York artist Harland Miller stands by his York, So Good They Named It Once mock book cover at York Art Gallery on Friday morning. Picture: Charlotte Graham
AS his biggest-ever solo show, Harland Miller: York, So Good They Named It Once, opens in his home city at York Art Gallery, what is Harland saying about York in that picture title on a retro book cover, now replicated on posters, mugs, key rings, fridge magnets and tote bags?
“People have thought ‘York, So Good They Named It Once’ must be satirical, comparing York to New York, whereas I thought I was riffing on York being first; being very important way before New York – and a Roman capital.
“It was also a place of so many firsts for me; where I did my first paper round, and through these streets I can go and remember things that happened to me. Like my first kiss on some old wasteland on Taddy Road [Tadcaster Road], that’s now a Tesco.
Back to front: Harland Miller walks towards his Pelican Books spoof cover York, So Good They Named It Once. Picture: Charlotte Graham
“And just round the corner from here, behind the library, I smoked my
first joint. That’s why I got hooked on books…because I was by the library!
“This gallery is where I first saw paintings. Is it a dream to be back
here? The answer is ‘No’, because, as a boy, it would have been foolish to
dream of such a thing.
“But unless I’m about to wake up back behind the library, I sense this is the moment to thank so many people. I certainly wouldn’t be here without my mum [now 95], who’s travelled all the way from Dringhouses to be here tonight, but I want to thank everyone not once, but twice.”
Harland Miller: York, So Good They Named It Once, featuring his Penguin Book Covers, Pelican Bad Weather Paintings and Letter Paintings and Recent Work, runs at York Art Gallery until May 31.
Stagecoach Academy Senior Choir: taking part in the fifth York Community Choir Festival. Picture: Michael Oakes
THE fifth York Community Choir Festival will raise
the roof at the Joseph Rowntree Theatre, York, from March 7 to 14
This annual event “celebrates the inclusivity of
making music in groups of all ages and friendship across the generations” by
bringing people together to share the joy of singing in seven concerts, each
featuring at least four different choirs.
“Choirs will be coming from
Easingwold in the north, Garrowby and Stamford Bridge in the east and
Knaresborough and Tadcaster in the west and south, as well as from York itself,”
says festival organiser Graham Mitchell, the JoRo’s company
secretary, fundraising and events director and trustee.
York charity Musical Connections combats
loneliness and isolation in older people by running regular music sessions in
community locations across York, and their 40-strong pensioners’ choir, The
Rolling Tones,will be taking part for the first time.
Performing too will be choirs from Wigginton Primary School, Robert Wilkinson Primary Academy,the secondary-age choir of Queen Ethelburga’s Collegiate, and the “younger” adults of Dunnington Community Choir in a special matinee on March 14.
Another group of primary-school age, appropriately named Starlings, from the Hempland area of York, will sing in the Friday (March 13) concert. Secondary school-age choirs taking part will be Tutti Amici and Stagecoach Academy Choir, who have both excelled in previous festivals, and two Huntington School choirs will appear for the first time.
Dunnington Community Choir: emotion in motion in the joy of singing. Picture: Michael Oakes
York singer and tutor Jessa Liversidge, who runs her Singing For All sessions every week in Clements Hall, South Bank, York, and in Easingwold, says: “Many singers who attend my groups testify that their lives have been transformed by our weekly sessions of informal singing, tea, cake and good company.
“Looking around the room at the happy faces and
seeing everyone leave afterwards with a spring in their step is evidence enough
for me of the wonderful power of a good old sing.”
York has workplaces with choirs that employers encourage as being good for morale, among them Aviva’s Vivace! Choir and York Hospital’s Wellbeing Choir, which combines staff, volunteers and patients in one lively group in weekly sessions. Vivace! will open the festival and the hospital choir will appear on the last night.
Graham says: “I’m particularly pleased that we can
include both young and old and bring the generations together in the same
concerts. The benefits of singing have been widely researched and findings show
that communal singing has far-reaching benefits for health, happiness and
general wellbeing.
“We’re so lucky to have such a variety of choirs in
and around York, most of which welcome new members with open arms. No need to
be able to read music; just a desire to join in and sing!”
