Great Auk, clay head, work in progress for Feral Practice’s The Unseeables
THE Unseeables, a tale of extinction in three birds by filmmaker Feral Practice, is the latest digital commission in lockdown by Scarborough Museums Trust.
The 11-minute film, looking at the “the strange and polarised relationships humans have with other species”, can be seen on the trust’s YouTube channel (bit.ly/TheUnseeablesNDC) from Tuesday, June 16.
Feral Practice, the alias of artist and researcher Fiona MacDonald, explores loss, reparation, extinction and conservation, via the interwoven stories of three birds “lost” to Scarborough, now surviving only as specimens in the Scarborough Collections.
Corncrake facing left, for Feral Practice’s The Unseeables
The first is the sad and harrowing story of the Great Auk. The SMT collections house a single egg of a great auk, a large flightless bird that became globally extinct in 1844.
The auk’s demise was brutal, cruel, and driven by profit; most were killed for their down. As they approached extinction, every specimen was coveted by museums, ultimately putting the prestige of an auk exhibit above the survival of a species.
In the Scarborough Collections too are taxidermy examples of the great bustard and the corncrake.
Great Bustard eye, for Feral Practice’s The Unseeables
The great bustard became extinct in the UK in the early 1800s, but diminishing populations still exist in Central and Southern Europe and Asia, where the huge, “showy” males perform glorious ruffle dances for their female harems.
In Britain, the bird has been the subject of a reintroduction project that has succeeded in establishing a breeding population on Salisbury Plain in Wiltshire.
The distinctive voice of the shy Corncrake was once integral to the British rural soundscape. Corncrakes started declining, however, as agriculture became mechanised, and by the late 1930s they were absent from much of England, not least Yorkshire, despite once having been widespread across the North of England.
Great Bustard performance body and bird, for Feral Practice’s The Unseeables
Now, they are confined largely to the islands off the west of Scotland and the northern isles of Orkney and Shetland. To save the bird, British conservationists seek to educate and persuade landowners.
The film narrates the birds’ stories alongside imagery that weaves together close-up footage of the Scarborough Collections exhibits with found footage and sculptural responses by Feral Practice, in an “impossible attempt to conjure the lost birds in their studio”.
Feral Practice says: “As we comprehend (or re-learn) the complex warp and weft of ecological thinking, and understand landscapes as self-creating masterpieces of which humans can never be masters, can we step back from our urge to manipulate, exploit and control? Will we allow other species the space they need to flourish alongside us on their own terms?”
Great Bustard performance feathers in two colours for Feral Practice’s film The Unseeables
Scarborough Museums Trust wants The Unseeables to be accessible to everyone, so the film is captioned and a parallel audio experience is available for those who might find this helpful.
Defining Feral Practice’s artistic practice, Fiona says: “We work with human and non-human beings to create art projects and interdisciplinary events that develop ethical and imaginative connection across species boundaries.
“Our research draws on artistic, scientific and subjective knowledge practices to explore diverse aesthetics and create suggestive spaces of not knowing nature.”
Painting the egg for Feral Practice’s The Unseeables
Feral Practice is the artist-in-residence for 2020-2021 at Dunham Massey, a National Trust Georgian house, garden and deer park in Cheshire.
The Unseeablesis one of a series of new digital commissions in lockdown from Scarborough Museums Trust in response to the Corona crisis. The trust has asked artists Feral Practice, Kirsty Harris, Jane Poulton, Wanja Kimani, Jade Montserrat, Lucy Carruthers and Estabrak to create digital artworks for released online across assorted social-media platforms.
Still , gold spiral, for Feral Practice’s The Unseeables
Everything stops for zombie: Zomblogalypse filmmakers Hannah Bungard, Tony Hipwell and Miles Watts
ZOMBLOGALYPSE filmmakers Miles Watts, Hannah Bungard and Tony Hipwell are holding Zomblog Zero Day today for all zombie movie enthusiasts.
