Setting the record straight: Adrian Lukis as George Wickham 30 years after Pride And Prejudice in Being Mr Wickham
REVIEW: Adrian Lukis in Being Mr Wickham, Original Theatre Company, Haunted Season, York Theatre Royal, today at 2.30pm and 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk
TWO years ago, 25 years on from filming the BBC adaptation of Pride And Prejudice, actor Adrian Lukis started thinking about still being Mr Wickham, having “defended his dubious reputation” for so long.
What would have become of Jane Austen’s Georgian rogue George, or “What happens to a rake when he can’t rake anymore,” as Lukis asked himself?
Harper Lee revisited the characters of To Kill A Mockingbird in Go Set A Watchman; Danny Boyle’s 2017 film T2: Trainspotting picked up the story of Mark Renton, Sick Boy and co 20 years on; in this instance, the writing falls to Lukis and Georgian storyteller Catherine Curzon.
Refracting Austen’s vilified character through their shared lens for a one-man character study set 30 years down the line of worn time, Lukis’s Wickham is now 60, still charming, with aching knees and wife Lydia waiting in the bedroom, as he tells his side of the story.
Lukis reimagined him living in reduced circumstances, having gambled his way through his £3,000 pay-off from Darcy, no longer reliant on his looks and his wits, having left behind the dissolute London life. Maybe he was residing in Yeovil, or maybe running a small business in Malmesbury, definitely he was looking out of the window for the tittle-tattle of life across the way, so he told Thursday’s audience in the Q&A after the 75-minute performance.
Wouldn’t you rather spend a night out with Mr Wickham than Mr Darcy, speculated Adrian Lukis in his post-show question-and-answer session
Lukis constructed an earlier version of this monologue but found his ageing Wickham too sleazy. Lockdown enabled him and Curzon to create Wickham mark two: a rake raking over the coals and setting the record straight. Actors must always empathise with whoever they play, runs the advice to those playing the villain of the piece, and Lukis warms to that task with relish as he reacquaints himself with “my old friend”.
Yes, Wickham was “a bit of player”, yes he behaved badly, even disgracefully on occasion, but as Lukis said afterwards, but wouldn’t you rather have a night out with gorgeous, affable George than Darcy?
Significantly, Lukis said he treated this Wickham as a new character when writing and playing him, rather than as the Austen rogue he played in Andrew Davies’s adaptation. What emerges is a story of loss, exits; his rueful reflections on Elizabeth Bennet, Darcy and Lord Byron; the blood, the smell, the gore, of the Waterloo battlefield. What has Wickham achieved at 60? He has survived, he says. He has survived, he repeated.
Being Mr Wickham is beautifully detailed, from the elaborate Georgian phrasing of Lukis and Curzon to Libby Watson’s faded drawing room design, to Guy Unsworth’s immaculately composed direction and Lukis’s eloquent, elegant performance.
Life with a scandalous scoundrel is never dull and it certainly still isn’t in Being Mr Wickham, even if the heat has gone out of the day and those knees are aching ever more.
One last story from the Q&A: when first meeting for filming, actress Susannah Harker (Jane Bennet) misheard Lukis, thinking he said he was the wig man and promptly asking him to make adjustments. No, he would be playing Mr Wickham, he corrected her, and he is still being Mr Wickham to charming effect all these years later.
Review by Charles Hutchinson
George Wickham, the survivor, in Adrian Lukis’s characterisation in Being Mr Wickham
INTERVIEWS done for the day, or so they thought as Brian McFadden and Keith Duffy headed off to The Belfry for a fundraising Parkinson’s Disease golf day, representing Ireland on the morrow.
5pm, Tuesday, no response was forthcoming to CharlesHutchPress’s prearranged phone-call to the Boyzlife boyz.
Messages and phone number left; PR company contacted. No problem, Team Boyzlife would be in touch, and sure enough, at 5.30pm, the interview that had slipped off the bottom of the page was back on, Brian and Keith talking ten to the dozen, voices often overlapping as they travelled towards Sutton Coldfield for the Four Nations tournament.
Apologies for the confusion, they said, offering their explanation, as Team Boyzlife clicked into gear, as they would at The Belfry. “Put the two of us together on the golf course and we become one professional golfer,” jokes Brian.
Likewise, two into one will go on Sunday night at York Barbican in the show where Boyzone and Westlife become one as “the Nineties boyband superstars bring you all of the hits of both bands in one evening”.
Brian, 41, and Keith, 47, first took the Boyzlife show on the road in February and March 2020, selling 35,000 tickets. “But we couldn’t finish the tour because of the first Covid lockdown,” says Brian. “We got through 22 of the 40 shows, and 18 months later we’ve started up again [playing King George’s Hall, Blackburn on October 6].
“For us, it was a break we’d never had before. My fiancée Danielle and I ended up having a baby girl [Ruby, born in May 2021] and starting a family again, and Boyzlife got to write our first original album, which comes out next year. The first single is The One and the second one is ready to go too. We’ve all been fighting which one should go first, so maybe around Christmas for the release.”
