Ballet ho: Matthew Bourne’s The Red Shoes will be a highlight of the SJT’s September screen and stream season
WEST End musicals, ballet, a waltz king and new and classic British films will be on the big screen at Stephen Joseph Theatre through September.
The Scarborough theatre re-opened its Art Deco cinema at the end of August, with a comprehensive programme of measures for the safety and comfort of cinema patrons, such as limited capacities and aisle access for every pair of seats booked.
The SJT has been awarded the VisitEngland We’re Good To Go industry standard mark, signifying its adherence to Government and public health guidance, and full details can be found at sjt.uk.com/were_back. The films and streams will be open captioned (OC), by the way.
The West End Musical Season presents Kinky Boots (captured live) on September 3 at 7pm. In Cyndi Lauper and Harvey Fierstein’s musical, Charlie has inherited a failing shoe factory and goes into partnership with drag queen Lola to save the business.
The Tony Award-winning Lincoln Center Theater productionof The King & I (captured live) will be shown on September 10 at 7pm. Filmed at the London Palladium in 2018, it tells the story of Anna, hired by the King of Siam to serve as an English teacher in his palace in an attempt to modernise his country.
Romance 1945 style: Roger Livesey and Wendy Hiller in I Know Where I’m Going!
The September film programme opens with Summerland, British writer-director Jessica Swale’s account of a reclusive writer, Alice, who has lived in a small Kent town for years and is regarded by the locals as a witch.
During the Second World War, Alice’s sequestered life is upended when Frank, an evacuee from the London Blitz, is left in her care. Despite initially resolving to be rid of him, Alice finds herself and her emotions reawakened by him.
Alice is portrayed in her younger days in the 1940s by Gemma Arterton and later by Scarborough-born Penelope Wilton. Gugu Mbatha-Raw and Tom Courtenay also star in the screenings on September 4 at 7pm, September 5 at 2pm and 7pm, September 8 and 9 (OC) at 7pm and September 10 at 2pm.
In British-writer director William Nicholson’s Hope Gap, Annette Benning and Bill Nighy play Grace and Edward, whose idyllic life in a British seaside town is torn apart when he tells her he is leaving for another woman after 29 years of marriage.
Showing on September 11 at 7pm, September 12 at 2pm, September 15 and 16 September at 7pm and September 18 at 7pm, Hope Gap also stars Steven Pacey, who played Bertie Wooster in Alan Ayckbourn and Andrew Lloyd Webber’s By Jeeves, the first show at the SJT when it moved into the former Odeon cinema in 1996.
The dark side: Darth Vader in The Empire Strikes Back, 40th anniversary remastered edition
Irvin Kershner’s The Empire Strikes Back, considered by many to be the finest of all the Star Wars films, celebrates its 40th anniversary in 2020 with a remastered edition, to be shown on September 12 at 7pm, September 17 at 2pm and September 22 at 7pm (OC).
Based on a George Lucas story, Star Wars: Episode V of the epic American cinematic space opera is the one where Darth Vader is determined to turn Luke Skywalker to the dark side, Master Yoda trains Luke to become a Jedi Knight, while his friends try to fend off the Imperial fleet.
Michael Powell and Emeric Pressburger’s cult romantic classic I Know Where I’m Going! will be screened in remastered HD on September 19 at 2pm and 7pm, when WEA film studies tutor George Cromack will give an introduction.
The 1945 film follows the emancipated Joan Webster (Wendy Hiller) as she tries to reach a remote Hebridean island for her wedding and meets naval officer Torquil MacNeil (Roger Livesey) on the way.
Released in January, Robert Eggers’s black-and-white psychological anti-thriller The Lighthouse is still the bleakest film of this bleak, bleak year, as can be witnessed on September 23 at 7pm and September 24 at 2pm and 7pm.
Darkness in The Lighthouse: Willem Dafoe and Robert Pattinson as island lighthouse keepers battling with their sanity in 1890s’ New England
Willem Dafoe and Robert Pattinson play lighthouse keepers struggling to keep their sanity while living on a remote and mysterious New England island in the 1890s.
A disparate group of women seeks to disrupt the 1970 Miss World competition in Philippa Gowthorpe’s 2020 comedy-drama Misbehaviour, showing September 25 at 7pm, Saturday 26 September 26 at 2pm and 7pm and September 29 at 7pm (OC).
Held in London, the contest was hosted by comedian Bob Hope (Greg Kinnear) and was the first to be won by a black woman, Jennifer Hosten, Miss Grenada (Gugu Mbatha-Raw). Keira Knightley, Jessie Buckley, Phyllis Logan, Keeley Hawes, Lesley Manville and Rhys Ifans also join the starry cast.
Music and ballet complete the SJT’s September line-up. First, Andre Rieu’s Magical Maastricht: Together In Music (captured live) celebrates 15 years of hometown concerts as the King Of Waltz brings the joyous atmosphere of his open-air concerts in Maastricht to the big screen on September 18 at 7pm and September 20 at 2pm.
Landmark victory: Gugu Mbatha-Raw, as Jennifer Hosten, Miss Grenada, the first black winner of the Miss World competition, in Misbehaviour
Then, Matthew Bourne’s The Red Shoes (captured live) dances on to the McCarthy screen on September 30 at 7pm and October 4 at 2pm.
Bourne’s Olivier Award-winning adaptation of Powell and Pressburger’s 1948 film has dazzled audiences across Britain and the United States with its tale of obsession, possession and one girl’s dream to be the greatest dancer in the world.
Cinema tickets at the SJT for films cost £7, concessions £6; Circle members/NHS/under-30s £5; for event cinema, including ‘captured live’, £12; for live streams, £17.
To book, go to sjt.uk.com/whatson or call 01723 370541, Thursday to Saturday, 11am to 4pm, when the box office also is open for in-person bookings.
