Livvy returns home to cast her spell over York Stage’s Jack And The Beanstalk panto

Livvy Evans: Returning to her home city to wave her wand as Fairy Mary in York Stage’s Jack And The Beanstalk. Picture: Charlie Kirkpatrick

MARCH 17, London. York-born musical actress Livvy Evans is one day away from the opening of her West End role in Tina: The Tina Turner Musical at the Aldwych Theatre.

“After two weeks of tech rehearsals, we were getting ready to open, but instead we got called in to say the theatre would be closing immediately,” she recalls, now sitting in a different theatre, back in the home city she left 13 years ago, as she prepares to play Fairy Mary in York Stage’s socially distanced, Covid-secure Jack And The Beanstalk at Theatre @ 41 Monkgate, York.

Livvy went from Simply The Best to simply the worst of times, as the Coronavirus pandemic left the West End deserted for month after month. “Initially, we expected to go back after a few weeks, but at the last meeting we had with the company managers they told us ticket sales were being taken off for January and February and now, as with most shows, they’re aiming for a spring reopening,” she says. In other words, at least a year of gathering cobwebs will have passed.

In her professional career, Livvy has been “lucky enough to pretty much go from theatre job to theatre job” in such shows as Soho Cinders, Motown at the Shaftesbury Theatre and UK tours of Sister Act and Ghost: The Musical. “When I have had a time where I haven’t worked, I’ve done nannying support in special needs, and I get a lot from it; it’s much more fulfilling than working in restaurants,” she says.

“But right now there just aren’t the jobs available for actors that they might otherwise tend to do in the quiet times, such as teaching or working in bars,” she adds, on top of the blow of no furlough pay. “And we’re being asked to go back for less pay and fewer shows when we do re-start.”

Glory be that Nik Briggs came a’calling, offering Livvy the chance to join his Jack And The Beanstalk company for the panto season. “It must have been the beginning of September, and at that point it still hadn’t been confirmed that Tina wouldn’t be opening this year,” Livvy recalls.

“So, I could only say ‘hopefully’, and I’d need to get permission from the Tina company, so it all took a long time. But once we knew Tina wouldn’t be opening, I said to Nik, ‘I’d love to do it’. I’ve been a professional for many years, but since leaving for London, I’ve never done a professional show in York. Leeds, yes, Bradford, yes, but not York.”

Brought up in Huntington, Livvy moved south to train in musical theatre on a full scholarship at Arts Educational, in Chiswick, London, in 2008. “I normally only spend four or five days in York, but this year it’ll be six weeks, which will be lovely,” she says.

“I don’t think I’ve ever played Fairy before, and the only panto princess I’ve done was Jasmine in Aladdin at the Grand Opera House in 2006 with Syd Little and Michael Starke, who I then did Sister Act with. I remember he used to call me his ‘little Peking duck, his little dumpling’ in the panto!”

Livvy will be performing with York Stage for the first time. “Strangely, I never did a York Stage Musicals show when I was young, but I did a lot of the summer school youth projects with Simon Barry at the Grand Opera House, doing my first professional job in Aladdin on the back of playing Audrey in Little Shop Of Horrors,” she recalls.

“I liked being put in with the older group for York Musical Theatre Company shows, working with Paul Laidlaw and Jim Welsman – and I loved playing little Kate Mullins in the British premiere of Titanic: The Musical for that company.”

As opening night of Jack And The Beanstalk approaches fast on Friday, Livvy says:  “It’s great to be in York, especially at this time of year, back in the house I grew up in, and I’ve never been so excited to be playing the Fairy, spreading joy to everyone, although she’s a no-nonsense fairy! As everyone keeps saying, I’m going to be the talk of my niece’s playground!”

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

REVIEW: Palisander, Mischief & Merriment, York Early Music Christmas Festival

Palisander: First concerts for nine months in this Covid-blighted year

REVIEW: York Early Music Christmas Festival: Palisander, Mischief & Merriment, National Centre for Early Music, York, December 4, evening

THE latest lockdown ended just in time to allow York Early Music to open its Christmas festival before a real audience.

