The Stephen Joseph Theatre announces its imminent re-opening on its Art Deco frontage
SCARBOROUGH’S Stephen Joseph Theatre will re-open on August 20 but for films and streamings only.
The wait for the return of theatre performances must go on, although the SJT statement does tantalise by saying: “The world-famous theatre is also aiming to announce a programme of live theatre for later in the year shortly.”
The first focus will be on films, including new releases and the streaming of West End shows “captured live”, shown upstairs in The McCarthy.
The SJT is introducing 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. You can find out more at: sjt.uk.com/were_back.
The SJT has been awarded VisitEngland’s We’re Good To Go industry standard mark, signifying its adherence to government and public health guidance.
“We’re all absolutely thrilled to be able to welcome audiences back into the building,” says SJT artistic director Paul Robinson. Picture: Richard Davenport
Artistic director Paul Robinson says: “We’re all absolutely thrilled to be able to welcome audiences back into the building after our enforced break, and we’re working hard to ensure everyone feels safe and comfortable in the cinema environment.
“We’ll be announcing further screenings for September very soon and are also working hard to programme an innovative and exciting programme of live theatre for later this year – watch this space!”
Films and streamings from August onwards initially will be screened on Thursdays to Saturdays, then Tuesdays to Saturdays – with a few exceptions – from early September.
Back in a Flash, the SJT will mark its re-opening with a 7pm screening of Flash Gordon – 40th Anniversary, a remastered version of Mike Hodges’ “We only have 14 hours to save the Earth” film from 1980, the one with all that Queen music, Sam J Jones as Flash, Max von Sydow as Ming The Merciless and Yorkshireman Brian Blessed as Prince Vultan. A further screening will follow on August 22 at 2pm.
Autumn de Wilde’s 2020 British comedy-drama Emma will be shown on August 21, 22 and 27 at 7pm. Adapted from Jane Austen’s Georgian novel, it casts Anya Taylor-Joy as Emma Woodhouse, a sometimes misguided, often meddlesome matchmaker.
Gordon’s alive again for 40th anniversary celebrations: Brian Blessed and Sam J Jones in Flash Gordon
Peter Cattaneo’sMilitary Wives, on August 28 at 7pm and August 29 at 2pm, stars Kristin Scott-Thomas, Sharon Horgan and Jason Flemyng in a British film inspired by the true story of the Military Wives Choir.
The first streaming of the West End musical season will be 42nd Street, captured live, on August 29 at 7pm, with its story of a theatre director trying to mount a musical extravaganza at the height of the Great Depression.
Dates for September films and streamings will be announced soon. Look out for the West End musicals Kinky Boots and The King & I, Andre Rieu’s Magical Maastricht – Together In Music and Matthew Bourne’s The Red Shoes, all captured live.
Coming up too will be writer-director Jessica Swale’s new British feminist fable, lesbian love story and wartime drama, Summerland, released this coming Friday.
Meddlesome matchmaker: Anya Taylor-Joy as Emma Woodhouse in Autumn de Wilde’s Emma. Picture: Focus Features
Gemma Arterton plays cantankerous writer Alice, whose reclusive life on the Kent coast is turned upside down when Frank, an evacuee from the London Blitz, is left in her care. Gradually her shut-down emotions are awakened anew by him.
On their way too are The Secret Garden, filmed partly at the Walled Garden in Helmsley, and Michael Ball And Alfie Boe: Back Together.
Cinema tickets at the SJT cost £7 (concessions £6, Circle members/NHS/under-30s £5) for films; £12 for event cinema, including captured live; £17 for a live streaming.
One man and his bench: Director Matt Aston in place for the Park Bench Theatre summer season at Rowntree Park, York. Picture: Livy Potter
OUTDOOR theatre is taking to a park bench and a mill garden. Museums and galleries, and even car boots sales, are re-opening.
Spanish holidays may be off the Brexiteer Prime Minister’s list of To Do’s in August, but York is stretching its limbs, dusting off the cobwebs, and saying welcome back.
Maybe Andy Burnham, Greater Manchester’s Mayor, should test-drive his eyesight by paying a visit to “a part of the north that looks most like the south,” he says. Really, Andy?
As we all turn into masketeers, CHARLES HUTCHINSON makes these recommendations for days out and days in.
Outdoor theatre number one: Engine House Theatre’s Park Bench Theatre, Friends Garden, Rowntree Park, York, August 12 to September 5
HERE come Samuel Beckett’s rarely performed monologue, First Love, artistic director Matt Aston’s brand new play, Every Time A Bell Rings, and something for all the family inspired by a classic song, Teddy Bears’ Picnic, all staged on and around a park bench in a Covid-secure outdoor theatre season in York.
Each production will be presented in carefully laid out and spacious gardens, allowing audiences to keep socially distanced from each other. Chris Hannon will perform 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.
Alexander Flanagan-Wright, left, and Phil Grainger swap sunnier climes on the other side of the world for Stillington Mill for their At The Mill shows
Outdoor theatre number two: The Flanagan Collective and Gobbledigook Theatre, “Six Days of Work”, Stillington Mill, near York, August 2 to 7, 7pm
“WE’RE doing some Orpheus, some Eurydice, and one night of New Stuff We Haven’t Done Before,” say Alexander Flanagan-Wright and Phil Grainger, introducing their raft of At The Mill two-handers.
Performances will take place in Alex’s back garden at Stillington Mill to a maximum, socially distanced, audience of 30 per show.
The new work, on August 5, will be a reading of Alex’s This Story Is For You and a fresh set of songs by Clive (Phil’s name for his solo music, Clive being his middle name and his father’s name). Orpheus and Eurydice will be all Greek to you, but in a good way.
Train coming: National Railway Museum to re-open next week
York galleries, museums and attractions leaving Lockdown hibernation
THE York Dungeon has re-opened already; York Art Gallery and Castle Museum will do so from Saturday.
Back on track next will be the National Railway Museum, in Leeman Road, going full steam ahead from August 4.