Good to be back: Musician Phil Grainger and writer Alexander Flanagan-Wright in Alex’s back garden at Stillington Mill for their At The Mill week of shows. Now they will pop down to the Pop-Up On The Patio festival. Picture: Charlotte Graham
MUSEUMS, galleries and cinemas are welcoming you in, but in the summertime, when the weather is surprisingly fine, now is the chance to capitalise on the great outdoors, from pop-up patio shows to musical theatre in an amphitheatre.
In the interests of balance, Charles Hutchinson’s recommendations also take in a new exhibition indoors and a night in that drags on and on…in spectacular vocal and visual fashion.
Balloons, magic, jokes: Josh Benson in his Just Josh show for Pop-Up On The Patio at York Theatre Royal
Outdoors entertainment number one: Pop-Up On The Patio, at York Theatre Royal, August 14 to 29
TAKING part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, will be “Yorkshire’s finest theatre and dance makers”.
Step forward York Dance Space’s Dance//Shorts; Mud Pie Arts; Story Craft Theatre for Crafty Tales; Paul Birch’s Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre in Orpheus and Eurydice and puppeteer Freddie Hayes in Fred’s Microbrewery.
Look out, too, for Cosmic Collective Theatre in the cult show Heaven’s Gate; York performance poet Henry Raby in Apps & Austerity; Say Owt, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson in Just Josh and pop, soul and blues singer Jess Gardham.
One hat, one coat, one monologue: Chris Hannon in rehearsal for Park Bench Theatre’s production of Samuel Beckett’s First Love at Rowntree Park, York. Picture: Northedge Photography
Theatre in a summer’s garden: Engine House Theatre’s Park Bench Theatre, Friends Garden, Rowntree Park, York, until September 5
ROLL up, roll up, for Samuel Beckett’s rarely performed monologue, First Love, artistic director Matt Aston’s new play, Every Time A Bell Rings, and a family show inspired by a classic song, Teddy Bears’ Picnic.
Each production is presented in Covid-secure, carefully laid out and spacious gardens, allowing audience members to keep socially distanced from each other. Chris Hannon performs the Beckett piece; Lisa Howard, the play premiere; Aston’s co-creator, Cassie Vallance, the new children’s show.
Headphones or earphones will be required to hear the dialogue, sound effects and music in performances. All audience members will be given a receiver on entry; takeaway headphones cost £1 when booking a ticket online. Bring blankets or chairs.
Richard Upton as Stacee Jaxx in York Stage Musicals’ Rock Of Ages: Now he will be rocking up at Rowntree Park. Picture: Robin May
Musical celebration of the month: York Stage at Rowntree Park Amphitheatre, York, August 23 to 25
YORK Stage are bringing musical theatre back to life this summer with their first ever outdoor show, taking over the Rowntree Park Amphitheatre for three nights.
Songs from Grease, Hairspray, Cats, Cabaret, The Greatest Showman, West Side Story and many more will be sung by Emily Ramsden, Ashley Standland, May Tether, Joanna Theaker and Richard Upton under the musical direction of Jessica Douglas.
“We wanted to keep it light, with singers of great quality and a band of great quality performing songs we all know so well, presented as a concert rather than as a staged performance, so it’s very much about the music,” says producer and director Nik Briggs.
Out on the moors: North York Moors Chamber Music Festival artistic director, founder and cellist Jamie Walton. Picture: Paul Ingram
Outdoor festival of the month: North York Moors Chamber Music Festival, Welburn Abbey, Ryedale, until August 22
AN evolution as a much as a Revolution, the 2020 North York Moors Chamber Music Festival has swapped the indoors for the outdoors, now taking place in an open marquee sited in the grounds of Welburn Abbey, Welburn Manor Farms (YO62 7HH), between Helmsley and Kirkbymoorside, in Ryedale.
For its theme of Revolution! in the festival’s 12th year of celebrating chamber works, the focus is on and around the music of Beethoven – the “revolutionary” – and beyond to mark the 250th anniversary of the German composer’s birth in Bonn.
Full details can be found at northyorkmoorsfestival.com. Season tickets have sold out, but do check if tickets remain available for individual concerts on 07722 038990.
Under the spell of the fell: North Eastern artist Jill Campbell, inspired by her walks on Cockfield Fell
York exhibition of the week: Jill Campbell, Featured Artist, Blue Tree Gallery, Bootham, York, until September 19
BLUE Tree Gallery, York, is marking the opening of North Eastern artist Jill Campbell’s exhibition of intuitive and soulful landscape paintings by introducing temporary new opening hours on Tuesdays, Thursdays and Saturdays from 11am to 4pm.
“Most of my work is based on an ancient mining landscape called Cockfield Fell, where I walk nearly every day,” says Jill. “I use elements of what I see and combine these with my imagination to create my paintings.
“I’m fascinated by the fell’s strange, other worldly, abstract shapes defined by the morning shadows and framed by big dramatic skies. Its pools, pathways, mounds, dips and curves are my motifs.”
Showtime, darlings: Velma Celli in a late-summer night’s stream
Drag show of the week: Velma Celli in A Night At The Musicals, tomorrow, 8pm
YORK drag diva supreme Velma Celli has embraced the world of the live stream through lockdown and beyond.
Velma’s satellite nights from her Bishopthorpe kitchen started in quarantine, back home in York after her Australian travels, and now she has vowed to keep these glamorous, if remote, gatherings going.
“I’m thrilled to be doing another live streamed show on August 14,” says Velma, the exotic cabaret creation of Ian Stroughair. “As venues are now closing up again in London, I will be doing more of these again! Bring on the fun! Watch out for news of special guests.”
For tickets for the live stream from Case de Velma Celli, go to: ticketweb.uk/event/velma-cellis-a-live-stream-tickets/. Tickets come off sale at 5pm tomorrow (14/08/2020); the stream link arrives via email just after 5pm for the 8pm start.
Marilyn (2009/2011, by Joana Vasconcelos: Iconic oversized silver stilettos made from stainless-steel saucepans, on show at the Yorkshire Sculpture Park. Picture: Michael J Oakes
Trip out of the week: Joana Vasconcelos, Beyond, Underground Gallery and open air, Yorkshire Sculpture Park, near Wakefield, on show until January 3 2021
PORTUGUESE artist Joana Vasconcelos creates vibrant, often monumental sculpture, using fabric, needlework and crochet alongside everyday objects, from saucepans to wheel hubs.