There were only about 30 of us, to be sure, seated at small tables in ones or twos, but what a difference over livestreaming. Best of all, it inspires the players. Palisander confessed that these two performances – there had been one in the afternoon – were their first for nine months. You would not have guessed.

The period of Advent, or preparation for Christmas, has lost much of its original intent. It was once a time of strict fasting – not a bad idea in these days of sedentary constraint – to be followed by a 12-day yuletide blowout of Mischief and Merriment, the title of this concert.

Palisander’s quartet of recorders ranged all over the Tudor and Stuart periods, with occasional sorties into traditional and modern repertory, an invigorating mix.

Recorders cover a vast rainbow of colours, from the pipsqueak garklein, barely six inches long with only three finger-holes, to the avuncular contrabass, which stands over six feet tall. The whole panoply was on display here.

Players changed instruments on the move, so that as many as ten different ones were heard in a single piece. Toes began to tap at once in dances by Susato and Arbeau, which prepared the ground for a lively quintet of English numbers, three by Antony Holborne, marked by subtle use of staccato.

Several carols were woven into the tapestry, most with tasty but idiomatic harmonies arranged by one of the group, Miriam Monaghan. They included the spring song from Piae Cantiones (1582), nowadays better known through Good King Wenceslas.

Most of the mischief and merriment in the Elizabethan court was organised by the Lord of Misrule. He would surely have selected Toby Young’s Recorder Revolution!, which was pleasingly anarchic and lots of fun. Similarly, a theatre suite, played in masks, reflected Stuart customs. All were given with enthusiasm and joie de vivre that were infectious.

I had not previously thought that an hour of nothing but recorders could be so entertaining. You live and learn.

Review by Martin Dreyer

REVIEW: Theatre Royal’s travelling show for the people rescues the essence of panto

Switched on at all times: Robin Simpson’s joke-generation dame lights up York Theatre Royal’s Travelling Pantomime. All pictures: Ant Robling

REVIEW: York Theatre Royal’s Travelling Pantomime, Jack And The Beanstalk, New Earswick Folk Hall, York, 5/12/2020

NO Rolling Stones show goes by without rock’n’roll’s greatest paleontological survivor, Keith Richards, leaning into his microphone to mumble: “It’s good to be here…it’s good to be anywhere”.

Lo and behold, “It’s great to be here…it’s kind of great to be anywhere,” says York Theatre Royal Travelling Pantomime’s comic turn, Josh “Just Joshing” Benson, at the outset of Saturday evening’s Covid-secure, socially distanced, temperature-tested, bubble-seated pantomime.

How right he is. Saturday was day four of the new dawn of the York Theatre Royal pantomime, the  first after 40 years in the wildness of the Dame Berwick Kaler era. Until Covid-19 became the joyless new villain, out to destroy the land of theatre, Cinderella was to have marked the transition from Kaler capers to a new partnership with regular Great British Pantomime Award winners Evolution Productions.

On his knees but not for long: York Theatre Royal’s inexhaustible pantomime comic turn Josh Benson

When invitations to the ball turned to cinders, chief executive Tom Bird, creative director Juliet Forster and Evolution writer-director Paul Hendy decided to tear up the script and compose three new ones instead to take the panto to the people.

Hence it is indeed great to be here, there and everywhere, because, while the Theatre Royal main stage awaits resuscitation in 2021, the Travelling Pantomime will definitely be pitching up at 16 of York’s 21 wards, possibly more if Covid-safe passage can yet be guaranteed to others. At least four more shows are being lined up for after Christmas and a recording of the second-night preview will be made available for streaming soon too.

On Saturday, New Earswick Folk Hall was transformed into a theatre for the first time, creating an impromptu stage with Hannah Sibai’s red-curtained, green-framed travelling theatre frontage and a traditional pantomime backdrop.

It’s all about the bass: York Theatre Royal’s multi-tasking fairy, singing captain and musician Anna Soden

Everything is slimmed down – a cast of five, no ensemble, no live band, no interval, no panto cow, but less just means being more inventive and cramming so much into what we are told will be an hour but stretches gladly well beyond.

Edinburgh Fringe shows work to tight running times, and quality, not quantity, rules here too. To Paul Hendy, that means bottling up the “the essence of panto” and right now, in Covid-19 2020, that essence is Joy.

