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“This festival is a unique experience that you can’t get anywhere else,” says Aesthetica Short Film Festival director

Aesthetica Short Film Festival director Cherie Federico

NEXT year will mark the 20th anniversary of Cherie Federico moving from New York to York.

By then, the founder of Aesthetica Magazine, the Aesthetica Short Film Festival and Aesthetica Arts Prize will have lived longer in her adopted home city than her native United States.

In 2002, she came to York to study at York St John University and…stayed, seeing possibilities within these historic city walls for artistic innovation.

This is her busiest week of the year, hosting the Aesthetica Short Film Festival, now in its 11th year and bigger than ever, running from Tuesday to Sunday – and online until November 30 – with a remarkable 500 films; themed strands and guest programmes; masterclasses; an industry marketplace; VR (virtual reality) lab; interactive media lab; a celebration of the New Wave of filmmakers; mentoring sessions; networking opportunities and a Sunday awards ceremony.

“It’s become a very significant British film festival, and our ticket sales are healthier than ever,” says Cherie, as the festival restores live screenings in 2021 after last year’s entirely digital event for home viewing only. This year, you can watch in person or online or a hybrid combination of the two each day.

“People are buying hybrid passes to be able to soak up everything in the city – films, masterclasses, panels and discussions – over the six days and also to have full access to the virtual platform to catch up on films and masterclasses until the end of the month.

“There are more films showing than ever before because we’re offering the chance to experience them in different ways; some programmes are online only, some are in-person only, so there are some distinctive programmes, but there’s also cross-pollination between the two formats.

“The thing that has changed this year is that we’ve organised the films into six strands, which came about in response to the pandemic.”

ASFF’s films span documentary; advertising; narrative; animation; artists’ film; comedy; dance; drama; experimental; family friendly; fashion; music video and thriller. “The programme is still organised thematically by genre, but these films now move into different strands too,” says Cherie.

“I was thinking, ‘what are the key things that unite the films in this year’s programme?’, and I came up with How It Was, How It Is, How It Will Be, thinking about the past, present and future, focusing on extraordinary stories in the everyday.

“Strand Two, Humanity On The Edge, addresses ‘Crisis’, whether looking at the effect of climate change or the pandemic; Black Lives Matter;  LGBTQ+ issues; human rights; women’s safety. There is no more ‘normal’. It’s an idea that’s become redundant. Crisis has become a defining characteristic of life in the 21st century.”

Cherie continues: “Strand 3, When Life Gives You Lemons, Make Lemonade, is about hope, optimism, positivity. The glass is half full, as we take a lighter look at life to remind us of all the joy and beauty around us, as we take a moment to admire the power and resilience of the everyday person.

“Strand 4, Pleased To Meet You, explores Connections, how relationships are formed, and considers how the digital age has altered the way we build, maintain and cut ties, maybe irrevocably.

“Strand 5, Mirror, Mirror, looks at identity, how we decide who we are or, perhaps, who we want to be;  how you see yourself, whether you’re holding a mirror up to society or to yourself, and how the way you see yourself is often very different to the way other people see you.”

The sixth strand, Nobody’s Free Until Everybody’s Free, addresses how segregation, racism, marginalisation and discrimination are systemic issues deep-rooted within society. “They are part of many people’s daily experiences,” says Cherie. “We must recognise that in the fight to establish true equality.”

In further festival highlights, New Wave introduces the next generation of filmmakers, with ASFF being the only British festival to offer a strand dedicated to graduate filmmakers, under such titles as The Art Of Limitation: Creativity Under Constraints (Saturday, City Screen, 3.30pm to 5.30pm).

The Guest Programmes have been curated by Rachel Pronger, originally from Bradford and now living and working in Berlin after deciding “it’s now or never to move”. 9/11, Twenty Years On is the subject of three programmes at Bootham School: Memories, Monuments (earlier today); In Search Of (Saturday, 3.30pm) and The Fallout (Sunday, 2pm).

“Part One looks at how did we get to the point where people steered planes into the Twin Towers; Part Two covers the day itself; Part Three considers how that moment led to a rise in populism and nationalism, and how you end up with Trump in the White House,” says Cherie. “That moment, 9/11,  galvanised some very dangerous attitudes harking back to 1939.”

Look out for a sound installation at Spark: York, a new location for the 2021 festival, where the sound of a rainforest is accompanied by a CO2 monitor. “The more people that fill the room, the quieter the room becomes,” says Cherie.

For the first time since the first lockdown in March 2020, The Basement at City Screen, York, is open,  playing host to the VR Lab for ten 360-degree films and six immersive experiences each day from 11am to 8pm.

The week’s masterclasses are welcoming the likes of filmmaker Peter Strickland (Katalin Vargo, Duke Of Burgundy); rising director Prano Bailey-Bond (Best Experimental Film winner for Man vs Sand at 2013 ASFF; debut feature film Censor); Hyena writer-director Gerard Johnson; actor Maxine Peake, discussing “acting as authorship”, and The Father producer David Parfitt.

So too are: stop-motion director Anthony Farquhar-Smith (Fantastic Mr Fox, Corpse Bride); rising star Gamba Cole (from Stephen Merchant’s BBC series The Outlaws ); Industrial Light & Magic’s VFX supervisor Julian Foddy and feminist filmmaker Sally Potter (Orlando, The Road Not Taken).

Still to come are: Senna, Amy and Diego Maradona documentary filmmaker Asif Kapadia (Yorkshire Museum, Saturday, 3pm); God’s Own Country and Ammonite writer-director Francis Lee, the Yorkshireman who “doesn’t often do” such Close Up encounters (Yorkshire Museum, Saturday, 6pm) and Alice Seabright, who has written and directed episodes of Netflix hit Sex Education (Yorkshire Museum, Saturday, 6.30pm).

A Sunday streaming at 1pm brings together actor and Primetime founder Victoria Emslie and Lizzy Talbot, intimacy coordinator for Bridgerton, who will discuss the tasks and techniques involved when working with an intimacy coordinator, one of the stage and screen’s increasingly important new roles.

“It’s quite remarkable how many big names we have taking part in the festival,” says Cherie. “It’s a huge, huge festival and it’s really important for people in York to realise the scope and the breadth of a festival that takes place in their city.

“It’s major cultural programming, and I’m proud of the dynamic we bring to the city’s cultural agenda. It’s extraordinary to be able to do this and we’re proud that we brought £2 million to the York economy in 2019, the last time we had a live festival.

“This festival is a unique experience that you can’t get anywhere else, and that’s what makes it so special: the combination of films, the masterclasses and the venues around the city; the union of the historic and the contemporary.”

Please note, ASFF is applying a stringent Covid-safety policy. “For admission, if you have had two jabs, you must show your NHS Covid pass; if not, you must have proof of a negative Lateral Flow Test that day.  There are no exemptions,” says Cherie. “We’re determined to mitigate the risk of Covid-19 at the festival.”

For full details on the 2021 Aesthetica Short Film Festival programme, go to: asff.co.uk.

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REVIEW: Everybody’s Talking About Jamie, the Sheffield musical, not the film, in Leeds

Shobna Gulati’s Ray, Amy Ellen Richardson’s Margaret and Layton Williams’s Jamie New in Everybody’s Talking About Jamie at Leeds Grand Theatre

Everybody’s Talking About Jamie, Sheffield Theatres/Nica Burns, at Leeds Grand Theatre, until Sunday. Box office: 0113 243 0808 or at leedsheritagetheatres.com. *****

EVERYBODY’S been talking about Everybody’s Talking About Jamie coming to the Leeds Grand for ages: a two-year wait for early bookers after Covid shut down fun.