Boyzlife have released one album already, July 2020’s Strings Attached, following in the footsteps of the late Elvis Presley and Roy Orbison in being teamed up with the Royal Philharmonic Orchestra (RPO). One difference, Brian and Keith could provide new vocals to nine songs cherry-picked from the catalogue of 18 number one singles shared between Westlife and Boyzone.
“In actual fact,” says Keith, “it was Brian recording his last solo album [February 2019’s Otis] in a tribute to Otis Redding that led to our album. Some of the producers and engineers on that album had been working with the RPO, and they suggested, ‘why don’t you do an album with the RPO too?’.
“The two of us wanted to write an original album but we realised we needed a closing of the past and those Boyzone and Westlife songs are made for an orchestra. We were very lucky to work with them and very pleased with the results.
“Now, within the live show, we have a special section where we’ve recorded songs with the orchestra and we sing them to playbacks. We’ve done that many times in our careers, but never to the accompaniment of 84 musicians in an orchestra with two idiots out front.”
Brian has released five solo albums since leaving Westlife in March 2004, while Keith has completed Boyzone’s Thank You And Goodnight farewell tour, but how and when did they first work together? “I’ll be completely honest with you. It was kind of just getting into a room with a lot of the show being autobiographical and singing only six or seven songs,” recalls Brian.
“We’d never sung together, never worked together, and we picked the easiest songs to sing. Now, when we’re doing the set list, it comes down to tempo and what songs will go together well, and we have to leave out about seven or eight songs, but we still have options as to what to include.
“But we always have to do the biggest-selling songs, like No Matter What, and whenever we sing that song we can’t help but think of Stephen Gately puckering up to sing it.”
So many choices: World Of Our Own; Mandy; Queen Of My Heart; Picture Of You; Words; No Matter What; Uptown Girl; Flying Without Wings; You Raise Me Up; Going Gets Tough; Swear It Again; Father And Son; Love Me For A Reason and My Love.
“But between us we only had six songs that were uptempo!” says Brian. Why? “I guess, if ain’t broke, why fix it? The proof is in the pudding; all those number ones. Everyone else was making up-tempo records when we were the two bands with slow songs.”
Westlife became well known for singing songs sitting down, in the tradition of fellow Irishman Val Doonican in his rocking chair. “That was my nickname from day one. I was ‘Val’ because I wore a red sweater!” admits Brian.
Look at the tour itinerary and you will see the tour dates are divided into clusters between October 6 and December 14. “That’s the difference with the earlier days,” says Keith. “We’re better able to balance our music and family life.
“We both had children when we were young; I have a 21-year-old daughter, Mia, and 25-year-old son, Jay, [Brian has two teenage daughters, Molly and Lilly, with ex-wife Kerry Katona] but Boyzone didn’t get a lot of time off or holiday time.
“We just had to keep cracking on, going to wherever we were having hits, because we were so successful, but now we have a proper balance where we’ll do two or three shows, have some time off, then do some more shows.”
Boyzlife play York Barbican on October 17, 7.30pm, and Hull City Hall on November 5, 7.30pm. Box office: York, at yorkbarbican.co.uk; Hull, hulltheatres.co.uk.
Did you know?
MUSICIAN, singer, songwriter, actor, dancer, drummer and television presenter Keith Duffy’s full name is Keith Peter Thomas Francis John Duffy.
Masks of the non-Covid kind will be worn in the theatre when Nina Conti hosts The Dating Show at the Grand Opera House, York, next month
NO sooner has removing masks become the norm than Nina Conti wants you to put them back on, all in the cause of her pioneering new dating game.
After a four-year hiatus since her In Your Face travels, the London ventriloquist-comedian will be embarking on The Dating Show tour on October 31, visiting the Grand Opera House, York, on November 12 with 14 robust masks made by a fellow ventriloquist in the Philippines.
“She’ll be like Cilla Black with masks. Derailed. Not so much a Blind Date as a re-voiced one,” promises the show spiel.
“Before this Armageddon hit, I was developing a dating show where I would connive for audience members to fall in love wearing masks,” says Nina. “Post-Covid, I can’t think of anything more fitting. I think we all need to get in a room together and laugh our heads off, and if the subject can be love, so much the better.”
There you have it: a comedy show for 2021 with elaborate latex masks, Nina’s cheeky monkey sidekick Monkey, a return to human connection and the possibility of romance in the air.
As it happens, the matchmaking format of The Dating Show has emerged through happenstance from In Your Face’s earlier use of masks. “When I did masks before with an audience, I often ended up with love matches,” Nina recalls.
“The audience members often took it there with their body language. They could be a bit friendly and a bit flirty, and I remember thinking, ‘I have to stop things going like this or people will think I’m a sex maniac! What’s the matter with me!?’
Ventriloquist-comedian Nina Conti andmasks for The Dating Show. Picture: Matt Crockett
“But then I thought that maybe it’s not me forcing it because it’s simply happening every time, so why resist? And why not do something called The Dating Show?”
After Nina experimented with the new show in trial runs pre-pandemic at London’s Soho Theatre, lockdown has allowed her to settle on the best way forward. “To avoid it becoming this hetero-normative thing, you want to get everyone involved,” she has decided.