“To manage visitor numbers, we are introducing free, timed and guided routes around the museum to ensure you have a relaxed visit and can maintain social distancing,” says the NRM. To book, go to: railwaymuseum.org.uk/visit.
Senior operations assistant Charlotte Mundey prepares for the re-opening of the Rotunda Museum. Picture: Tony Bartholomew
Museum re-opening of the week ahead outside York: Rotunda Museum, Scarborough, from August 8
SCARBOROUGH’S Rotunda Museum will re-open with a new booking system that gives small groups exclusive access.
Visiting slots will be every half hour across the day, allowing groups – or social bubbles – of up to six people at a time to explore the museum without having to follow prescriptive routes.
In the Ancient Seas Gallery, visitors will come face to face with prehistoric creatures that once roamed this coastline. In the Rotunda Gallery are displays of fossils, taxidermy, fine art and ceramics.
Crash, from a new wave of seascape works by Carolyn Coles, at Village Gallery, York
New exhibition of the week: Carolyn Coles, “Oh I Do Like To Be Besides The…”, Village Gallery, York, from August 4 to September 19
YORK seascape artist Carolyn Coles, once of The Press graphics department, should have been exhibiting at York Open Studios in April and the Staithes Festival of Art and Heritage in September. Enter Covid, exit Carolyn’s two big showcases of 2020.
Enter Simon Main at Village Gallery, Colliergate, York, who says: “We saw Carolyn’s work at her first York Open Studios show back in 2019 and were so taken with her seascapes – many inspired by and maybe giving a different perspective of the Yorkshire coastline – that we started talking about a show.
“So, we’re delighted we have finally made it and are really looking forward to hanging Carolyn’s beautiful work. And who doesn’t love Filey?”
Joker: Closing film at Daisy Duke’s Drive-in Cinema at Knavesmire, York, this weekend
Open-air film experience of the week: Daisy Duke’s Drive-In Cinema, Knavesmire, York, Friday to Sunday
LATER than first trailed, Daisy Duke’s Drive-In Cinema will park up on Knavesmire for screenings of Grease, Rocketman, Toy Story, Mamma Mia!, 28 Days Later, Pulp Fiction, Shrek 2 and A Star Is Born.
Sunday’s closing film will be Joker. Tickets are selling fast so, no joke, prompt booking is recommended at dukescinema.epizy.com.
Interaction between staff and customers will be kept to a minimum, with cars parked two metres apart and those attending expected to remain within their vehicles for the duration of the screenings on LED screens with the sound transmitted to car radios.
Colin Moncrieff in Badapple Theatre’s 2014 production of The Daily Bread, a performance he now reprises for a podcast
Home entertainment of the week: Badapple Theatre’s The Daily Bread podcast
THE Daily Bread rises again as the latest free Podbean podcast from Green Hammerton company Badapple Theatre.
Glaswegian actor, clown and raconteur Colin Moncrieff reprises his 2014 stage performance in artistic director Kate Bramley’s comedy about a master baker who is the talk of the tiny village of Bottledale, thanks to his sumptuous sponges and beautiful buns, this time giving a relaxed reading from home, accompanied by Jez Lowe’s songs.
Go to badappletheatreonyourdesktop.podbean.com to discover whether the baker’s cheery façade hides a dark secret.
Fishwife, Emma Stothard’s new scuplture, takes up residence by the harbour swing bridge in Whitby
And what about…
The rockumentary Rockfield: The Studio On The Farm on BBC iPlayer. New albums by Rufus Wainwright, Courtney Marie Andrews, Seasick Steve and The Psychedelic Furs, their first in 29 years. Emma Stothard’s new Whitby sculpture, Fishwife, Selling Cod, Mackerel and Crab, by the harbour swing bridge. A walk at Wheldrake Ings, followed by Sicilian flatbreads and piadini at the re-opened Caffé Valeria in Wheldrake. York Racecourse Saturday car boot sale, re-launching from August 8.
Park Bench Theatre director Matt Aston on a park bench in Rowntree Park, York. Picture: Livy Potter
THREE monologues on a park bench in a Rowntree Park garden herald the return of theatre to York from the Glorious Twelfth onwards.
Engine House Theatre artistic director Matt Aston has assembled a summer season of open-air shows that will combine Samuel Beckett’s rarely-performed First Love with two premieres, Aston’s own new piece, Every Time A Bell Rings, and a new adaptation of the classic children’s song, Teddy Bears’ Picnic, co-created for all the family by Aston and Cassie Vallance.
The trio of productions will be presented from August 12 to September 5 in the Covid-secure setting of the carefully laid-out and spacious Friends Garden at Rowntree Park, allowing audiences of up to 75 to maintain social distance from each other in the park’s most enclosed space.
“Who’d have thought six months ago that we would be having such a stressful, terrifying, bizarre time since March,” says Matt, more heavily bearded in lockdown than when he co-directed York Theatre Royal’s somewhat stressful 2019-2020 pantomime, Sleeping Beauty.
“I first had idea of doing something this summer, running round Rowntree Park in the middle of lockdown on one of my Government-ordained bursts of daily exercise. Sitting on a bench [too late to tell him off now!], I was thinking about doing some socially distanced indoor theatre, but then someone suggested, ‘Why not do some outdoor theatre in Rowntree Park?’.”
The seeds for Park Bench Theatre were sewn. “The name Park Bench Theatre does what it says on the tin: performing theatre on or around a park bench, which I first did 20 years ago in Nottingham,” Matt says.
“The idea was always to keep it simple, having first started thinking about in April/May, knowing that it has to feel safe and secure but also feel ‘normal’, feeling like it would pre-Covid, but keeping the production costs basic.
The Park Bench Theatre production team: Ben Pugh, back left; directors Matt Aston and Tom Bellerby, seated; Luke James and Mike Redley; Harriet Marshall, front left, and Pauline Rourke. Picture: Livy Potter
“Theatre is social, sharing stories, and these shows will be a collective story-telling experience.”