Once we are introduced not just to Just Josh’s rubber-bodied comic, but also Robin Simpson’s classic dame, Faye Campbell’s modern hero, super-tall Reuben Johnson’s villain and Anna Soden’s trumpet/guitar/bass-playing fairy, we must vote for our choice of show: Dick Whittington, Jack And The Beanstalk or Snow White And The Seven Dwarfs. Seven dwarves, note; there is a knock-out joke a’coming.

Hitting the Jack-pot: Faye Campbell’s super hero in Jack And The Beanstalk

Jack won out on Saturday: Josh becoming, well, Josh, with the daftest streak of blond in his hair since Kevin Petersen pummelled 158 against Australia with a skunk plonked on his bonce in 2005. He is a lovably daft ball of energy, cheeky but not saucy, and if he kept his magic tricks up his sleeve this time, what an asset for the future.

Simpson, on loan from Huddersfield’s  Lawrence Batley Theatre, is the penniless but pun-full, mirthful Dame Trott, reaching for both a cuppa and the gin; Johnson, all in black with a dash of red to match his Russian accent, is a Flesh Creep with an amusingly dismissive air and a mischievous hint of Borat.

Campbell’s Jack must fight the old prejudices against girls being fit for purpose for heroic tasks while keeping the name Jack. Soden’s rapping, funky, blue and pink-haired Fairy is more likely to hit the bass line than wave a wand, as flashy as her lit-up boots.

Kill-joy: Reuben Johnson’s Flesh Creep in Jack And The Beanstalk

Juliet Forster directs with momentum, brio and thrills rather than frills, complemented by Hayley Del Harrison’s fun, compact choreography and musical director James Harrison’s rapid-fire bursts of high-energy songs.

Yes, there is a beanstalk and a Giant called Pundemic. Above all, York Theatre Royal have hit the jackpot with Paul Hendy’s script-writing prowess, love of a double-act routine and a knowingly contrived, convoluted path to a pay-off line.

He handles the pandemic crisis with a success rate to make the Government jealous, throwing in topical references galore with witty, often unpredictable Pandemime punchlines, but nothing insensitive in such traumatic times.

Writer Paul Hendy: Bottling the essence of pantomime, labelled with joy

A magazine title slapstick to-and-fro between Benson and Simpson is already a contender for panto scene of the year, and if there are jokes for adults, Hendy favours a Gilbert O’Sullivan song title, rather than adult material or in-jokes.

Pantomime 1, Pandemic 0, the Travelling Pantomime triumphs on its already sold-out run to December 23. Hendy will be back next winter for the full Evolution to roll out; Benson is due to return to the Victoria Theatre panto in Halifax next Christmas, alas, but his Theatre Royal day will surely come, even if he can’t magic his way out of that one.

Review by Charles Hutchinson

Getting mighty Crowded at Scarborough Open Air Theatre next summer after Kaiser Chiefs and Bryan Adams confirm dates

Kaiser Chiefs: Never missing a beat at Scarborough Open Air Theatre next July

I PREDICT a trio!

First came Crowded House’s confirmation for June 8, next, Kaiser Chiefs for July 11, and now, this new rising morning, Bryan Adams for July 1, as Scarborough Open Air Theatre announces another burst of big signings for Summer 2021.

New Zealander Neil Finn’s re-grouped Australian band Crowded House will open the British leg of their first European travels in more than a decade on the Yorkshire coast to showcase Dreamers Are Waiting, next year’s fruits of Lockdown labours: their seventh studio album but first since Intriguer in June 2010. The release date is yet to be confirmed.

Leeds lads Kaiser Chiefs promise a “no-holds-barred rock’n’roll celebration” on their much-requested return to Scarborough OAT after their May 27 2017 debut. “We cannot wait to get back to playing live shows again and it will be great to return to this stunning Yorkshire venue,” says frontman Ricky Wilson. “We had a cracking night there in 2017, so roll on July 11!”

Expect a Sunday night of such Yorkshire anthems as Oh My God, I Predict A Riot, Everyday I Love You Less And Less, Ruby, Never Miss A Beat and Hole In My Soul from the Chiefs, whose last album, 2019’s top-five entry Duck, marked their return to their original label, Polydor.

