Tawny Owl, Wheldrake Ings, North Yorkshire ,June 13 2017, by Matt Bowden
HURRY, hurry, to the City Screen café bar to see York photographer Matt Bowden’s exhibition The Natural Landscape of Yorkshire.
The Coney Street cinema, in York, will be closed after Thursday’s screenings following Cineworld’s decision to shut all its cinemas temporarily until further notice as Covid-19 continues to wreak havoc on the entertainment world.
This sudden shutdown follows the wounding blow to the cinema industry of the release of the latest James Bond film, No Time To Die, being postponed for a second time, put back from November 12 to next April.
York photographer Matt Bowden with his Natural Landscape of Yorkshire photographs in the City Screen cafe bar in York
City Screen, in Coney Street, is part of the Picturehouse Cinemas Group now owned by Cineworld.
Consequently, Bowden’s debut York show will be curtailed only eight days after opening last Wednesday, although he hopes the exhibition will be given the green light to resume once City Screen reopens.
Such a reopening is not expected until after Christmas at the earliest, according to City Screen general manager Tony Clarke.
Bolty Reservoir, January 29 2018, by Matt Bowden
Hence the urgency to view the photography of Matt Bowden, 43, a location manager for film and television productions by profession.
“Photography has played a huge part in my 18-year career as a location manager, working on such titles as Phantom Thread, The Secret Garden and The Duke,” he says.
Born and bred in York, Bowden developed his love of nature when bird-watching with his grandfather, Eric Markham, as a child.
Deer, April 3 2017, by Matt Bowden
“My primary passion has long been the natural world, photographing the wealth of landscapes and wildlife that my home county of Yorkshire has to offer,” says Matt.
“The tranquillity, isolation and mental clarity this provides offers a perfect remedy for the chaotic and often intense lifestyle most of us find ourselves engulfed in.”
Matt’s photographic challenge is a dual one: “Not only does it require all the hours spent hidden in bushes and hides studying a natural subject, but more so you must successfully create an image that proves to be both unique and artistically expressive,” he says.
Yorkshire landscape, February 6 2018, by Matt Bowden
“I consider the environment in which the subject resides to play as important a role as the subject itself when forming a composition.”
God’s Own Country duly plays a prominent role in Bowden’s photographic work. “Yorkshire has such a diverse and rich tapestry of nature and landscapes that I feel fortunate to be able to call it home,” he says.
Contemplating the stultifying impact of the Coronavirus pandemic, he says: “It’s just such a shame City Screen is closing for the foreseeable future. The film industry is in a bad shape, and the film I was meant to be working on from this autumn has been pushed into Spring/Summer 2021.”
Kate Jones sketching on the North York Moors. Picture: Tony Bartholomew
ROSEDALE Abbey glassmakers Gillies Jones are to mark 25 years of living and working in the North York Moors National Park by exhibiting at Danby’s Inspired By… Gallery this autumn.
Stephen Gillies and Katie Jones will present A Portrait Of Place from October 10 to November 9 in an exploration of the place they call home.
Gillies Jones have created glass from Rosedale Abbey since 1995, continuing a glassmaking tradition that started in the tiny village in the 16th century. On show from Saturday will be mostly new work that reflects the marks left on the landscape over time by geology, water, nature and human behaviour.
Stephen Gillies at work in theGillies Jones studio at Rosedale Abbey. Picture: Tony Bartholomew
The couple work in harmony, glassblower Stephen creating the original forms that are then decorated by artist Kate, who uses a combination of sandblasting, wheel engraving and other techniques.
Some of Kate’s preliminary photos and drawings made on walks around the area will be on display too.
“The landscape of the North York Moors has long been an inspiration to artists,” she says. “Our exploration and ‘portrait’ of this landscape observes the geology, river systems and current land-management practices that leave specific marks. We map and observe the layers of human endeavour, both pre- and post-industrial, the marks etched into the land, overlaid and now being reclaimed by nature.
Stephen Jones and Kate Gillies outside their studio. Picture: Tony Bartholomew
“Just as changing light illuminates the landscape, light is integral to our work, animating our glass, revealing layers of colours and engraving. This landscape has evolved, has been sculpted and pressed into service and this is our snapshot in time, a celebration of the now.
“One certainty is that this landscape will change again as custodians of the land change, along with the ideas that inform the management of the world we all share.”
Partners in life and art, Stephen and Kate make their pieces just as glass was made before the industrial revolution: labour intensive and reliant on skills acquired over a long, international apprenticeship.
One of the Gillies Jones works on show from Saturday at Danby’s Inspired By…Gallery. Picture: Gillies Jones
Their design aesthetic draws inspiration from the elemental beauty of their rural surroundings and their traditional are practised by only a few glassmakers across the world.
This process involves the folding of different coloured glass bubbles over each other to produce complex multi-layered and coloured pieces.
Gillies Jones’s defiantly decorative work can be found in public and private collections nationally and internationally, and they also undertake commissions and lecture regularly, both in the UK and overseas.
A Gillies Jones bowl from this autumn’s exhibition. Picture: Gillies Jones
A Portrait Of Place forms the culmination of what should have been a full year of celebrations to mark the silver anniversary of Stephen and Kate’s glass-making partnership, but most had to be Covid-cancelled.
The Inspired By…Gallery, at the Moors National Park Centre, Danby, is open from 10am to 5pm daily in October and from 10.30am to 4pm daily in November. The National Park Centre has received VisitEngland’s We’re Good To Go kitemark, an accreditation that affirms all facilities are adhering to the latest Government and industry Covid-19 safety guidelines.
Masks must be worn throughout the National Park Centre in line with those Government guidelines.
Arms and the man: A close-up of Stephen Gillies making glass. Picture: Tony Bartholomew
C’est Chic: Nile Rodgers and his band will play Scarborough Open Air Theatre next summer
NILE Rodgers & Chic are the third act to sign up for next summer’s season at Scarborough Open Air Theatre after Olly Murs and RuPaul’s Drag Race: Werq The World.
Disco luminaries Rodgers & Chic will play Britain’s largest purpose-built outdoor concert arena on Friday, August 20 2021 after the Covid-19 pandemic ruled out their Scarborough show this summer.
