REVIEW: Hello And Goodbye, York Theatre Royal Studio ****

Family wreckage: Jo Mousley as Hester in Athol Fugard’s Hello And Goodbye at York Theatre Royal Studio. Picture: Jane Hobson

Hello And Goodbye, York Theatre Royal Studio, until November 30. Box office: 01904 623568 or at yorktheatreroyal.co.uk

HELLO again to in-house productions in the York Theatre Royal Studio with this revival of Athol Fugard’s 1965 South African play Hello And Goodbye.

Associate artist John R Wilkinson had lamented the hiatus since the fading away of such Studio works as Blackbird, Blue/Orange and The White Crow and his own show, Can’t Stand Up For Falling Down, six years ago, as he spoke of the pride and spirit engendered by this resurrection: the very last word uttered in Fugard’s “biting yet beautiful parable”, by the way.

“The blue magic of that space has always given rise to intense, intimate storytelling,” said Wilkinson, whose production is exactly that: intense and intimate.

Hello And Goodbye is a two-hander, albeit with the “presence” of a third family member, the father to Johnnie (Emilio Iannucci) and Hester (Jo Mousley).

God fearing: Emilio Iannucci’s Johnnie seeking resurrection in Hello And Goodbye, with Jo Mousley’s Hester in the doorway

Hester is making an unexpected, unannounced visit to the family home at 57A Valley Road, Port Elizabeth, after an absence stretching back longer than the aforementioned Studio hiatus.

Iannucci’s Johnnie already has delivered a restless, psychologically fevered monologue, one that establishes both the dysfunctional state of the family and the unnerving dark, even gothic, humour at play in Fugard’s writing.

Chatting afterwards with Iannucci, he said audiences had laughed at some performances, not at others, but the play had worked both ways.

The way it goes may well depend on how you react to Johnnie telling Hester that he and their disabled Dad have been getting on well enough, but she cannot disturb him because he is asleep in the room next door. Put bluntly, his sleep could not be deeper.

Director John R Wilkinson: re-awakening the “blue magic” of the Theatre Royal Studio space

If Johnnie is nervy, neurotic, repeatedly reaching for biblical quotes, Mousley’s Hester is frenetic in her desperate search for the £500 that she believes their father has squirrelled away somewhere in the house.

Johnnie can keep the house if he lets her find and keep the money, a task that involves him bringing through case after case that trigger traumatic memories of their past. Their already fractured relationship only worsens as Fugard meditates on family, selfishness and redemption, set against the social upheaval in South Africa at large.

Hello And Goodbye brings to mind the discomfiting Sixties’ plays of Samuel Beckett and Harold Pinter, not least in a set design that mirrors the frayed, wounded state of mind of the sparring siblings, as designer Laura Ann Price scatters the stage with debris from the crumbling, smashed-out back wall.

Wilkinson has cast superbly: after his Studio debut in the children’s show E Nesbit’s The Book Of Dragons in December 2017 and his Romeo in Shakespeare’s Rose Theatre’s Romeo And Juliet at Blenheim Palace this summer, Iannucci has hit new heights here, calling on his physical theatre skills, his feel for black comedy and his relish for a surprise.

Mousley is a brilliant pick too, making her Theatre Royal debut after a year of outstanding performances in the Leeds Playhouse Pop-Up Theatre Ensemble. Her Hester has the disruptive force of an Ibsen, Chekhov or Greek tragedian female lead, and together with Iannucci, they settle on a mutual South African accent that is another impressive feature of Wilkinson’s intriguing, fascinating production.

In conversation, he called Hello And Goodbye “weird”, smiling impishly as he said it. Make that weird good, not weird bad.

Charles Hutchinson

Marc Almond, Heaven 17 and who else are off to Scarborough next summer?

Marc Almond: playing Mixtape night at Scarborough Open Air Theatre



MARC Almond, Heaven 17 and Living In A Box will lead the Mixtape line-up of Eighties and Nineties acts at Scarborough Open Air Theatre on July 10 next summer.