“In the Soho shows, I opened with Monkey interviewing a bunch of people in the audience, and whoever elicited the most warmth was the person I went with. I’m not after eccentrics, just likeability. Hopefully those we get up could be any kind of person and not just the Cilla Black demographic.”
What happens next? “I just get a feel for it from the banter, to put two people together up there on stage, put masks on them, then have a low-key chat about their past relationships and what they’re looking for next.
“Let’s see who bonds and where it goes. It might even be two straight men trying to work it out. As long as it’s funny, great. I just want it to be funny.”
CharlesHutchPress spoke to Nina on September 27, two weeks ahead of her starting her test run for the autumn tour. “All my shows are unscripted, so really what I’m searching for is to put the scaffolding and structure in place.
“What I’ll definitely do is return to the audience with Monkey after each stage encounter and one person might stay on stage for the next encounter,” she says.
The poster for Nina Conti’s 2021 tour, The Dating Show
“It’s just a comedy show! It’s kind of nonsense, getting people on stage and asking them to ‘sing a musical number to each other’, or they might ‘go skiing’ or ‘go up in a hot air balloon’! Each vignette will be something crazy.
“They won’t have a grand script or anything. I put masks on them, covering them from below their eyes to their jaw line, then I speak for them, turning them into puppets, where I respond to their body language in the moment.”
Nina, 47, loves interacting with audience members on stage. “I find people very loveable when they’re up there. It’s a mixture of celebration and their own bafflement. They feel safe because I don’t ask awkward questions and it’s liberating for them with the mask on because they don’t feel like themselves,” she says.
“Maybe someone’s shyness is the real self but sometimes the mask frees them up. Most people wear a mask of some kind anyway: I know I do, being different in different contexts, but Monkey is great for me because he says things where I don’t need to antagonise!”
There’s the rub! Monkey is free to be the quick-thinking agent provocateur in the partnership between ventriloquist and dummy: the one with the smart mouth. “Yes, absolutely! The dummy is the ‘bright one’ in the ventriloquist act!” says Nina, who was approached originally by her old mentor, Ken Campbell, to try out the ventriloquist’s art, one that pretty much had been consigned to the suitcase in comedy’s attic.
“I’m lucky to have found it, because I never thought that ventriloquism was a skill worth having,” she admits. “I would never have gone to a ventriloquism show, and when it was suggested to me by Ken I was so uninterested in it. I thought he was mad!
“I don’t know if I’ve enhanced it for nostalgia, but there was a definite lightbulb moment. I had been practising with those awful mannequins, and it was so end-of-the-pier and saucy: I didn’t like it. But then I remembered this monkey puppet that I stole off a mate, but I didn’t know if his mouth could operate. He was more like Sooty; your hand isn’t meant to go in his head.
“The dummy is the ‘bright one’ in the ventriloquist act!” says Nina Conti. Picture: Matt Crockett
“But like all things that end up fitting and going well, most creativity doesn’t work like you expect Once I had taken the squeak and some stuffing out, I found that his mouth could work!
“I’d done a bit of ventriloquism already, but thought it was bit spooky, but when I put my hand into his face, as soon as he started to talk, I thought, ‘Woah! Everything you’re saying is coming from a wider place than my own head’.
“He has such gravitas.” Monkey, gravitas, Nina? Really?! “He wouldn’t agree! He’d say, ‘Get over it, you’re delusional’, but then he’d say, ‘Who’s to say who’s being delusional here?’. I say things that surprise me through him, and I try to keep myself out of it when I’m speaking as him, thinking, ‘I’ll have to get out of this situation later, but for now we’ll just let Monkey say what he says’.”
Where does Nina keep Monkey when not performing? “He’s sort of kept about the house. I travel lightly with him in my handbag, and I just toss him to one side when I need to put something in there. Like something you’re familiar with, you stop treating him with reverence, but I would never do that on stage,” she says.
In fact, Nina has more than one Monkey. “It’s like The Matrix, growing those embryos! I’ve got loads, and I tend to use them for a period of time. Maybe six Monkeys in 20 years. Each new one, I have to scrub his face because I need him to look a bit worn. I’ve just started a new Monkey in the last few months, using hair putty to dampen him to age him!” she reveals.
For the record, Nina is not seeking to be the new Cilla with The Dating Show . “I’m not really match-making,” she says. “Anything that then happens off-stage afterwards is beyond my control!”
Nina Conti, The Dating Show, Grand Opera House, York, November 12, 7.30pm. Box office: 0844 871 7615 or at atgtickets.com/york
“We all need to get in a room together and laugh our heads off, and if the subject can be love, so much the better,” says Nina. Picture: Idil Sukan
FEISTY, flame-haired Royal Family favourite La Voix is on tour, taking on the big divas and making them her own in The UK’s Funniest Redhead show in York on November 13.
Billed as her “most glamorous show yet”, the 2014 Britain’s Got Talent semi-finalist will be combining stellar songs and saucy gags, high energy and diva impersonations, glamour and gowns – eight of them – in her Grand Opera House debut.
Expect her to switch between the vocal trademarks of Tina Turner, Shirley Bassey, Liza Minnelli, Judy Garland and Cher at the click of a finger.