His Rowntree Park exertions set the plays and their subject matter in motion. “I had the idea of someone sitting on a park bench and thinking about what they’re going through,” says Matt, explaining the trigger for Every Time A Bell Rings.
“I thought of the isolation and the fact that she might actually have been isolated for many years. I then remembered First Love was also set on a park bench and the idea rolled on from that.”
The first to open, running from August 12 to August 22, will be Matt’s production of First Love, Beckett’s 45-minute monologue about a man, a woman, a recollection, awash with the Irish playwright’s signature balancing of comedy and tragedy.
First Love was the last piece of the Park Bench Theatre jigsaw to fall into place. “I think the Beckett estate had a few questions about what we were doing, as it’s not a play, but it had been done at the Arcola Theatre [in London] as a learnt reading,” says Matt.
“For me, it reads as a monologue, but we’re being respectful to it as the short story it was written as. It’s a brilliant piece of writing, really accessible, really funny, and Chris is bringing out all the humour.”
The ‘Chris’ in question is Chris Hannon, best known for his CBeebies role as Dad in Topsy And Tim and as the pantomime dame at Wakefield Theatre Royal for more than a decade. “My first panto as director at Wakefield was his first panto as the dame there,” says Matt. “There was a tradition of never inviting anyone back, but he was so brilliant that he’s been going back ever since, and he writes it now as well.”
Tom Bellerby: Director of Every Time A Bell Rings
Next up, from August 26 to September 5, will be Aston’s 50-minute premiere of Every Time A Bell Rings, performed by Northern Broadsides and Slung Low regular Lisa Howard and directed by Tom Bellerby, back in York from London.
Tom had been resident assistant director at the Donmar Warehouse, London, after making his mark at York Theatre Royal as associate artist at Pilot Theatre and as associate director at Hull Truck Theatre from 2016 to 2018, taking in Hull’s year as the 2017 UK City of Culture.
The play’s setting is Lockdown, Easter Sunday 2020, when Cathy searches for solace on her favourite park bench in her favourite park in Aston’s funny and poignant look at how the world is changing through these extraordinary times.
“I’ve written it in Lockdown, having had a vague notion some years ago of doing a piece revolving around a woman dealing with grief when I was dealing with the death of my stepfather,” says Matt.
“I started having a go at writing a piece in the spare hours between child-care and then felt it would be right for Park Bench Theatre once I felt confident that we were going to get the go-ahead.
“Then I had the idea that someone else should direct it, and though I hadn’t met Tom before, I knew he’d returned to York and it made sense for him to come on board.”
After two shows with “very strong language”, the third will be a complete contrast: Teddy Bears’ Picnic on August 19 to 22, 27 to 29 and 31 and September 1 to 5, based on an original idea by Julian Butler.
Cassie Vallance in The Storm Whale at the York Theatre Royal Studio last December. Picture: Northedge Photography
“I really hope they don’t come to the wrong show!” says Matt, who is renewing his creative partnership with Cassie Vallance after she starred in his adaptation of Benji Davies’s The Storm Whale in the Theatre Royal Studio last Christmas.
Suitable for everyone aged three and over, this 30-minute show carries the billing: “Every year, Jo’s family used to have a big family gathering – a teddy bears’ picnic – but then she got too old and too cool for that sort of thing. Now she’s grown up, she wishes she could have them all over again.”
“Julian Butler and I had the idea for this show when we were doing The Storm Whale, and Cassie and I are creating it over the next few weeks,” says Matt. “She was brilliant in The Storm Whale and has been doing fantastic work online with Crafty Tales, so I’m thrilled to be working with her again.”
Roll on, August 12, for the first Park Bench Theatre performance. “The relief is being able to talk about putting on shows, rather than all the other stuff that’s going on,” says Matt. “Loads of people have been doing creative things in lockdown, and it’s good that Park Bench Theatre has come about in that time.”
Yet Matt strikes a note of caution for the winter ahead for theatre and the arts at large, however. “As I’ve said for many weeks, any organisation that relies on anyone being indoors for any length of time faces a problematic situation,” he says.
“I think the Government will let one industry take a hit and I fear that industry will be the arts, despite arts and culture bringing so much to the national and local economy.”
Cassie Vallance in rehearsal for Teddy Bears’ Picnic. Picture: Northedge Photography
Full details on Park Bench Theatre, including tickets and the audience use of headphones, can be found at: parkbenchtheatre.com.
The monologues:
First Loveby Samuel Beckett, August 12 to 22, 7pm; August 15 and 22, 4pm matinee.
A story of a man, a woman, a recollection, awash with Beckett’s signature balancing of comedy and tragedy. Performed by Chris Hannon, directed by Matt Aston. Running time: 70 minutes. Contains very strong language.
Every Time A Bell Rings, premiere by Matt Aston, August 26 to September 5, 7pm; August 29 and September 5, 4pm matinee.
Lockdown. Easter Sunday 2020. Cathy emerges from her own isolation to search for solace on her favourite park bench in her favourite park. Touching, funny, poignant look at how the world is changing through these extraordinary times. Performed by Lisa Howard, directed by Tom Bellerby. Contains very strong language. Running time: 50 minutes.
The Park Bench Theatre production team observing social distancing in Rowntree Park, York. Picture: Livy Potter
Teddy Bears’ Picnic, premiere, August 19 to 22, 27 to 29 and 31; September 1 to 5; 11.30am and 1.30pm.Co-created by Cassie Vallance and director Matt Aston.
Every year, Jo’s family had a big, brilliant family gathering – a teddy bears’ picnic. Then she grew too old and too cool for that sort of thing, so she stopped going. But now she’s grown up, she wishes she could have them all over again. Running time: 30 minutes. Suitable for everyone aged three and over. Bring your favourite teddy and a picnic.
A word from: Helen Apsey, head of culture and well-being at Make It York
“This is a fantastic initiative to bring live theatre back to York in the beautiful surroundings of Rowntree Park. It is a great addition to the city’s summer offering – providing a safe outdoor theatre experience designed for families and people of all ages.”