Tickets will go on sale tomorrow (November 22) at 9am for the second SOAT show to be confirmed for 2020 after McFly were booked in for August 14.
Peter Taylor, directorof venue programmers Cuffe and Taylor, says: “We are delighted to announce Mixtape, the much-requested return of an ‘80s and ‘90s night to Scarborough Open Air Theatre.

Martyn Ware and Glenn Gregory of Heaven 17


“Previous shows have always been a big party night and, since the last ‘80s and ‘90s night here in 2017, we’ve been repeatedly asked for another one. We’ve listened, and Mixtape is here for summer 2020.
“Marc Almond, Heaven 17 and Living In A Box are not only three great artists with a string of major hits between them, but they all have such a strong local connection. We feel sure this will be another great night on the stunning Yorkshire coast.”
Lancashire-born Marc Almond first made his mark as frontman of chart-topping Leeds synthpop duo Soft Cell before branching out into a diverse solo career.
He was awarded an OBE for services to music and the arts, an Ivor Novello Inspiration Award, an Icon Award by Attitude Magazine and a Mojo Magazine Inspiration Award, as well as receiving an Honorary Fellowship from Leeds College of Music. 

Living In A Bx…now featuring Kenny Thomas

Sheffield electronic stalwarts Heaven 17 will celebrate their 40th anniversary in 2020. Born out of the schism in the original Human League, they still feature Glenn Gregory and Martyn Ware, makers of such hits as Temptation and Come Live With Me and the albums Penthouse And Pavement and The Luxury Gap.

Fellow Sheffield band Living In A Box have joined forces with double BRIT nominee Kenny Thomas, the Nineties’ soul singer, who has taken over the lead vocals.

Tickets will be on sale at scarboroughopenairtheatre.com, in person from the SOAT box office, in Burniston Road, or the Discover Yorkshire Coast Tourism Bureau, in Scarborough Town Hall, St Nicholas Street, or on 01723 818111 and 01723 383636.

Charles Hutchinson

Scrooge heralds Christmas at Grand Opera House…in November

Bah Humbug: Mark Hird plays Ebenezer Scrooge in Pick Me Up Theatre’s Scrooge The Musical. Picture: David Harrison

BAH Humbug! The Christmas spirit is taking over the Grand Opera House, York, from Tuesday and not even Ebenezer Scrooge can stop it.

York company Pick Me Up Theatre are presenting their big winter show, Scrooge The Musical, directed by Robert Readman, with choreography by Iain Harvey and musical direction by Sam Johnson.

Quick refresher course: based on Charles Dickens’s Victorian cautionary tale A Christmas Carol, Scrooge tells the tale of old miser Ebenezer Scrooge on the night he is visited by the ghosts of Christmas Past, Present and Yet To Come.

Can he be turned from sourpuss to saint? What will happen to Tiny Tim? Will everyone have a merry Christmas after all? “Come and find out in this all-singing, all-dancing, all-flying show,” invites Robert.

His cast will be led by Pick Me Up regular Mark Hird, fresh from directing this autumn’s musical, Monster Makers, at 41 Monkgate. He now adds Scrooge to a diverse CV that includes Captain Mainwaring in Dad’s Army, Colonel Pickering in My Fair Lady and Uncle Fester in The Addams Family.

Further leading roles go to Rory Mulvihill as the jolly Ghost of Christmas Present and Alan Park as Scrooge’s long-suffering clerk Bob Cratchit.

“It started out as a film musical in 1970, adapted for the screen by Leslie Bricusse, with Albert Finney as Scrooge,” recalls Mark. “But it was one of those musicals that landed at an unlucky time just as film musicals went out of fashion.

“Everyone thought it was an absolute banker, but times and tastes change, but now, when you go back to it, it’s actually a really good film.