Chic co-founder Rodgers and his band previously performed at a sold-out Scarborough OAT in 2018 and once more will roll out such favourites as Le Freak, Good Times and Everybody Dance next summer.
When booked in for August 21 2020, Rodgers had said: “As most people know, the UK is my home from home. Myself and Chic had a brilliant time when we played Scarborough OAT in 2018 and we cannot wait to come back again this summer. It’s going to be another amazing night, so bring your dancing shoes!” Those same sentiments now will apply in 2021.
New Yorker Rodgers, 68, is a Grammy Award-winning composer, producer, arranger and guitarist with more than 200 production credits to his name, for David Bowie, Diana Ross and Madonna et al, as well as inductions into the American Rock and Roll Hall of Fame and the Songwriters Hall of Fame, an organisation he now chairs. He has been appointed the first chief creative advisor for the Abbey Road Studios, in London, too.
His innovative, trend-setting collaborations with Daft Punk, Avicii, Sigala, Disclosure and Sam Smith reflect his continuing influence on the vanguard of contemporary music.
RuPaul’s Drag Race’s Michelle Visage: “Spiralling through time with no way of returning home”
Next August’s show will be presented by regular Scarborough OAT programmers Cuffe and Taylor. “We were absolutely devastated to cancel this year’s summer season, including Nile Rodgers & Chic’s eagerly awaited return here,” says promoter Peter Taylor.
“Their show in 2018 was just sensational – they never fail to get an entire arena on their feet dancing – and we’ve had so many fans asking us to bring them back. We are delighted to announce Nile and Chic will be returning in 2021. They are global superstars, Nile is behind some of the best known songs ever written and this is going to be a night not to be missed.”
RuPaul’s Drag Race: Werq The World, billed as the biggest drag show on the planet, will sashay into Scarborough OAT on Sunday, June 20 for its only outdoor British date in 2021.
Combining music, comedy, sassiness and lavish set-pieces to “create the biggest, brashest, most utterly glorious party night of the year”, the fourth UK and European RuPaul Drag Race tour show will see “an experiment gone wrong that sends Drag Race judge and 2019 Strictly Come Dancing contestant Michelle Visage spiralling through time with no way of returning home”.
Newly crowned Season 12 Drag Race winner Jaida Essence Hall, Asia O’Hara, Kameron Michaels, Plastique Tiara, Vanessa Vanjie and Yvie Oddly will be joined by stars from the latest latest USA, UK and Canadian seasons to “journey through iconic periods of history in the hope they will find their way back to the present day”.
RuPaul’s Drag Race drag queens: Ready to Werq The World
Along with Cardiff Motorpoint Arena on June 18 and Brighton Centre on June 19, Scarborough is one of three British shows being added to the European leg of the world tour, presented on the East Coast by Cuffe and Taylor and Voss Events.
Programmer Peter Taylor says: “We are delighted to be able to bring RuPaul’s Drag Race’s world tour to Scarborough. The demand for tickets across the UK and Europe has been phenomenal.
“The show is always a huge hit and we are really looking forward to be working with the Voss Events team to present what will be an outrageously entertaining evening on the beautiful Yorkshire coast.
“This is going to be an unmissable party night and arguably the most lavish production we have staged at Scarborough OAT since we welcomed Britney Spears and Kylie [Minogue] to the venue.”
Tickets for Nile Rodgers & Chic, RuPaul’s Drag Race and pop singer Olly Murs’ July 10 show will go on general sale at 9am on Friday, October 9, via www.scarboroughopenairtheatre.com.
Plenty more shows will be added to the Scarborough OAT 2021 season.
“With the lack of actually experiencing live music in people’s lives, the timing of this live album might just be right,” says Heather Findlay. Picture: Kennedy
YORK folk/prog singer and songwriter Heather Findlay is to release a live album this autumn, Live White Horses, “to document the whole Wild White Horses experience”.
Signed copies of the “double-disc jewel” can be pre-ordered exclusively from Heather’s official website at www.heatherfindlay.co.uk/shop.
The general release date will be confirmed by Heather once her wait for the final masters is over. Keep an eye on her website and CharlesHutchPress for an update.
“Earlier this year, I was fortunate to have been able to tour Wild White Horses in the UK with an absolutely stellar bunch of hugely talented and wonderful souls,” says the former Mostly Autumn and Mantra Vega vocalist, who toured in a seven-piece line-up. “We recorded some of those shows, from which I’m delighted to be able to offer a new live album.”
Released on Black Sand Records, Live White Horses combines a first disc of a 17-song January concert recording with a complementary disc of live sessions, bootlegs and rare and secret gems from throughout the Wild White Horses ride, beginning in Nashville, Tennessee, in July 2019, travelling onward across Europe, with stops in London and Germany, and then heading back home again.
Making up Disc 2 are Broadway Bootlegs: She Rocks Showcase, recorded live at Tin Roof, Broadway, Nashville, in July 2019; Secret Sari Sessions, Unplugged, Live at Total Rock Radio, London, August 2019; Das Bootlegs, Live at Vinyl Cafe Schwazes Gold, Dorsten, Germany, with guitarist Martin Ledger, August 2019; Live in Session at York St John University Chapel, York, February 2020, and Acoustic Solo Sessions, live at home in York during lockdown, Summer 2020.
Here Heather saddles up her Wild White Horse for a ride through Charles Hutchinson’s questions.
Releasing a live album can only remind you of what you cannot do at the moment. What are you missing most about live performances?
“I miss my band mates and connecting with a live audience! There’s nothing that can replace that collective mood, or vibration if you like, of a live performance. When all elements come together, there’s a certain magic that happens which, once any element is removed, it’s very hard to recreate.”
When and where did you last perform on an indoor stage with your band?
“My last show with the band was the last night of the Wild White Horses tour earlier this year at the Robin 2 in Wolverhampton. That was on January 22. The last time I was on a York stage was at Big Ian’s A Night To Remember charity fundraiser at York Barbican on February 29.”