A word from: Abigail Gaines, Friends of Rowntree Parktrustee
“We are thrilled to have open-air theatre in Rowntree Park. The park has been a lifeline to many during Lockdown, and hearing it inspired the writing of one of the plays makes hosting the performance even more meaningful.
“The park is a key place for families and we know they will love the family performances. The Friends of Rowntree Park always support arts in the park and are very much looking forward to the shows.”
ANY QUESTIONS?
Headphones?
Yes, headphones will be required to hear the dialogue, sound effects and music in performances. All audience members will be given a receiver on entry that headphones can be plugged into.
Audiences are encouraged to bring their own set, but no wireless or Bluetooth ones. Instead they must be plug-in headphones or earphones. You can buy takeaway headphones for £1 when you book your ticket online, for collection when you visit.
Director Matt Aston on a Rowntree Park park bench. Audience members will be on blankets or chairs
Performance area?
The Friends Garden is 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.
The capacity for First Love and Every Time A Bell Rings is 75 tickets; the maximum for Teddy Bears’ Picnic is 50 as boxes will be slightly bigger for up to four people from the same household.
Seating?
Audience members are encouraged to bring blankets for the first few rows and chairs for the back few rows.
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 unable to attend due to other illness, contact the box office to arrange a ticket transfer. Tickets can be refunded only if the booked performance has sold out.
HEALTH AND SAFETY MEASURES
IN conversation with City of York Council, and in line with Government guidance, Park Bench Theatre has implemented a range of measures to ensure the health and safety of audiences and staff. The measures are under constant review and apply across all performances throughout the season.
Arriving: Gates will open an hour before the show start time to allow everyone to arrive at their leisure and avoid large queues. All tickets will be digital and checked without contact at a social distance at the entrance to the performance area. There will be a one-way system to enter and exit the performance area.
Social distancing: Each household or social, bubble will be seated at a safe distance from other households or social bubbles. Volunteer stewards will direct audience members to their designated bubble.
Food and refreshments: Bring your own food and drink to all performances but no alcohol is allowed.
Departure: Stewards will manage the departure so large crowds do not all leave at the same time.
Loos. All performances take place without an interval. The Rowntree Park loos will be open before and after all performances.
Senior operations assistant Charlotte Mundey prepares the Rotunda Museum for re-opening. All pictures: Tony Bartholomew
SCARBOROUGH’S Rotunda Museum re-opens next week with a new booking system that gives small groups exclusive access.
From August 8, the Grade II-listed circular building in Esplanade Gardens will be open Tuesdays to Saturdays, 10am to 5pm.
Visiting slots will be every half hour across the day, allowing groups – or social bubbles – of up to six people at a time to explore the museum without having to follow prescriptive routes.
Senior operations assistant Charlotte Mundey in the Ancient Seas Gallery at the Rotunda Museum
Dating from 1829, the Rotunda specialises in geology and local history and is one of the oldest purpose-built museums in the world.
In the Ancient Seas Gallery, visitors will come face to face with prehistoric creatures that used to roam this coastline. In the Rotunda Gallery are displays of fossils, taxidermy, fine art and ceramics that tell the history of the museum. The shop will be open too.
Looking ahead, the Scarborough Museums Trust team is hard at work on a new display of Mesolithic objects from Star Carr, the important archaeological site in the Vale of Pickering, that will open in mid-September.
Senior operations assistant Charlotte Mundey on the circular stairwell at the Rotunda Museum, Scarborough
Gristhorpe Man, Britain’s best-preserved Early Bronze Age skeleton, is still in controlled storage after a leak in the roof threatened his safety and will be returned at a later date.
Staff have been trained in post-lockdown safety procedures and the Rotunda has been awarded VisitEngland’s We’re Good To Go industry standard mark, signifying its adherence to government and public health guidance.
Andrew Clay, the trust’s chief executive, says: “We’re delighted that we now have all three of our beautiful venues open to the public once again [Scarborough Art Gallery, Woodend and the Rotunda] – we can’t wait to welcome people back into the Rotunda. As always, our top priority is the safety of both our visitors and our staff.”
“We can’t wait to welcome people back into the Rotunda,” says Andrew Clay, chief executive of Scarborough Museums Trust
Please note, the Rotunda Museum has a lift to all floors and is fully wheelchair-accessible throughout, including an accessible loo. Support dogs are welcome. Induction loops are available. The museum is breastfeeding-friendly and staff are trained to be Dementia Friends.
From August 1, the £3 annual pass system will be re-introduced, giving unlimited entry to the Rotunda Museum and Scarborough Art Gallery for a year. Woodend is always free.
Opening hours for Scarborough Art Gallery are 10am to 5pm, Tuesday to Sundays; Woodend, 9am to 5pm, Mondays to Fridays, and 10am to 4pm, Saturdays and Sundays.
YORKSHIRE theatre company Freedom Studios are seeking experienced Yorkshire writers for a free play-writing course.
“Are you looking for the next step-up and want to learn in depth about play-writing and working in the arts,” the Bradford theatre-makers ask.
“If so, we’re looking for distinctive voices and new perspectives, with an ability to write and the potential to develop, to get involved in Street Voices 8, our popular free six-month play-writing course, from October 10 2020 till March 6 2021.”
The workshops will be guided by playwright and previous course participant Zodwa Nyoni, writer of Boi Boi Is Dead for West Yorkshire Playhouse, Tiata Fahodzi and Watford Palace Theatre in 2015.
Freedom Studios are looking for writers who may have been writing creatively in other forms and are keen to broaden their skills. All applicants must have a willingness to take risks and try out new ideas, along with a commitment to attend all course dates.
In return, Freedom Studios are offering writing workshops, masterclasses and question-and-answer sessions with experienced creatives; support and advice from theatre-makers and industry professionals; opportunities to see plays, events and performances and the chance to watch a performance of your work.