“The hit musical for today” began life at Sheffield Crucible Theatre in 2017 and finally makes the 44-mile trip to Leeds after West End success and a screen conversion to film release in September.

Inspired by the Firecracker documentary Jamie: Drag Queen At 16, composer Dan Gillespie Sells (from the pop band The Feeling) and writer/lyricist Tom MacRae worked their magic from an original idea by director and co-writer Jonathan Butterell.

What emerged was the completion of a populist trilogy of Sheffield comedy dramas: the defiant spirit and sheer balls of The Full Monty, the classroom politics and fledgling frustrations of Alan Bennett’s The History Boys, and now Everybody’s Talking About Jamie, the unapologetic story of the boy who sometimes to be wants to be a girl, wear a dress to the school prom and be a drag queen.

Now you can throw in the sass, the too-cool-for-school dress sense and the multi-cultural diversity of Sex Education, the Netflix binge-watch through lockdowns, as another barometer of Jamie’s topicality for our changing times and attitudes towards gender, bigotry, bullying, homophobia, absentee fathers and the right to self-expression.

Take a chance, if you have the time pre-show, to cast an eye over the programme’s pocket-profiles of Mayfield School Class of 2020, asking Jamie and his classmates: What do you want to be when you grow up? What’s your favourite thing about school? It could be any comprehensive classroom of 16-year-olds, capturing hopes, aspirations and realities with wit and spot-on social awareness. Another testament to just how switched on, relevant, yet boldly humorous this show is.

“Jamie”, on the one hand, is a classic teen rebel story, told from the teen perspective of Jamie New (Bury-born Layton Williams, reprising his West End role), but it is not merely a down-with-the-kids high-school musical.

Class act: Layton Williams’s Jamie New and his Mayfield School classmates in Everybody’s Talking About Jamie

Even more so than in Hairspray, it gives the adult viewpoint too, whether Jamie’s world-weary but ever supportive mum Margaret (Amy Ellen Richardson, expressed powerfully through her belting ballads, If I Met Myself Again and He’s My Boy); gobby best friend Ray (Shobna Gulati, wonderful);  Jamie’s stay-away Dad (Cameron Johnson); narrow-minded teacher Miss Hedge (Lara Denning), or dress-shop boss Hugo/veteran drag act Loco Chanelle (special guest Shane Richie as you have never heard or seen him before but will want to again!).

Serious points are made, confrontations have both poignancy and punch, but what’s not to love about the sheer bl**dy Yorkshireness of it all: from the frank, no-nonsense humour that mocks the ridiculous careers advice offered at schools to the raucous, rough-rouge glamour, tattoos and all, of Sheffield drag queens Sandra Bollock (Garry Lee), Laika Virgin (JP McCue) and Tray Sophisticay (Rhys Taylor), as musical pizzazz meets kitchen-sink drama.

The songs are a knock-out, led off by the immediately infectious And You Don’t Even Know It, through the irresistible title number and Jamie’s heartfelt Ugly In This Ugly World, to the show-closing defining statement of Out Of The Darkness (A Place Where We Belong). Sam Coates’s band have a ball with Gillespie Sells’ orchestrations.

Matt Ryan’s direction, Kate Prince’s choreography and Anna Fleischle’s designs are all fast-moving and slick but with room for grit too amid the glitter. You will note the brick designs on the side of the desks, for example.

Not only Williams’s Jamie scores high marks among the classroom performances, so too do George Sampson’s everybody-hating, self-loathing bully Dean Paxton and Sharan Phull’s self-assured, doctor-in-waiting Pritti Pasha.

Yet, of course, everyone is talking about Williams’s Jamie New, so restless at sweet 16 to be “something and someone fabulous”. His Jamie is a mover, a peacock groover, a fantabulous fusion of lip and lip gloss, high heels and higher hopes, outwardly confident yet naïve, in that teenage way, and vulnerable too. What a performance.

Yorkshire has given us Billy Liar’s Billy Fisher, Kes’s Billy Casper, and now Jamie New, disparate young dreamers in need of escape from the grey grime, but this time the story is so, so uplifting, emerging from darkness into the spotlight (and mirroring the return of live theatre from Covid quarantine to boot).

Review by Charles Hutchinson

Remaining performances: tonight, 7.30pm; tomorrow and Sunday, 2.30pm and 7.30pm.

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“When Ash and Lucy start to fizz together, the planets start to spin,” says Emma Rice of her Wuthering Heights coupling

Lucy McCormick’s “rock star” Cathy in Wise Children’s Wuthering Heights at York Theatre Royal. Picture: Steve Tanner

ASK Wise Children artistic director Emma Rice why she cast performance artist and actor Lucy McCormick as Cathy in her stage adaptation of Wuthering Heights, and she replies: “Lucy is a rock star.”

“Literally and metaphorically! She is pure charisma and has a wildness of spirit that takes my breath away. She is fearless, passionate, seriously sexy and maverick,” says Emma. “She was my Catherine Earnshaw from the moment I saw her perform and I cannot believe my luck that she is creating this role with me. I am in awe.”

Ask Emma why she picked Ash Hunter for Heathcliff, and she enthuses: “Oh, everything! Ash Hunter is everything I want from my Heathcliff. He has a unique intensity that could stop a train in its tracks and a deep understanding of human love, rage and sorrow. He is one of the finest actors I have ever worked with and when he and Lucy start to fizz together, the planets start to spin. I am beyond words.”

From Tuesday (9/11/2021), Lucy and Ash will be at York Theatre Royal, leading Rice’s company in Wise Children’s wild folk musical account of Emily Bronte’s raging Yorkshire moorland tale of love, revenge and redemption in a co-production with the York theatre, the National Theatre and the Bristol Old Vic.

Here Lucy and Ash discuss Emma’s directorial style, returning to the stage, their roles, their passions, their accents.  

Emma’s style is so distinctive, how would you describe it?

Lucy: “I would say ‘theatrical’.”

Ash: “I read somewhere that it’s ‘theatre magic’ and I think that a very apt description of her style. She’s got a massive bag of tricks, which she can delve into to create something rare and different to the theatre you see anywhere else.”

Lucy: “Colourful and dramatic but very theatrical and very musical. A bit of everything.”

Ash: “She clearly has a love for the stage and all of its facets; puppetry, song, dance, there’s nothing that doesn’t happen in this production. Vivid.”

How are you feeling about getting stuck into this production, especially after the last two years?

Lucy: “I’ve known about this job during that whole time, which was weird. It got postponed twice during those two years, but it’s good to be back being busy.”

Ash: “Previous to lockdown, the last couple of jobs I’ve had were in TV, so it’s great to be back on stage again. But this has always been a huge production that we’ve been leading up to. So, I think in terms of emotion and preparation it’s been quite a big shift starting Wuthering Heights.”

“When Ash and Lucy start to fizz together, the planets start to spin,” says director of Ash Hunter’s Heathcliff and Lucy McCormick’s Cathy in Wise Children’s Wuthering Heights. Picture: Steve Tanner

Catherine Earnshaw and Heathcliff are a passionate pair, what are you most passionate about?