Concerts
will take place on March 7, 11, 12, 13 and 14 at 7.30pm; March 8, 4pm, and March
14, 2pm. The full list of who will be singing when can be found at
josephrowntreetheatre.co.uk.
Tickets are on sale on 01904 501935, via josephrowntreetheatre.co.uk or in person from the JoRo box office in Haxby Road, with savings if buying five or more tickets. All proceeds will be donated to the Joseph Rowntree Theatre charity to help to maintain and improve facilities at this community venue.
The Blue Light Theatre Company members with representatives of York Against Cancer and the Motor Neurone Disease Association (York) at the cheque presentation at York’s Ambulance Station. All pictures:: Scott Atkinson
THE Blue Light Theatre Company took to the stage once again in January
at Acomb Working Men’s Club, York, to raise money for York charities York
Against Cancer and Motor Neurone Disease Association (York).
“We’re thrilled to announce that we managed to match last year’s amount
of £3,000 – despite our production costs rising,” says cast member Mark Friend,
who played Pinocchio in Oh! What A Circus on January 24, 25 and 29 to 31.
“The money raised has been split equally between the two charities. We’ve
received fantastic support from many of North Yorkshire’s tourist attractions
and businesses; without their generous support, we would not have been able to
raise this amount.”
The Blue Light Theatre Company in Oh! What A Circus at Acomb Working Men’s Club
Oh! What A Circus was the seventh pantomime performed by The Blue Light Theatre Company, made up of paramedics, ambulance dispatchers, York Hospital staff and members of York’s theatre scene, who have raised well over £10,000 over those years.
Writer and co-producer Perri Ann Barley says: “It’s great to see our
audience come back year after year to support us, plus lots of new audience as
the word gets around just how good our productions are.
“Work is already underway for Panto 2021 and the challenge is on to make
it even bigger and better than the last. The title will be announced later in
the year”.
Mark Friend, as Pinocchio, in Oh! What A Circus
Last Wednesday, the Blue Light company met representatives from York
Against Cancer and Motor Neurone Disease Association (York) MNDA at York’s
Ambulance Station to present them with their cheques.
Julie Russell, from York Against Cancer, says: “Thank you very much for
this generous donation. It will help us make a difference to cancer patients
and their families’ lives. The Blue Light Theatre Company really do know how to
put ‘fun’ into fundraising. Thank you.”
In the cheque presentation picture are Julie Russell, from York Against Cancer; James Chambers, Jen Dodd, Colin Pearson and Val Corder, from MNDA (York) and The Blue Light Theatre Company’s Zoe Paylor, Perri Ann Barley, Christine Friend, Beth Waudby, Mark Friend, Devon Wells, Mick Waudby, Craig Barley and Glen Gears.
Film-maker Tony Palmer with The Beatles’ John Lennon
A RUSH of ticket sales has prompted a change of venue for The Rock Goes
To The Movies evening with BAFTA-winning filmmaker Tony Palmer next month in
Harrogate.
This exclusive Harrogate Film Festival event on March 12 will switch from RedHouse Originals art gallery to The Clubhouse at Cold Bath Brewing Co, on Kings Road, only five minutes from the original location on Cheltenham Mount.
“The evening sold out all its stickers at £12 a pop so quickly that we’ve have had to move to a bigger location,” says Harrogate Advertiser journalist and Charm event promoter Graham Chalmers, a stalwart of the Harrogate music scene, who will be hosting the Q&A with the legendary film-maker, now 77.
“That means extra tickets have been put on sale and are available via the box office at Harrogate Theatre.”
All existing tickets are still valid for the new venue for the 7pm event that will combine a film screening with the Q&A session about Palmer’s work with The Beatles, Jimi Hendrix, Leonard Cohen, Rory Gallagher, Cream, Frank Zappa, The Who, Donovan and many more.
The London-born film-maker and cultural critic has more than 100 films to his name, ranging from early works with The Beatles, Cream, Jimi Hendrix, Rory Gallagher (Irish Tour ’74) and Frank Zappa (200 Motels), to his classical profiles of Maria Callas, Margot Fonteyn, John Osborne, Igor Stravinsky, Richard Wagner, Benjamin Britten, Ralph Vaughan Williams and more besides.