La Voix, the drag artiste creation of Chris Dennis, played Leeds City Varieties Music Hall two nights ago. She hosts a talk show on BBC Radio Three Counties, appeared in Absolutely Fabulous The Movie, has twice entertained Prince William and Prince Harry at New Year’s Eve parties and has worked with Mickey Rooney, Cilla Black, Pamela Anderson, Brigitte Nielsen and Ruby Wax.
When she topped the bill at Sir Ian McKellan’s 80th birthday bash, she was commended lavishly by the venerable actor, who said: “La Voix’s impersonations are surpassed only by her own cheekily entertaining personality.”
Tickets for La Voix and her band’s 7.30pm show are on sale at atgtickets.com/york.
Phil Lowe RIP: Harrogate Theatre pantomime director and co-writer
PHIL Lowe, “irreplaceable” director and co-writer of Harrogate Theatre’s pantomime since 2007, has died.
The “devastated” theatre has announced: “Our friend, associate director, pantomime director and co-writer passed away unexpectedly on Wednesday, October 13.
“Phil was an integral part of what makes Harrogate Theatre special, both to work at and visit. Our pantomime has truly sparkled since he came to the helm in 2007. He is irreplaceable.”
In his memory, this winter’s production of Cinderella will go ahead, running from November 24 to January 16. “No-one wanted to bring the party back to Harrogate Theatre more than him,” the statement said.
Phil Lowe and chief executive David Bown first combined on a Harrogate Theatre pantomime in 2007, co-writing Snow White And The Seven Dwarfs, with Mr Lowe directing a cast led, as ever, by “daft lad” Tim Stedman.
In an interview ahead of the first night, Mr Lowe defined the Harrogate Theatre pantomime experience that would prevail on his watch. “The thing is that we need to cater for four-year-olds to 94-year olds, and you need to have every panto element for everyone, so you don’t alienate anyone,” he said.
Tim Stedman as Pickles and Andy Cryer as Dame Nurse Nellie in Phil Lowe’s first Harrogate Theatre pantomime as director and co-writer in 2007
“The set, the music, the costumes, the script, they have to appeal to everyone, and it just has to be magical. I just hope I bring a bit of magic to it, and not in David Blaine or Paul Daniels way.
“Harrogate’s show is a traditional panto, where it’s all about the story. Hopefully, children will say ‘it was just like the fairytale’ they read.
“So, we keep it genuine, but with corny gags and little tricks too – and if it’s not broken, don’t try to fix it. The cast need to keep it rolling, be on the same wavelength with the audience, and have an abnormal passion for panto, like me.”
Thank you, Phil Lowe, for delivering year after year on that brief, in tandem with David Bown.
Harrogate Theatre has set up a Just Giving page for donations in Mr Lowe’s memory, in aid of Harrogate District Hospital’s cardiac care unit, with a £1,000 target that has been surpassed already. To donate, go to: justgiving.com/fundraising/harrogate-theatre1.
“Our thoughts are with Phil’s wife, Caroline, their beloved boys, family and friends,” the theatre statement concluded.
Niall Ransome as Dr Watson, Jake Ferretti as Sherlock Holmes and Serena Manteghi as Henry Baskerville in The Hound Of The Baskervilles, on tour at York Theatre Royal from Tuesday
THE Hound Of The Baskervilles is at loose this Haunted Season at York Theatre Royal, returning Serena Manteghi to the city where she cut her acting teeth.
“I studied [at the University of York] and lived in York for many years and still work there often,” she says, ahead of the October 19 to 23 run. “It’s my spiritual home and I’ve been assured I can now call myself an honorary Yorkshire lass, so I’m very much looking forward to heading back there.”
Although based in London, Serena has spent plenty of time up north this summer, performing in early August in Alexander Wright and Phil Grainger’s Eurydice at Theatre At The Mill, Stillington, and later that month in the Harrogate Theatre community play Our Gate in and around the Wesley Centre, Harrogate.
Now she is part of a fast-moving cast of three in Lotte Wakeham’s production of Sir Arthur Conan Doyle’s most celebrated detective tale as it receives a farcical overhaul, with Serena playing only men in Steven Canny and John Nicholson’s adaptation, first staged by Peepolykus in 2007 with West End success.
The story is as familiar as ever: world-renowned detective Sherlock Holmes and his colleague Dr Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville. Amid rumours of a cursed giant hound loose on the moors, they must act fast in order to save the Baskerville family’s last remaining heir.
“Yes, they’re all male characters that I’m playing, but I’ve not really thought about their gender; you just play the character – and I have played men before,” says Serena Manteghi, as she shares a laugh with Niall Ransome. left, and Jake Ferretti
What ensues, however, is an exhilarating collision of farce, ingenious theatrical invention and comic performances to “offer a brand-new twist on the greatest detective story of all time”, in the hands of the multi role-playing Serena, Jake Ferretti’s Sherlock Holmes and Niall Ransome’s Dr Watson.