She frequently uses items associated with domestic work and craft to comment from a feminist perspective on national and collective identity, cultural tradition and women’s roles in society.
Crack pot: Your host standing betwixt a crockery tree sculpture at the Himalayan Gardens at Grewelthorpe. Picture: Celestine Dubruel
And what about…
LIGHTS out, sit back and enjoy the big-screen experience anew at City Screen, York, and Cineworld, York, now with masks compulsory.
Discovering Barnsley folk siren Kate Rusby’s new album of unexpected cover versions, from Manic Monday to Friday I’m In Love to Shake It Off, out tomorrow.
Walking among the flowers and sculptures at the Himalayan Gardens, Grewelthorpe, near Ripon, a gem of design all round.
MARK your calendars for September 12. From 10am to 1pm that day, the Joseph Rowntree Theatre, in Haxby Road, York, will be hosting a Table Top Sale in aid of the £90,000 #raisetheroof campaign.
On sale in the garden will be many items, including gifts, crafts, household goods, jewellery and many, many cakes, “so what’s not love?”, say the organisers.
One hat, one coat, one monologue: Chris Hannon rehearsing Samuel Beckett’s First Love for the Park Bench Theatre season at Rowntree Park, York. Pictures: Northedge Photography
CHRIS Hannon’s diary for 2020 had all the makings of being a dream year for the Lunch Monkeys and Topsy And Tim actor.
It promised a TV series, a summer of open-air theatre and a winter of writing the Theatre Royal, Wakefield pantomime and playing the dame there, as he has done for the past decade.
Then the world stopped, sent into lockdown by the Coronavirus pandemic. The TV job never happened, Chris’s pencil had to cross out the summer of theatre work, and the fate of the Wakefield panto, like so many across the country, hangs in the balance.
From today, however, Chris can be found sitting on a bench every evening in the Friends Garden at Rowntree Park in York and, glory be, he will be working – performing Samuel Beckett’s monologue First Love to a socially distanced audience as part of the Park Bench Theatre triple bill that runs until September 5.
First Love director Matt Aston working in rehearsal with actor Chris Hannon
Written in 1946 and published in French in 1970 and in English in 1973, the rarely performed First Love is a 45-minute short story of a man, a woman, a recollection, told with Irish playwright Beckett’s trademark balancing act of comedy and tragedy
The first time Chris encountered Beckett’s work was through a production of his more famous 1958 monologue Krapp’s Last Tape and he has also taken part too in a rehearsed reading of Beckett’s magnus opus, Waiting For Godot.
First Love, he suggests, feels like a young man’s version of Krapp’s Last Tape, whose elderly character is described as “slightly clownish with red nose and white cheeks”. “That’s a big part of the way Beckett writes characters: people looking back on their lives and realising that the life they lived had a comical absurdity, where they end up as sad clowns. It’s quite accessible for audiences,” says Chris.
He finds the prospect of holding the attention of an audience on his own both “exciting and absolutely terrifying”. “It’s just you on your own for an hour, which is quite daunting. On a technical level, there’s a lot of words to learn. I’ve never done a one-man show and am excited to do it.
“It’s a universal, relatable story,” says Chris Hannon of Beckett’s First Love. “The story of a young man coming of age”
“I found the text intimidating at first but as I started to pick it apart, I quickly realised that it’s a universal, relatable story. The story of a young man coming of age.”
Chris is delighted to be acting again after an enforced six-month absence and believes audiences share that feeling. “People are ready to see something live and have a shared experience,” he says.
First Love will be one of the three solo shows presented by Engine House Theatre, whose artistic director Matt Aston responded to his daily exercise around Rowntree Park by putting together the outdoor season, once the easing of Covid-19 restrictions enabled live performances in the open air.
Chris had first worked with First Love director Matt in his debut year in the Wakefield pantomime. Matt was directing, a task undertaken in recent years by Chris’s wife, Rhiannon, the head of learning and participation at the West Yorkshire theatre.
Going bananas: Chris Hannon in discussion with director Matt Aston in rehearsal for First Love
Chris had always wanted to play panto dame but imagined he was too young. “I thought you had to be a theatrical veteran to do it. I just loved it when I did it,” he says.
Now 39, the Runcorn actor does not recall seeing many pantomimes when growing up. “I have a memory of going to one panto as a child: Peter Pan. All I can remember is the spectacle. Then, as an actor in my 20s, I saw some of the panto greats. I thought ‘that looks so much fun’ – and it is.”
He had written the first draft for this winter’s Beauty And The Beast when the pandemic took up its unremitting residence. “I write the script for the Theatre Royal Bury St Edmunds as well as for Wakefield. I start writing the scripts in February. It’s first draft, second draft, the rehearsal process and sorting out the music. It’s the rhythm of my year,” says Chris.
“I love panto and playing the dame. It’s become a really big part of my life. Ours is a proper traditional family pantomime. We put so much care into it.”
Dame for a laugh: Chris Hannon as Sarah the Cook in Dick Whittington at the Theatre Royal, Wakefield
If making his one-man show debut is a challenge, so too is working with children, as he did when playing Dad in the BAFTA-winning CBeebies series Topsy And Tim for 34 episodes from 2013 to 2015.
“They wanted to get very spontaneous performances from the kids, so you would never do take after take after take. The adults would work on set with crew, then the kids would come on set – and what happened, happened,” recalls Chris, who has a three-year-old son, Ben, by the way.
“If they dropped a line, the adults had to pick it up. You had to know their lines and your lines. Scenes were never played as written on the page. You just had to keep it going. A huge amount of improvisation was involved.”
That series still brings him recognition, with parents demanding he poses for a picture with their children. “The kids are mortified by this. They don’t want a picture taken with me, so there are lots of pictures of me with unhappy-looking kids,” says Chris.