Ash: “I’m passionate about Lucy.”

Lucy: “I’m passionate about deconstructing patriarchal capitalist systems and I like peanut butter.”

Ash: “And I’m still passionate about Lucy.”

Emily Brontë’s novel has inspired so many versions. How do you best know Wuthering Heights: as the book, a film or TV adaptation or that Kate Bush song?

Ash: “Mine is the Kate Bush song, always and forever, and the Tom Hardy TV series version, which is what I based my Heathcliff on,” [he says with a laugh].

Lucy: “I’ve read the book, back when I was an acting student. I read it because I thought I should read some old classic novels, and now I’m in it!”

What sort of Heathcliff and Cathy will feature in this version of Wuthering Heights?

Lucy: “I’m a bit more intense than Cathy in my actual life.”

Ash: “I think what’s quite clear is that we have some similarities to our characters in real life. I think I’m a lot like him, especially the version that we are doing here. We were saying the version of Heathcliff here isn’t colour-blind casting; he is black, he’s got a Jamaican accent.

“He’s spurned and treated like an outcast, not only because of his poverty or social standing, but also because of his colour, and the anger that’s brewed up within him is a righteous anger.

“Colourful and dramatic but very theatrical and very musical,” says Lucy McCormick, summing up Emma Rice’s stage version of Wuthering Heights. Picture: Steve Tanner

“It’s something that I have felt; I think he is me if I hadn’t found my peace. I actually think that he is less brutal than the Heathcliff in the book and there was a desire to show that people are not entirely bad or entirely good. I think Emma [Rice] hasn’t allowed Heathcliff to become as dark as he could have become, and there are moments where you see him soften.”

Lucy: “Emma wants to leave it on a positive. He’s bad enough.”

Why should this story be told now?

Ash: “For me, its specific to what’s going on in the world and with me and my relationship with my blackness and masculinity. I’m hoping there are people who are going to see this and identify with Heathcliff and his struggles. If you treat someone like a monster, then you create a monster. You wanted a monster, you got one.

“Hopefully, people see that reflection and even out of that can come love and positivity, and if you do face that and deal with your demons, something good can come from it.”

Lucy: “I do think people will always be a***holes; what’s a better way of putting that? It’s like reality TV, these awful people play out their lives and people love to look in on it and their mistakes and hopefully learn from them.

“It’s a classic story of dysfunctional people making mistakes and hopefully an audience can analyse it and see where it went wrong. Because people can be rubbish, and that’s never going to change, unfortunately.”

This is a classic Yorkshire tale; how are your accents coming along?

Ash: “I’m speaking with a Caribbean accent. I love it because of the lyricalness of it. I can’t imagine doing it another way and also where it places him and my voice. It is there to differentiate him from everyone else; you can’t get away from his otherness.

Ash Hunter’s Heathcliff with Katy Owen’s Isabella in Wise Children’s Wuthering Heights. Picture: Steve Tanner

“The choice that when he comes back a gentleman, that he hasn’t changed his accent, he has a more refined, posh, deeper Jamaican accent but he’s not trying to change who he is, he’s owning it. It’s beautiful.”

Lucy: “What was weird for me is that it’s close to my accent but not my accent. I’ve almost found that harder than say an American accent or whatever else I’ve done. It’s just working on that subtle difference. Tweaking my own voice. It’s quite annoying!”

What can the York audiences expect to feel after watching this adaptation of Wuthering Heights?

Ash: “Exhausted! It’s a whole gamut of human emotions! Emma hasn’t left anything out.”

Lucy: “They’re going to laugh, they’re going to cry – and feel celebratory at the end but they will have gone through a journey.”

Ash: “The first half is just a juggernaut. It’s a play in itself! The ending of the first half is just… Watching Catherine and Heathcliff’s descent into mutual madness is just woah! It’s cool.”

Lucy: “There’s a point in the first half that you get to and you just don’t stop! And then we do a second play! The audience seem to feel good about it. Emma wants the audience to feel good at the end.”

Ash: “The first half has a massive tragedy and the second half ends with big drama but in a different way. Emma is careful to give the audience a gift to go away with.”

Wise Children’s Wuthering Heights runs at York Theatre Royal, November 9 to 20. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Lucy McCormick in Wise Children’s tour poster for Wuthering Heights, leaping onto the York Theatre Royal stage from Tuesday. Picture: Hugo Glendinning




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Hitting the Heights – Heathcliff Richard, throbbing passion and withering looks

Ash Hunter’s Heathcliff and Lucy McComick’s Cathy in Wise Children’s Wuthering Heights in 2021. Picture: Steve Tanner

AS Emma Rice’s adaptation of Emily Brontë’sWuthering Heights heads to York Theatre Royal from November 2, Steve Pratt considers the reaction to the original novel and previous incarnations of the story.

Bell, book and Brontë 

EMILY Brontë’s only novel Wuthering Heights was published in 1847 under the pseudonym Ellis Bell. Wuthering Heights and Anne Brontë’s Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte’s novel Jane Eyre. 

It was described by reviewers as both “a disagreeable story” and “a strange book”. Another thought the faults of Charlotte Brontë’s Jane Eyre were “magnified a thousand-fold”, adding that “the only consolation which we have in reflecting upon it is that it will never be generally read”.

Another critic noted: “It is not without evidences of considerable power: but, as a whole, it is wild, confused, disjointed, and improbable; and the people who make up the drama, which is tragic enough in its consequences, are savages ruder than those who lived before the days of Homer.” 

Praise was in short supply. “We rise from the perusal of Wuthering Heightsas if we had come fresh from a pest-house. Read Jane Eyreis our advice, but burn Wuthering Heights,” suggested one critic. 

The writer in United States’ publication Graham’s Lady’s Magazine was clearly no fan: “How a human being could have attempted such a book as the present without committing suicide before he had finished a dozen chapters, is a mystery. It is a compound of vulgar depravity and unnatural horrors…”

Cliff Richard’s Heathcliff in 1996

Heath-Cliff Richard

HEATHCLIFF, a musical conceived by and starring Cliff Richard, centred on the character of – yes, you’ve guessed it – Heathcliff. Some imagined that dark and brooding Heathcliff was outside clean-cut pop star Cliff’s acting range. Song lyrics were by Tim Rice, no less. The musical’s book was not by Ms Brontë but Cliff and theatre director Frank Dunlop. 

A studio album with ten songs from the show, including duets with now-Dame Olivia Newton-John, was released in 1995 with the stage version premiering the following year in London. Ticket sales broke box office records although critics were less enthusiastic than Cliff’s fans.

Moors the merrier

IN 1939, MGM turned the book into a movie, recreating the Yorkshire Moors on a California ranch and in a Hollywood film studio. Laurence Olivier and Merle Oberon starred. A “very poor” adaptation, thought one critic, adding: “The accuracy is dreadful, the characters are almost unrecognisable and the setting a century and a half out. Enjoy it as a romance but, if you watch as a portrayal of the book, you will be disappointed.”

Oscar-nominated as best picture, the film lost out to Gone With The Wind.

Ralph Fiennes, in his film debut as Heathcliff, and French star Juliette Binoche as Cathy in Peter Kosminsky’s 1992 film Emily Brontë’s Wuthering Heights

Beating about the Bush

WUTHERING Heights was Kate Bush’s debut single in 1977, written when she was 17. It became the first UK number one written and performed by a female artist.