“I play a whole host of colourful characters, including Sir Charles Baskerville, Dr Mortimer, a helpful London cabbie, three ‘yokels’ (one wise, two less so) and last but not least, the romantic lead (after Dr Watson, of course) and newest Squire of Baskerville Hall, Sir Henry Baskerville,” says Serena, who heads to York after breaking in the Bolton Octagon Theatre and Original Theatre Company production on the road under tour director Tim Jackson following rehearsals in London.
“Yes, they’re all male characters that I’m playing, but I’ve not really thought about their gender; you just play the character – and I have played men before.
“There were male characters in Build A Rocket, Christopher York’s one-woman play I did for the Stephen Joseph Theatre [Scarborough], and I played Rene Magritte in Belt Up Theatre’s Lorca Is Dead [York Theatre Royal, May 2010].
“And there are female characters in this show, played by Jake Ferretti, just as they were played by men when it was created by three wonderful performers [Javier Marzan, John Nicholson and Jason Thorpe]. I predominantly play Sir Henry, in the spirit of that original production.”
Serena Manteghi as LV in The Rise And Fall Of Little Voice at the Stephen Joseph Theatre, Scarborough, in 2017. Picture: Tony Bartholomew
One consequence has come from the four weeks of shows so far, demanding more than “Olympian dexterity” from Serena, Jack and Niall. “It’s been quite hard on my voice because I’m having to use a much lower register all the time, so I have to work hard on my warm-ups,” says Serena, who is no stranger to challenging her vocal cords, having played LV, with all her singing voices, in The Rise And Fall Of Little Voice at the SJT in 2017.
Likewise, The Hound Of The Baskervilles, and indeed myriad Sherlock Holmes stories have been stretched in multiple ways. “I think the books are woven so deeply and lovingly into our cultural vocabulary that, growing up in the UK, you feel the infamous Holmes and Watson are just a part of the literary furniture, as it were. Like Father Christmas,” says Serena.
“That said, I absolutely loved the recent BBC adaptations [starring Benedict Cumberbatch and Martin Freeman] and would tune in as soon as they were aired for fear of someone spoiling the mystery.
“I think the diverse versions work because the Holmes and Watson partnership is so iconic; the performers and the audience begin from such a familiar starting point and that means you can take them on a slightly unexpected journey.”
Holmes and Watson are embedded in our cultural psyche as much as Morecambe & Wise, suggests Serena. “They’re loved just as much, and that dynamic is beautifully honoured by Jack and Niall; that joy Holmes and Watson have in each other’s company, which is so apparent in Conan Doyle’s writing,” she says.
“It’s an utter pleasure to perform ,” says Serena Manteghi of Peepolykus duo Steven Canny and John Nicholson’s stage adaptation of The Hound Of The Baskervilles, as she teams up with Jake Ferretti and Niall Ransome
“Any literary die-hard fanatics of Conan Doyle will be pleasantly surprised by our show: it’s a comedy retelling, written by a well-established comedy partnership in Steven Canny and John Nicholson – we met John when he came to see it in Exeter – and it’s an utter pleasure to perform. You’d be very hard-pressed not to enjoy yourself watching this play.”
Ah, but is it still scary, Serena? “There are some scares, but it leans heavily on the humour, less so on scariness,” she says. “Every spooky note is buttoned with a gag, but it’s not a send-up. It never mocks the story; it’s more an affectionate take on it.
“Very often, when you have farcical versions of the classics, you have to leave behind the story, but here you do get the whole story, just laden with joy and fun.”
Look out for David Woodhead’s set and costume designs too. “They’re beautiful. That’s another reason to see the show,” says Serena. “The set is just gorgeous to behold, elevated and malleable for multiple uses, and everything we wear is beautifully made.” In other words, no tat, Sherlock!
Original Theatre Company and Octagon Theatre Bolton present The Hound Of The Baskervilles, York Theatre Royal, October 19 to 23, 7.30pm; 2pm, Thursday; 2.30pm, Saturday. Age guidance: eight upwards. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Breabach: Selby Town Hall awaits on October 23. Picture: Paul Jennings
SCOTTISH folk luminaries Breabach will be the first touring band to play Selby Town Hall for almost 20 months on October 23.
“Leading lights of the Scottish roots music scene and five-time Scots Trad Music Award winners, they’re a really phenomenally talented band,” says Chris Jones, Selby Town Council’s arts officer. “It’s an absolute thrill to have professional music back in the venue. It’s been far too long!”
Regarded as one of Scotland’s most skilled and imaginative contemporary folk acts, Breabach unite deep roots in highland and island tradition with the innovative musical ferment of their Glasgow base.
Across a 15-year career, they have performed everywhere from Sydney Opera House to New York’s Central Park, receiving nominations for Best Group in the BBC Radio 2 Folk Awards and European Album of the Year in the Songlines Music Awards.
Combining twin bagpipes, fiddle, bass and guitar with Gaelic vocals and step dance, Breabach respect both the origins of the music they play and the band’s roots while embracing the future with new ideas, energy and belief.
When lockdown put paid to their touring plans, Breabach set to work on writing Dùsagadh, a series of five new pieces of music put to animation by BAFTA award winner Cat Bruce.