No children will be present at First Love, however. Beckett’s monologue comes with a Very Strong Language warning!
Chris Hannon performs Samuel Beckett’s First Love, August 12 to 22, at 7pm, and August 15, 4pm, as part of Engine House Theatre’s Covid-secure Park Bench Theatre season in the Friends Garden, Rowntree Park, York. Tickets must be bought in advance at parkbenchtheatre.com.
“This partnership with BBC Radio 3 and the RCM is a wonderful opportunity and a chance to really make a difference,” says NCEM director Delma Tomlin
THE National Centre for Early Music, York, is collaborating with BBC Radio 3 and the Royal College of Music in a project to inspire British classical talent during the Covid-19 pandemic.
The BBC Radio 3 New Generation Baroque Ensemble Scheme will support the “ongoing professionalisation” of a selected early music ensemble over a two-year period, with one ensemble being chosen each year.
The focus will be on providing opportunities for live performance, broadcasting sessions on BBC Radio 3, mentoring, coaching and provision of rehearsal facilities in the early years of a baroque group’s professional career.
It is envisioned the ensemble will be a primarily instrumental group of three to six musicians, who perform repertory from 1600 to 1800 using historically informed playing techniques, instruments and stylistic conventions.
The ensemble must be based in Britain throughout the programme and should be available for studio recordings, coaching sessions, open rehearsals and performances in York, Beverley and London, as well as being interested in developing management and professional career skills.
It is envisaged the first group will join the programme from October 2021. The NCEM will act as the central administration and point of contact for the duration of the project, and ensembles will be expected to enter into a formal contract with the NCEM.
Please note that selection will be made by the NCEM, BBC and RCM on the basis of talent spotting, appraisal and recommendation. The scheme is not a competition and there is no application process. For information on all NCEM opportunities, email ngbe@ncem.co.uk.
This nurturing and support project aims to counter the trend for ensemble playing –practised widely by young British early music instrumentalists during their formative years – losing momentum after post-graduate studies.
While the main scheme has been postponed in response to the Coronavirus crisis, the team behind it wanted to still support young players at this turbulent time by offering access to experts in the field as part of a special development day.
The New Generation Baroque Ensemble developmental workshop will be held at the Royal College of Music, London, on Sunday, November 15.
The autumn event, organised in strict compliance with guidelines on social distancing, will give ensembles an opportunity to present selected repertoire to representatives from the NCEM, BBC Radio 3 and RCM, receiving feedback on the session and generally on career development.
Expressions of interest in taking part should be submitted by Friday, October 9, with full details at ncem.co.uk.
NCEM director Delma Tomlin says: “The NCEM has been thoroughly supportive of the professional development of early music ensembles since its inception – working nationally, and internationally through the Creative Europe EEEmerging programme and the biennial Young Artists Competition.
“This partnership with BBC Radio 3 and the RCM is the culmination of many years’ work to promote UK-based instrumental ensembles. It is a wonderful opportunity and a chance to really make a difference.”
Alan Davey, controller of BBC Radio 3 and classical music, says: “Throughout the pandemic, one of our main concerns as broadcasters has been to support performers and composers in these difficult times, through leading on the return to live music, new commissions and replays of archive performances.
“The New Generation Baroque Ensemble Scheme’s November workshop is further testament to our support for upcoming and established artists on the scene at a time of much uncertainty in the world.”
Ashley Solomon, the RCM’s head of historical performance, says: “I am delighted that the RCM will be involved in this new initiative in collaboration with our colleagues at the BBC and NCEM.
“Nurturing and inspiring the new generation of historical performers is part of our ethos at RCM and I look forward to working with and mentoring the successful ensemble. It is a wonderful and unique opportunity for these New Generation Baroque Ensembles as they embark on their professional careers.”
The BBC Radio 3 New Generation Baroque Ensemble Scheme joins the stable of talent projects run by the BBC, such as BBC Introducing Classical/Jazz/World, New Generation Artists and New Generation Thinkers.
Top of the Pop-ups: Musician Phil Grainger and writer Alexander Flanagan-Wright in Alex’s back garden at Stillington Mill when performing Orpheus in a week of At The Mill shows. Now they head to Pop-Up On The Patio. Picture: Charlotte Graham
WHO will be popping up at York Theatre Royal’s Pop-Up On The Patio festival from August 14 to 29?
Taking part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, will be “Yorkshire’s finest theatre and dance makers”.
Step forward York Dance Space; Mud Pie Arts; Crafty Tales; Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre; puppeteer Freddie Hayes; Cosmic Collective Theatre; performance poet Henry Raby; Say Owt, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson and singer Jess Gardham.
They will perform at one end of the patio, decorated with “Glastonbury-style bunting”, performing to audiences of a maximum of 35 in demarcated bubbles.
“We’re so excited to have been able to bring live theatre back to our city this summer,” says Theatre Royal producer Thom Freeth, who has co-ordinated the festival programme of theatre, dance, music, magic, puppetry, improvised comedy, storytelling and slam poetry.
“Our building may still be closed, but we didn’t want that to stand in the way of entertaining the people of York during this difficult time. Pop-Up On The Patio gives us the opportunity to showcase the work of brilliant home-grown performers, many of whom are part of our freelance family, who have been disproportionally affected by this pandemic.”
“We wanted to go hyper-local with the festival to give a platform to York artists,” says York Theatre Royal executive director Tom Bird
Looking forward to staging the first shows on the Theatre Royal premises since March 17, executive director Tom Bird says: “It’s been a short but intense preparation period: we wanted to go hyper-local with the festival, to give a platform to York artists, and we’re absolutely delighted at getting a very local, highly skilled bunch across so many genres.”
Explaining the decision to focus the festival on Friday evenings and Saturdays, Bird says: “We are easing our way back from a total stop, turning everything off in March, so we’re feeling our way in, and we want to make sure that everything is safe, for the audience, performers and staff.