“Zomblog fun is coming on Tuesday, all day,” they say on Twitter. “Zomblog is the series we shot that serves as a prequel to the web series and indeed the movie [Zomblogalypse], and a sort of reboot. A prebootquel, if you will. We move with the times.”
For Zomblog Zero Day, these cult York filmmakers will be posting all six Zomblog episodes at Facebook.com/Zomblogalypse and commenting below each one. “We’re encouraging you to watch and ask us anything,” they say. “We’ll also be posting outtakes and surprises along the way. Join us!”
Watts, Bungard and Hipwell are purveyors of a “cult zombie-blog-apocalypse-web-comedy-horror-series and now a big silly movie for 2020”.
Forester Isobel Wilson during a break in a morning of tree felling. Picture Tony Bartholomew.
A YEAR in the life of Dalby Forest and surrounding North Yorkshire woodland is captured in Tony Bartholomew’s online photographic exhibition on the Forestry England website.
His photographs portray activities in the forest, near Pickering, ranging from bird ringing and harvesting to rallying, alongside portraits of forest workers and scenic views.
Long-snapping Scarborough editorial photographer Bartholomew took all his images for Forest 100: A Year In The Life within the boundaries of forests managed by Forestry England in God’s Own Country. They can be seen at: forestryengland.uk/forest-100-year-the-life.
“I approached Forestry England with the idea in early 2019 once I realised that it was their centenary year,” says Tony, whose news-driven photographic patch has taken in Yorkshire and the North East since the early 1980s.
Sled dog racing in Dalby Forest. Picture: Tony Bartholomew
“The Forestry Commission was founded in 1919 to replenish the nation’s supply of timber after World War One. The Forestry Act was passed that same year, turning the riggs [higher ground] and dales that form the landscape of Dalby into today’s forest cared for by Forestry England.”
For one year, from spring 2019 to spring 2020, Batholomew recorded the flora and fauna of the forests, the people who work and play in them, and those who shaped their past and now protect their future.
Images from Forest 100: A Year In The Life were shown first in an outdoor display around Staindale Lake, near the visitors’ centre in Dalby Forest, and now comes the online exhibition.
Delighted by Bartholomew’s photographic documentary of Forestry England’s 100th anniversary landmark, funding and development manager Petra Young, says: “The centenary gives us time to reflect on our achievements and on the breadth of activities taking place in our nation’s forests. Tony’s work shows the range of special aspects the forest has to offer.”
Saskia Pilbeam in Guisborough Forest at the site of a fire earlier in the year. Picture: Tony Bartholomew
Here Tony Bartholomew leafs through Charles Hutchinson’s forest of questions.
What were your initial thoughts on what you wanted to portray in a year of forest photographs,Tony?
“My first thoughts and proposals were to try and show the breadth of activity that goes on in the day-to-day running of a forest.
“It’s a huge operation on both a commercial scale with timber operations and also on an ecological, recreational and cultural level. The project was to be basic reportage and Forestry England let me lead on what we should look at photographing.”
Forests are so much more than their trees, for all their beauty and mystery and history, but representing human activity in woodland must have been vital to your project?
“In any project or commission I undertake, it’s the people that really interest me: some of the stronger images in the project were of the people working and playing in the forests.”
A night-time rally stage in Dalby Forest. Picture: Tony Bartholomew
What did you learn about woods that you may not have appreciated before doing Forest 100?
“The cycle of planting, growing and harvesting trees in the forests was amazing to see, from tiny seeds being sorted in the nurseries, to planting out saplings and then the final process of felling.”
What are your earliest memories of woods playing a part in your life?
“When I was around the age of four, we were living in a small town in Dumfries and Galloway called Dalbeattie. The end of the road we lived in bordered a large forest and I had wandered off into the woods on a mini-expedition of discovery. Luckily I didn’t get too far in before my somewhat worried mother discovered me standing on a large stone.
“The forest is managed by what is now Forestry and Land Scotland and is home to some amazing mountain bike trails known as the 7 Stanes. Even though I grew up after that in inner-city Liverpool, I always had an affinity with green spaces and woodland.”