Freedom Studios’ co-artistic directors, Alex Chisholm and Aisha Khan, say: “Developing new writers is about developing the theatre of the future. So, it is with particular delight we are launching Street Voices 8, our new writers’ course, this October.
“Playwright Zodwa Nyoni, who went through the course herself as young(er) writer, will be joining us again as tutor on the course. Our region has a wealth of talent and potential and we look forward to hearing from writers wanting to take that extra step to expand their experience and become the strong, diverse new generation of theatre.”
Angela Wynter, as Miriam, and Andrew French, as Ezra, in Zodwa Nyoni’s Boi Boi Is Dead at West Yorkshire Playhouse, Leeds, in 2015
Among the course attendees who have gone on to write for professional theatre are: Kat Rose Martin, winner of the Kay Mellor Fellowship at Leeds Playhouse; Chris O’Connor, whose play The Parting Glass was staged by Leeds company Red Ladder Theatre; Gemma Beadeau, now under commission with Freedom Studios, and Ben Tagoe, writer of When We Were Brothers for Freedom Studios.
Gemma Beadeau, who attended last year’s Street Voices 7, says: “Street Voices was an incredibly affirming experience. Freedom Studios have created a really safe space to learn and I learnt so much about narrative. There is nothing that our writing mentor, Zodwa Nyoni, didn’t know about shaping a story.
“We were encouraged to be bold, brave and ambitious, and I was in great company with other brilliant writers. whose feedback and work pushed me to take my loose idea to a play I’m really proud of. If you can apply, it’ll be life-changing.”
From October to next March, the course will be run online via Zoom but, should guidance change nearer the time, sessions will be held in Bradford as normal in adherence with the Government’s Covid guidelines. This decision also will be made in consultation with the tutor and participants.
To apply for the Street Voices 8 writing course, all applicants must be aged over 18, based in Yorkshire and have “some level of writing experience”. Individuals from Black, Asian and minority ethnic backgrounds are actively encouraged to apply.
The deadline for applications is 5pm on Monday, August 17. Applicants selected for interview will be informed by August 28 and interviews will take place either in Bradford or via Zoom in the week beginning September 7.
Award-winning intercultural theatre company Freedom Studios connect different people and communities through story-telling and making theatre. “Engagement is intrinsic to our work and communities are at the heart of what we do,” say Chisholm and Khan.
Zodwa Nyoni’s Ode To Leeds at West Yorkshire Playhouse, Leeds, in 2017
Among their site-specific past productions are The Mill – City of Dreams; Brief Encounters at Bradford Interchange; Home Sweet Home, North Country, and Black Teeth And A Brilliant Smile.
October 10: meet and greet; October 24, character; November 7, structure; November 21, dialogue (guest speaker); December 5, opportunities (guest speaker); December 19, re-writing problems and solutions; January 16 2021, group reading; January 23, group reading; February 20, script reading with actors; February 27, script reading with actors; March 6, de-brief; mid to late April, showcase.
Tutor: Zodwa Nyoni
Zimbabwean-born playwright, poet, screenwriter and director, who started writing poetry with Leeds Young Authors, a youth performance poetry organisation.
She has held poetry residencies at: BBC Radio Leeds, 2006; I Love West Leeds Festival, 2010, and Ilkely Literature Festival, 2013.
She has toured nationally and internationally, performing at the British Museum; Venezuelan Embassy; Latitude Festival; Southbank Centre; eKhaya Multi Arts Centre, Durban, South Africa; National Gallery Bulawayo, Zimbabwe; Nuyorican Poets Café, New York, and Historic Hampton House, Miami, both USA.
She has taught poetry and theatre workshops extensively for universities, schools, colleges, organisations, and theatres.
She wrote Ode To Leeds for West Yorkshire Playhouse in 2017 and is under commission at the Royal Exchange Theatre, Kiln Theatre and LAMDA.
Streetwise Opera/Roderick Williams/Carducci Quartet, Castle Howard Long Gallery, July 26
SO to RyeStream’s finale. It opened with the advertised – presumably filmed in advance – grand ensemble performance of Schubert’s The Linden Tree, otherwise known as Der Lindenbaum, sung in a Jeremy Sams translation.
The choir consisted of members of Streetwise Opera and Genesis Sixteen (The Sixteen’s junior offshoot), with Roderick Williams starring in brief baritone solos, accompanied by pianist Christopher Glynn and the Brodsky Quartet.
The song represents one of the few comforting moments in Die Winterreise (Winter’s journey), justification enough for its inclusion here. Apart from Williams, who appeared to be strolling along a farm track on open downs, all the rest were seen in isolation (the Brodskys also outdoors), some blowing away lime leaves marked with optimistic mottos. It was a brave effort and remarkably tidy, if not quite what Schubert had in mind.
The serious part of the proceedings involved the Carducci Quartet, under the resolute leadership of Matthew Denton, in works by Philip Glass and Beethoven. Glass’s Third String Quartet is derived from his score to Paul Schrader’s experimental 1984 film Mishima. Its six movements all employ minimalist techniques, though in the Carducci’s hands there were clear-cut distinctions of mood between them.
Roderick Williams: “Appeared to be strolling along a farm track on open downs”
Some were merely relentless, testing the ensemble’s concentration. But elsewhere, shifting accents – groups of four notes made to sound as if in groups of three, for example, thereby teasing the ear (you could call it trompe l’oreille) – kept interest alive as harmonies melted in and out.
While one can genuinely admire the technical prowess of both composer and performers here, it is harder to become emotionally involved with such repetitive processes. The Carducci were as persuasive as one could imagine.
Their Beethoven – the Op 95 Quartet in F minor, nicknamed “Serioso” for that rare marking in the second half of its second movement – was another matter altogether. The work was written in the white heat of Beethoven’s emotional turmoil after his rejection by Therese Malfatti and reflects the composer at his most volatile. The terseness of the Carducci’s approach was just what the doctor ordered.