Those were the days pre-Covid lockdown: Heather Findlay, left, Jess Steel, Beth McCarthy and Annie Donaghy giving their all to I Feel Like A Woman on A Night To Remember at a sold-out York Barbican in February . Picture: David Harrison
Was a live album always in the pipeline or did lockdown’s enforced blockade of concerts make you think this would be a good time for one?
“During our shows, my friend and support band leader Hughes Taylor announced he’d not only been recording his own band’s performances but, in stealth, he’d managed to capture ours too! We hadn’t planned to record any of the shows, so that was a real surprise!
“Once Hughes got back to the USA, he sent over the files, so I sent them to my engineer to throw up some draft mixes and I was thrilled to find the performances had been really well captured.
“Like most, I really wasn’t sure what on Earth to do at a time like this. I pondered over many things, but in a sudden moment of inspiration I just decided to go for it.
“It was a risk as I had no idea how new music would be received at a time when so many are struggling and suffering, but it really seemed that with the lack of actually experiencing live music in people’s lives, the timing of this might just be right.
“I was then pretty overwhelmed when the Limited Edition sold out so fast, but I was really glad I’d gone with my gut and taken the leap! Music can be such balsam and, seemingly, exactly what people need to help see them through tough times.”
Capturing the essence of a live concert on an album is always a challenge. What makes you feel that these recordings have captured that essence?
“That’s very true! Well, in this case, the whole band had worked really hard in rehearsals and the musicians I was blessed to have with me throughout the tour really are world class and super-reliable. The chemistry between us from the get-go was fantastic too.
“Lots of laughter and a sense that everyone was really giving it their all and truly enjoying being there, with the common goal of lifting hearts and roofs! Then, of course, there’s the audience who were just amazing. So generous and the icing on the cake!”
The artwork for Heather Findlay’s autumn album, Live White Horses
Did you have loads of recordings from which to choose the live sessions, bootlegs and rare, secret gems from your Wild White Horses travels for Disc 2?
“I didn’t have a vast amount to choose from, to be honest, and it’s not something I consciously planned either. Getting Wild White Horses off the ground and into production was all consuming. I kind of wear all the hats, so there’s often very little headspace to forward-plan alongside that.
“In some ways, it’s quite mysterious how it all came together for this live album really, but I was fortunate that the whole journey had been documented in some way or other from that first show in Nashville.
“For someone who finds it quite hard to stop doing and just be, lockdown in some ways provided the permission to do just that. Once my schedule allowed me to actually slow down and get in the flow, I found that I was able to let go of worrying about how things would unfold and this is when the inspirations and, in turn, solutions appeared.”
What made you decide to add the second disc?
“I liked the idea of offering up rare stuff from the archives that doesn’t normally get released, but as I’m quite a perfectionist in my work, I’m usually way too self-critical for anything like that to be released!
“This time though, I liked the challenge of forcing myself to get over that, because what I realised I was missing was that many fans really love experiencing some of those things they’d have ordinarily missed out on. The unpolished, fly-on-the-wall stuff, if you like.
“The bootlegs on Disc 2 really are just that! Bootleg recordings captured by loving fans, so by no means the polished, multi-track experience Disc 1 offers. The Secret Sari Sessions are great and showcase some of the Wild White Horses album tunes in a different, more unplugged format, whereas the recording of Firefly is a beautifully intimate recording of just Emily Lynn and me around the grand piano at the York St John University Chapel.
“After the tour, it was suggested that we make a live recording of that song as it was such a special moment in the set. I got talking to Chris Johnson about it and that’s when he offered to record us there. The secret part about that track is that we filmed it for a video too, but now it’s no longer a secret! Oops!.More on that soon.”
“Naturally, people are very scared at such uncertain times as these, but I felt strongly that I wanted to promote hope and an optimism that we would get through this,” says Heather
What have you been up to in lockdown and beyond? Recording at home, for example.
“Recording Here’s To You, Already Free and a new song, Solitaire, with just me and an acoustic guitar at home felt like an authentic 2020 snapshot, or time stamp if you like. I was really back home again, like everyone else, but as I’d never released anything that featured just me and my guitar before, I felt I wanted to capture that and offer it as a full circle moment in the Wild White Horses story, as that’s really how all of my songs actually begin.
“Solitaire was written around the same time as some of the Wild White Horses material, but being a different flavour didn’t quite fit with the rest of the album.
“It’s a song inspired by Solitaire, the mystical seer and tarot woman played by Jane Seymour in Live And Let Die. My kids and I went through a Roger Moore Bond phase around that time and Live And Let Die ended up being our favourite. I liked how the last song on the album, recorded in an unforeseeable, solo lockdown situation is actually called Solitaire!”
What else have you done?
“A bit before I got the idea to release Live White Horses, I’d been brainstorming, trying to come up with a way that I could help people while still staying at home. As a lone parent, I had to put caring for my two kids first – home-schooling and all! – so volunteering was out of the question.
“The idea then came to launch a campaign calledLove For Sale, whereby I would send out free, signed ‘care package’ albums to fans who ordered them as cheer-up gifts for their friends and loved ones during lockdown. I offered ‘PS I Love You’s’ too, which were specially handwritten notes offered to someone’s loved one on their behalf.
“The campaign ran throughout the lockdown period and to my surprise I was totally inundated with orders. I loved that old-school connection with people that this brought. Actually writing in pen and ink! I think this is really what reinvigorated my faith in the power that music has to uplift and connect people.”
“There’s nothing that can replace that collective mood, or vibration if you like, of a live performance,” says Heather. Picture: David Harrison
What did you learn in lockdown?
“Despite the current restrictions imposed across music worldwide, I was just really grateful I was still in a position to both help in some way and to remain connected with the outside world in a way that avoided the darkness and drama that seemed to be taking hold of people.
“Naturally, people are very scared at such uncertain times as these, but I felt strongly that I wanted to promote hope and an optimism that we would get through this. This is also what gave me the idea to create something a bit more special and personalised for Live White Horses by offering dedications with the limited-edition version of the album.