Planting out trees in Cropton Forest. Picture: Tony Bartholomew
What is your idea of a perfect day out in woodland?
“A crisp early-morning autumn start, a couple of cameras and probably a dog for company. Just setting out on a trail not knowing what you might photograph or come across.”
Do you think we appreciate woodland sufficiently and, in our age of climate change, will our response become even more important?
“I do think we are becoming increasingly aware of the role green spaces and especially woodland and forests can play. The need to plant more trees to offset our carbon footprint is obvious and we need to plant more than we currently are.
“Other benefits include providing a habitat and increasing bio-diversity. One thing which I think has come to the fore recently [in the Coronavirus lockdown] is people feeling the need to escape and find a place of relaxation and inner peace. Just find a quiet patch of woodland and sit beneath a tree for five minutes.
Duck down: Synchronised duck dabbling on Staindale Lake in Dalby Forest.. Picture: Tony Bartholomew
“If you go down in the woods today, you’re sure of a big surprise,” as the song The Teddy Bears’ Picnic goes. Did anything surprise you in your year of woodland photography?
“I was out in Wykeham Forest on a very wet summer Sunday afternoon and was walking down a very narrow deeply wooded trail.
“I came around a bend and saw straight ahead an adult roe deer. We stopped and observed each other for a few seconds, but as soon as I reached for a camera she was away into the woods.”
Did the differing seasons have an influence on your photography?
“The different seasons do have an influence and effect on your work, especially if you return to a similar spot or viewpoint and observe it at different times of year.
A long-tailed tit is released after being ringed, weighed and logged in Dalby Forest. Picture: Tony Bartholomew
“Most people imagine that as photographers we are always craving blue skies and bright sunshine but many of the best pictures are taken in adverse or unusual weather conditions. Early spring and autumn can give spectacular light.”
What are the specific challenges of photographing in woodland?
“That’s an interesting question and one I haven’t considered. On thinking about it, part of the problem of photographing in the woods is the trees: that old saying “you can’t see the wood for the trees” can ring true at times.
“Making things stand out in what can be a uniform landscape is the answer.”
A mini-whirlpool and fallen leaves in a beck near Dalby Forest. Picture: Tony Bartholomew
Should we ever be able to visit galleries again in these Covid-19 lockdown times, where might your photographs be exhibited?
“Let’s be positive and say when we are back visiting galleries again! In this case, it’s not an issue as the exhibition of work was split into three different parts.
“The first two were physically exhibited outdoors in Dalby Forest around a beautiful, flat, accessible trail at Staindale Lake. Dalby is now open again with limited facilities, so check the website, but the second set of pictures are still up around the lake, and we’re talking about what might happen from there.”
Reflection on an autumn day in Dalby Forest. Picture: Tony Bartholomew
Did you know?
Forestry England, an agency of the Forestry Commission manages and cares for the nation’s 1,500 woods and forests, drawing more than 230 million visits per year.
As England’s largest land manager, it shapes landscapes and enhances forests, enabling wildlife to flourish and businesses to grow, as well as providing enjoyment for people. For more information, visit forestryengland.uk.
Autumn funghi on a moss-covered fallen branch in Wykeham Forest. Picture: Tony Bartholomew
How To Grow A Human: Adventures In How We Are Made And Who We Are: Dr Philip Ball’s talk at the 2020 York Festival of Ideas this evening
SCIENCE writer Dr Philip Ball asks: “What does it mean to be human and to have a ‘self’ in the face of new scientific developments in genetic editing, cloning and the growth of tissues and organs outside the body?”
His question, posited at the online York Festival of Ideas this evening, was prompted by seeing his own skin cells used to grow clumps of new neurons that organise themselves into ‘mini-brains’.
Pondering the concepts of identity and biological individuality in his 6pm talk, he delves into cell biology, embryology and humanity’s deep evolutionary past when complex creatures like us emerged from single-celled life, as he offers a new perspective on how humans think about ourselves.