“The world is changing all the time, so we wanted to give ourselves breathing space in what we’re doing by restricting ourselves to three weekends for the festival, but who’s to say we won’t do more patio shows.”
The Theatre Royal management has implemented extra safety measures to keep visitors and staff safe during the three festival weekends, reconfiguring the patio to allow for a socially distanced audience and stage. These measures will be under constant review and apply to all the performances.
Tickets are on sale at yorktheatreroyal.co.uk and must be bought in advance.
THE FESTIVAL PROGRAMME:
Dance steps: Dance // Shorts launches the Pop-Up On The Patio festival
Dance // Shorts, August 14, 7pm
CURATED by York Dance Space, this evening of live contemporary dance theatre in an outdoor, intimate setting will be a compilation of bite-size solos and duets from “some of the most interesting and exciting young artists from across Yorkshire and the Humber”.
Performances include solo work from Alethia Antonia, from the James Wilton Dance Company; Coalesce Dance Theatre; Daisy Howell, from Brink Dance Company, and Namiuki Dance.
Look out too for a selection of Doorstep Dances from Hull artists Tamar and Jo, spanning contemporary, Northern Soul, jazz dance and physical theatre styles. Suitable for age 12 upwards.
Mud, glorious Mud: Mud Pie Arts duo Nicolette Hobson, left, and Jenna Drury
Mud Pie Arts, August 15, 22 and 29, 11am, for age 4 to 11
“WHAT is easy to get into but hard to get out of?” askMud Pie Arts drama practitioners Jenna Drury and Nicolette Hobson. “The answer? Trouble, of course!
“So, join us for Saturday elevenses in our Silly Summer Stories show. There’ll be interactive storytelling, riddles, games and all kinds of family tomfoolery.”
Have you heard the one about the old woman who lived in a vinegar bottle, or the farmer who fished for sausages? Now is the chance to enjoy those stories. “Come and find us on the patio every Saturday this month to celebrate all things daft,” say Jenna and Nicolette.
Crafty: Story Craft Theatre’s Janet Bruce, left, and Cassie Vallance
Crafty Tales, August 15 and 22, 1pm, for two to six year olds
YORK Theatre Royal’s Story Craft Theatre return with an outdoor version of Crafty Tales, presented by Cassie Vallance and Janet Bruce.
“As always, there’ll be a story to tell plus songs, games and dancing, all designed around a brilliant picture book with interactive and imaginative play,” they say. “Although Crafty Tales is aimed at two to six year olds, all children are welcome.”
Made up: Fool(ish) Improv’s poster since 1793
Fool(ish) Improv, August 15, 4pm
FOOL(ISH) Improv is a bite-sized comedy show with absolutely no plan or permission, created by York writer and director Paul Birch.
Strap in for 60 minutes of improvised mayhem where you, the audience, provide the suggestions for the actors to make stuff happen. Instantly.
“Taking nothing seriously – and everything for granted – our merry band of charlatans and misfits will bring music, comedy and appalling levels of acting to give you a delightful hour of spontaneous comedy,” says Paul.
“You bring the ideas, we’ll bring the performance, and together we’ll make a joyous family show that has no business being indoors. Now, you have to come. We couldn’t do it without you.”
The poster for The Flanagan Collective and Gobbledigook Theatre’s Orpheus
Orpheus, The Flanagan Collective and Gobbledigook Theatre in Orpheus, August 21, 6pm
ALEXANDER Flanagan-Wright and Phil Grainger should have been heading up to the Edinburgh Fringe to present the British premiere of The Gods, The Gods, The Gods this month after its Antipodean premiere before Covid-19 intervened.
Instead, they have been presenting Orpheus in socially distanced performances in back gardens and a week of At The Mill shows in Alex’s own back garden at Stillington Mill, near York, last week.
Written by Alex, with incidental music and songs by Phil, the international award-winning Orpheus is a thoroughly modern, beautifully poetic re-telling of an ancient Greek myth.
Dave is single, stood at the bar; Eurydice is a tree nymph, and Bruce Springsteen is on the juke box in this tale of impossible, death-defying love told through hair-raising spoken word and soaring soul music, where Alex and Phil weave a world of dive bars, side streets and ancient gods.
Eurydice: “A story about a woman” with a Superman costume, a bee tattoo and a sting in the tale
Eurydice, The Flanagan Collective and Gobbledigook Theatre, August 21, 8pm
LENI is five years old, holding a Superman costume for her first day at school. Eurydice is five years into the rest of her life, sporting a bee tattoo on her wrist, in Alexander Flanagan-Wright’s story of someone defined by someone else’s myth.
This tale of making changes, taking leaps and being a daily superhero is billed as “a story about a woman told by women”.
That was the case when performed by Alex and Phil Grainger’s co-creators, Serena Manteghi and Casey Jane Andrews, to 2019 Adelaide Fringe Best Theatre award-winning success. Now, Alex and Phil take over to weave a world of day-to-day power and beauty and goddesses, told through heart-stopping spoken word and live electronica.
Flat caps at the double: Freddie Does Puppets puppeteer Freddie Hayes with grumpy pub landlord Fred in Fred’s Microbrewery
Freddie Does Puppets in Fred’s Microbrewery, August 22, 4pm
FRED’S Microbrewery is the world’s first Puppet-in-a-Pub theatrical experience, a modern-day Punch and Judy story courtesy of York puppeteer Freddie Hayes.
Grouchy Fred and his bitter and twisted wife Sharon are two very grumpy Yorkshire puppets cum pub landlord and landlady of the Fred’s Microbrewery, where the frank, fractious duo serve beer-infused banter to adult audiences in an afternoon of debauchery and puppet profanities.
Fred and Sharon have sparred at York’s Great Yorkshire Fringe and had plenty to say at the Edinburgh Fringe, Shambala Festival, Moving Parts Festival and Folkestone Puppet Festival too.
In lockdown and beyond, Fred and Sharon have been living inside a laundry bag in Freddie’s attic. Now, bag unzipped, she is ready to unleash them once more in a show with an age guide of 15-plus on account of the strong language and adult themes.