“Other than this, I also enjoyed gardening with the kids, planting veggies and cat mumming. I also revisited creating art here and there. I’ve always been intrigued by astrology too, so I also began studying Vedic astrology, which has been fascinating, and along with my yoga practice, another way to connect with India.”
What were your plans for 2020 before Covid-19 changed all that?
“In February, I had no idea how the rest of the year would pan out. The plans at that point were to film one more video in April with my friends Danny and Luke from Thunder and, come November, to go back out on tour.
“Of course, both of those plans were halted due to the outbreak of the pandemic. Like everyone, I’ve had to think outside of the box as to how to move forward at this time.
“Especially as in music many avenues remain blocked, so I’m even more grateful that the Universe appears to have delivered me a clear pathway forwards and lined it with a very supportive audience who are excited to hear what is on offer!”
What are your plans for the rest of the year or is everything up in the air?
“Well, as up in the air as much of life still is, with further touring being halted, Angela Gordon and I have decided it’s time to finally begin recording the long awaited, second Odin Dragonfly album, Sirens!
“We’ve been writing for it over the past few years on the back burner and alongside our other projects. Recording proper has kept being put off until we both have more time to give it its due.
“For me, now the Wild White Horses chapter is drawing to a close, it feels like that time is here. It’s a beautiful and mystical collection of songs, which strangely I’ve always envisioned getting stuck into the recording of once the leaves are turning and days are crispy, cold and witchy faery again…
… “Somewhere between Faeryland and Jiffy Bag mountain is where you’ll find me!”
Soon to fly again: Heather Findlay and Angela Gordon are to record their second Odin Dragonfly album, Sirens
Eleanor Leaper: After taking to the Rowntree Park Amphitheatre stage for York Stage Musicals’ Jukebox Divas concerts last month, she performs Wait A Bit for York Musical Theatre’s online concert on Sunday. Picture: Charlie Kirkpatrick
YORK Musical Theatre Company celebrate The Best Of British in Sunday night’s online concert.
“Expect lots of British musicals and composers. Lots of Lloyd Webber, Lionel Bart, Tim Minchin, a bit of Noel Coward and lots more,” says company publicist and regular cast member Anna Mitchelson.
Before you quibble, “but isn’t Tim Minchin Australian?”, the comedian, actor, writer, musician and songwriter was born in Northampton, England, to Australian parents, who then raised him in Perth, Australia. Happy 45th birthday to Tim next Wednesday, by the way.
Recorded remotely, Sunday’s 7.30pm programme opens with a group rendition of Who Will Buy?, from Oliver!, followed by Matthew Clare performing Cronos’ Plea, from Prometheus Bound, and Marlena Kelli and David Martin’s duet, Could We Start Again, Please?, from Jesus Christ Superstar,
Martin Harvey sings the title song from Tell Me On A Sunday; Eleanor Leaper, Wait A Bit, from Just So; Chris Jay, Eric Clapton’s Tears In Heaven; Chris Gibson, Leaning On A Lamp Post, from Me And My Girl, and Marlena Kelli, Sleepsong, from Secret Garden.
Mick Liversidge contributes Gonna Build A Mountain, from Stop The World I Want To Get Off; David Martin, Music Of The Night, from The Phantom Of The Opera; Peter Wookie, The Song That Goes Like This, from Monty Python’s Spamalot, and Mick and Jessa Liversidge, You And I, from Goodbye, Mr. Chips.
Moizie Murphy performs Noel Coward’s Epitaph For An Elderly Actress; Jessa Liversidge, My House, from Matilda The Musical, and Sam Coulson, the title song from Sunset Boulevard.
Musical director Paul Laidlaw, who has put Sunday’s programme together, closes the concert at the piano with an Ivor Novello tribute to Joan Welsman, who died last month. Her husband, Jim Welsman, is a former chairman of YMTC.
The Best Of British will be streamed on YMTC’s YouTube channel at:
York Minster: An abstract work from Duncan Lomax’s photographic portfolio
“IT’S a strange and challenging time to be opening a business,” admits York commercial photographer Duncan Lomax after turning his front room into Holgate Gallery.
“Why now? I think people are looking for some good news,” reasons Duncan. “People are stimulated by visual art, perhaps now more than ever.They’ve been stuck at home in lockdown, observing their walls on Zoom, and they’re now more aware of their homes, so in that sense maybe it’s a good time to set up a gallery.
“People are looking for a connection with what they put on their walls or in their rooms, so why would you buy three stones with a white stripe for your mantelpiece?
“That’s why, at Holgate Gallery, it’s not just pretty pictures of York, though there’ll always be a demand for that, but I’d like to think that we can challenge people more. With the creative photography I do, it’s deliberately imperfect and more abstract than the commercial work, which has to be perfect and generally done to someone else’s brief.”
A member of staff in PPE at St Leonard’s Hospice, by Duncan Lomax
The gallery address is 53, Holgate Road, a Grade 2-listed building that previously housed Bridge Pianos before Duncan and his wife Tracy moved in, turning the frontage from white to a deeply satisfying blue.
Holgate Gallery becomes only the second contemporary photographic art-space to be set up in York since the much-missed, pioneering Impressions Gallery deserted Castlegate for Bradford’s Centenary Square in 2007.
Since July 2013, fellow commercial photographer Chris Ceaser has run Chris Ceaser Photography in early 15th century, Grade 2-listed, timber-framed premises at 89 Micklegate, focusing on his own landscape photographs of York, Yorkshire and beyond.
By comparison, Duncan will complement his commercial and abstract photographs and humorous faux Penguin Book cover prints with a regularly changing stock of work by other artists “who might not otherwise have the space to exhibit”.
United We Stand, by Duncan Lomax
Mostly they will be local, but in the first instance, the spotlight falls on Cold War Steve, the alias of Birmingham digital-collage political satirist Christopher Spencer, with his 250,000 followers on Twitter for his classical painting pastiches and predilection for incorporating EastEnders’ Steve “Phil Mitchell” McFadden alongside the Westminster double act of Johnson and Cummings at every opportunity.
“You don’t have to look too far to see which side he’s on,” says Duncan. “It’s putting two fingers up to the Establishment, and not everyone will like it, but he’s just been awarded a Doctor of Arts honorary degree at Wolverhampton University, so he’s now Dr Cold War Steve!”