“In an age when we are increasingly encouraged to regard the ‘self’ as an abstract sequence of genetic information, or as a pattern of neural activity that might be ‘downloaded’ to a computer, he returns us to the body – to flesh and blood – and anchors a conception of personhood in this unique and ephemeral mortal coil,” says the York Festival of Ideas website.
“Ball, author of How To Build A Human, brings us back to ourselves, but in doing so, challenges old preconceptions and values about life and humanity. Prepare to rethink how we exist in the world.”
After his talk, subtitled Adventures In How We Are Made And Who We Are, online festival-goers are invited to join Ball on Twitter for a live question-and-answer session at 7pm @philipcball.
Brought to you remotely by the University of York, York Festival of Ideas is full of ideas until June 14, gathering under the new umbrella of Virtual Horizons. For more details, visit yorkfestivalofideas.com/2020-online/
Did you know?
Dr Philip Ball is a Fellow of the Royal Society of Chemistry.
Technologies for the future: under discussion by Alice Courvoisier. Drawing by:: Jess Wallace
SCIENTIST Alice Courvoisier takes a hard look at technologies we surround ourselves with, discussing their impact on our lives, the environment and the lives of others, in this afternoon’s audio podcast.
Most importantly, in Technologies for the Future – A Response from the Heart, she asks: what would form a sound basis for ethical and responsible technological innovation?
“In a context where technologies are often imposed from the top down or by for-profit corporations without proper public scrutiny, I believe this question is relevant to everyone and should be reclaimed by the public sphere,” says Alice, who taught mathematics in the electronic engineering department at the University of York and is a keen storyteller too.
“At this time of extreme uncertainty and misinformation, I will argue that meaningful answers can only come from reconnecting with our hearts.”
Alice, who has taken part in every York Festival of Ideas since 2013, adds: “Please be aware that some of the content can be emotionally challenging as we address issues such as environmental justice, cultural and unconscious bias, and work to dismantle the Western narrative of linear progress.”
“I love the freedom of thought offered by the Festival Of Ideas: to approach a theme from the viewpoints of different disciplines,” says Alice.
Brought to you remotely by the University of York, York Festival of Ideas is full of ideas until June 14, gathering under the new umbrella of Virtual Horizons. For the full programme, visit yorkfestivalofideas.com/2020-online/.
Did you know? Alice in numberland
Dr Alice Courvoisier taught a Lifelong Learning course on the History of Numbers at the University of York.
York In Flood, 2019, taken by Museum Gardens by Katherine-of-Yorkshire
VILLAGE Gallery, in Colliergate, York, will reopen on June 15, “subject to government advice not altering”.
Gallery owner Simon Main has taken this decision in line with the relaxation of lockdown measures from that date for “non-essential” shops.
Picking up where he left off, but reopening on a Monday, when normally the gallery runs Tuesday to Saturday, Simon will present the postponed photographic show by Instagrammer Katherine-of-Yorkshire from June 15 to August 2.
The need to make changes to the way the gallery operates in line with Covid-19 social-distancing requirements precludes the possibility of hosting the usual preview for a Village Gallery show.
In his latest newsletter, Simon says: “There’s potentially light at the end of the tunnel enticing us to venture out and reopen. If all continues to go as planned, this will be on Monday 15th June…not a day we are normally open but we can’t wait any longer than necessary to welcome you back.
York Minster At Night, 2020, by Katherine-of-Yorkshire
“However, things will have to change…The shop will have had a deep clean before we reopen and will be regularly cleaned throughout each day.”
Here comes the most significant change: “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.
“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,” advises Simon.
More details on shop etiquette in these lockdown-easement-but-still Coronavirus times can be found at the Village Gallery website, but among more changes the newsletter highlights, one relates to personal service.
“As our shop relies on personal service – we will serve/assist standing alongside you, rather than face to face, and will wear a mask at all times,” Simon says. “Note, if you need to be able to lip-read, let us know as we have alternative masks available.”
What about the comeback exhibition by Instagrammer Katherine-of-Yorkshire, you ask? “Katherine regularly posts photographs on Instagram, mainly of York, and usually in black and white. She only uses the camera on her phone to take photos, and apart from occasional cropping, and selecting which filter to use, there is no other manipulation or photoshopping of the images,” says Simon.