Crowded House: Always take the Scarborough weather with you next June

That summer, they played Leeds United’s stadium, Elland Road, and this summer they were booked in for another open-air headliner at Dalby Forest, near Pickering, until Covid-19 said “No”.

Scarborough OAT venue programmer Peter Taylor, of promoters Cuffe and Taylor, says: “Ever since their show here in 2017, fans have been asking for us to bring Kaiser Chiefs back to Scarborough OAT.

“We are delighted to oblige, and this is going to be another all-action rock’n’roll show that no fan will want to miss.”

Completing the new additions to Scarborough OAT’s ever-expanding 2021 diary, Canadian singer Bryan Adams will play there as part of his ten-date UK outdoor tour that will conclude at Harewood House, near Leeds, on July 10.

Adams, 61, will be making his second appearance at the Scarborough arena after his sold-out debut on August 8 2016. Once more, he will do Run To You, Cuts Like A Knife, Summer Of ’69, I Do It For You et al for you.  

Bryan Adams: Scarborough return next July after 2016 show

Programmer Taylor says: “Bryan Adams is one of the world’s best-selling artists and an international music legend. We are beyond thrilled he is returning to Scarborough Open Air Theatre next summer.

“Bryan joins an incredible line-up of headliners for 2021 and we cannot wait for the season to start!”

That list now runs to: June 8, Crowded House; June 12, Lionel Richie; June 13, The Beach Boys; June 19, UB40 featuring Ali Campbell and Astro; June 20, Ru Paul’s Drag Race: Werq The World; July 1, Bryan Adams; July 3, Snow Patrol; July 7, Duran Duran; July 9, Keane; July 10Olly Murs; July 11, Kaiser Chiefs; July 25, Lewis Capaldi; August 17, Westlife, and August 20, Nile Rodgers & Chic.

Still more artists and dates are to be confirmed. Meanwhile, tickets for Crowded House, Kaiser Chiefs and Bryan Adams all will go on general sale at 9am on Friday, December 11 via ticketmaster.co.uk and scarboroughopenairtheatre.com.

Tickets for Adams’s Harewood House show will be available from the same time at ticketmaster.co.uk/bryan-adams-tickets/artist/734390 and aegp.uk/ba2021

Bryan Adams’s poster for his July 1 concert in Scarborough

Crowded House hope to play to exactly that at Scarborough Open Air Theatre in 2021

Three Finns you should know: Dad Neil and sons Liam and Elroy plus the other two that make up a Crowded House line-up for 2021’s first album and European tour in a decade

DO dream it’s over! Let’s hope Crowded House can live up to their name when Neil Finn’s band play Scarborough Open Air Theatre, Britain’s biggest purpose-built outdoor concert arena, next summer as we pin hopes on the Covid vaccination in the months ahead.

Crowded House, largely the family Finn, will be undertaking their first European tour in more than ten years in 2021, heading to the Yorkshire coast on June 8 for their first UK show. Glasgow, Birmingham, Cardiff and London await.

Tickets will go on general sale via scarboroughopenairtheatre.com at 9am on Friday, December 11.

Formed in Melbourne, Australia, in 1985 by New Zealander Neil Finn, they will line up next summer with Finn, fellow founder Nick Seymour, Mitchell Froom and Finn’s sons Liam and Elroy.

Familiar favourites such as Don’t Dream It’s Over, Weather With You, Four Seasons In One Day, Distant Sun and Fall At Your Feet will be bolstered by new material. On October 15, Crowded House released their first single in a decade, Whatever You Want, accompanied by a video directed by Nina Ljeti, starring Mac DeMarco.

Fresh from Finn touring as part of the latest line-up of Fleetwood Mac, he had begun recording a new studio album in Los Angeles in January but once the Covid-19 lockdown was imposed, Finn and co switched to exchanging new songs via online files.

More fruits of those lockdown labours, the album Dreamers Are Waiting, will be released early next year. 

Scarborough OAT venue programmer Peter Taylor, of promoters Cuffe and Taylor, says: “When we learned Crowded House were touring Europe, we just knew we had to try and bring them to Scarborough OAT. This is a real coup for the venue and the Yorkshire coast.