“So, 22 years later, Leslie Bricusse decided to turn it into a stage musical, wrote half a dozen new songs, written specially for Anthony Newley’s Scrooge, and it went down incredibly well.”

Alan Park chips in: “Then it became a vehicle for Tommy Steele for many years in Bill Kenwright’s productions. Each year, Robert Readman put in a request for the performing rights, and at last, this year he got a ‘Yes’.

“So, this must be the first time it will have been done in a theatre of this size without it being a Bill Kenwright show.”

Park and Hird believe that Bricusse’s songs are vital to the show’s success. “They provide the vehicle for you to discover more about the characters beyond Scrooge, like Bob, so that by the end of a song you know more about them,” says Alan.

“You get the inner thoughts of the characters in the songs, so you get more than 2D characters,” suggests Mark. “You really see Scrooge’s progression, through his songs, for example.

“There’s probably no better show to put you in a good mood for Christmas,” says Mark Hird

“You’re also quite surprised by the sheer variety of the songs and the music, with some big set-pieces.”

“There are some proper Cockney knees-up songs,” says Alan.

“But also some lovely ballads, like when Scrooge sees the only girl he ever loved as a young man, Isabel, his fiancée,” rejoins Mark. You go back in time   and you hear her singing this gorgeous ballad with Young Scrooge called Happiness, as old Scrooge looks on.”

“The way Robert has staged it, you have Young Scrooge and old Scrooge mirroring each other’s actions, so you kind of feel like Isabel is singing it to old Scrooge,” says Alan.

Picking up his earlier point about Scrooge’s character progression, Mark says: “Through his songs, Scrooge goes from his position of denial, saying how he hates Christmas, to feeling ‘it’s not my fault, fate has done this to me’, when confronted by the Ghost of Christmas Past.

“Then, with the Ghost Of Christmas Present, he starts to think, ‘Could there be a better life?’, so it’s a fantastic story arc and a fantastic set of songs, with one of the most perfect stories ever written to hang it all together.”

A Christmas Carol has been interpreted in myriad ways on screen and stage, even by The Muppets puppets in 1992 in The Muppet Christmas Carol “My five-year-old daughter is still convinced I’m playing a frog in Scrooge, because her exposure to A Christmas Carol is seeing Kermit playing Bob Cratchit in the Muppets’ movie!” says Alan.

Assessing the abiding popularity of Dickens’ tale, Alan says: “It’s not just about redemption. We all reflect on moments in our life, wishing we could have done things differently, and the story also taps into nostalgia and regret and worrying about things.

“Watching this story unfold, it can change your perspective on the world and who you are.”

Mark adds: “It also says it’s never too late to turn over a new leaf and never too late to start again.”

“The story is full of joyful moments that are infectious, even infecting Scrooge, so I do feel it’s a feelgood show,” says Alan. “If you’re looking at a wider point, we all tend to focus on what’s getting us down, but this story lets us step out and think about all the joyful things of Christmas.”

Mark concludes: “There’s probably no better show to put you in a good mood for Christmas.”

Pick Me Up Theatre’s Scrooge The Musical runs from November 26 to December 1 at Grand Opera House, York. Box office: 0844 871 3024 or at atgtickets.com/york.

Copyright of The Press, York

The cynic returns as Romesh adds May gig at York Barbican

The arch cynic returns: Romesh Ranganathan adds a third York Barbican gig: Picture: Rich Hardcastle

HE may be a cynic, but Romesh Ranganathan knows when he’s on to a good thing.

Having sold out his two November gigs at York Barbican, the deadpan Crawley comic, actor and television presenter has wasted no time in adding a third night of The Cynic’s Mixtape next spring.

Ranganathan will complete his hattrick of Barbican performances on May 10 2020, when the 41-year-old star of Asian Provocateur, The Misadventures Of Romesh Ranganathan, The Reluctant Landlord and Judge Romesh will deliver “a carefully curated selection of all the things he has found unacceptable since his last tour”.