“This stunning creation then toured ‘virtually’ to 19 venues and festivals across the UK, including Selby Town Hall, with proceeds split between both the band and participating venues and festivals,” says Chris.
Next Saturday’s live set will draw on six Breabach albums: 2007’s The Big Spree; 2010’s The Desperate Battle Of The Birds; 2012’s Bann; 2013’s Urlar; 2016’s Astar and 2018’s Frenzy Of The Meeting.
“Breabach are a real force of nature, and their 2019 performance at the town hall was one of our biggest highlights of recent years” says Chris. “The virtuoso talent on display is just incredible.
“Ewan Robertson, Calum MacCrimmon, Patsy Reid, James Lindsay and James Duncan MacKenzie are five of Scotland’s finest traditional musicians, at the very top of their game, and I’m so excited to have them back as the first touring band to perform here for the best part of two years.”
Tickets for the 8pm concert cost £16 on 01757 708449 or at selbytownhall.co.uk or £18 on the door from 7.30pm.
Setting the record straight: Adrian Lukis’s roguish George Wickham in Being Mr Wickham at York Theatre Royal
AUTUMN’S fruits are ripe and ready for Charles Hutchinson to pick with no worries about shortages.
Scandal of the week: Being Mr Wickham, Original Theatre Company, York Theatre Royal, tonight until Saturday, 7.30pm; 2.30pm, Saturday
ADRIAN Lukis played the vilified George Wickham in the BBC’s television adaptation of Pride And Prejudice 26 years ago this very month.
Time, he says, to set the record straight about Jane Austen’s most charmingly roguish character in his one-man play Being Mr Wickham, co-written with Catherine Curzon.
This is the chance to discover Wickham’s version of famous literary events. What really happened with Mr Darcy? What did he feel about Lizzie? What went on at Waterloo? Not to mention Byron. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Cate Hamer in rehearsal for the SJT and Live Theatre, Newcastle co-production of The Offing. Picture: Tony Bartholomew
Play of the week outside York: The Offing, Stephen Joseph Theatre, Scarborough, until October 30
IN a Britain still reeling from the Second World War, Robert Appleyard sets out on an adventure at 16: to walk from his home in Durham to Scarborough, where he hopes to find work, but he never arrives there.
Instead, up the coast at Robin Hood’s Bay, a chance encounter with the bohemian, eccentric Dulcie Piper leads to a lifelong, defining friendship. She introduces him to the joys of good food and wine, art and literature; he helps her lay to rest a ghost in Janice Okoh’s adaptation of Benjamin Myers’s novel for the SJT and Live Theatre, Newcastle. Box office: 01723 370541 or at sjt.uk.com.
Simon Wright: Conducting York Guildhall Orchestra at York Barbican
Classic comeback: York Guildhall Orchestra, York Barbican, Saturday, 7.30pm
YORK Guildhall Orchestra return to the concert stage this weekend after the pandemic hiatus with a programme of operatic favourites, conducted by Simon Wright.
The York musicians will be joined by Leeds Festival Chorus and two soloists, soprano Jenny Stafford, and tenor Oliver Johnston, to perform overtures, arias and choruses by Tchaikovsky, Wagner, Rossini, Mozart, Puccini and Verdi. Box office: yorkbarbican.co.uk.
Adam Kay: Medic, author and comedian, on visiting hours at Grand Opera House, York, on Sunday
Medical drama of the week: Adam Kay, This Is Going To Hurt, Secret Diaries Of A Junior Doctor, Grand Opera House, Sunday, 8pm
ADAM Kay, medic turned comic, shares entries from his diaries as a junior doctor in his evening of horror stories from the NHS frontline, savvy stand-up, witty wordplay and spoof songs.
His award-winning show, This Going To Hurt, has drawn 200,000 people to sell-out tours, the Edinburgh Fringe and West End runs, and the book of the same name topped the best sellers list for more than a year and is soon to be a BBC drama. Box office: 0844 871 7615 or at atgtickets.com/york.
Boyzlife: Keith Duffy and Brian McFadden unite in Boyzone and Westlife songs at York Barbican
Irish night of the week: Boyzlife, York Barbican, Sunday, 7.30pm; doors, 6.30pm
PUT Irish boy band graduates Brian McFadden, from Westlife, and Keith Duffy, from Boyzone, together and they become Boyzlife, as heard on the July 2020 album Strings Attached, recorded with the Royal Philharmonic Orchestra.
On tour with a full band, but not the ‘Phil’, they choose songs from a joint back catalogue of 18 number one singles and nine chart-topping albums.
So many to squeeze in…or not: No Matter What, Flying Without Wings, World Of Our Own, Queen Of My Heart, Picture Of You, Uptown Girl, You Raise Me Up, Going Gets Tough, Swear It Again, Father And Son, Love Me For A Reason and My Love. Find out on Sunday. Box office: yorkbarbican.co.uk
Thumper: Dublin band play Ad Nauseam and much more at Fulford Arms, York, on Tuesday
Loudest gig of the week: Thumper, Fulford Arms, York, Tuesday, 8pm
THUMPER, the cult Dublin band with two thumping drummers, are back on the road after you know what, promoting a 2021 mix of their single Ad Nauseam: a cautionary tale of repetition, vanity and becoming too close to what you know will eat you.