Bootham Bar, From King’s Manor, by Katherine-of-Yorkshire
“Her preference is to photograph in black and white because she finds the result more timeless than using colour. From our perspective though, in addition to this, we see that she has a seemingly natural talent and eye for composition, and she manages to convey a deep feeling of peace, even when documenting the major floods in York that happen all too regularly, as well as showing a different perspective of well-known places.”
On a housekeeping note, “Katherine’s show will start upstairs but, at some point, will move downstairs so will be around for a little while. Downstairs, what was our current showing will continue for a little while longer, featuring York College artist-in-residence Kate Buckley and Jean Luce,” says Simon. “Kate’s work involves porcelain, sculpted to express the delicacy of folded paper; Jean’s work is mainly seascapes.”
Looking at his 2020 diary, Simon says: “The exhibition schedule has been thrown into complete disarray, but with the help of – and our thanks to – the artists who have all been affected too, we will be rearranging every promised show as soon as we can.
“But we guess it will be quite some time before we are able to hold previews. We still mail ahead of any new showing to keep you informed.”
Finishing on a philosophical note, Simon muses: “Normality will return…whatever the new normal turns out to be.”
.Village Gallery, Colliergate, York, is normally open Tuesday to Saturday, 10am to 5pm.
Foot Work: A shoe-in for the York Festival of Ideas idea of the day
DO you ever think about what your shoes are doing to the world?
Let author Tansy E Hoskins do the thinking Foot Work for you at the 2020 stay-at-home York Festival of Ideas, now running online under the Virtual Horizons umbrella.
From 1pm to 2pm this afternoon (June 6), Hoskins asks: Do you know where your shoes come from? Do you know where they go when you’re done with them?
These are the facts: in 2018, 66.3 million pairs of shoes were manufactured across the world every single day. “They have never been cheaper to buy, and we have never been more convinced that we need to buy them. Yet their cost to the planet has never been greater,” says the festival website.
“Find out why, if we don’t act fast, this humble household object will take us to the point of no return.”
Hoskins, author of Foot Work: What Your Shoes Are Doing To The World, will take online festival-goers deep into the heart of the industry, revealing how it is exploiting workers and deceiving consumers.
Rory Mulvihill experiments with recording the role of Satan in the shower of his Naburn home, by torchlight, with the script stuck to the wall
THE first instalment of the York Radio Mystery Plays will be aired on BBC Radio York’s Sunday Breakfast Show this weekend.
Aptly starting at the beginning with Adam And Eve, this audio collaboration between York Theatre Royal and the BBC station comprises four 15-minute plays, continuing with The Flood Part 1 on June 14, The Flood Part 2 on June 21 and Moses And Pharaoh on June 28.
Under the direction of Theatre Royal associate director Juliet Forster, who has adapted the mediaeval texts with writer husband Kelvin Goodspeed, a cast of 19 community and professional actors has recorded the episodes, each working remotely.
In keeping with Covid-19 social-distancing rules, the production required the cast members to record their lines on a smart phone from home, having done collective rehearsals for each play over the Zoom conference call app.
Among the cast are Rory Mulvihill and Rosy Rowley, Rory reprising his role as Satan from the York Millennium Mystery Plays in York Minster in 2000, this time in Adam And Eve; Rosy returning to Mrs Noah in The Flood, a no-nonsense role she first played in the 2012 York Mystery Plays in the Museum Gardens.
“It’s a first for me, doing a radio play,” says Rory, a leading light of the York Light Opera Company for 35 years and a Mystery Plays stalwart too, not least playing Jesus Christ in 1996.
Hades in red: Rory Mulvihill as Satan in the York Millennium Mystery Plays in York Minster in 2000. Copyright: York Mystery Plays/Kippa Matthews
“But I did do a radio recording after the Blood + Chocolate community play in 2013: World War One At Home, done for the BBC, with each local radio station doing its own series.
“But my radio claim to fame – and this should be the title of my autobiography! – is ‘I Was Andy Kershaw’s Weatherman’!