Kiss me Hardy

THE 2009 ITV adaptation of Wuthering Heights starred Charlotte Riley and Tom Hardy, who became a couple in real life once the cameras stopped turning. Their romance had a happier ending than Cathy and Heathcliff’s – they are now married with children.

Throbbing passion 

JANET McTeer, the award-winning actor who worked in the York Theatre Royal coffee bar as a student, not only appeared in the 1992 Wuthering Heights film as Ellen Dean but also read the audio book.

A reviewer considered her performance brought the book fully to life, adding, “McTeer’s sections throb with the passions appropriate to this classic.”

O-O-Brontë 

THE forgotten James Bond – hands up those who remember Timothy Dalton played 007 in three movies – was shaken and stirred by Cathy when he played Heathcliff in the 1970 film. Producer Louis Heyward declared this would be more like the book than the first American version (not difficult), saying “Hollywood now goes in for the truth. Heathcliff was a bastard and Cathy a real bitch and that’s how they’ll be in this film”.

A sequel, Return to Wuthering Heights, was threatened but happily never materialised.

Lip Service satirists Maggie Fox and Sue Ryding in Withering Looks

‘Allo, ‘Allo, Eeethcleef

THE 1992 film version was shot on Yorkshire locations with Ralph Fiennes as Heathcliff and French actress Juliette Binoche as Cathy. The scenery was authentic but critics worried about the French actress’s faltering English accent, not to mention seeing an uncredited Sinead O’Connor narrating the story as Emily Brontë herself.

Effing Heights

A BBC Radio 3 adaptation put the f-word into the mouths of Cathy and Heathcliff to “capture the shock” that greeted the publication of the book (which had words crossed out in the original text because they were considered too strong).

Writer Jonathan Holloway declared: “What I wanted to elbow out is this idea that it’s the cosy greatest love story ever told – it’s not. For me Wuthering Heights is a story of violent obsession, and a tortuous unfulfilled relationship. This is not a Vaseline-lensed experience.”

Gone with the Howling Wind

HURLEVENT – which translates as Howling Wind – was a 1985 French film adaptation of the first part of the novel, set in 1930s’ Southern France. Other adaptations have moved the story to Catholic Mexico, a California high school and medieval Japan. The book has also been an opera and a graphic novel.

Withering Looks

LIP Service, alias comedy duo Sue Ryding and York’s Maggie Fox, continue to perform their award-winning Brontë spoof Withering Looks on stages up and down the land. The show is described as “an authentic look at the lives and works of the Brontë sisters – well, two of them actually as Anne has just popped out for a cup of sugar”. 

Wise Children’s Wuthering Heights, a York Theatre Royal, National Theatre and Bristol Old Vic co-production with Emma Rice’s Wise Children, runs at York Theatre Royal from November 2 to 9. Box office: 01904 623568.

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Cherie Federico, director of Aesthetica Short Film Festival, is this week’s special guest for Chalmers & Hutch’s arts podcast

Cherie Federico: Aesthetica Short Film Festival director

THE 11th Aesthetica Short Film Festival is running in York this week and online until November 30. No better time for Two Big Egos In A Small Car podcasters Chalmers & Hutch to invite director Cherie Federico for a chat about York’s fiesta of film.

Under discussion too in Episode 63 are: Adele’s algorithms; The Young’uns’ gig theatre in The Ballad Of Johnny Longstaff at York Theatre Royal, and are Public Service Broadcasting’s powers of Bright Magic fading?

To listen, head to: https://www.buzzsprout.com/1187561/9485479

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Damon Albarn’s dark journey to launch new album with intimate York Minster concert

The poster announcing Damon Albarn’s York Minster concert

DAMON Albarn will play York Minster in a special intimate album-launch show on December 2.

Yes, you read that right. Damon Albarn. York Minster. Intimate show. December 2.

Hurry, hurry: a gone-in-a-flash sell-out is expected when ticket bundles go on sale tomorrow morning at 10am for the Blur, Gorillaz and The Good, The Bad & The Queen leader’s concert to celebrate the November 12 release of his solo studio recording The Nearer The Fountain, More Pure The Stream Flows.

Doors will open at 6.30pm for Albarn’s first-ever York gig, organised by Leeds promoters Brudenell Presents and Leeds record store Crash Records.

“Bit of a crazy announcement…we’re incredibly proud to be teaming up with @Crash_Records to host the legendary @Damonalbarn at York Minster this December!” reads Brudenell Presents’ tweet. “Album & Ticket bundles go on-sale tomorrow via the Crash website.”

That crashrecords.co.uk website advises: “Door times 6:30pm. There will be no support and Damon will go on as soon as everyone is inside, so please be prompt so you don’t miss anything (we suggest being there for doors).

The artwork for Damon Albarn’s November 12 album, The Nearer The Fountain, More Pure The Stream Flows

“We have set up special bundles for this release where fans can purchase an album on a format of your choice and get a ticket for this exclusive show.

“There is a limited capacity for this (14+ ages) event so we would expect all the album and ticket bundles to sell out very quickly.”

The ticket and album bundles are: CD and one ticket, £23.99, limited to four per person; vinyl LP and one ticket, £34.99, limited to two per person; one ticket only, £20, limited to one per person.

Crash Records say: “We urge you to consider buying an album bundle rather than ticket only as they only cost £3.99 more to get a CD, plus this way you are helping the artist, and the more albums we sell, the more of these exciting album launch shows we are able to put on in the future.

“Full entry requirements from the venue will be sent via email around a week before the event, so please place your order using an email you check regularly and, if possible, add boss@crashrecords.co.uk to your safe/whitelist, so it doesn’t end up in your junk/spam folder.

“Shipping is the only option for this event. Tickets and albums will be shipped out together on or just before the release date of November 12, so please ensure the address details are correct. There is No Collect At Venue or Collect In Store option. All tickets and stock will be shipped out.”

“I have been on my own dark journey while making this record,” says Damon Albarn. Picture: Linda Brownlee

The Nearer The Fountain, More Pure The Stream Flows is Albarn’s first release for his new label, Transgressive Records, with a track listing of The Nearer The Fountain, More Pure The Stream Flows; The Cormorant; Royal Morning Blue; Combustion; Daft Wader; Darkness To Light; Esja; The Tower Of Montevideo; Giraffe Trumpet Sea; Polaris and Particles.

The CD edition will include a 20-minute “hidden” track of a new and original recording that inspired some of the record’s themes, not available on other formats.

The album originally was intended as an orchestral piece inspired by the landscapes of Iceland. This past year, however, has seen 53-year-old Albarn return to the music in lockdown to develop the work into 11 tracks that further explore themes of fragility, loss, emergence and rebirth.

The result is a panoramic collection of songs with Albarn as storyteller and an album title taken from a John Clare poem, Love And Memory. “I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist,” he says.

The Nearer The Fountain, More Pure The Stream Flows will be available in a digital format, on limited-edition white vinyl, plus CD and cassette. A deluxe edition will take the form of a case-bound book with additional photography, original scanned lyrics and artwork from Albarn, alongside a white vinyl album, a high-quality digital file and a bonus 7-inch featuring an exclusive song from the recording sessions.