Let the cynicism begin again: Romesh Ranganathan will have plenty more to moan about by next May

On his mind will be why trying to save the environment is a scam, why none of us is truly free, and his suspicion that his wife is using gluten intolerance to avoid sleeping with him.  

Ranganathan ditched his burgeoning career as a Maths teacher – maybe it just didn’t add up to much – in his early 30s to focus on comedy, with plenty to moan about in such subsequent shows as Rom Com, Rom Wasn’t Built In A Day and Irrational.

Agent provocateur Ranganathan and his Rob & Romesh Meet co-star Rob Beckett hosted the 2019 Royal Variety Performance on Monday at the London Palladium, to be aired on ITV in December. This was the first time that two comedians had hosted the event together in more than 30 years.

Tickets for Romesh Ranganathan: The Cynic’s Mixtape are on sale at yorkbarbican.co.uk, on 0203 356 5441 or in person from the Barbican box office.

REVIEW: Nigel Slater’s Toast, York Theatre Royal *****

Flour power: Katy Federman as Mum and Giles Cooper as Nigel in Nigel Slater’s Toast. Picture: Piers Foley

Nigel Slater’s Toast, York Theatre Royal, until Saturday, November 23. Box office: 01904 623568 or at yorktheatreroyal.co.uk

HERE is the challenge facing director Jonnie Riordan. “Think about how long it takes to actually make a piece of toast, and then how do you do that on stage when you’re trying to keep the audience engaged?” he says.

It brings a new meaning to pop-up theatre in York after the summer Elizabeth version at Shakespeare’s Rose Theatre, and Riordan and writer Henry Filloux-Bennett have made a wonderful job of adapting cookery writer Nigel Slater’s coming-of-age memoir for the stage.

Like Jonathan Watkins for Matt Haig’s Reasons To Stay Alive, on tour at the Theatre Royal only two weeks ago, Riordan is both director and choreographer. However, whereas Watkins’s show took time to find its footing on a somewhat strange-looking set – was it a crater or a cracked cloud egg? – Toast is sure footed, even light on its feet from the start.

Nigel, meet Nigel!: Cookery writer Nigel Slater meets Giles Cooper, who plays his younger self on stage. Picture: Simon Annand

Nigel, our narrator, guides us through his story like Slater’s lovely writing leads you through his recipes and epicurean thoughts in his mellifluous books. Played by the delightful Giles Cooper in schoolboy tank top and short trousers, Nigel is nine and already drawn to the one cookery book in the Slaters’ Wolverhampton home: Marguerite Patten’s ground-breaking Cookery In Colour, a full-colour Sixties’ bolt out of the cordon bleu after the grey gravy of before.

From within the cream and brown Sixties’ kitchen of Libby Watson’s design, Cooper’s Nigel likes to orchestrate all the storytelling, stepping in and out of a scene to converse with the audience, but such is the skill of Filloux-Bennett’s writing that the events of his young life have a habit of pulling the rug from under him. At one point, his mother stops him in his tracks and tells him to re-trace his steps to relate the true, darker version of events.

There is abundant humour, absolutely true to Slater’s own tone in his books, but the darkness has to break through too, given what happened to Slater in his childhood and teenage years.

Table manners: Blair Plant’s Dad, left, Stefan Edwards’ waiter, Giles Cooper’s Nigel, Samantha Hopkins’ waitress and Katy Federman’s Mum in Toast

His love of food is omnipresent, and yes, we see toast popping up in real time and later Nigel making mushrooms on toast with a chef’s flair and precision in one so young. We enjoy the culinary sensations, and when Nigel is regaling us with the delights of sweets – amid his father’s insistence that certain sweets are for boys, others for girls – bags of sweets are passed around the audience. The real Nigel Slater had a bag by his feet as he sat in the dress circle, by the way!

Food is at the heart of Toast, glorious food and not so glorious food in the case of Nigel’s father’s first attempt at making spaghetti bolognaise, mountains of “sick-smelling” Parmesan dust et al. Part of the joy here  is having our own recollections of mishaps around our own kitchen tables.