You can sense Duncan’s enthusiasm for stretching his wings beyond running Ravage Productions Photography. “Doing commercial photography, you spend three hours ‘in the field’ and then just as much time doing the editing, marketing and updating the website. I’ve always thought that feels like time wasted, though it’s not, because it’s part of the job, but I most enjoy being behind a camera.
“So, I thought, is there a way of being creative while also doing the [commercial] job? When we bought the piano shop, it needed everything doing to it, but I could see it being a gallery, shop and editing facility for me as well as a home, so rather than being on my own when I’m working, it becomes a more social experience and another string to the bow related to the commercial photography, while it keeps pushing me on the creative side.
In the red corner: York Central MP Rachael Maskell, whose Labour Party office is nearby, conducts the opening ceremony at Holgate Gallery. Photographer, owner and curator Duncan Lomax keeps his social distance
“I might find there’s no interest in photography in York, but I’m pretty certain there is, and not just for my work, so this gallery is not an ego trip.”
Duncan has been the official photographer for York Minster for several years, notably for the 2016 York Mystery Plays, and has shot portraits, marketing images and PR material for all manner of businesses both in the city and at large.
He also has taught photography to degree level and his pictures have appeared many times in the local and national press, from The Press and YorkMix to the Yorkshire Post, the BBC and The Times.
Born on the Wirral and brought up in Warrington, Duncan played guitar in early Nineties’ Widnes “baggy wannabees” and two-time John Peel Session band 35 Summers, but he was just as likely to be holding a camera as a guitar.
Conference speaker Ian Donaghy: a business portrait by Duncan Lomax
“I’ve always had a camera; I’ve always been interested in photography,” says Duncan, who gives talks to camera clubs to give a different slant on taking pictures beyond landscapes and wildlife.
“I went to see Echo & The Bunnymen in 1982, when they were playing this secret gig where no-one knew where it would be when they bought a ticket. I got right to the front with my mum’s thin Instamatic camera, and there were no press photographers, but there I was, leaning on the stage, with all this dry ice everywhere, hiding the camera away because you weren’t supposed to be taking pictures. The next day I sold the photos at school, so that lit the spark for me.”
Duncan went on to work in PR, but as a writer. “I was always jealous of the photographers,” he recalls. So jealous that the camera would eventually win out because he thinks like a photographer at all times.
“You are constantly looking at the light, checking it, looking outside, and then you see this mackerel sky, and you know you have to stop and go and get the camera,” he says.
The former Terry’s chocolate factory, by Duncan Lomax
“Sometimes, with a photograph, it’s about pre-visualising…but then accidents can happen. That’s serendipity, but more normally, nine times out of ten those circumstances don’t come together.
“You almost know the shot before you take it, but whether you’re able to get it is another thing; whether you can manipulate it and be in control of the camera. Everything has to come together, not only technically but also emotionally. That’s where you get the story.”
He highlights a distinction between the amateur and the professional. “When I was giving a club talk, I remember asking, ‘Who’s shot a landscape photo of Robin Hood’s Bay?’. All the hands went up, but then I said: ‘Hands up, who’s shot a portrait one?’ and no hands stayed up…whereas I’m always thinking of where the headline can go on the picture,” says Duncan.
The photographer’s eye enables him to “show something that you can see that someone else can’t in that situation”, by using such a technique as underexposure.
Light and shade and grand ceremony at York Minster, by Duncan Lomax
“But what you don’t do in either commercial or press photography is let the camera lie,” Duncan says. “Though if you’re doing a commercial shot and you notice there’s a fag end on the floor, you do take it out of the picture.”
Among Duncan’s most memorable photographic work is his remarkable portfolio for the 2016 York Mystery Plays, especially those capturing actors in character, but neither on stage nor posed. “I did those 15 seconds after they came off stage. They weren’t meant to be ‘nice’ pictures, but pictures while they were still in the moment, which is different from portraiture,” he says.
The relationship between photographer and subject is one of trust, requiring skills of communication and connection. “What puts them at ease, I think – and I say this to everyone – is that I tell them, ‘I’m not trying to catch you out’, which is different from some press photographers, whose job is to do exactly that,” says Duncan.
“I’ll ask them, ‘what are you looking for from this photograph?’, as it’s about gaining their trust. That’s the bit I really enjoy; getting that interaction, even if I’m there to photograph a building, I’ll interact with the site manager.”
Toby Gordon as Lucifer, on stage in the 2016 York Mystery Plays at York Minster, by Duncan Lomax
Duncan’s work spans commercial, portrait, event, PR, creative, architectural and travel photography. Can he ever switch off? “If you come across me on a rare day off, I’ll still have my camera with me, so when we go on a walk, my wife hates it as we’ll take three times as long as we otherwise would!” he says.
“Like when we went to Cuba earlier this year, I just had to film the textures of the walls as they tell a story in their amazing colours: they give such a sense of place to Cuba.”
Those Cuban colours are now framed in Pantone style and for sale at Holgate Gallery, the new calling card for Nineties’ guitarist, ace photographer and now gallery owner and curator Duncan Lomax.
More good news has just come his way too: he has been selected to participate for the first time in York Open Studios next April.
Holgate Gallery’s opening times will vary but will be updated regularly at www.holgategallery.co.uk and on Facebook. Visits also can be arranged by appointment via duncan@ravageproductions.co.uk
Kathryn Roberts and Sean Lakeman: Celebrating 25 years together…with an arm wrestle
THE Black Swan Folk Club is still closed under Covid restrictions, but the York club is mounting two concert evenings this autumn, one online, the other at the NCEM.
“We are starting to put a few things together that are the start of our journey back to regular live music,” says club organiser Chris Euesden after booking Chris While and Julie Matthews for October 15 and Kathryn Roberts and Sean Lakeman for two hour-long shows on November 17.
While and Matthews will be playing their 7.30pm online concert exclusively for the club and will conclude the night with a live question-and-answer session.