“Crowded House are regarded as one of the most influential bands of the past 40 years and their fans are utterly devoted. This will be an incredible show.”

To view Crowded House’s single Whatever You Want, go to: https://www.youtube.com/watch?v=ZggTaHMoQYs&feature=youtu.be

Milton Rooms in Malton relaunches donations appeal to boost funds

MIlton Rooms, Malton: Seeking donations via Go Fund Me

VACCINATIONS to fight coronavirus are around the corner, but the focus at the Milton Rooms in Malton is on another form of help: donations.

The Market Place community and entertainment venue has spent a large part of 2020 closed under lockdown restrictions, with only a limited reopening in September and October for several socially distanced events.

The Milton Rooms is a charitable trust run by a board of trustees and operated by volunteers, who have spent much of lockdown giving the venue a spruce-up and planning the programme of events for when restrictions are lifted.

Faced by little income coming in, help from the community is needed to meet the considerable costs of keeping the building running, not least insurance and utility bills.

Hence the Milton Rooms has relaunched its Go Fund Me appeal to help in that task until running a full programme of events for the benefit of the community can be resumed. Visit gofundme.com/f/the-milton-rooms-charity to donate.

Chairman Ray King says: “It costs a significant amount to maintain the Milton Rooms, and during the Covid-19 emergency we’ve been unable to run a full programme of events and those we have been able to run have been with a limited audience.

“So, we’re asking our local community to help support us. I do realise how difficult it is for everyone at the moment but all help would be welcomed.”

Venue manager Lisa Rich says: “We were delighted to re-open our doors in September, following nearly six months of closure and received amazing feedback from our audiences. 

“We welcomed back some familiar faces with Ryedale Blues Club and Craft & Chat and worked within our community to assist local groups in being able to restart their events safely within our venue.

“However, at the beginning of November, we had to sadly close our doors once more and now we have the new tier [Tier 2] system in place for probably some time. The Milton Rooms is a vital community hub and we are asking for support to help us to survive this most challenging of times. 

“We look forward to welcoming our audiences and users back in the very near future and are working on a diverse and dynamic programme of events for when we’re able to reopen fully.”

Three Covid-secure, socially distanced events will be going ahead in December. Both performances of Magical Quests North’s festive children’s show, Emerald The Elf And Father Christmas, on December 13 at 10.30am and 12 noon, have sold out.

Tickets are still available, however, for Taphouse Burnout’s 7.30pm acoustic concert on December 19 and Dickens – The Man Who Invented Christmas?’’, a fun look at the history of Christmas customs and how Charles Dickens influenced modern-day festivities on the afternoon of December 20.

For tickets, go to: themiltonrooms.com/events. For enquiries on hiring the Milton Rooms, email info@themiltonrooms.com.

REVIEW: The Seven Deadly Sins, Opera North at Leeds Playhouse, livestream, November 21 to 23

Dancer Shelley Eva Haden’s Anna II and mezzo-soprano Wallis Giunta’s Anna I in Gary Clarke’s Opera North production of The Seven Deadly Sins. Picture: Tristram Kenton

TWO weeks before this Gary Clarke production of Weill’s ballet chanté was due to go into rehearsal, the second Lockdown was announced, making the planned live performance – in a double bill with Acis And Galatea– an impossibility.

So, Acis was quickly dropped and a new physically distanced livestream became the order of the day. Without the normal lead-times, this was a tall order. Clarke rapidly conceived Anna (Anna I, the singer and Anna II, the dancer) and her family as German immigrants fleeing Hitler and thus displaced from the start.

George Johnson-Leigh’s set, imagined as an abandoned film studio, assigned a separate dais or “box” for each sin, with the family displaced into the no-man’s land between the boxes every time the two Annas changed city.

A large Hollywood sign at the back of the set thus pointed the contrast between that promised land, still booming in the 1930s, and the privations of the Depression – and, of course, current stringencies.

The contrast between the two Annas was not quite as strong as it might have been, partly because their roles were filled by two equally fetching performers. Canadian mezzo Wallis Giunta’s Anna I, supposedly the thinker and practical half of her personality, seemed to be enjoying, almost revelling, in the travelogue.