Their crisp unison at the start presaged tight ensemble throughout the opening movement. Even the seemingly gentle Allegretto had an underlying tension, preparing for the extremely violent outburst of the serioso section, which is actually a scherzo (though joke-free). The unsettled rondo’s ending – a devil-may-care piece of opera buffa in F major – came as much-needed light relief. The Carducci know their Beethoven well, if this reading is anything to go by. Let us have them back in the flesh when conditions allow.
A final word on Patrick Allan’s camera work, which has generally been first-class. With the Carducci, we predominately saw individual players, when the great joy with string quartets is seeing the players’ interaction – which in turn is an aid to listening. This we were largely denied. No matter, this concert series has generally worked superbly. It is available online, free of charge, until August 16. Strongly recommended – but do make a donation if you possibly can.
Elizabeth Kenny and Iestyn Davies performing in the stillness of the empty National Centre for Early Music, York, at the 2020 York Early Music Festival Online on July 9
MUSIC For Our Time, the Director’s Cut download of highlights from this month’s inaugural York Early Music Festival Online, is available from today.
Festival administrative director Dr Delma Tomlin has chosen her festival favourites, ranging from York countertenor Iestyn Davies and theorbo player Elizabeth Kenny’s opening concert on July 9, A Delightful Thing, Music and Readings from a Melancholy Man, to vocal ensemble Stile Antico’s closing performance on July 11.
Taking part in the 2020 festival too were lute and theorbo player Matthew Wadsworth, harpsichordist Steven Devine, lyra viol player Richard Boothby and Consone Quartet.
All the concerts were recorded by digital producer Ben Pugh at the empty National Centre for Early Music (NCEM), at St Margaret’s Church, Walmgate, York.
Iestyn Davies provides an exclusive introduction to the £4.99 download celebration of “the extraordinary success of the very first York Early Music Festival Online, which attracted a huge audience from across the UK and as far afield as Australia, Japan and the United States”.
“The wonderful music can be enjoyed time after time,” says festival administrative director Dr Delma Tomlin after picking her highlights for the Music For Our Time download
Delma, director of the NCEM, says: “I’d like to say a huge thank-you to all those who joined us online. We have been overwhelmed by the warm wishes we received from our worldwide audience, which inspired me to choose a selection of my favourite highlights from the weekend to share with you, so that the wonderful music can be enjoyed time after time.
“The enthusiastic response shows the voracious appetite for early music and the power it has to engage and excite audiences far and wide.”
Festival favourites Stile Antico, who presented Breaking The Habit: Music by and for women in Renaissance Europe, say: “Such a delight to be able to perform from York: there is nothing quite like live music-making! Many thanks to the wonderful York Early Music Festival for the invitation and for all the technical wizardry. We hope that you all enjoyed watching as much as we enjoyed singing.”
Among comments shared on social media by online audiences, one enthused: “Great music and really liked the commentary which builds a bridge to the (remote) audience.”
Another said: “Thoroughly enjoyed everything this year. The internet presentation, while necessary under the circumstances, has made the festival much more accessible.”
Consone Quartet performing at the National Centre for Early Music, York, for the 2020 York Early Music Festival
A third exclaimed: “An absolute delight! So glad the festival was able to come into our homes this year.” A fourth concluded: “What a collection of talented performers! A wonderful couple of days.”
Looking to combine the early with the cutting edge, the NCEM was among the first British arts organisations to use digital technology to live-stream concerts during the Covid crisis.
The series began with recitals by Steven Devine and the Brabant Ensemble, filmed at St Margaret’s Church shortly before lockdown and broadcast live to an audience of over 60,000 people. Since then, the fortnightly series of streamed concerts has reached a worldwide audience of more than 70,000.
To download the Music Of Our Time – The Director’s Cut log, go to ncem.co.uk/earlymusiconline and follow the step-by-step guide.
“Watch this space!” says Delma. “The NCEM will be announcing full details of its forthcoming programme on the website and via social media very soon.”
Violinist Tamsin Waley-Cohen: “Her Elgar was immaculate”. Picture: Patrick Allen
Tamsin Waley-Cohen and Christopher Glynn, All Saints’ Church, Helmsley, July 25
THE violinist Tamsin Waley-Cohen was to have been the mainstay of Ryedale Festival’s final weekend, giving an Elgar programme in tandem with pianist Christopher Glynn on Saturday afternoon and then leading her Albion Quartet on Sunday evening.
In the event, she appeared on Saturday only and the Carducci Quartet played Beethoven when the Albion had been promised in Schubert. These are unpredictable times and we must go with the flow of RyeStream, the revised, online festival.
But her Elgar was immaculate. Her lack of sentimentality gave it a feeling of freshness, while consistently sustaining the composer’s momentum. The heart of her recital was Elgar’s only surviving violin sonata of 1918 (he had destroyed another written 30 years earlier).
Even bearing in mind that the violin was the composer’s own instrument, I cannot remember it sounding more personal than it did here. Elgar had waited till relatively late in life to compose his three greatest chamber music works – the others being the string quartet and the piano quintet – but they hinge on his transition from great patriotic topics to a more sober sensitivity, doubtless brought on by the Great War.
Christopher Glynn: His piano pairing with Tamsin Waley-Cohen’s violin was always tautly intertwined. Picture: Gerard Collett
Those two strands are reflected in the two themes of the Violin Sonata in E minor’s opening Allegro: Waley-Cohen contrasted them beautifully, the one with resolute, forceful rhythms, the other with calm arpeggios (prefigured by the piano in the first theme).
The quirky Romance was straight out of an earlier era, echoing the rural serenity that the Elgars had found when they moved from London to a small Sussex cottage in 1917. It did not prevent this duo from reaching an impassioned climax, though they remained emphatic in the muted, closing bars.
This pairing, always tautly intertwined, responded to one another most closely in the wistfulness of the finale, where Glynn’s piano neatly echoed many of the violin’s phrases. Waley-Cohen’s long bows in the reminiscence of the Romance were especially effective, before the coda brought a spirited close.