UPDATE

TICKETS sold out in only five minutes for Damon Albarn’s 6.30pm concert on December 2, one Tweeter even saying all tickets had gone by the time she went online at 9.42am before officially going on sale at 10am on November 5 .

A second York Minster show was duly added for 8.30pm that night, with ticket bundles on sale from 9am on November 10. Whoosh, gone too.

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Emma Rice shakes up cautionary tale Wuthering Heights as epic folk musical

“Lucy McCormick is pure charisma and has a wildness of spirit that takes my breath away,” says director Emma Rice of her “rock star” actor playing Cathy. Picture: Steve Tanner

YORK Theatre Royal’s Haunted Season climaxes with Wise Children’s Wuthering Heights, Emma Rice’s long-touted elemental adaptation of Emily Bronte’s gothic Yorkshire revenge tragedy, from Tuesday to November 20.

Company founder and artistic director Rice completes a hattrick of Theatre Royal visits after her stage versions of Angela Carter’s Wise Children in March 2019 and Enid Blyton’s Malory Towers in September that year.

This time, she partners with the National Theatre, Bristol Vic (in the city where Wise Children are based in Spike Island) and the York theatre for a gale-force, folk musical Wuthering Heights, whose tale of love, revenge and redemption is marked by her trademark visual flair, wild humour, puppetry and casting of “rock star” Lucy McCormick as Cathy.

Here Emma answers Charles Hutchinson’s questions as Wuthering Heights seeks to hit new heights.

You call Wuthering Heights a “tragedy”, but reviews have emphasised the “comedy/pastiche”, “the unfaithful storytelling” and the folk musical panache of your interpretation. Have past productions been too serious and Yorkshire-grim?

“I believe that Emily Brontë is an overlooked comic genius. I love comedy and there’s always laughter in my shows, but it wasn’t difficult to bring fun to this adaptation – it’s all there in the text.

“Linton Heathcliff is the most despicably funny character ever written and Lockwood a comedy genius. I hope this production will celebrate Brontë’s sparkling humour as well as her bloody passion.”

Kandaka Moore (Zillah), left, Ash Hunter (Heathcliff), Nandi Bhebhe (The Moor), Lucy McCormick (Cathy) and Witney White (Frances Earnshaw) in Wise Children’s Wuthering Heights. Picture: Steve Tanner

What were the aspects of the story that you most wanted to bring out for a 2021 audience in its transition from Emily Bronte’s Wuthering Heights to Emma Rice’s Wuthering Heights?

“There are several aspects of the show that cast a new ‘21st century’ light on the book, but one thing that stands out is how I see Catherine. I initially saw her as the traditional tortured romantic heroine, then as a bit of a minx. Now I think she’s unwell.

“I think she’s a prisoner of her time: a deeply independent women who is constrained by the limitations of being a woman in the 1800s and who fights against those restrictions until it literally drives her mad. I’ve enjoyed exploring this way of looking at this iconic character with Lucy [McCormick] in the role.”  

What made you cast Lucy McCormick as Cathy?

“Lucy is a rock star. Literally and metaphorically! She is pure charisma and has a wildness of spirit that takes my breath away. She is fearless, passionate, seriously sexy and maverick. She was my Catherine from the moment I saw her perform and I cannot believe my luck that she is creating this role with me. I am in awe.”

What do you recall of first reading Wuthering Heights:  where, when; how old were you?

“I have always loved the book, though at different times in my life it has meant different things to me. In my teens it was one of the first ‘exam’ books that really got me; it fired up my reluctant teenage brain and dared me to dream of passion and romance.

“In later readings, I was struck by how little love there actually is in the book: it’s brutal and cruel, and this darker version of the book stuck in my mind. 

Ash Hunter as Heathcliff and Lucy McCormick as Cathy. Picture: Steve Tanner

“Then, a few years ago, I was appalled by what I saw at the Calais Jungle and at refugee camps all over the world. I was horrified by the cold negotiations our government was having about how many refugee children we would take in – horrified that this could even be a question a so-called civilised country was asking. Something sparked in my brain. Wasn’t Heathcliff an accompanied child?”

Do you view the book and its writer differently now to when you first read it?

“It blows my mind that this book was written by someone so sheltered. The detail of Cathy’s neurosis and behavioural issues and the depiction of illness is devasting and brilliantly described.

“I wonder if, as a vicar’s daughter, all of life came to the Brontes’ door and that is how Emily knew so much about the human condition. I don’t find the novel unworldly in the slightest. It is brutally honest and frighteningly well observed. It explores, obsession, control, prejudice, jealousy, violence and hope. All themes very much rooted in reality.

“I knew I needed to tell this story and I needed to tell it now. When Heathcliff is found at the Liverpool docks, the way he is treated sparks a series of events that are catastrophic. This is a cautionary tale and a revenge tragedy. Truly a story for our times.”

What does outsider Heathcliff’s story represent in our increasingly intolerant, unwelcoming post-Brexit society?

“For me, Heathcliff, and the way he’s treated by those around him, is the key to the story. On the surface it’s a love story, but deep down I think it’s about kindness and about the danger of not showing compassion to those in need.

“Wuthering Heights is a cautionary tale about what happens when we treat those in need as somehow less than ourselves. This is the driving force of my adaptation: cruelty breeds cruelty. Be careful what you seed.” 

“Ash Hunter has a unique intensity that could stop a train in its tracks,” says Emma Rice of her pick to play Heathcliff, right

What made you cast Ash Hunter in the role?

“Oh, everything! Ash Hunter is everything I want from my Heathcliff. He has a unique intensity that could stop a train in its tracks and a deep understanding of human love, rage and sorrow. He is one of the finest actors I have ever worked with and when he and Lucy start to fizz together, the planets start to spin. I am beyond words.”

How important is the physicality of the Yorkshire landscape to your production? How do you represent it on stage?

“Hugely important. In fact, I’ve made The Yorkshire Moor a character in the show, played by the jaw-droppingly talented Nandi Bhebhe and the ensemble. The Moor narrates the story, as well as trying – and often failing – to save the characters from themselves.”  

Wuthering Heights features a live band. Why is music so integral to your theatre-making?

“Music is important to every part of my life. I love music and can’t imagine making a show that wasn’t full of it. And it feels essential to theatre. Along with storytelling, making music is one of the oldest forms of communication. It’s how we reach across the divide and connect with other humans. 

“Wuthering Heights particularly calls for an epic score: it’s an epic novel and needs to be met with everything it demands and deserves. Ian Ross, my long-time collaborator, has composed the most extraordinary score, raw, ravishing and brimful of passion.”

Is it really “grim up north”? If not, why is that the north’s reputation?!

“Haha! I definitely don’t think it’s grim up north, in fact I love it! My family were big campers in the 1970s and many a wet weekend was spent in Derbyshire and Yorkshire. I remember walking up to Upper Withins – the place that is thought to have inspired Wuthering Heights – and being a little disappointed at how small it was. I was intoxicated by the moors though, and the Brontë Parsonage and the sheer wildness of that world.”

“It is a privilege and a wonder to be making something so important,” says Wuthering Heights director Emma Rice. Picture: Steve Tanner

You are building up a relationship with York Theatre Royal for your Wise Children work. Why is forging links with regional theatres, as well as with the National Theatre, important to you?