“Wallis Giunta is an actress of many hues and, when her tone is as focused as this, irresistible”. Picture: Tristram Kenton

Whereas a deeper pain was etched into the features of dancer Shelley Eva Haden’s Anna II, as she learnt to moderate her wilfulness to suit the paying customers on their tour.

But the paradox at the heart of this morality tale, about what you need to do to accumulate wealth, could not have been clearer: “Conquer your weaker self to conquer the world”, in Michael Feingold’s translation, sung under a shower of dollar bills. Only the temptations themselves might have been writ larger, although that would be hard to envisage in present conditions.

Giunta was on top form, forthright, even bossy, when need be but able to mine a deep nostalgia in the epilogue. She is an actress of many hues and, when her tone is as focused as this, irresistible.

Haden was no less versatile and utterly tireless. To Clarke’s choreography, she ranged the whole spectrum of dance, from the extravagance of Busby Berkeley (in a splendid, giant-sized feather headdress) in Anger, to Pavlova’s tutu-clad Dying Swan immediately afterwards in Gluttony.

She reached a manic peak parodying punk anarchist dancer Valeska Gert. Her brief spoken interjections were pleasingly clear.

Nicholas Butterfield as Brother and Dean Robinson as Mother in Opera North’s The Seven Deadly Sins. Picture: Tristram Kenton

The family quartet – tenors Nicholas Butterfield and Stuart Laing, baritone Dean Robinson and bass Campbell Russell – carried off their solo work as well as they blended, notably in the Sloth motet and the prayerful strictures of Lust. The ending was suitably ambivalent.

James Holmes, editor of the critical edition of Weill’s orchestral works and former Head of Music at this company, could not have been a better choice as conductor. The differentiation in styles was masterly and the playing, by 15 instruments in a reduced version by H K Gruber and Christian Muthspiel, had a succulent clarity.

It was just a pity that the low camera angles precluded much sight of the orchestra, although it was on stage. This is a minor reservation in the face of such an admirable achievement against near-impossible odds.

Finally, my special thanks to two patient members of the press office, Elizabeth Simmonds and Rowland Thomas, for bailing me out of a technological nightmare. Bring back live performance …                                                                                   

Review by Martin Dreyer

https://ondemand.operanorth.co.uk/productions/the-seven-deadly-sins-2020/.

York Early Music Christmas Festival opens today…and it’s live at the NCEM

Welcome to the 2020 York Early Music Christmas Festival: Palisander reach for their recorders for today’s opening brace of concerts. Picture: Marc McGarraghy

CHRISTMAS arrives today at the National Centre for Early Music with the reopening of its doors for the annual York Early Music Christmas Festival.

Recorder quartet Palisander will launch the festivities at the Covid-secure St Margaret’s Church, Walmgate, with two socially distanced concerts at 4.30pm and 7pm.

The festival of live concerts will run until December 12, complemented by the inaugural York Christmas At Home festival of streamed concerts from December 11 to 13. Full details, including tickets and concert times, can be found at ncem.co.uk.

Look out for Martin Dreyer’s reviews of Palisander’s Mischief & Merriment programme today and Illyria Consort’s How Brightly Shines The Morning Star on December 7 in CharlesHutchPress.

“How do you fancy getting your dame on this Christmas, Alex?”. The answer is Yes!

Trott along now: Alex Weatherhill in all Dame Trott’s finery in York Stage’s pantomime Jack And The Beanstalk. Picture: Charlie Kirkpatrick

ALEX Weatherhill took a call from York Stage artistic director Nik Briggs in the quietude of September.

“How do you fancy getting your dame on this Christmas,” asked Nik, having decided he would stage a pantomime at Theatre @ 41 Monkgate to close out a year blighted by the Coronavirus pandemic.

The sight of Alex in full dame attire and face paint at the October 30 photocall to launch Jack And The Beanstalk provided the answer to that request.

“Right now, I would normally be in Spain, as quite often I do a guest musical-directing spot for the Institute of Arts in Barcelona,” he said that autumn day. “I very luckily have managed to get on board to do projects there three times with their second and third-year students, then flying back to go straight into working on pantos.”