Through food too, we see the difference between Nigel’s relationship with his Mum (Katy Federman), pretty much tied to the apron strings, such is their bond, and his abusive Dad (Blair Plant, back at his old Theatre Royal stamping ground).

What’s that on the plate? Nigel (Giles Cooper) nervously scans the spaghetti bolognaise served up by Dad (Blair Plant) as Mum (Katy Federman) looks on

Into the story comes the dreadful Joan (Samantha Hopkins) and assorted characters played by Stefan Edwards, as the first stirrings of Nigel’s sexuality play out.

Brilliant performances, a superb choice of soundtrack from La Mer to Dusty, and a finale as warm and toasty as toast make Toast a five-star treat, both measured and deeply flavoured like a Nigel Slater recipe.

Charles Hutchinson

Copyright of The Press, York

Kim to go Wilde at York Barbican on Greatest Hits tour

Kim Wilde’s poster for next year’s Greatest Hits tour

EIGHTIES’ pop star Kim Wilde will play York Barbican on September 17 next year on her Greatest Hits 2020 Tour.

Wilde, 59, last performed there on her Here Come The Aliens tour in April 2018, her first on home soil in almost 30 years, after releasing a studio album that year inspired by a real-life close encounter in the gardening expert’s back garden in 2009.

Wilde subsequently released the live album Aliens Live, and next year she will be marking her 40 years in pop that began as “the voice of a generation of rebellious youth” with Kids In America.

Her Greatest Hits Tour will take in further hits such as Chequered Love, Water On Glass, View From A Bridge, You Keep Me Hangin’ On, Cambodia, You Came, Never Trust A Stranger and Four Letter Worn, complemented the less often aired A Million Miles Away and Love Is Holy. As in 2018, her band will include two drummers.

Her special guests will be fellow Eighties’ chart act China Crisis, best known for Wishful Thinking, King In A Catholic Style, Black Man Ray and African And White.

Tickets go on sale from Friday at 9am on 0203 356 5441, at yorkbarbican.co.uk or from the Barbican box office in person.

Hurry, hurry for last tickets for Poet Laureate Simon Armitage’s Pock show

Poet Laureate Simon Armitage is heading for Pocklington Arts Centre

ONLY the last few tickets are left for An Evening With Simon Armitage, the new Poet Laureate, at Pocklington Arts Centre on November 28.

The Huddersfield-born poet, playwright and novelist, 56, was appointed to his post for ten years earlier this year, succeeding Carol Ann Duffy.

In October 2017, he became the first Professor of Poetry at the University of Leeds; in 2018, he received The Queen’s Gold Medal for Poetry and an Ivor Novello Award for song-writing in the BAFTA-winning film Feltham Sings.

“It’s such a privilege to be able to welcome the UK’s new Poet Laureate, Simon Armitage, to our stage,” says Pocklington Arts Centre director Janet Farmer.

“He’s such a celebrated poet of his times, so a chance to spend an evening in his company, within the intimate settings of our auditorium, to hear some of his live poetry and for a Q&A, is a unique opportunity for lovers of literature and poetry.  

“But tickets have almost sold out, so I would urge you to book yours quickly or risk missing out .”

After studying geography at Portsmouth Polytechnic and writing an MA thesis at the University of Manchester on the the effects of television violence on young offenders, Armitage gained a social work qualification and became a probation officer, like his father before him. He worked in the Greater Manchester probation service until 1994, apparently once being introduced with the words: “By day he reads them their rights, by night he writes them their reads.”

He has published 28 collections of poetry, his first entitled Human Geography in 1988 and his latest, Sandettie Light Vessel Automatic. He writes extensively for television and radio, as well as penning three memoirs, All Points North, Walking Home and Walking Away, and he is the lead singer of The Scaremongers too.