“He once had the graveyard slot of Radio Aire on a Sunday night, with just him and me in the studio, so I had to copy down the weather forecast and read it out on the hour.”
Rehearsing on Zoom has been a novel experience. “I find it a bit strange, video conferencing. I first had a couple of sessions with York Light, and it’s enjoyable but I felt like I was watching Celebrity Squares or Blankety Blank, except that I was on it!”
Juliet tried to “normalise the rehearsals as much as possible”, despite the reliance on technology. “I thought it could be a sterile experience if we were just reading it, but once I was confident with the lines, I decided, ‘let’s look up, get a rapport going’, but the first time I tried doing that with Taj Atwal, I looked up…at Taj’s epiglottis on the screen! She was in the middle of the biggest yawn!” recalls Rory.
“That’s the effect I have on people! If there’s a moral to this story, it is to take Zoom on the chin and accept the way it works.”
Juliet Forster:Associate director of York Theatre Royal and director of the York Radio Mystery Plays
Rory was late to join his first Zoom rehearsal. “They could all hear me but I couldn’t hear them, and by the time I started, they’d decided it should be 14th century Yorkshire vernacular, rather than RP [Received Pronunciation], but I didn’t know that.
“I’m a Leeds lad born and bred, but not I’m not like a Sean Bean Yorkshireman! Anyway, when I played Jesus in 1996 I did very much a Yorkshire accent, whereas for Satan in 2000, I was ‘well spoken’ to contrast with Ray Stevenson’s Jesus.
“In the end, Juliet decided she wanted to try different versions, one ‘better spoken’, one with a Yorkshire accent, and she then settled on the Yorkshire Satan.”
There was another adjustment needed. “The Mystery Plays are declamatory because they were meant to be shouted off the top of a wagon in the streets, so everyone could hear them, especially this ‘pantomime villain’ Satan, who’s not understated in any way,” says Rory.
“That was one of the things that needed to change for the radio, so after my first effort, Juliet said, ‘maybe tone it down a little’!”
Rory experimented with doing his first recordings in his shower at his Naburn home, thinking it would be an ideal insulated sound booth. “Living in the country, the bird song is beautiful and loud, and I suppose it’s a garden of Eden, and I thought the shower would be quiet,” he says.
Zoom for manoeuvre: A remote rehearsal for The Flood in the York Radio Mystery Plays, with Rosy Rowley (Mrs Noah), second from left , middle row, and director Juliet Forster, top row, second from right
“I stuck my script on the wall and had to use torchlight because I couldn’t have the extractor fan on, but when Juliet heard the recordings, she said it was a tinny noise, bouncing off the wall, so she rejected them!
“I had to do them sitting at my desk in the end, with Julia saying it didn’t matter if there was a bit of birdsong in the background!”
Rory can foresee the Theatre Royal and BBC Radio York rolling out further episodes. “I can really see the potential in this: a situation almost like the York Shakespeare Project, where you do all the canon,” he says.
“But Juliet has to be consistent. We can’t have anyone else playing Satan. I’d be most upset!!”
As with Rory, Rosy faced challenges in choosing the right time and location for the recordings for her role in The Flood Part 1 and 2.
“Living in a busy street and having teenagers in my house, I ended up rehearsing in the garden shed and having to record at two in the morning in my bedroom in the attic as it’s quiet up there,” she says.
Rosy Rowley: Saying “Yes” to playing Mrs Noah for a second time
Collective rehearsals by Zoom were “pretty normal, apart from not being in the same room, as we worked on breaking down the script, but it was just after lockdown started and lots of us had just been furloughed, so that felt a little strange,” says Rosy.
Recording solo and remotely was “lonely, having to record on your own with no voice to respond to”. “So, you had to imagine how someone would have said a line, or try to remember how they had said it in rehearsal, and Juliet would ask you to record lines in different ways for her to choose from, so it was a fragmented process.” says Rosy.