Alas, this accursed year has been different, however. No musical directing in Barcelona, nor his usual pantomime commitments for Paul Holman Associates. “I’ve been a musical director for Paul, including for pantomimes at The Carriageworks in Leeds, and then, four years ago, I made the move across to director,” says Alex.

“I directed the panto [at the Spotlight] in Hoddesdon, in Hertfordshire, for three years and I was due to direct Sleeping Beauty at The Harlequin Theatre in Redhill, Surrey, this winter until it was cancelled.”

Hence the September call from Nik Briggs, inviting him to make the journey from his home in Speeton, the easternmost village in North Yorkshire, on the cliff top between Filey and Bridlington, to be Dame Trott in Jack And The Beanstalk.

Alex Weatherhill, as Bernadette, right, with Joe Wawrzyniak, as Tick, left, and Jacob Husband, as Adam, front, in York Stage Musicals’ Priscilla Queen Of The Desert, The Musical, at the Grand Opera House, York., in September 2017. Picture: Benedict Tomlinson

“I would last have been on a York stage for York Stage Musicals in Priscilla, Queen Of The Desert,” says Alex, recalling his drag-queen role as Bernadette at the Grand Opera House. “It was so much fun to do, but very intense.”

He is no stranger to wearing women’s clothing on stage. “I’ve played a lot of middle-aged ladies: the number is probably running into double figures by now, so I suppose it was inevitable I would play dame one day,” says Alex.

“But I’d shied away from it, as it’s a role unto itself, particularly here in York, with all the history of Berwick Kaler’s shows, but now I’m looking forward to it, my first time as the dame, and any trepidation will go during rehearsals.”

Reflecting on past roles, Alex says: “Everything that I’ve done has been character acting, almost trying to fool the audience so they don’t know they’re watching a man playing a woman, starting with Mary Sunshine in Chicago, where there’s no drag element to it. You are there to trick the audience. The way of becoming a woman for that role is very different from playing the pantomime dame.”

Alex has been settling on his brand of dame “who happens to be in Jack And The Beanstalk this year”. “I’m drawing on Patricia Routledge, Maureen Lipman and Julie Walters as my influences, so Nik has been writing with those influences and mannerisms in mind, and they’ll come out in my voice and movements,” he says.

Routledge crossed with Lipman and Walters? What fabulous fun awaits!

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

Jacob Husband, as Adam, front, Alex Weatherhill, as Bernadette, and Joe Wawrzyniak, as Tick, in York Stage Musicals’ Priscilla Queen Of The Desert, The Musical, at the Grand Opera House, York. Picture: Benedict Tomlinson.  September 2017

Scarborough Spa Orchestra’s New Year’s Day concert to go ahead…at the SJT instead

Scarborough Spa Orchestra, assembled at their temporarily closed home in pre-Covid days, with musical director Paul Laidlaw, second from the right, back row. Picture: Tony Bartholomew

THE Legendary Scarborough Spa Orchestra In Concert or, rather, two concerts will mark the New Year’s arrival at the Stephen Joseph Theatre, Scarborough.

The ever-popular New Year’s Day concert by Great Britain’s last remaining professional seaside orchestra will go ahead this winter despite its usual venue, the Scarborough Spa, being temporarily closed. 

Instead, the orchestra will strike up in the Round at the SJT at 2pm and 5.30pm on January 1 2021, when the two performances will feature a programme of Spa Orchestra favourites, taking in songs from the shows, light orchestral pieces and a few Viennese waltzes. 

Paul Robinson, the SJT’s artistic director, says: “We’re absolutely delighted to be able to team up with our friends at Scarborough Spa to make sure this year’s New Year’s Day concert goes ahead. 

“We think it’s the first time a full orchestra, albeit a small one, has played in our Round. They will be playing to a socially distanced audience, so tickets will be very limited. Early booking is advised.” 

Rachel Nicholson, of Scarborough Spa, says: “We are very grateful to the Stephen Joseph Theatre for hosting the Spa Orchestra New Year’s Day concert while we are temporarily closed.

“I am sure everyone will enjoy their performance and we look forward to welcoming the audience back to the Spa as soon as it’s possible to reopen.”

Tickets, priced from £10, are available on 01723 370541 and online at sjt.uk.com.