“York Theatre Royal is Wise Children’s most steadfast collaborator: we’ve made three original touring shows since we launched the company in 2018, and YTR has co-produced all of them! We love working with them and hope to continue doing so long into the future. 

“Wise Children’s mission is about making great work and touring it around the country – because we believe that audiences everywhere should have access to the talent and vision that is all too often only seen in the capital.

“We’re also committed to touring the ‘real thing’: we don’t send out a second cast, or a rejigged set – we tour with the original production and cast, making sure that the show is in its perfect form, whether you see it in York or Inverness.” 

If someone has never seen Wuthering Heights, or indeed read it, why should they come to your show?

“Because it’s got everything! An epic story, a staggeringly beautiful set, deliriously wonderful music, and a cast of such searing talent that my heart jumps every night. I truly feel this is some of the most thrilling work I have ever made, and I am loving watching audiences respond to it.

“Inspired and emboldened by lockdown, we were determined to bring everything we could to this show – and you can feel the energy in every song, dance, line and action. It is a privilege and a wonder to be making something so important with such an amazingly talented and joyful company.”

Wise Children’s Wuthering Heights runs at York Theatre Royal, November 9 to 20, 7.30pm (except November 14); 2pm matinees, November 11, 13, 18 and 20. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

“I truly feel this is some of the most thrilling work I have ever made,” says Emma Rice as Wuthering Heights blasts its way to York Theatre Royal . Picture: Steve Tanner

Copyright of The Press, York.
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More Things To Do in and around York as Wuthering Heights goes ‘camp folk musical’. List No. 56, courtesy of The Press

Carr double: Jimmy Carr to play both York Barbican and Grand Opera House

Charles Hutchinson fishes out No Such Thing As A Fish and plenty more besides to hook you in.

Two bites at the cherry of sceptical comedy: Jimmy Carr: Terribly Funny, York Barbican, tonight, 8pm; Grand Opera House, York, Tuesday, 8pm

JIMMY Carr will be playing York twice inside a week on his rescheduled Terribly Funny tour, visiting both the Barbican and Grand Opera House.

The host of Channel 4’s The Friday Night Project and 8 Out Of 10 Cats will be discussing terrible things that might have affected you or people you know and love. “But they’re just jokes,” Carr says. “They are not the terrible things.” 

Having political correctness at a comedy show is like having health and safety at a rodeo, he asserts. Box office: yorkbarbican.co.uk or atgtickets.com/york. 

Jools Holland: Back at the piano with his orchestra in York and Harrogate

National treasure shows of the week: Jools Holland and His Rhythm & Blues Orchestra, York Barbican, tomorrow, 7.30pm; Harrogate Convention Centre, Saturday, doors, 7pm

PIANIST, bandleader and ringmaster Jools Holland is joined by his 19-piece orchestra for the 2021 autumn tour of his long-running celebration of ska, boogie-woogie and the blues.

The Later presenter, 63, will be welcoming regular vocalists Ruby Turner and Louise Marshall, plus special guest Chris Difford, his former compadre in Squeeze. Lulu is in with a Shout of a guest spot too. Box office: yorkbarbican.co.uk or harrogatetheatre.co.uk.

Bella Gaffney: Down by the river on new single Black Water. Picture: Esme Mai

Folk gig of the week: Bella Gaffney, York St John University Theatre, Saturday, 7.45pm

BORN in Bradford and educated in Nottingham, singer-songwriter Bella Gaffney now lives in York, performing both in The Magpies trio and solo.

Combining her folk-inspired compositions with her original arrangements of traditional pieces, Bella has a new album on its way in 2022 funded by Arts Council England and York charity Doing It For Liam.

Listen out for the single Black Water, a lockdown-inspired homage to the River Wharfe and its power to connect Bella to family and friends miles away. Katie Spencer supports on a bill promoted by The Crescent in a new venture with York St John. Box office: ticketweb.uk.

Russell Watson: Delighted to be performing again after the lockdowns, singing in York on a Sunday afternoon

Matinee idol of the week: Russell Watson, 20th Anniversary Of The Voice, York Barbican, Sunday, 3pm

REARRANGED from October 9 2020, Salford tenor Russell Watson’s 20th anniversary celebration of his debut album The Voice will be a Sunday afternoon performance.

Watson will be joined by a choir for a matinee concert featuring such favourites as Caruso, O Sole Mio, Il Gladiatore, Nessun Dorma, You Are So Beautiful, Someone To Remember Me and Faith Of The Heart. Box office: yorkbarbican.co.uk.

York Musical Theatre Company singers Cat Foster, left, Richard Bayton, Helen Spencer, John Haigh, Henrietta Linnemann and Rachel Higgs step out for Hooray For Hollywood

Escapist nostalgia of the week: York Musical Theatre in Hooray For Hollywood, Joseph Rowntree Theatre, York, Monday to Wednesday, 7.30pm

DEVISED by director Paul Laidlaw, York Musical Theatre Company’s Hooray For Hollywood celebrates songs from Tinseltown’s golden age of the 1920s, ’30s and ’40s. No

Laidlaw’s slick and sophisticated six-hander show stars Cat Foster, Rachel Higgs, Henrietta Linnemann, Helen Spencer, Richard Bayton and John Haigh, who will be evoking the days of Fred Astaire, Frank Sinatra, Judy Garland and Bing Crosby. Box office: josephrowntreetheatre.co.uk or on 01904 501935.

The tour poster for No Such Thing As A Fish, full to the gills with facts at the Grand Opera House, York

Podcast transfer of the week: No Such Thing As A Fish, Nerd Immunity, Grand Opera House, York, Monday, 8pm

SUITABLE for “anyone with a thirst for knowledge, a taste for puns and a need for belly-laughs”, the weekly British podcast series No Such Thing As A Fish is presented by the geeky researchers behind the BBC Two panel game QI: James Harkin, Andrew Hunter Murray, Anna Ptaszynski and Dan Schreiber.

Now, “the QI elves” are on their first tour since 2019, revealing favourite unbelievable facts in their Nerd Immunity live show. Box office: atgtickets.com/york.

Ash Hunter as Heathcliff and Lucy McCormick as Cathy in Wise Children’s Wuthering Heights at York Theatre Royal

World premiere of the week in York: Emma Rice’s Wise Children in Wuthering Heights, York Theatre Royal, Tuesday to November 20

EMMA Rice’s Wise Children teams up with the National Theatre, York Theatre Royal and Bristol Old Vic for Rice’s folk musical, robustly visual account of Emily Bronte’s Yorkshire moorland novel.

Lucy McCormick plays Cathy in this epic story of love, revenge and redemption, now infused, according to the Guardian review, with “unfaithful storytelling”, pastiche, comedy and a “raging camp” tone. Interesting! Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Close, but no cigar: Omid Djalili takes the mic in The Good Times

What better time for The Good Times: Omid Djalili, Grand Opera House, York, Wednesday, 8pm

AFTER experimenting with a Zoom gig where he was muted by 639 people, British-Iranian comedian, actor, television producer, presenter, voice actor and writer Omid Djalili is back where he belongs:  bringing The Good Times to the stage.

Expect intelligent, provocative, fast-talking, boundlessly energetic comedic outbursts rooted in cultural observations, wherein Djalili explores the diversity of modern Britain. Box office: atgtickets.com/york.