Tickets are on sale at: whileandmatthews.com/virtual-tour. “Once you’ve purchased a ticket, you’ll be able to watch the streamed performance whenever you want,” says Euesden. “Chris and Julie have been guests at the club and played for us in concert at the NCEM many times over the years and it’s always been a great evening.”
While and Matthews have been performing together for more than 25 years, clocking up 2,600 gigs, appearing on 100-plus albums and writing hundreds of original songs. Last year, they released their 11th studio album, Revolution Calls.
Sponsored by the Black Swan Folk Club, Roberts and Lakeman’s concerts at the National Centre for Early Music, St Margaret’s Church, Walmgate, will start at 6pm and 8.30pm, each featuring the same setlist.
“2020 marks 25 years of making music together for this wife and husband duo,” says Euesden. “Kathryn Roberts and Sean Lakeman have long established themselves as one of the UK folk scene’s most rewardingly enduring partnerships.
“To celebrate and acknowledge this milestone, the couple will revisit and reinterpret songs that span their career. From the early days of folk supergroup Equation through to 2020’s On Reflection, with a nod or two along the way to their extracurricular musical adventures, the evening promises a whistle-stop tour through their artistic journey to date.”
Limited seating will be available for the November 17 shows. Each household/support bubble will be seated around small tables positioned at a two-metre social distance from others. Tables can accommodate up to four people in the same group. Check out the guidelines for these concerts via: ncem.co.uk/events/kathryn-roberts-sean-lakeman/
Tickets for Roberts and Lakeman will be on sale at blackswanfolkclub@yahoo.co.uk from October 9. If you bought a ticket for the duo’s postponed April 22 gig, the NCEM team will be in touch soon to discuss your options.
Simon Slater and Jemma Redgrave: Rehearsed reading of Simon Woods’ “witty and devastating” new play, Hansard, at the SJT
STEPHEN Joseph Theatre artistic associate Simon Slater is teaming up with theatrical dynasty luminary Jemma Redgrave to present a rehearsed reading of Simon Woods’ Hansard.
Directed by SJT artistic director Paul Robinson, the reading will take place in the Round at the Scarborough theatre on Tuesday, October 20 at 7.30pm.
A witty and devastating new play, Hansard premiered at the National Theatre, London, in August 2019.
On a summer’s morning in 1988, Tory politician Robin Hesketh has returned home to the idyllic Cotswold house he shares with his wife of 30 years, Diana, but all is not as blissful as it first seems.
Diana has a stinking hangover, a fox is destroying the garden, and secrets are being dug up all over the place. As the day draws on, what starts as gentle ribbing and the familiar rhythms of marital sparring quickly turns to blood-sport.
Robinson enthuses: “We’re absolutely thrilled to have attracted two actors of the stature of Jemma and Simon to bring a reading of Simon Woods’ brutally funny, but ultimately moving, political satire to the SJT.”
Paul Robinson: SJT artistic director, directing Hansard
Jemma Redgrave played the title character in four series of Bramwell from 1995 to 1998 and has a recurring role in Doctor Who as Kate Stewart, head of scientific research at UNIT. Her wide and varied theatre and film career has included the role of Evie Wilcox in the Bafta Award-winning Merchant Ivory adaptation of Howards End in 1992.
Simon Slater was born and grew up in Scarborough. He played Sam Carmichael in Mamma Mia! in the West End for five years, had a regular role as Inspector Kite in the ITV series The Bill and narrates audiobooks, such as Hilary Mantel’s Wolf Hall.
He is in demand too as a musical director, latterly for the National Theatre’s Amadeus, and he has composed more than 300 original scores for theatre, film, television, radio and theatre, not least for the past four Christmas shows at the SJT. He will be doing likewise for The Snow Queen this December.
After Hansard, Slater will perform Bloodshot, Douglas Post’s one-man thriller, in the Round from October 21 to 24 at 7.30pm plus a 2.30pm Saturday matinee.
In a story of vaudeville, murder, magic and jazz set in London in 1957, Derek Eveleigh is a skilled photographer, very down on his luck.
Down on his luck: Simon Slater as photographer Derek Eveleigh in Bloodshot. Picture: Marc Brenner
A mysterious envelope arrives from a stranger, asking him to take secret pictures of an elegant young woman as she walks in Holland Park. The reward is handsome, but the irresistible assignment takes a sudden, shocking turn.
Entangled and compelled to understand, Derek is led into a seedy Soho nightlife populated by dubious characters. What do an Irish comedian, an American saxophone player and a Russian magician have to do with the bloody event he has witnessed? And how are these men connected to the woman in Holland Park?
In seeking the truth, Derek finds his whole life turned upside down as Post’s thriller examines the turbulent human heart and keeps you on the edge of your seat in Patrick Sandford’s surprise-laden production.
The SJT has introduced comprehensive Covid-secure measures for the safety and comfort of its audiences and has been awarded both the VisitEngland We’re Good To Go industry standard mark, signifying its adherence to Government and public health guidance, and UK Theatre’s See It Safely standard mark. Full details can be found at https://www.sjt.uk.com/were_back
Bookings for Hansard go on sale from £10 from 10am tomorrow (October 2), and please note that under social-distancing restrictions, numbers are extremely limited for this one-off event.
To book for Hansard or Bloodshot (tickets already available), visit sjt.uk.com/whatson or call the box office on 01723 370541, open Tuesdays to Saturdays, 11am to 4pm, for both phone calls and in-person bookings.
Pledge Ahead is just the ticket for audiences to support York Theatre Royal “at this critical time”
YORK Theatre Royal is launching Pledge Ahead, an initiative that asks audiences and the wider community for financial support, seven deeply wounding months into the Coronavirus arts crisis.
The pledge will take the form of buying vouchers that can be exchanged later for theatre tickets once the still-closed building re-opens. More details can be found at yorktheatreroyal.co.uk.
Launching the scheme, executive director Tom Bird said: “Lots of people have been asking what they can do to help the theatre at this critical time.
“By pledging ahead, our audiences can continue to support us while our building is closed and look forward to using their vouchers as soon as we are able to re-open our doors and welcome everyone back.”