Heaven’s above: Anna Soden, Joe Feeney, Lewes Roberts and Kate Cresswell in Cosmic Collective Theatre’s Heaven’s Gate
Heaven’s Gate, Cosmic Collective Theatre, August 28, 4pm
FOUR cups of apple sauce. Four canvas camp beds. One comet. Heaven’s Gate is closing and the Away Team are ready for graduation, but whatever you do, don’t say the C-word. ‘C’ for ‘cult’, that is.
Presented by the new York company Cosmic Collective Theatre – satirical writer Joe Feeney, Anna Soden, Lewes Roberts and Kate Cresswell – Heaven’s Gate imagines the final hour of four fictionalised members of the real-life UFO-theistic group.
As they prepare for their “graduation” to the “Kingdom of Heaven”, the excitement is palpable, but all too soon the cracks appear. Is the Heavenly Father really waiting for them on a Spaceship? Is Planet Earth soon to be recycled? Is castration compulsory? Isn’t Turkey Potpie an underwhelming last supper?
Cosmic Collective Theatre’s intergalactic pitch-black comedy comes with adult themes and strong language – but no C-word, of course – to give it a 15-plus age guide
Taking the mic: York punk performance poet Henry Raby
Henry Raby: Apps & Austerity, August 28, 6.30pm
“2010-2019. What was going on?” asks York-grown punk performance poet, activist and Say Owt artistic director Henry Raby as puts the word into sword to slice up the past decade.
From the memes and scenes, from riots to Royal Weddings to Referendums, Henry sums up a decade of technology and austerity with attitude, humour and insight.
Slam champ and Deer Shed resident poet Henry has performed across the UK, from festivals front rooms. “This is my fifth solo show, so I must have got something right by now,” he says.
Say Owt Showcase, August 28, 8pm
YORK’S lovable and raucous poetry gang proudly present an assortment of noisy slam-winning performance poets, word-weavers, and gobheads. “Spice up your Friday night with a glass-raising toast to the spoken word,” says host Henry Raby.
Say Owt word-warriors have delighted in ripping up stages at the Great Yorkshire Fringe and the Arts Barge in York, the Edinburgh Fringe and the Ilkley Literature Festival.
Manic magic: All-action York magician Just Josh
Josh Benson in Just Josh’s Ultimate Family Show, August 29, 1pm
CALLING all families! Just Josh is “hugely excited” to be back performing live with his family magic, juggling and balloon show!
If you have encountered Josh Benson previously, you will know that he is one of Yorkshire and indeed the UK’s “biggest kids”, noted for his boundless energy and shameless attempts to do absolutely anything in pursuit of a laugh from a crowd.
Josh, Corntroller of Entertainments at York Maze and regular pantomime silly billy, has taken his magic all over the UK and beyond, returning home from his P&O Cruises stint in February.
“My show is suitable for kids from four to 104, with laughs and, all being well, amazement for the whole family” says Josh.
All roads lead Jess Gardham to…the Pop-Up On The Patio stage at York Theatre Royal
Jess Gardham, August 29, 4pm
YORK pop, soul, blues and acoustic singer-songwriter, musical actress and 2018 MasterChef quarter finalist Jess Gardham closes Pop-Up On The Patio with an afternoon set.
Jess has performed all over Britain, the United States, Europe and Canada and supported the likes of Paul Carrack, KT Tunstall, The Shires, Wilko Johnson and Martin Simpson.
Her songs have been played regularly on BBC Introducing and her debut album, Beyond Belief, was picked up by BBC Radio 2.
Jess has taken lead roles in theatre productions such as Hairspray, Ghost The Musical and Rock Of Ages. “I hope to perform in theatre again when they’re open again,” she says.
SAFETY MEASURES
Arriving YORK Theatre Royal will open the entrance to the Pop-Up patio a quarter of an hour before every performance starts.
“There will likely be some queueing, but we will do everything we can to keep this to a minimum,” says the festival website. “Please arrive in good time for any performance.”
All tickets will be digital and checked without contact at a social distance at the entrance to the patio area, where refreshments will be available.
Departing STAFF will be managing the departure from the performance area “so that we don’t have large crowds all leaving at the same time”.
Loos THE loos in De Grey House next to the patio will be open throughout. All loos will be stocked with anti-bacterial hand soap and stringent hand-washing guidelines are in place.
Social distancing EACH household or social bubble will be seated at a safe distance from other households or social bubbles, in line with Government guidance at the time of the performance.
“You will be directed to a designated ‘social bubble spot’ by our staff,” says the website. “Please be patient with them and sit where they direct – they know best!”
Food and refreshments A LIMITED range of soft and alcoholic drinks will be on sale, alongside ice creams and chocolate.
Ticketing policy IF you have any symptoms of COVID-19, have been diagnosed with the virus or have been in direct contact with a diagnosed individual in the past 14 days, you must not attend the event.
If you are unable to attend as a result of illness, please email boxoffice@yorktheatreroyal.co.uk and a ticket transfer can be arranged. Tickets can only be refunded if the booked performance has sold out.
Additional cleaning THE patio area will be thoroughly cleaned between each performance. “Our already high cleaning standards have been enhanced by a cleaning programme designed to clean and sanitise the high touch points,” assures the website.
Green Howard: Lisa Howard has enjoyed time spent on her allotment in lockdown before returning to performing in the Friends Garden in Rowntree Park, York, in Every Time A Bell Rings. Picture: Northedge Photography
LISA Howard will be spending the weeks ahead performing in the Friends Garden in Rowntree Park, York, but she has been no stranger to the world of gardens in lockdown.
“I went ‘allotmenting’, growing stuff and trying to feed the world from my allotment,” says Lisa, who will be playing Cathy in the Park Bench Theatre premiere of Matt Aston’s Every Time A Bell Rings from August 26 to September 5.
“I was imagining the worst, that there would be no fresh food in the shops. I wanted to provide my own food. I had already started hoarding last year because of the fear of Brexit. I’d already gathered toilet rolls. I got a bit paranoid.