From the Irish city of the equally visceral Fontaines DC and The Murder Capital, Thumper have emerged with their ragged guitars and “bratty, frenetic punk rock” (Q magazine).
Now their debut album is taking shape after the band were holed up in their home studio for months on end. The Adelphi, Hull, awaits on Wednesday.
At the fourth time of planning: Mary Coughlan, Pocklington Arts Centre, Tuesday, 8pm
Mary Coughlan: Life Stories in song at Pocklington Arts Centre
GALWAY jazz and blues chanteuse Mary Coughlan had to move her Pocklington show three times in response to the stultifying pandemic.
“Ireland’s Billie Holliday” twice rearranged the gig during 2020, and did so again this year in a switch from April 23 to October 19.
At the heart of Mary’s concert, fourth time lucky, will still be Life Stories, her 15th album, released on the wonderfully named Hail Mary Records last September. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.
Spiers & Boden: Resurrected folk duo head to Pocklington on Wednesday
Double act of the week ahead: Spiers & Boden, Pocklington Arts Centre, Wednesday, 7.30pm
AFTER years of speculation, much-loved English folk duo Spiers & Boden are back together, releasing the album Fallow Ground and bringing a live show to Pocklington this autumn with special guests.
First forming a duo in 2001, John Spiers, now 46, and Jon Boden, 44, became leading lights in big folk band Bellowhead, resting the duo in 2014, before Bellowhead headed into the sunset in 2016. Solo endeavours ensued but now Spiers & Boden return. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.
Matilda takes on Miss Trunchbull in Matilda The Musical Jr
Musical of the week: Roald Dahl’s Matilda The Musical Jr, Joseph Rowntree Theatre, York, October 20 to 24, 7.30pm; 2pm, 4.30pm, Saturday; 2pm, Sunday.
ONLY the last few tickets are still available for York Stage Musicals’ York premiere of the Broadway Junior version of Dennis Kelly and Tim Minchin’s stage adaptation of Roald Dahl’s story.
Matilda has astonishing wit, intelligence, imagination…and special powers! Unloved by her cruel parents, she nevertheless impresses teacher Miss Honey, but mean headmistress Miss Trunchbull hates children and just loves thinking up new punishments for those who fail to abide by her rules. Hurry, hurry to the box office: 01904 501935 or at josephrowntheatre.co.uk.
KMA Creative Collective artist Kit Monkman studies KMA’s commission for York Mediale, People We Love. Picture: Tony Bartholomew
Worth noting too:
PEOPLE We Love, the York Mediale installation, reopening at York Minster from Saturday. York Design Week, full of ideas, October 20 to 26, at yorkdesign week.com; Light Night Leeds 2021, with a Back To Nature theme for this art and lights festival tonight and tomorrow, at whatson.leeds.gov.uk; Live At Leeds gigs across 20 venues with Frank Carter & The Rattlesnakes, Sports Team, The Night Café, The Big Moon, Dream Wife, Poppy Adjuda, The Orielles and Thumper, at liveatleeds.com.
FOR the revelations on Genesis, listen to Episode 59 of arts and culture podcasters Chalmers & Hutch’s Two Big Egos In A Small Car debates.
Under discussion too are: tips on how to judge/not judge Battle of the Bands contests; Scritti Politti’s music-hall act at Leeds City Varieties; why No Time To Die is the longest Bond film; and the Seventies’ sci-fi visions of Michael Moorcock’s The Condition Of Muzak.
Adrian Lukis: Being Mr Wickham again, 30 years on from Jane Austen’s novel
ADRIAN Lukis played George Wickham in the BBC’s television adaptation of Pride And Prejudice 26 years ago this very month.
Time, he says, to set the record straight about Jane Austen’s most charmingly roguish character in his one-man play Being Mr Wickham, co-written with Catherine Curzon.
This is the chance to discover the vilified Wickham’s version of some very famous literary events. Such as? What really happened with Darcy? What did he feel about Lizzie? What went on at Waterloo? Not to mention Byron.
Directed by Guy Unsworth and designed by Libby Watson, the Original Theatre Company’s 75-minute touring production visits York Theatre Royal from Thursday (14/10/2021) to Saturday.
From the company that brought Ben Brown’s political drama A Splinter Of Ice to the Theatre Royal in July comes Being Mr Wickham, wherein Lukis’s Mr Wickham is on the eve of his 60th birthday and wants to lift the sheets on exactly what happened 30 years on from where Jane Austen left him.
“I’m thrilled to be reunited with my old friend, George Wickham,” says Lukis, who starred with Colin Firth’s headline-grabbing Mr Darcy in Andrew Davies’s adaptation of Austen’s 1813 novel.
“Having spent years defending Wickham’s dubious reputation, I look forward to finally setting the record straight, with the assistance of the immensely talented Original Theatre Company.”
Rarely off the small screen, Lukis’s TV credits take in Channel 4’s Feel Good, the 2019 mini-series A Christmas Carol, Vera, Poldark, Bulletproof, Collateral, The Crown, Red Dwarf, Grantchester, Black Mirror, Blair Toast in Toast Of London, Downton Abbey, New Tricks and Death In Paradise.