Tickets for Armitage’s 7.30pm show in Pock cost £12.50 or £7 for under 21s on 01759 301547 or at pocklingtonartscentre.co.uk. He will be on hand to sign books in the foyer afterwards.

Iranian musicians join Northern Broadsides’ Christmas fundraiser for refugee support

Amir Beymanesh and Kamran Hoss: Iranian musicians now settled in Yorkshire . Picture: Jess Rooney

NORTHERN Broadsides will stage a festive fundraiser, Christmas Broadsides, at The Viaduct Theatre, Dean Clough. Halifax, from December 13 to 15.

This concert is based around Broadside Ballads; song lyrics published from the 1600s onwards, featuring popular songs of scurrilous dealings, thwarted love and ginormous geese.

For this combination of folk song and storytelling, Amir Beymanesh and Kamran Hoss, two Iranian musicians who arrived in Yorkshire recently, will join Ripponden folk musician and multi-instrumentalist Alice Jones.

West Yorkshire actors Catherine Kinsella and Tom Shaw complete the Halifax company’s line-up for this celebration of festive cheer and reflection on Christmases past, present and future.

Alice Jones: taking part in Northern Broadsides’ festive fundraiser

Broadsides’ artistic director, Laurie Sansom, says: “We are thrilled to be celebrating this Christmas with old friends and new, welcoming Amir and Kamaran to Halifax in this extraordinary collaboration with the multi-talented Alice Jones.

“It’s a chance to share together ridiculous festive songs of comic extravagance, whilst also thinking of those who may be far from home this Christmas.

“We look forward to welcoming regular supporters and new friends who want to support the work of their local theatre company, and our collaborators at St Augustine’s Centre, who support refugees and asylum seekers.”

Looking ahead to 2020, Sansom’s debut production as Broadsides’ artistic director, a new take on J.M. Barrie’s regency romantic comedy Quality Street, will open at Dean Clough from February 14 to 22.

Catherine Kinsella: performing at Christmas Broadsides

Broadsides will collaborate with workers from the Halifax Quality Street chocolates factory by developing contemporary tales of hapless love that will frame the action of Barrie’s tale.

Barrie’s play was so popular in its day that it gave the chocolates their name. Its story revolves around Phoebe Throssel, who lives on Quality Street, the bustling hub of a quaint northern town where she runs a school for unruly children.

Ten years since a tearful goodbye, an old flame returns from fighting Napoleon, but the look of disappointment on Captain Valentine’s face when he greets a more mature, less glamorous Phoebe, spurs the determined heroine to action.

She becomes the wild and sparkling Miss Livy, a younger alter-ego who soon entraps the clueless Captain. As their romance is rekindled, can she juggle both personas? Or will her deception scandalise the town and wreck any future with the man she loves?

Tom Shaw: part of the company for Christmas Broadsides

Now, as well as providing a modern lens through which to view Barrie’s story, Broadsides also aims to build long-lasting relationships between the Halifax employees and their local theatre company.

Broadsides’ tour of Quality Street will take in Leeds Playhouse from April 21 to 25; Stephen Joseph Theatre, Scarborough, May 12 to 16; Harrogate Theatre, May 19 to 23; Hull Truck Theatre, June 2 to 6, and last stop York Theatre Royal, June 9 to 13.

Christmas Broadsides will be performed at The Viaduct Theatre, Dean Clough, Halifax, at 7pm on December 13 and 3pm and 6pm on December 14 and 15. Tickets are on sale on 01422 849227 or at northern-broadsides.co.uk.

Charles Hutchinson

Yes to play York Barbican? Yes, they are…and it’s this Yes, not that Yes

Yes: lining up to play Relayer and Yes classics at York Barbican next May

YES are to play York Barbican next spring, but no, not the ‘Yes’ that performed there in June 29018 under the name Yes featuring Jon Anderson, Trevor Rabin, Rick Wakeman, as they now have to call themselves.