The rest of the programme gave us Elgar’s three most famous salon pieces for the violin. The seriousness of Chanson de Nuit was complemented by a more playful Chanson de Matin, as if reflecting emergence from our present crisis. Salut d’Amour (played as an encore) would have gladdened the gloomiest heart: English music at its most cheery.
Scottish actor, clown, raconteur and cake business boss Colin Moncrieff in Badapple Theatre’s 2014 production of The Daily Bread, a play he now revives for the Podbean podcast
THE Daily Bread rises again as the latest free Podbean podcast from Green Hammerton company Badapple Theatre.
Glaswegian actor, clown and raconteur Colin Moncrieff reprises his 2014 stage performance in artistic director Kate Bramley’s comedy about a master baker who is the talk of the tiny village of Bottledale, thanks to his sumptuous sponges and beautiful buns, this time giving a relaxed reading from home, accompanied by songs by Sony Award-winning singer-songwriter Jez Lowe.
Go to badappletheatreonyourdesktop.podbean.com to discover whether the baker’s cheery façade hides a dark secret. How come his name is so uncannily similar to that of disgraced media magnate August de Ville, who hid the truth behind the Bottledale bank crash?
For the villagers, is it a case of better the de Ville you don’t know, or will the truth come out, as Bramley adds more and more ingredients to her play recipe, ranging from a Women’s Institute narrator and a dour Yorkshireman to a Nigella Awesome send-up, a Mafia boss and a lumbering thug?
When toured in 2014, The Daily Bread was delivered to each village doorstep with “live baking” in a working oven. The one-man show was bread and butter to Moncrieff, who once worked with a French baker in New York and later ran his own cake business in Scotland.
Moncrieff’s prowess with flour, water, salt and yeast had come to light as he toured with Badapple in Laurel & Charlie, prompting writer-director Bramley to see the potential in writing a play that would combine all his skills.
What ensued was a nimble show of Machiavellian subterfuge, comedy, multiple role-playing, physical clowning as dextrous as Keaton and Chaplin, the aforementioned live baking, banking, and “a little bit of politics”, as Ben Elton once was wont to say too often.
A second Badapple show, audience favourite The Carlton Colliers, is available for free too at badappletheatreonyourdesktop.podbean.com. Bramley’s comic tale of an amateur football team saved from an eternal losing streak by a stroke of allotment magic is read from home by Thomas Frere, Robert Wade and Stephanie Hutchinson, again complemented by songs by Lowe.
Badapple Theatre writer-director Kate Bramley
“This is a story about a village, a story about love, optimism and yes, sometimes a story about football,” says Bramley.
She sets that story in Carlton Flatts, a northern place where “nobody notices you’re doing nothing, ’cause there’s nothing for anyone to do” since the village pit closed: a stasis captured in Lowe’s evocative folk music.
“But you have to dream, don’t you,” reckons the playwright, who gives the dreamer role, the escape route, to Jemmy, the sharp-shooter of the hapless Carlton Colliers football team, whose quality left foot could land him a contract with a League side. First, however, he must lead the Colliers out of trouble, Roy Of The Rovers style, while keeping both feet out of his mouth in the presence of Nina.
Frank, no-nonsense, ever efficient, she hates football but doggedly runs her Zumba classes and hopes her bit-part as a dancer on Coronation Street could be her ticket to bigger opportunities elsewhere.
Meanwhile, taciturn Chris has withdrawn to a barge but when he is left an allotment by a man to whom he has not spoken for 15 years, change beckons.
In Bramley’s head, The Carlton Colliers was always a love story. “Whether the love affairs with friends, football or hometown ever work out quite the way you expect is another story – but the love remains, just the same,” she says.
Without giving the plot away, the world does alter for each of her protagonists in a play where they bloom as much as the allotment at the back of the football pitch does.
Although the allotment is sited on Carlton Roadends, as one road ends, new paths begin, poetically symbolised by the presence of a plethora of parrots in Bramley’s storyline.
So, sit back at home and enjoy the nuggety northern humour, the borrowed football sayings – courtesy of the likes of late Liverpool gaffer Bill Shankly – and love in its myriad forms in this hymn to village life.
YORK seascape artist Carolyn Coles will hold her first exhibition since lockdown at Village Gallery, Colliergate, York, from August 4 to September 19.
Favouring a limited palette to give her work identity, simplicity and life, Carolyn paints mostly on bespoke canvasses in oils and sometimes acrylics, applied with palette knives and flat brushes.
“I like to capture atmosphere, usually with a leaning towards dark and moody and generally on a larger scale,” she says.
Carolyn’s formal artistic education began with studying art and design at York College, then specialising in illustration at Hereford College of Art and Design, earning distinctions in the early 1990s.
Too Late To Go Home, by Carolyn Coles
After a career taking in marketing art materials and graphic design and illustration in journalism, Carolyn now devotes her time to painting, exhibiting and selling work both on the home market in York, London, Derby, Manchester and Leeds and internationally too.
Carolyn’s love of the seaside and nature in general is reflected in her new collection. “The impressionistic style allows the viewer to interpret their own story and pull their own memories back into play,” she says.
Carolyn was invited by curator and owner Simon Main to mount her “Oh I Do Like To Be Besides The…” show at Village Gallery.
“We select artists by going out to events like York Open Studios and North Yorkshire Open Studios, Art& and the Staithes art festival… and occasionally we get artists coming through the door, canvasses under their arms, trying to find a place to show,” he says.
Lifeline, by Carolyn Coles
“We met Carolyn and saw her work at her first York Open Studios show back in 2019 and were so taken with her seascapes – many inspired by and maybe giving a different perspective of the Yorkshire coastline – that we started talking about a show.
“The exhibition starting next week is the result of over a year of talking and getting a match in the diary. So, we are delighted we have finally made it and are really looking forward to hanging Carolyn’s beautiful work. And who doesn’t love Filey?”
Here Carolyn talks the easel life with Charles Hutchinson.