He also stars in the new Netflix series Anatomy Of A Scandal, set to be streamed this year, and has had film roles in Judy, Dolittle, City Slacker and Bertie & Dickie.
“I’ve made up stories based on the historical facts and imagined an entire life for Wickham above and beyond the book,” says Adrian Lukis
Now he is touring Being Mr Wickham after theatre parts inThe Price(Theatre Royal Bath), The Seagull (Chichester Festival Theatre/ National Theatre) and Versailles (Donmar Warehouse).
Here, Adrian Lukis gives CharlesHutchPress the inside track on Being Mr Wickham.
What inspired you to revisit the character of Mr Wickham?
“When I turned 60 a few years ago, I started to wonder what it would be like for a man such as Wickham, who has been a rake and a ne’er-do-well, surviving on his looks and his wits, to have to deal with getting older.
“I started to look at it with Catherine Curzon, who is an expert on the historical side of things, and read everything about Wickham and Pride And Prejudice I could get hold of. I found myself discovering how much I enjoyed the process of researching and writing. Once I started, it just went like a storm.”
Given that the details of Wickham’s life are sketchy in the novel, how did you fill in the blanks?
“Firstly, I looked at the way he is described. For example, Darcy says he has led a dissolute life in London, so I thought, ‘well what really happened?’. I’ve also made up stories based on the historical facts and imagined an entire life for him above and beyond the book.
“At one stage, he enters a private club and gets into a punch-up, but it’s based on a real place called Watier’s Club in St James’s [London]. I also wanted to explore things such as what he really thinks of Elizabeth Bennet; what he really thinks of Lydia. These questions were really interesting to me.”
” I was 17 I wrote my first play. At the time I thought I might be a playwright, so it’s nice I’m finally getting a chance to do it at 64,” says Adrian Lukis, actor and now writer too
Austen depicts him as such a rogue, was it therefore important to fight his corner in the play?
“Absolutely. My premise was that people don’t tend to see themselves through a bad lens, and there are always two sides to a story. I could have written him like Flashman – an out-and-out bounder who just doesn’t care – but something I took very strongly from the book was that Wickham is plausibly a nice man.
“He is always described as being charming and amiable, rather than someone who’s constantly plotting and twirling his moustache. He admits he does some bad things, but turns it on the audience and asks, ‘have you led a blameless life?’.
“Also, he makes the point that life would be very dull without any rogues. I’d much rather spend an evening with him than with Darcy!”
How would Wickham be thought of in today’s society?
“It’s an interesting question. He would probably be labelled in contemporary terminology a bit of a ‘player’, and I think we all know men like that, but you have to view him in the context of his time. In Austen’s day, men who were not the first son had to set their cap at a wealthy heiress.
“That was a social pressure that we don’t really have today, so for a man with looks and charm, like Wickham, it made sense to try his luck with women, rather than going into the clergy.
“It would certainly be different today, although I think we are living through a very moral period, much more so than when I was growing up in the 1970s. So perhaps he would still be considered a scoundrel.”
What are your memories of playing Wickham first time round? Did you have any idea that the BBC series would become such a phenomenon?
“No idea at all; I don’t think any of us did. We knew it was a big production, and I thought the script was terrific, but we had no inkling of whether it would be a success. In that sense it was just another job.
“We are living through a very moral period, much more so than when I was growing up in the 1970s,” says Adrian Lukis. “So perhaps Wickham would still be considered a scoundrel”
“I remember writing to Colin Firth shortly after it came out, when he’d gone off to do some filming in South America, and saying words to the effect of ‘you have no idea what’s going on back home, this series has gone through the roof and you’re famous’.
“That being said, a few weeks later we went for a pint together in London, and I thought we would get absolutely mobbed – Darcy and Wickham out together -but nobody recognised us!”
Were you always drawn to acting and what about writing?
“My father was in the Royal Marines and I was initially brought up in Australia, where I didn’t have much chance to try it out, but when I came to England in the 1960s and was sent to public school, suddenly theatre was available to me and it was like being struck by a thunderbolt.
“I fell in love with it. My whole life soon became about being in school productions and when I was 17 I wrote my first play. At the time I thought I might be a playwright, so it’s nice I’m finally getting a chance to do it at 64!”
While on the subject of writers, what might Jane Austen have made of your reimagining of George Wickham?
“That depends on how you view her politics. She has been called all sorts of things, from a radical feminist to a staunch Methodist, but I think it’s safer to assume she was something of a small ‘c’ conservative.
“So, she probably would have disapproved of Wickham and seen him as being a rather weak and vapid young man, but I hope if she were to see this production, she would say, ‘good for you, you haven’t consigned him to the scrapheap and have found mitigating factors for his behaviour’.
Original Theatre Company presents Being Mr Wickham, York Theatre Royal, Thursday to Saturday, 7.30pm plus 2.30pm Saturday matinee. Thursday’s performance will be followed by a 15 to 20-minute question-and-answer session. Box office: 01904 623568 or at yorktheatreroyal.co.uk
