the quality of performers and the excellent acoustic, this is more likely due to my ears waking up again after the 20-minute break.

The second movement Vocalise, for the Angel who announces the end of time, was sublime. The control needed and delivered by clarinettist Martin Adámek was extraordinary. The effect was otherworldly, visionary; beautiful, delicate but definitely bleak.

The Interlude was an utter, quirky delight. Were there echoes of Shostakovich? I thought so. Possibly. Renaud Déjardin and Dimitri Vassilakis’s performance of Praise To The Eternity Of Jesus was the best live version I have heard.

Nothing quite prepares you for this experience; it was so hypnotic, so compelling. I think this is due to the piano ‘accompaniment’ which came across so powerfully. At first, a pulse, a heartbeat, gradually driving the cello song with almost hammer-like intensity before they melt into ecstasy, resolution. Quite extraordinary.

The Dance Of Fury, for the seven trumpets, was technically perfect. It delivered a unity of purpose and energy. Edge-of-the-seat stuff. The penultimate Tangle Of Rainbows…was brimming with physicality. It both looked back, specifically to the second Vocalise, as well as to the future and the final movement in particular. The performance of Praise To The Immortality Of Jesus, was simply divine.

Review by Steve Crowther

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More Things To Do in York and beyond “the carriage ride of your life”. Hutch’s List No. 17 for the spring scene, from The Press

Footsbarn Theatre’s Twelfth Night: First British performances in 15 years in world premiere at York International Shakespeare Festival

BUCKLE up for Austen’s sister act, Shakespeare’s battle of the sexes and Sheridan’s scandalous comedy of manners, plus music, art and poetry in the library, advises Charles Hutchinson.  

Festival of the week: York International Shakespeare Festival, until April 28 

SHAKESPEAREAN Identity is the theme of the sixth York International Shakespeare Festival, now an annual event, run by director Philip Parr. Sponsored by York St John University, it features moving shows, lectures by internationally recognised academics, exhibitions and workshops presented by Shakespeare enthusiasts from all over the world.

Among the highlights will be Footsbarn Theatre’s first British visit in 15 years with Twelfth Night, American actress Debra Ann Byrd’s powerhouse solo show Becoming Othello and York Explore’s exhibition of 300 years of representations of Othello. Tickets and full programme details are available at yorkshakes.co.uk/programme-2024.

Katherine Lea: Making her Hotbuckle Productions debut in Pride & Prejudice at Helmsley Arts Centre

Ryedale play of the week: Hotbuckle Productions in Pride & Prejudice, Helmsley Arts Centre, tonight, 7.30pm

IN artistic director Adrian Preater’s humorous, multi role-playing adaptation of Jane Austen’s 1813 novel, Hotbuckle Productions enter the world of the Bennets.

From headstrong Elizabeth to proud Mr Darcy, rich characterisations abound as five sisters deal with marriage, morality and misconceptions. “Hotbuckle up for the carriage ride of your life” with Joanna Purslow, Tomas Mason and company newcomer Katherine Lea. Box office: 01439 771700 or helmsleyarts.co.uk.

Carl Hutchinson: Storytelling Geordie comic appearing at The Crescent, York

Comedy gig of the week: Carl Hutchinson: Today Years Old, The Crescent, York, tomorrow, 7.30pm

YORK’s Burning Duck Comedy Club presents Geordie comic Carl Hutchinson in his third consecutive back-to-back tour show, Today Years Old. Expect a night of storytelling, rich in observation and physical comedy. Box office: thecrescentyork.com.

Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof

Musical of the week: NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, York, April 23 to 27, 7.30pm and 2.30pm Saturday matinee

STEVE Tearle directs NE Theatre York in Jerry Bock, Sheldon Harnick and Joseph Stein’s musical, taking the role of Tevye, the humble village milkman, for the third time too in this 60th anniversary production.

When three of Tevye’s five daughters rebel against the traditions of arranged marriages by taking matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds, against the backdrop of the Tsar’s pogrom edict to evict all Jews from his Russian village in 1905. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Lydea Perkins’ Lady Teazle and Joseph Marcell’s Sir Peter Teazle in Tilted Wig’s The School For Scandal, on tour at York Theatre Royal next week

Touring play of the week: Tilted Wig, Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, April 23 to 27, 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees

JOSEPH Marcell, fondly remembered as Geoffrey the butler in the American comedy series Fresh Prince of Bel Air, stars in Seán Aydon’s new production of Richard B Sheridan’s comedy of manners The School For Scandal, where gossip never goes out of fashion.

Marcell plays Sir Peter Teazle, who believes his young wife is sleeping with someone else. Not true, but if her husband believes it, maybe she should give it a go. After all, if you are going to cause a scandal, you may as well enjoy it. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Florence Poskitt: Stepping into Kate’s shoes in York Shakespeare Project’s The Taming Of The Shrew

Seventies’ Shakespeare play of the week: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday

IN a late change of cast, actor-musician Florence Poskitt, from the York musical comedy duo Fladam, is taking over the principal role of Kate in Maggie Smales’s production of Shakespeare’s controversial battle of the sexes, now set in 1970.