The plea comes “at this critical time” when the Theatre Royal has revealed it has cut its permanent staff by one third – seven voluntary redundancies and nine staff made redundant – after extensive consultations.
In a further cost-cutting measure, the Theatre Royal also has confirmed it will not be renewing its lease of the neighbouring De Grey Rooms, home to rehearsals, workshops, staff offices and the below-stairs costume store, as well as weddings, parties, award ceremonies and performances in the glorious ballroom.
“It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future,” says executive director Tom Bird
The “hand-back” will be completed this week after 11 years of renting the Grade 2-listed neo-classical Victorian building from York Conservation Trust.
The costume hire business will be re-located and will re-open in January; further announcements are awaited on exactly where, along with long-term plans for rehearsals, workshops and staff rooms once the Theatre Royal can re-open.
Bird said: “We have been forced to take some very difficult cost-saving decisions. It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future.”
Along with the redundancies, many more staff have taken cuts in hours and wages, to ensure the theatre survives, and the Government’s soon-to-disappear furlough scheme has played its supportive part too.
However, 89 per cent of York Theatre Royal’s annual income is generated through selling tickets and from associated revenue streams, such as the bars and café, from the tens of thousands of people who come through the doors of a theatre that underwent a £6.1 million redevelopment completed in 2016.
The Theatre Royal – the longest-running theatre in England outside London – reopened on April 22 that year with a new roof, an extended and re-modelled front-of-house area and a refurbished, reconfigured and redecorated main auditorium, with major improvements to access and environmental impact too.
Decked out: Hannah Sibai’s design for York Theatre Royal’s Pop-Up On The Patio festival in August
Since the Covid-enforced closure in March, the Theatre Royal has reduced its costs “significantly”, the redundancies being the most draconian step so far.
“Like almost everywhere in British theatre, we have sadly had to reduce our team in order for the Theatre Royal to survive and provide a theatre for the community.
“There was zero ambiguity that it might have to happen, but all theatres are in this situation and I’m pleased that we have not closed any department, so we maintain producing expertise across the staff.”
Since lockdown, performances have been restricted to a Pop-Up On The Patio festival of 12 shows by diverse York performers on the Theatre Royal terracing from August 14 to 29, with a maximum audience of 35 at each show.
Cinderella shall not go to the ball this winter on the main stage, but instead the Theatre Royal and new pantomime partners Evolution Productions have announced the Travelling Pantomime, starring York magician, panto comic turn, actor and children’s entertainer Josh Benson.
The dates are yet to be announced, but the small-scale tour will visit sports centres, social clubs, halls and community centres in all 21 wards in York in December and January.
Pantomime this way: Josh Benson is full of beans as he looks forward to leading the York Theatre Royal Travelling Pantomime to Holgate, Heworth and 19 more destinations besides. Picture: Anthony Robling
At each socially-distanced, Covid-secure performance, the audience will vote whether to watch Aladdin, Jack And The Beanstalk or Dick Whittington, all scripted by Evolution director and producer Paul Hendy and directed by Theatre Royal associate director Juliet Forster.
Meanwhile, the Theatre Royal expects to learn on Monday (October 5) whether its bid for a grant from the Government’s £1.57 billion Culture Recovery Fund has been successful…or not.
The theatre received £196,493 from Arts Council England’s Emergency Fund to help to cover July to September 30’s costs, and the latest grant application is “not a million miles from that figure,” confirmed Bird.
“The problem with an old building that’s so huge and hard to heat is that it costs £475,000 a year just to keep it open, without staffing, to cover heating, lighting, water and safety.
“Under Covid restrictions, things like the patio season and Travelling Pantomime are our direction of travel right now.
The team behind the York Theatre Royal Travelling Pantomime: Theatre Royal associate director Juliet Forster, executive director Tom Bird and Evolutions Productions director, producer and writer Paul Hendy
“It’s been brilliant to have done the patio shows and we’re totally over the moon with how that went; it was terrific giving local artists the chance to perform. Now we’re looking at further options for outdoor shows in York until it’s viable and safe to be back indoors.
“But we’re always mindful of the risk of a local lockdown, and the main task is to safeguard the future of the theatre and that’s going well but it’s a big fight.”
The Culture Recovery Fund grant, if approved, would cover October to March 31. “It’s a little bit more about recovery this time,” says Bird. “Last time, the ACE grant was about ‘What do you need right now not to collapse?’.
“We have interpreted the guidance for a grant in the best way we can and we hope the Department of Culture, Media and Sport and the Arts Council will see fit to support us in the best manner possible.”
Today, by the way, is Creative Performance Protest Day, a rallying call to “to highlight the Government’s failure to support the performing arts sector throughout the Covid-19 pandemic”.
Trafalgar Square, London, at midday will be among the focal points of a campaign whose urgency has been heightened by Chancellor Rishi Sunak’s new Job Retention Scheme not accommodating freelance arts workers in its definition of “viable” jobs.
David Lancaster: Darkness into light in his world premiere of Eclipse at HIF Weekender
DAVID Lancaster, cutting-edge composer, York Late Music projects manager and head of York St John University’s music department, is back on course for the new academic year in the shadow of the Covid-19 pandemic.
“Going smoothly so far, but all fingers are crossed,” he says, when asked “How is the new term going?”.
“It’s the start of term like no other, and we’re aware that we could have an outbreak and/or be shut down at a moment’s notice, which does tend to push up the anxiety levels! Still, here goes for week 2.”
A university term “like no other” for Dr Lancaster continues the unpredictable path of a start-stop-restart year like no other, when all the usual channels of performance were removed overnight under the lockdown strictures imposed on March 23.
Out with the old order, in with the new, as David’s commission for Harrogate International Festivals, Eclipse, became the conversation piece of the hastily arranged inaugural virtual HIF Weekender, when 10,000 people from 60 countries viewed the online line-up of free arts events, exclusive clips and highlights from the July 23-26 programme showcased on BBC Radio 4.
David’s digital commission came to fruition against the stultifying background of lockdown. “The lockdown has proved to be a difficult time for all musicians, particularly for freelance performers, and the members of bands and choirs unable to work together,” he says.