You were due to exhibit at York Open Studios and Staithes Festival of Art and Heritage Festival this year, both alas cancelled. Will those works now form the Village Gallery exhibition? “Yes. All except one of my bigger pieces that found its new home just before lockdown; a new one from a smaller set of works, which was bought as a special present for Mothering Sunday; another for a secret wedding, and lastly one I sold, giving all proceeds towards a group in York who set themselves up to make and distribute face visors using 3-D printing technology.
“The festival in Staithes usually happens in September, so I would have expected more new works by then.”
I Spy Something Beginning With W, by Carolyn Coles
What did you do in lockdown when you couldn’t go down to the sea? “I tried my hand in home-schooling, which wasn’t anything like I had imagined it to be. I rearranged furniture and took over our dining room as a studio, which offered mixed results, partly because I’d forgotten what it was like to have an honest live audience offering encouraging suggestions.
“I couldn’t escape to the loft, my old studio space, as it was now my partner’s office from home. And although I couldn’t go to the sea, the lockdown gave me a brilliant opportunity to sit and immerse myself intensively in the seascapes I had just been working on.”
Where have you been painting since lockdown easement? “I’ve been back in my studio with the Southbank Artists group at Southlands Methodist Church for a month now, and I’ve more than welcomed the return to what feels a bit like the old normal.
“I’ve been working on a commission, which is huge, so it’s probably just as well I’m not painting at home.”
Staithes In The Mist – Collectors Huddle, by Carolyn Coles
How does it feel to be painting en plein air again? “I’ve not managed a huge amount of this yet but hope to when holidays come. Luckily, I enjoy working from photos and sketches, as a lot of my field trips are indeed family days out.
“I love painting with my daughter although I end up assisting, which does get easier with time. Nothing beats painting on location.”
6. What draws you to the sea as a subject matter? The sight, the sound, the light, the dark? “Hands down, light is the winner. However, the energy, mystery, its patterns, unexpected treasures and its mood all play a massive part.
“I always feel I’m happy with a piece when I can hear the sound of the sea whispering its relentless chatter. I’ve always loved the sea. It’s just so completely fascinating.
Not Today, Runswick Bay, by Carolyn Coles
“I’ve spent hundreds of hours contemplating life looking at it. I was a big fan of fossil hunting in my twenties, though I never really thought about painting the sea back then. I think partly the reason for painting seascapes now is because it’s a good way to take myself back.”
How do you settle upon the painting techniques you use?
“Over the years, I’ve definitely settled into my way of working. I love using broad, flat brushes alongside palette knives, which enables more random marks, producing less contrived mark-making.
“I prefer oils, the soft buttery texture; the incredible depth of colour leaves acrylics standing really. But I do like to work with speed at times and acrylics do tick a lot of boxes. I also love working in lots of other media; charcoal is sublime.”
Time To Go III, Sandsend, by Carolyn Coles
Do you have a favourite seascape? Sandsend? Staithes? Wherever? “I couldn’t say really as every place has its own merits. I’ve painted Sandsend a lot, but recently Filey has become more prominent. The light there can really be incredible.
“Runswick Bay can be as still as a milk pond – really quite surreal. Staithes has its own beauty but different again.
“I’m not fussy but do prefer quieter spots if I can find them. Saying that, Saltburn is incredible but more for messing about in the sea. Great wave action there.”
In the Yorkshire versus Northumberland battle for the best coastline award, which one wins?! “Ask me again after the summer, as I’m planning a few trips to the Northumberland coast. I doubt it could beat Yorkshire, though I couldn’t say for sure yet. Maybe I’ll get marooned as fellow York artist Malcolm Ludvigsen did at Holy Island. It’s pretty easy to lose the sense of time when painting. I bet that was exciting!”
Crash, by Carolyn Coles
Who are your fellow artists in the Southbank Artists group. What do you most enjoy about working out of Southlands Methodists Church?
“There are 16 studios in all at South Bank Studios, ranging across all disciplines, even performance artists! I’d feel bad mentioning some rather than others, but they really are a great group to work with. A really interesting bunch. I’ve missed seeing them.
“Special thanks are always due to Donna Maria Taylor who gave me the chance to join her in her space at first, and who remains a brilliant source of support. It’s a great space to work in.
“My studio has a wonderful North light, which was lucky. It can be busy at times, but I feel very much at home there.”
The Walk, by Carolyn Coles
Who are the Westside Artists? Will you be hosting a joint show at some point?
“The Westside Artists (York) – fondly known as ‘The Westies’ – came to be when we grouped together in early 2019. Our close proximity to each other was a great support network at the time and the reason for its name.
“Now we keep in touch offering each other support, advice, laughs. Sharing ideas, and even helping out in a material crisis, is perfect when working locally to one another.
“We’re planning to host a joint show in December, when there’ll be around 12 of us exhibiting at Village Gallery. We’re really looking forward to it.”
What’s coming next for you? Any upcoming shows? “I have work being exhibited until next January at York Hospital, presently enjoyed by workers and patients, but no visitors. I’m really sad the Staithes festival has had to be cancelled, though it’s totally understandable obviously.”
“I always feel I’m happy with a piece when I can hear the sound of the sea whispering its relentless chatter,” says York seascape artist Carolyn Coles
Carolyn Coles, “Oh I Do Like To Be Besides The…” exhibition of seascape art at Village Gallery, Colliergate, York, August 4 to September 19. Opening hours: Tuesday to Sunday, 10am to 5pm (4.30pm, Sundays).
For more information on Carolyn, go to her website: carolyncoles.co.uk.
Please note: Village Gallery’s Covid-secure etiquette:
“WE are only a little shop, so to conform as far as possible to social distancing, it will only be possible to have one person/family-friendly group in at a time,” says owner Simon Main.
“Even if you cannot see anyone in the shop when you arrive, please shout out to check it’s OK, as there may be people upstairs. And if you have to wait, please queue responsibly outside, maintaining that essential two-metre separation.”