Recording a song remotely with Madeleine Hudson, musical director of the York Theatre Royal Choir, presented another unusual experience. “Maddy tried to get us to sing together for the recording but we had to deal with time legs because of working on separate equipment!” Rosy reveals.”Not easy when you needed to have two phones, one for listening to the backing track, and another for recording your vocals.”
She is delighted to be taking part in the radio recordings. “I’m passionate about the York Mystery Plays, having done the 2012 production and been involved in the Waggon Plays,” she says. “So, I was going to miss them not being done on the streets this summer, but it’s great to have this chance to air them on the radio.”
Playing Mrs Noah is not the only role that Rosy has taken on in lockdown while on furlough. “I’ve become a Covid-19 testing volunteer at the Poppleton testing site,” she says. “I saw an advert and thought that would be a good thing to do, so me and my daughter Imogen [a third-year BSc Fashion Buying and Merchandising student at the University of Manchester] signed up to do part-time volunteering, two days on, two days off.
“We had half a day’s training, partly to learn about PPE [Personal Protective Equipment], to be sure we were fully prepared, as well as learning how to do swabs – and it is rather invasive putting swabs up someone’s nose.”
Rosy had expected to be working eight-hour shifts, but instead it had been “quite quiet”. May it please become quieter still.
Note that in addition to the June broadcasts on Jonathan Cowap’s Sunday show on BBC Radio York, the York Radio Mystery Plays can be heard on BBC Sounds at bbc.co.uk/sounds.
BLUE Tree Gallery, in York, is running its second online exhibition, The Printmakers Show, until July 3
Closed to visitors since March 20 under the Coronavirus restrictions, the Bootham art-space is presenting original prints by Giuliana Lazzerini, Melvyn Evans, Hester Cox, Sarah Harris, Ed Boxall and Anna Tosney.
Long-Tailed Tits, by Anna Tosney
“You can now view and buy our wonderful range of original prints from us online,” says Giuliana. “We’re pleased to announce that all work on the website will be posted free of charge during this time, UK only. Charges will apply overseas.
“We really hope you enjoy this exhibition, featuring a variety of gallery artists’ original prints, in the comfort of your own home. Stay safe and take care of yourselves.”
The Hunter At Eventide, by Hester Cox
Blue Tree Gallery held its first online show from April 20 to the end of May to raise funds for the NHS.
Taking part in this inaugural exhibition were Kate Boyce; Deborah Burrow; Colin Carruthers; Colin Cook; Giuliana Lazzerini; Paolo Lazzerini; Neil McBride and Sharon Winter.
Finnesterre Moderate To Fair, by Melvyn Evans
A minimum of ten per cent of the retail price from every original painting sale was donated between the gallery and the artists to the NHS Covid-19 Appeal for York Hospital.
“The exhibition offered all our customers the opportunity to support the NHS, the artists and, of course, the gallery in these trying times, and we can announce we’ve donated £554.70p to the NHS,” says Blue Tree’s Gordon Giarchi.
A DRIVE-IN cinema with social distancing rules will take over Knavesmire for three days next month in York.
Meeting Coronavirus regulations to ensure entertainment can return to York, 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 screening.
From July 3 to 5, ten family favourites and blockbuster films will be shown on large LED screens with the sound transmitted to the audience’s car radios. Food and drink can be ordered in advance and will be delivered to individual cars.
No joking: Cinema will return to York next month, Joaquin Phoenix’s Joker and all
The big-screen promoters, Teesside company Daisy Duke’s Drive-In Cinema, have confirmed a line-up of The Jungle Book, The Lion King, Mamma Mia!, Frozen 2, Bohemian Rhapsody, The Greatest Showman, A Star Is Born, 28 Days Later, Pulp Fiction and Joker.
The organisers, who have been involved in entertainments and event management for 30 years, plan to have four screenings per day, lasting from morning to late-night.
Tickets cost £15, adults, £10, children, and can be booked at dukescinema.epizy.com.
The York open-air screenings will be part of a summer series of stops by the North Eastern mobile cinema, also calling in at venues in Darlington, Sunderland and “Teesside” (sorry not to be more specific!).