Kristin Hersh: Electric lady lands in York next spring

Newly confirmed for 2022: Kristin Hersh Electric Trio, The Crescent, York, April 24, 7.30pm

THROWING Muses co-founder Kristin Hersh will return to The Crescent with her Electric Trio, featuring Throwing Muses bass player Fred Abong and drummer Rob Ahlers, from her other band, 50 Foot Wave.

In store is a loud, tight and intense set of material spread across singer and multi-instrumentalist Hersh’s 30-year career that saw Throwing Muses deliver their latest indie rock album, Sun Racket, in September 2020. Ahlers will open the gig in a solo showcase for his album Yellow Throat. Box office: thecrescentyork.com.

Hollie McNish: Sold-out Say Owt gig on Wednesday

Recommended but sold out already:

SOUL singer Gabrielle’s Rise Again Tour show at York Barbican on Wednesday; poet and author Hollie McNish, hosted by York’s spoken-word crew Say Owt, at The Crescent, York, on Wednesday.

Kevin Poeung as Merlin in Northern Ballet’s Merlin. Picture: Caroline Holden

World premiere of the week outside York: Northern Ballet in Merlin, Leeds Grand Theatre, Tuesday to November 20

OLIVIER Award-winning choreographer Drew McOnie makes his Northern Ballet debut with the epic adventure of Merlin, the world’s most famous sorcerer, who must discover how to master his magic to unite a warring kingdom. Cue heartbreak, humour and more than a little magic. 

McOnie is working with the Leeds company after choreographing King Kong on Broadway and Baz Luhrmann’s Strictly Ballroom The Musical. Box office: 0113 243 0808 or at leedsheritagetheatres.com.

REVIEW, 10/11/2021: Northern Ballet in Merlin, Leeds Grand Theatre ***

DREW McOnie’s dazzling direction of Baz Luhrmann’s Strictly Ballroom The Musical at the West Yorkshire Playhouse in 2016 whetted the appetite for his debut for fellow Leeds company Northern Ballet.

In his first full-length ballet, the Portsmouth-born Olivier Award winner applies his choreographic prowess to the world premiere of Merlin, an epic fantasy adventure, very definitely for a family audience, that would have benefited from being staged in the upcoming holiday season.

Merlin may be billed as “the world’s most famous sorcerer”, but the story that unfolds here needs recourse to Page 4 and 5 of the programme to peruse The Story – At A Glance to be assured wholly of who’s who and what’s what in what Northern Ballet artistic director David Nixon calls “this magical tale with a heart-warming family narrative”.

In a nutshell, “an otherworldly ritual brings with it two mighty Gods. Their union creates an orb that falls to earth and reveals a baby within: Merlin. A young Blacksmith (Minju Kang) finds this helpless child, adopting him in as her own.”

Hence the family appeal of a coming-of-age story with fleet-footed, nimble Kevin Poeung in the role of blossoming wizard Merlin discovering how to use his magical powers to unite the warring kingdom.

The importance of family – in this case Merlin being raised by a strong, principled single mum – provides the everyday beating heart of McOnie’s Merlin, albeit that power struggles and romance are the more obvious headline-making material here.

Northern Ballet go for the epic scale to excite younger audiences drawn to Harry Potter, Star Wars and the Tolkien films: cue sword fights, puppets for a smoke-billowing dragon and wild dogs, and an Excalibur that lights up in the manner of a Jedi lightsabre.

Colin Richmond’s golden set designs are spectacular, even magical, and of course there is magic in the show, but CharlesHutchPress did not find McOnie’s production wholly magical, despite the performances of Antoinette Brooks-Daw’s Morgan, Javier Torres’s Vortigern and Abigail Prudames’ Lady of the Lake.

McOnie has made his name in musical theatre, an artform that comes with narrative in song and book, but dance must fill in the gaps, and the storytelling is not this Merlin’s strongest suit, for all the zest of Grant Olding’s music and the panache of McOnie’s modern choreography, allied to classical steps.

Review by Charles Hutchinson

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The Voice, the concert, the return of Russell Watson for York Barbican Sunday matinee

RUSSELL Watson, ‘the People’s Tenor’, does not sing to live but lives to sing.

Armed with that philosophy, reinforced by so many months of stage inactivity enforced by the Covid pandemic, the Salford tenor is back on the road for his Celebrating The 20th Anniversary Of The Voice tour, playing York Barbican on Sunday afternoon.

That classical-pop crossover debut entered the Official Classical Artist Album Chart at number one on release in September 2000, becoming that year’s biggest classical seller as it peaked at number five in the UK album chart.

Watson’s journey took him from a Salford estate, a bolt-cutter by day, a working men’s club act at night, to performing for popes and presidents and singing at Champions League and rugby cup finals and a Commonwealth Games opening ceremony.

Along the way, he has overcome two brain tumours, and now he is performing once more, singing his most loved songs and career highlights from the past two decades. “It’s become much more relevant to me these last 18 months or so that I don’t sing to live, I live to sing,” says Russell.

“It’s something that is very personal to me, so when I’m not in tune with performance, the adrenaline rush and the thrill that it gives me to be on stage in front of an audience, it fundamentally affects me and who I feel as I am as a human being.”

Looking back over the long months of lockdowns, Russell says: “At the start, it didn’t feel like too much of a struggle. It was more like a chance to regroup and think, as well as rest my voice, as I’ve been touring constantly for 20 years with only small gaps in between.

“Once I’d done the I’m A Celebrity… show and winter had set in, though, I can admit I really struggled. Obviously, we’ve gone through the darkest of times and there are many, many people way worse off than me, but it still wasn’t easy. The entertainment and hospitality industry has really been left behind.”

“I’m here for a reason; I will be back on stage,” vowed Russell Watson as lockdowns dragged on. Picture: Mark Hayman

Hence Russell could not wait to set foot on the stage once more on September 19 at Woking’s New Victoria Theatre. “It’s felt like an eternity these last 18 months, like I’ve lost my purpose. I just want to get back out on that stage again and do what I love doing more than anything in the world. I’m just so thrilled to get that opportunity to do that again,” he said at the time.

“I remember my wife saying, ‘oh god, are you ever going to get back on stage?’, and my response was to think, ‘I’m here for a reason; I will be back on stage’.

“I didn’t go through what I did 12 years ago for nothing. I’ve had a few scares, the lumps on my vocal cords being cut out in 2003, the tumours, and I have to take medication every day, but there’s never a day I feel sorry for myself. Life is so short and as you grow older you become more aware of the generational changes.

“As a child, at eight, all I wanted to do was kick a ball around, with three generations around me. My great grandparents have gone, my grandparents have gone, and now there’s only one generation before me, and the years just seem to go by quicker. Where’s this year gone? It’s like, can we just slow down, it’s going too quickly.

“That’s why I don’t take anything for granted. Mentally I still feel like I’m in my 20s, and the body’s not too bad!”

As for the voice, “It’s funny; it once got to the point of wondering if anyone was going to ask how I was, rather than just my voice, as if the voice was a separate entity, but in some ways it still is,” Russell says.

“On some days, I can feel dreadful, but the voice will be fine, and on other days, I’ll be on top of the world, but the voice isn’t quite there. As a singer, you’re balancing on the high wire; that’s where you are when you’re singing some of the great arias; hitting those vocal peaks is like walking a tightrope.”