“The impact on composers – who often work alone, in any case – has been significant for different reasons. All performances of my pieces since mid-March have been postponed or cancelled, and the uncertainties surrounding concerts have meant that performers, venues and festivals have been reluctant to make any firm plans for the future.”
Commissions dried up and deadlines, so important to David in providing motivation to complete pieces, disappeared. “Most of all, I miss the interaction and discussion with other musicians that takes place in planning meetings and rehearsals, and in the post-mortem after performances, when so many ideas are nurtured and developed,” he says.
Hence his delight – if trepidation too – at being approached by Harrogate International Festivals’ chief executive, Sharon Canavar, and board member Craig Ratcliffe, director of music at St John Fisher Catholic High School, with a “really great idea” for a new piece.
“Put simply, they wanted a short, fanfare-like composition for brass and percussion that could be recorded remotely by many players, locally, nationally and worldwide, that could be re-assembled in the studio to make a ‘live’ performance,” says David.
“Local brass bands would be contacted, and trumpet virtuoso Mike Lovatt – a good friend of the Harrogate festival – had very kindly agreed to record a solo track.”
Lovatt was a stellar signing, being professor of trumpet at the Royal Academy of Music and principal trumpet for both the John Wilson Orchestra and BBC Big Band.
Explaining the choice of title for his world premiere, David says: “We chose Eclipse to represent the idea that the Harrogate festival couldn’t take place this year – the concert halls, theatres and community venues had ‘gone dark’ – but that next year, the light would return and the festival and all its bright lights could resume.”
David wrote quickly, finishing the piece in only five days. “Oddly enough, I had previously composed a fanfare for a ceremonial occasion at the university – the installation of Reeta Chakrabarti as the new Chancellor – which had been postponed right at the start of lockdown, so I was able to draw upon and develop some of the rhythmic ideas from that piece in Eclipse,” he says.
“There was lots of material on my ‘cutting-room floor’ that I could rifle through, re-cycle and add to for the Harrogate festival piece. I was working on other things at the time, so writing Eclipse was a very pleasant interruption.”
Lockdown and the strange new world of Covid-19 2020 had an impact on David’s composition. “Obviously we all think about then time we are going through, and one of the reasons for being a composer is to get a better understanding of the world we live in as we hope to get back to some kind of normal when we can return to contact,” he says.
Mike Lovatt: Playing trumpet as one of 120 musicians assembled remotely to perform David Lancaster’s Eclipse for Harrogate International Festivals’ HIF At Home festival
Eclipse “isn’t really a conventional fanfare,” suggests David. “I suppose there’s a hint of melancholy that reflects the current mood, but the ending is triumphant, and I hope that will serve us well when this piece is performed live, in front of an audience, when Harrogate International Festival returns in 2021,” he says.
“It would be lovely if Eclipse could complete its journey from darkness to light that way, when things have been so gloomy.”
More than 120 musicians joined forces remotely to record tracks, including players from Opera North, West End musicals and the Royal Philharmonic Orchestra, complemented by brass players from Qatar, Canada, the United States, South Korea and New Zealand, together with local brass bands and orchestras.
“I was so pleased that so many people got involved in putting Eclipse together,” says David. “When Harrogate International Festival first commissioned it, their intention was to use local brass bands from Ripon, Knaresborough and Harrogate, and then we started getting top players from West End musicals, Opera North and the RPO, with Craig using his contacts to draw in so many musicians.”
Eclipse subsequently was live-streamed for HIF At Home at 6pm on July 24 and made available on the festival website from the end of July.
Meanwhile, serendipitously for David, the new, alienating working conditions necessitated by the pandemic have chimed with a creative project he had in mind already. “Coronavirus has forced musicians to adapt to remote working, often making music independently of one another. Ironically, this is something I had been thinking about in 2019, long before lockdown,” he says.
“I wanted to explore asynchronous rhythmic elements in my music: passages in which players are not governed by a single, unifying pulse, but have opportunities to move apart from one another, to play independently, either individually or in small groups. Little did I suspect that I would be composing this music during a global pandemic in which we were all forced into working apart from one another.
“I have always been intrigued and fascinated by the non-verbal communication that takes place during ensemble performance: the way in which players send – and receive and interpret – visual and musical signals, and I wanted to incorporate some of these ideas into the fabric of a piece.”
The resulting work, Before I Fall Asleep, Again, The City…, takes its title from the first line of a novel by French author Alain Robbe-Grillet, whose use of multiple perspectives mirrors David’s own creative process. “It reflects my concept and it casts my piece into the domain of a recurring, if half-forgotten, memory,” he says.
“As always in my music, there is plentiful repetition; ideas move into the foreground then recede, only to return later in different contexts. I like the analogy of a person wandering aimlessly around a town, during which they regularly encounter sights previously seen from different directions, angles and perspectives: they experience familiar sights, unfamiliar sights, and the familiar ones in new guises.
“Memory plays an important role, so in the music I have tried to ensure that there are elements that will be recognised when they reappear, even if they are never quite the same each time.”
A research grant from York St John University enabled David to approach the new ensemble Trilogy with a view to performing it. “I was delighted when they agreed, but the ongoing pandemic has meant that all arrangements need to be provisional for the moment, though if all goes well, we are looking to perform it in York and London next year – and I can’t wait to hear it.”
As and when those performances can take place, the Trilogy performers will be placed as far apart as possible on stage. “Not in different rooms, or buildings, as they have to be able to co-ordinate, but we want to use the space they are in to the maximum,” says David.
“We hope to do it as part of the York Late Music 2021 programme in the St Saviourgate Unitarian Chapel next May, and we’re still hoping to perform it in London next summer, in June.”
David is working on two more projects too. “One is a piece for a solo violinist, Steve Bingham, who works extensively with live electronics,” he says. “I’ve never done anything like this before, so I’m firing off lots of questions to Steve.
“The other is a longer-term project, where I’m setting the sonnets of John Donne. Last year, two of his Holy Sonnets were performed in Oxford Town Hall – Death, Be Not Proud and At The Round Earth’s Imagined Corner – by Oxford Harmonic Choir, who now want me to do more.”