No, this Yes is the one that officially tours as Yes, with Steve Howe on guitars, Alan White on drums, Geoff Downes on keyboards, Billy Sherwood on bass guitar and backing vocals, Jon Davison on vocals and Jay Schellen on additional drums and percussion.

This Yes are booked into the Barbican for May 29 2020 as part of an eight-date May and June itinerary for The Album Series 2020 Tour, when the prog-rock veterans will perform 1974’s Relayer in its entirety, preceded by a set of Yes classic cuts. Expect “full production and a high definition video wall”.

Released on Atlantic Records in late 1974, Yes’s seventh studio album marked a slight change in direction as Patrick Moraz replaced Rick Wakeman on keyboards, bringing “an edgier, avant-garde feel” to the recordings.

The opening Gates Of Delirium, almost 22 minutes in length, battle scene et al, featured Moraz’s keyboard jousting with Howe’s guitar before the battle gave way to the ballad Soon, a prayer for peace and hope.

Further highlights on an album that reached number four in the British chart and number five in the US Billboard chart were Sound Chaser, a prog rock/jazz fusion experiment heavily influenced by Moraz’s style, and To Be Over, the calm and gentle closer, based on a Howe melody.

Yes’s poster for The Album Series Tour 2020

“We’re really looking forward to playing all of the Relayer album,” says Howe. “Having premiered The Gates Of Delirium this year, we continue by expanding our Album Series with all the tracks: The Gates Of Delirium, Sound Chaser and To Be Over.”

Howe adds: “During the first half of the evening, we’ll be performing a refined selection from Yes’s enormous 50-year repertoire. See you there.”

Drummer Alan White says: “I always enjoy coming home to England, so I’m especially looking forward to Yes’s upcoming Album Series 2020 tour. Relayer, I believe, is one of the most creative and interesting musical compilations in the band’s repertoire.

“Challenging and extremely enjoyable to play, I’m happy to be bringing this music back to live stages throughout Europe. I hope all who attend our shows will enjoy these cuts as much as we like performing them for our audiences.”

Tickets for Yes’s 8pm show are on sale on 0203 356 5441, at yorkbarbican.co.uk or in person from the Barbican box office.

Did you know?

ROGER Dean, designer of Yes’s iconic album artwork, will attend every show of the 2020 British and European dates. An exhibition of his work will be on show, and Dean will be available to chat with fans front of house, sign merchandise and take part in VIP meet and greets.

Charles Hutchinson

Schools step out for dance festival weekends in York

Uplifting: The Yorkshire Schools Dance Festival in York

THE second weekend of the 2019 Yorkshire Schools Dance Festival will be held at Central Hall, University of York, on Saturday and Sunday from 3pm.

As many as 1,200 children aged four to 19, from 57 primary schools, secondary schools, colleges and community dance groups, are taking part in this annual non-competitive event.

Spread over two weekends, the festival celebrates the region’s young creative talent and raises the profile of dance provision within schools and the wider community, while showcasing a range of abilities and dance styles. For the vast majority, this is the first time they will have danced in public.

For the four days of dancing, groups are travelling from as far afield as Ingleton, Hull, Thirsk and Barnsley to take part after developing their performances through after-school clubs, during curriculum time and as part of examination courses.

A festival theme is set each year, and for the past few months schools and groups have been deciding how best to interpret this year’s theme, Reflections. Performances vary from reinterpretations of the Snow White story, through to a consideration of the physics of reflection, to support work within science lessons.

Laura Brett, class teacher at Naburn CE Primary School, York, says: “Our dance piece tells the story of a Grandma and Grandad reflecting on their lives as children, watching as visions of their younger selves relive some of the happier days in their lives.

“The children have had great fun choreographing this – prompting some discussion about the lives we lead and the mark we want to make on the world.”

Taking part from Keighley, Emma Pease, Class 3 teacher at Cowling Primary School, says: “We thought about how social media affects us and our mental health. The group then modelled how we could reflect this negativity away from us, realising our strength together and becoming more resilient as a result.”