A psychedelic world is opening up, promising peace, love and equality, but Kate was born to be wild and wants a voice of her own. The times they are a’changin’ and the old order is dead…or is it? Let battle commence. Box office: tickets.41monkgate.co.uk.

Barrie Rutter: Shaking up Shakespeare at Northern Broadsides and beyond

Breaking down the Bard barrier: Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, April 26, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm

BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.

Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, created his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.

Kai West’s poster for Bull’s Live At The Library day on May 19, based on the Cluedo board game design

Gig announcement of the week: Bull present Live At The Library, York Explore Library & Archive, Library Square, York, May 19, from 12 noon

YORK Explore and Please Please You team up with York band Bull for a day of music, art and poetry to celebrate Explore York’s tenth birthday and raise funds for York’s libraries. The climax will be a 6.30pm to 10pm gig by Bull, Marnie Glum, Rowan and performance poet Stu Freestone (tickets, tickettailor.com/events/exploreyorklibrariesandarchives/1216274).

Free activities include open mic-style performances run by Bull frontman Tom Beer in the Marriott Room from midday, featuring Gabbie Lord, Maggie, Gilles, She Choir, Filipe, Old Time Rags, Eve Thomas & Co and more,  plus art workshops for all ages hosted by Izzy Williamson (lino printing, 1pm) and Bull bassist and illustrator Kai West (T-shirt design and screen printing, 12 noon to 2pm) in the Garden Room, with donations welcome.

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Which cult classics, music, drama and animated films will feature in The Groves Community Cinema festival at Theatre@41?

The poster for The Groves Community Cinema week

THE Groves Community Cinema returns to Theatre@41, Monkgate, York, from May 5 to 11 for its third film festival with some “pay what you feel” ticket prices.

Looking to build on last year’s success, the event is supported by an ARG (Additional Restrictions Grant) Events and Festivals grant, Make It York and City of York Council.

Next month’s festival promises a wide variety of films, from cult classics and music to drama and animated fun.

“We have nine great films in the programme,” says Theatre@41 chair Alan Park.  “Some famous titles and some less-known works…from Arnold Schwarzenegger’s Terminator to Sir Ian McKellen’s Hamlet, via Spiderman.”

The grants not only enable the festival to take place but also to keep tickets to a reasonable price, and in the case of the two children’s animated films, “pay what you feel”.

“It means families can come along and watch a great animated film on the big screen without spending a fortune,” says Alan.  “There was a wonderful buzz last time and we hope this festival will become a regular event.”

Films showing at the Groves Community Cinema festival will be:

Sunday, May 5

CATCH Arnold Schwarzenegger in action in the 40th anniversary release of his legendary sci-fi classic The Terminator at 6.30pm and stay on for T2 Judgement Day at 8.45pm.

Monday, May 6

FOLLOW the adventures of Marcel The Shell With Shoes On in a big screen debut for this internet sensation at 2.30pm. Pay what you feel.

Rather more serious matters unfold that evening in Anatomy Of A Fall, Justine Triet’s Palme d’Or-winning legal drama that investigates the death of Samuel, found in the snow beneath the secluded chalet he shared with author wife Sandra. Did he fall or was he pushed? Find out if Sandra dunnit at 6.30pm.

Tuesday, May 7

“TO be or not to be” is the question at 7.30pm when the inimitable Ian McKellen appears in Hamlet, filmed using nearly every room of the Theatre Royal, Windsor, to recreate Elsinore Castle, from the basement dungeon to the roof-top battlement.

Wednesday, May 8

IN a 6.30pm programme of Social Cinema shorts from the Yorkshire Film Archive, the films explore everything from social and political issues – including gender equality, homelessness and poverty – to isolation and climate justice. An evening of thought-provoking topics that resonate with the present and question the future.

Friday May 10

HEAR the story of Hedwig’s life through her punk anthems and power ballads and be part of the action by putting your “head in a wig” at the 8pm screening of the cult classic musical Hedwig And The Angry Inch. Free glass of fizz for the most outrageous and inventive wigs!

Saturday, May 11

HOLD tight as Brooklyn teen Miles Morales discovers his new Spidey powers, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask in the animated Spider-Man: Into The Spider-Verse at 2.30pm. Pay what you feel.

At 7.30pm, Jonathan Demme’s documentary Talking Heads: Stop Making Sense captures David Byrne’s legendary New York band in one of the greatest concert films of all time at Hollywood’s Pantages Theater in December 1983. What’s more, the music doesn’t stop when the film does. Stay on afterwards for a drink and a dance to the hits of Talking Heads and fellow 1980s’ greats.

For more info and to book tickets visit Theatre@41 website: https://tickets.41monkgate.co.uk/venue