As Russell built up his voice for touring again, he recalls doing his vocal scales one day in his games room, acoustically the most resonant space in his home: “I was doing a bit of Donizetti, on my own, no-one else in the house, and coming up to the big note, I hit it clean as a whistle. Afterwards, I had tears in my eyes: it’s just so good to be singing again, so pure and so clean.

The poster for Russell Watson’s 2021 tour, marking 20 years since the chart-topping debut success of The Voice

“I feel like I’m back in heaven. The only time I feel trepidation is if I can feel a sore throat coming and I feel great but the voice doesn’t.”

How does Russell feel about being “The People’s Tenor”? “It’s like a term of endearment,” he says. “In my early days, people saw me as this young man who came from nowhere with very little formal training and wasn’t a stereotypical classical singer. My background was as someone who spent the first six years of my professional life working 12-hour shifts on a factory floor in Salford.

“My only knowledge of classical music and opera came from my grandmother playing music on an old radiogram in the corner at her home in Atherton.”

Calling a debut album The Voice proved to be inspired too, rather than an act of chutzpah. “It was never meant to be some kind of pretentious statement!” he says.

That voice has been back in action in the recording studio too, recording the 20th anniversary album 20. “It’s basically reimagining my favourite 14-15 songs over the last 20 years,” says Russell. “There were the obvious ones that had to be in there, those ones the fans always demand, like Nessun Dorma and Volare. They made it straight on to the record.

“Another easy choice was Where My Heart Will Take Me, the theme from Star Trek: Enterprise. That was such a career highlight for me, to be asked to sing something that’s going to go down in history forever. I watched Star Trek as a kid, so it was a real shock that out of all the artists in the world, Paramount chose me to do that. I’ve always been very proud to have been involved with that.

“Overall, the album kind of chose itself, though there are still a few that maybe could have been there too, such as You Raise Me Up.”

The Voice: the album cover in 2000

Having decided to make new recordings, rather than merely assembling a greatest hits compilation, Russell and producer Ian Tilley then had to settle on whether to re-work the songs or mirror the original tracks.  

“Some were definitely approached differently,” Russell says. “Where My Heart Will Take Me, for example, we completely rewrote that into a ballad. I’m so pleased with how that turned out, versus the old version, which is very Eighties’ rock in its approach, like a Rod Stewart track or something.

“We’ve brought that into a more modern-sounding piece; it’s less of a statement and more reflective. Volare and O Sole Mio were changed more subtly, just in terms of tempo and rhythm, which worked really nicely. You don’t mess with the core classical tracks like Nessun Dorma, though; you don’t start rewriting Puccini.”

Reflecting on his career path ahead of turning 55 on November 24, Russell says: “I do feel in many respects that I’ve been very lucky with what I’ve achieved. When I look back on it though, a great deal of that success has come from my own hard work and drive, as well as constantly thinking about what’s coming over the hill and responding to it before it arrives.

“I won’t sit and think about storm clouds ahead, I’ll do something about it. I’m in charge of my own career now and am already planning two years ahead at least. The only way you can sustain long-term success is with drive and long-term planning, as you can’t stay in the same place forever.

“That’s why the repertoire changes all the time, too. Doing a soul record, or Sinatra and Nat King Cole covers, brings new people into what you do. You need to follow your instincts, which is something the music industry doesn’t do enough of.”

Looking to the future, Russell says: “I just hope the next 20 years don’t go so quickly!”

Russell Watson: 20th Anniversary of The Voice, York Barbican, Sunday, 3pm. Box office: yorkbarbican.co.uk.

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REVIEW: Martin Dreyer’s verdict on York Opera in Mozart’s The Magic Flute

Heather Watts as Queen of Night in York Opera’s The Magic Flute: “Fiery coloratura spiced with menacing gesture”. Picture: Benjamin Lindley

The Magic Flute, York Opera, at York Theatre Royal, tonight and Friday, 7.15pm; Saturday, 4pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

AFTER 20 frustrating months, York Opera is back where it belongs – on the Theatre Royal stage. We may all rejoice.

Running an opera company is backbreaking work at the best of times. Covid has been making it a whole heap harder. Mozart’s last opera would not necessarily be an automatic choice after so long a lay-off and is certainly not an easy option. But the company has dug deep and delivers the goods in a splendid revival of John Soper’s traditional production, first seen in 2009.

In the distribution of laurels, there are many individuals to compliment. But one entity stands out. Derek Chivers’s 20-piece band, using an excellent orchestral reduction by Kenneth Roberts, takes the score by storm.

Hamish Brown’s Prince Tamino and Alexandra Mather’s Pamina. Picture: Benjamin Lindley

On opening night they began untidily, to be sure, but halfway through the overture there was no stopping them, inspired by a woodwind quartet of the highest calibre whose colourings and accuracy are a marvel throughout. Claire Jowett, a stalwart of so many groups, offers untiring leadership of the strings. One member, James Sanderson, slips in and out of the pit as player of the magic bells when not singing First Priest, a unique double act.

The singers clearly relish such a strong foundation. Foremost among them is Heather Watts, who returns to deliver another impeccable Queen of Night, fiery coloratura spiced with menacing gesture, a thrilling performance by any standards. David Valsamidis makes a witty, amiable Papageno, whose superb diction is allied to a warm baritone. Unlike some, he never forgets his audience.

Alexandra Mather is a fetching Pamina, whose emotions are conveyed not only by her clear soprano but also by complementary facial expressions, a valuable asset. Her Tamino is Hamish Brown, who takes the role that illness denied him last time round. His tendency to jerky movement undermines his princeliness, but his accurate if pinched tenor covers the ground well.

Monostatos might suit his personality better. That role goes to Ian Thomson-Smith, last time’s Papageno. He sings it musically but without quite the venom this nasty character demands. The Sarastro of Mark Simmonds is clad much like an orthodox priest; his bass is a little underpowered at the bottom of the range, but otherwise firm and decisive.

David Valsamidis: “Makes a witty, amiable Papageno” in his York Opera debut. Picture: Benjamin Lindley

Lesser roles are covered with distinction, reaffirming the company’s strength in depth. Clive Goodhead is an authoritative Speaker, doubling as an Armed Man (here described as Guardian of Fire), while Elizabeth Vile is a vivid Papagena.

I was much taken by the three Genies, Victoria Beale, Hannah Just and Maggie Smales – standing in for the usual ‘Boys’ – blending superbly like their rich white brocades, breeches and tricorns. Equally impressive are the spear-carrying Three Ladies, Annabel van Griethuysen, Rebecca Smith and Maggie Soper, a determined trio.

The chorus seems to have acquired some new blood and sounds fresh and committed. They are also very disciplined, moving with intent but keeping still when merely onlookers, which is easier said than done. I had forgotten how rich Maggie Soper’s costumes are, distinctive and a feast for the eye. A word, too, for Eric Lund’s nicely varied lighting.

John Soper’s own masonic-style permanent set fits the bill well: two panels of stars and planets divided by gold triangles and circle, with a chessboard platform in front. If it were a little closer to front-stage, some of the solo voices would resonate better than they do from further back. His production is now even more slick than before and more clearly organised; he merely needs to get some of the spoken dialogue better projected. But this is a cheering evening in so many ways and deserves widespread support.

Review by Martin Dreyer

Maggie Soper’s costumes in York Opera’s The Magic Flute: “Distinctive and a feast for the eye”. Picture: Benjamin Lindley
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