The festival is produced by York arts education specialists Creative Learning Partnerships, whose director, Colin Jackson, says: “Dance is an art form that is central to our heritage and culture. It’s celebrated increasingly on our TV screens through shows like Strictly Come Dancing and Britain’s Got Talent.

Let’s dance: Dancers enjoying the schools festival in York

“The sad state of affairs in schools, however, is that it is quickly disappearing from the curriculum, despite the overwhelming evidence of its positive impact on physical, emotional and social wellbeing.

“Dance is a collaborative process that develops teamwork, resilience, communication skills, creativity and a sense of pride. Why shouldn’t our children be afforded these opportunities?”

Across the two weekends, the 1,200 dancers will be performing to 2,000 people, who will see how schools have interpreted the theme in different ways.

In an extension to the 2019 festival, through funding from Arts Council England, Engage & Inspire will be giving participating children the chance to work with professional artists from Yorkshire and the North.

Northern Rascals and Hawk Dance Theatre are presenting specially commissioned performances, Casson & Friends and TenFoot Dance are hosting interactive workshops while Brink & Howl Creative are delivering an innovative digital dance installation combining music, dance and digital projections. Two hundred children will have the opportunity to achieve an Arts Award to reward their efforts.

Jon Beney, associate artist at Hull Truck Theatre and co-artistic director at TenFoot Dance, says: “The Yorkshire Schools Dance Festival is a great opportunity for the young dancers of Yorkshire to come together and celebrate everything dance.

As a kid, I was inspired by many people that shaped my journey and it feels nice to have stories and skills to help inspire others.”

Tickets are available at yorkshireschoolsdancefestival.co.uk, priced at £7 for adults, £6 for children, plus a booking fee.

Charles Hutchinson

Taking part on November 16 were:

Burton Leonard CE Primary School, near Harrogate;

Clifton Green Primary School, York;

E.K Galaxy Cheer & Dance, Harrogate;

Gomersal Primary School, Cleckheaton;

Holy Trinity CE Junior School, Ripon;

Ingleton Primary School;

Ingleton Youth Dance;

Knavesmire Primary School, York;

Selby High School;

St John Fisher Catholic High School, Harrogate;

St Olave’s School, York;

The Snaith School, Goole;

Westfield Primary Community School, York;

York College Performing Arts.

November 17

CAPA College, Wakefield;

Cowling Primary School, Keighley;

Hall Cross Academy, Doncaster;

Naburn CE Primary School, York;

Osbaldwick Primary Academy, York;

Outwood Academy, Ripon;

Pannal Primary School, Harrogate;

Robert Wilkinson Primary Academy, York;

St Oswald’s CE Primary School, York;

Stamford Bridge Primary School;

The Rodillian Academy, Wakefield;

The Space Dance Studio, Hull;

Thirsk Youth Dance;

Tockwith CE Primary Academy.

Taking part on November 23 will be:

Barnsley Academy;

Bellfield Primary School, Hull;

Cast, York;

Greatwood Community Primary and Nursery;

Haxby Road Primary Academy, York;

Leavening Community Primary;

Platform, Hull;

Poppleton Road Primary School, York;

Ralph Butterfield Primary School, York;

Skipton Girls High School;

St Barnabas CE Primary School, York;

St Lawrence’s CE Primary School, York;

Trinity Academy, Halifax.

November 24

CAPA Juniors, Wakefield;

Dunnington CE Primary School, York;

Hempland Primary Academy, York;

Huntington Primary Academy, York;

Hymers College Junior School, Hull;

Lord Deramore’s Primary School, York;

Mechanics Performing Arts, Wakefield;

Melbourne Primary School, York;

Northern Dance Academy, York;

Ryburn Valley High School, Sowerby Bridge;

St Aelred’s RC Primary School, York;

St Paul’s CE Primary School, York;

St Wilfrid’s RC Primary School, York;

Staynor Hall Primary Academy, Selby;

 York Youth Dance.