“I didn’t do what a lot of actors did and make a sound studio or practise getting on to Zoom. I thought I’d never work again. I did get a bit down about it, so I buried myself with getting mucky hands in the allotment. Something that felt real and connected to the earth.”
Matt Aston: Artistic director of Engine House Theatre and Park Bench Theatre and writer of Every Time A Bell Rings. Picture: Livy Potter
In The Park Bench Theatre season that begins with Wakefield Theatre Royal pantomime dame Chris Hannon performing Irish playwright Samuel Beckett’s short story First Love from Wednesday, Lisa will play a woman seeking solace as she emerges from isolation in lockdown on Easter Sunday 2020.
As Cathy sits on her favourite park bench in her favourite park, she reflects on her situation: a scenario that chimes with our Covid times in a play prompted by writer – and Park Bench Theatre artistic director – Matt Aston doing likewise on his regular exercise routine in Rowntree Park during lockdown.
Not that Lisa was aware of the script – a 45-minute monologue that takes a touching, humorous and poignant look at how the world is changing through the extraordinary circumstances of 2020 – before taking on the part. Asked to play the role by director Tom Bellerby, she agreed to do so without reading the script first. “Later that afternoon I did read it and was glad I’d said ‘yes’,” she says.
She has worked with Tom previously, firstly when he was a member of York Theatre Royal Youth Theatre. He was in the cast of artistic director Damian Cruden’s 2005 production of Macbeth, wherein Lisa played one of the three Witches, and later he was associate director for the Pilot Theatre/Slung Low/York Theatre Royal promenade production of Blood + Chocolate in York in 2013.
Lisa Howard and director Tom Bellerby on the first day of rehearsals for Every Time A Bell Rings. Picture: Northedge Photography
“Every Time A Bell Rings is an inner monologue about a woman who is out of isolation after 14 days of not going anywhere or seeing anybody. Basically, it’s the story of her life. She’s a woman in her fifties who’s had a life full of ups and downs,” says Lisa.
“I’ve done my fair share of new writing. I enjoy creating characters and working through stuff that’s fresh and people haven’t seen before. It’s good to be working on something that’s so ground-breaking about a situation that none of us have experienced before.”
She is no newcomer to outdoor theatre or site-specific productions, especially for Alan Lane’s Leeds company Slung Low whose “sense of adventure” she so admires, typified by the epic promenade production of Blood + Chocolate, where the audience listened on headsets as they followed the cast around the centre of York and out to Clifford’s Tower. Blood and Chocolate was an epic promenade production around the city
Last year, Lisa appeared in Twelfth Night, The Borrowers and Henry V in Grosvenor Park Open Air Theatre, in Chester, but she is new to Rowntree Park, despite having worked and stayed in York many times.
Lisa Howard in Pilot Theatre’s Noughts And Crosses at York Theatre Royal in April 2019
She has only one worry. “I hope I don’t fidget too much sitting in one place on a park bench for a long time. I might have a cushion sewn into my trousers,” she says.
Her most recent appearances in York came at the Theatre Royal in Sabrina Mahfouz’s stage adaptation of Malorie Blackman’s novel Noughts And Crosses for Pilot Theatre in the main house in April 2019 and Joyce Branagh’s comedy bus-trip Ladies That Bus in the Studio in February this year before the world as we knew it was stopped in its tracks.
“Luckily we finished the tour of Ladies That Bus before lockdown happened. We were in our own little bubble on a rural tour with no concept of what was happening,” says Lisa.
“We mentioned it once when we were washing our hands and singing Happy Birthday. The tour ended and lockdown happened.”
Bus trip: Lisa Howard, left, with Helen Longworth and writer Joyce Branagh in Ladies That Bus at York Theatre Royal Studio in February 2020. Picture: Joel Chester Fildes
As well as more acting, she would love to see the return of Lula And The BeBops, dormant for far too long. “It feels like we’ve been scuppered at every turn,” says Lisa, the band’s lead singer. “The last gig we did was a couple of years ago. We’ve haven’t done anything recently mainly because I’ve been working away a lot with different tours.
“I’m desperate for us to get back together again. It’s wanting to perform with other people in groups. It’s great to be part of a band.”
Engine House Theatre present Matt Aston’s Every Time A Bell Rings, at Park Bench Theatre, Friends Garden, Rowntree Park, York, August 26 to September 5, 7pm; August 29 and September 5, 4pm matinees. Running time: 45 minutes. Please note: contains very strong language.
“It’s good to be working on something that’s so ground-breaking about a situation that none of us have experienced before,” saysLisa Howard
PERFORMANCE AREA
The Friends Gardenis an enclosed lawn at Rowntree Park that will have socially distanced seating in an outdoor Covid-secure setting with clearly delineated areas/boxes marked on the grass – three metres square – for audience members to sit in.
Up to three or four people from the same household can sit in each box. Further individual seats will be spaced around the side of the lawn.
You are encouraged to bring blankets if booking for the first few rows or chairs for the back few rows.
Out on the moors: North York Moors Chamber Music Festival artistic director Jamie Walton. Picture: Paul Ingram
AN evolution as a much as a Revolution, after the ever-changing need to stay alert to Government guidance, the 2020 North York Moors Chamber Music Festival will go ahead. Outdoors.
The festival will run from Sunday (August 9) to August 22 in an open marquee sited in the grounds of Welburn Abbey, Welburn Manor Farms (YO62 7HH), between Helmsley and Kirkbymoorside, in Ryedale.
“Welcome to our Festival – ‘Revolution!’,” says festival founder, artistic director and cellist Jamie Walton’s buoyant latest newsletter. “We are pleased and relieved to confirm that we are going ahead as planned, observing the social-distancing regulations guidelines set for outdoor events.
“The welfare of everyone involved, audience included, will be thoroughly considered and planned for.
“The latest programme on the website, northyorkmoorsfestival.com, is the final version now, so please do check because certain works, in light of the change in venue, have had to change from the original launch.”
Originally, before the curse of Covid, Revolution! would have added up to more than 30 musicians, around 40 chamber works, in ten churches within the North York Moors National Park. Now, 34 works will be performed by 23 musicians at ten concerts in one location, under the concert titles A Hymn; Time Of Turbulence; Janus; Incandescence; Mystique; Transcendental; Voices; Vivacity; Towards The Edge and Triumph!. Full details can be found at northyorkmoorsfestival.com.
Explaining the choice of venue after the late Government U-turn on indoor spaces re-opening from August 1, Jamie says: “Due to circumstances, this year we are unable to perform within the churches (or any indoor spaces) available, so we have instead secured a 5,000-sq ft open marquee, with wooden floor throughout and acoustic panelling behind the stage, within the grounds of Welburn Manor.”
On song: Mezzo soprano Anna Huntley. Picture: Kaupo Kikkas
A separate garden can be used in the intervals. “This way we can ensure safety and adequate social distancing, as well as provide a unique experience within an area of outstanding natural beauty,” says Jamie.
For its theme of Revolution! in the festival’s 12th year of celebrating chamber works, the focus will be on and around the music of Beethoven – the “revolutionary” – and beyond to mark the 250th anniversary of the German composer’s birth in Bonn.
“Living through the French Revolution undoubtedly had a profound effect on this great composer and much of the repertoire we have chosen is to convey this triumphant spirit against all odds, which appears timely in light of recent events,” says Jamie.
“It seems ironic that for such a Titan, the world has been forced into relative (artistic) silence while it tries to control the pandemic, almost as if we are in tune with Beethoven’s very own debilitating deafness.”
Artists billed to be joining the Revolution cause are: Katya Apekisheva, piano; Naomi Atherton, French horn; Meghan Cassidy, viola; Christian Chamorel, piano; Claude Frochaux, cello; Rebecca Gilliver, cello; Matthew Hunt, clarinet; Anna Huntley, mezzo-soprano; Rachel Kolly, violin; Ursula Leveaux, bassoon.
So too are: Richard Ormrod, piano; Nikita Naumov, double bass; Tetsumi Negata, viola; Victoria Sales, violin; Charlotte Scott, violin; Simon Tandree, viola; Zsolt-Tihamer Visontay, violin; Jamie Walton, cello; Adrian Wilson, oboe, and Quartetto di Cremona (Cristiano Gualco, violin, Paolo Andreoli, violin, Simone Gramaglia, viola, and Giovanni Scaglione, cello).
Season tickets have sold out but tickets remain available for individual concerts, priced at £12.50 on 07722 038990.
We’ll meet again…or will they? AJ Powell, Berwick Kaler, Suzy Cooper, David Leonard and Martin Barrass settle into the Grand Opera House auditorium at the launch of Dick Turpin Rides Again on February 14, but now Qdos Entertainment have a decision to make. PIcture: David Harrison
BUMPING into Martin Barrass last night beneath At The Mill’s magical open-air theatre tent at Stillington Mill set the mind to pondering the fate of his winter pantomime in York.
Will comic stooge Martin bounce back with Suzy Cooper, David Leonard and A J Powell in veteran Dame Berwick Kaler’s panto debut at the Grand Opera House this Christmas after their shock transfer to Qdos Entertainment from York Theatre Royal?
Here is the latest statement from Qdos, the pantomime powerhouse across the land, amid the continuing blight of Covid-19’s social-distancing requirements leaving theatres in the dark.
“We had been very clear that we required clarity from the Government regarding the re-opening of theatres by Monday, 3 August, in order for our pantomime season as we know it to take place,” the statement read.
Martin Barrass in his last York Theatre Royal pantomime role as Queen Ariadne in Sleeping Beauty. Picture: Anthony Robling
“Based on the Secretary of State for Digital, Culture, Media and Sport’s reiteration last week that the Government won’t be providing further guidance on theatres operating without social distancing until November at the earliest, we are left with no choice but to begin the consultation process with our partner theatres about the viability of each show. This is a complex process and will take several weeks to complete.
“We are not immediately announcing the postponement of all shows, however plans will be announced by individual theatres and communicated to ticket holders in due course.”
Watch this space for Qdos’s decision on whether Dame Berwick’s pantomime comeback, Dick Turpin Rides Again, will or will not ride again. What will it be: pantomime or pandemime?
NEWSFLASH
QDOS Entertainment today cancelled their biggest pantomime outside London: the Birmingham Hippodrome production of Goldilocks And The Three Bears starring Jason Donovan.
Scuppered by the Covid-19 pandemic, the show is now re-scheduled for Christmas 2021, Donovan, co-star Matt Slack and all.
Qdos’s pantomime at the King’s Theatre, Edinburgh, Sleeping Beauty, has been put to sleep too until 2021.
Fell Clouds 1, acrylic on canvas, by Jill Campbell
Jill, who graduated from the University of Sunderland with first class honours in fine art in 2014, is inspired by the landscape of the North East, where she lives.
“Most of my work is based on an ancient mining landscape called Cockfield Fell, where I walk nearly every day,” she says. “I use elements of what I see and combine these with my imagination to create my paintings.
“I’m fascinated by the fell’s strange, other worldly, abstract shapes defined by the morning shadows and framed by big dramatic skies. Its pools, pathways, mounds, dips and curves are my motifs.
Jill Campbell: “Fascinated by Cockfield Fell’s strange, other worldly, abstract shapes defined by the morning shadows“
“I decide which shapes and colours to play with, then draw and apply layers of paint until I find balance and a painterly world emerges which celebrates this landscape.”
Jill, the third Featured Artist of 2020 at Blue Tree Gallery, has exhibited in such competitions as the New Light Art Prize at Ripon Cathedral, the Beep Painting Prize in Swansea, the RBSA Prize exhibition in Birmingham and the 2019 Royal Academy Summer Exhibition in London. Coming up in October and November will be her show at Watermark Gallery, Harrogate.