Over the past 50 years, Palmer has received more than
40 international prizes, including 12 gold medals from the New York Film
Festival, along with numerous BAFTAs and Emmy Awards.
The Beatles: rare screening of Tony Palmer’s film of the Fab Four will be a highlight of the Harrogate Film Festival event on March 12
Palmer, who served an apprenticeship with Ken Russell and
Jonathan Miller, made the landmark film All My Loving, the first ever about pop
music history, first broadcast in 1968.
He was responsible too for the iconic live film Cream
Farewell Concert, shot at the supergroup’s last-ever show at the Royal Albert
Hall: a memorable night with Eric Clapton, Jack Bruce and Ginger Baker in 1968.
Harrogate Film Festival founder Adam Chandler says: “Tony Palmer’s glittering career deserves such an event, so we can’t wait to welcome him. We’re delighted this film-making legend is so popular and are grateful to our venue partners, Cold Bath Brewing Co and RedHouse Originals, for enabling this exciting event to happen.”
Host Chalmers says: “Palmer is the greatest arts documentary filmmaker Britain has produced in the past 50 years and personally knew most of the greatest figures in the classical music world, as well as rock music.
“The fact he’s making the journey to Harrogate as a stand-alone event shows how highly regarded Harrogate Film Festival is nationally and shows that Harrogate, despite appearances, is a town with a genuine rock’n’roll pedigree.”
RedHouse Originals gallery previously has played host to Pop Art doyen Sir Peter Blake and still will be involved in next month’s event, hanging classic 1960s’ artwork and photography at The Clubhouse and curating the music playlist for the after-show party.
The sleeve artwork for All You Need Is Love, Tony Palmer’s 1977-1978 series on The Story Of Popular Music
Presented by Chalmers in conjunction with Harrogate Film Society, Rock Goes To The Movies will feature a rare screening of Palmer’s film about The Beatles that featured in his All You Need Is Love TV series, with a script by Fab Four insider Derek Taylor, plus clips from Palmer’s Cream Farewell Concert film.
Tickets available from harrogatetheatre.co.uk, on 01423 502116 or in person from the Harrogate Theatre box office.More information on the 2020 Harrogate Film Festival at harrogatefilm.co.uk.
Any profits from the evening will go to Harrogate Film Society and Harrogate Film Festival.
Tony Palmer’s ten music films
1. All You Need Is Love,1975-1976,17-part series on the history of American
Popular Music from Bing Crosby to The Beatles.
2. Bird On A Wire, 1972, featuring Leonard.
3. All My Loving,1968, including The Who, The Beatles and more.
4. Cream Farewell Concert 1968.
5. 200 Motels – Frank Zappa,1971.
6. Rory Gallagher – Irish Tour,1974.
7. A Time There Was, 1979, profile of composer Benjamin Britten.
8. Tangerine Dream – Live In Coventry Cathedral,1975.
9. Ginger Baker In Africa,1971.
10. Wagner – By Charles Wood, music conducted by Georg Solti, photographed
by Vittorio Storaro; with Richard Burton, Vanessa Redgrave and Laurence Olivier,1983.
Alice Wilson: Slack Habits finale tomorrow; solo album next month
YORK singer, artist and Ph.D student Alice Wilson will sing with Slack Habits for the last time at their Old White Swan debut in Goodramgate, York, tomorrow before focusing on her solo album.
For the February 22 gig, she steps in for departed
lead singer, Marsha Knight, re-joining bassist Iain Marchant, drummer Martin
Wilson, guitarist Andy Elmslie and keyboards player Josh Hill, with whom Alice
used to perform in an earlier incarnation of the York band.
Alice and songwriter, guitarist and producer Andy
Wilson – no relation – are progressing quickly with the album’s recording
sessions at his home studio in Holgate, with Andy aiming to have it fully mixed
and mastered in time for a March launch.
Alice, nearing 30, says she has “looked to music for escapism for even
longer than she has looked to books or alcohol”.
“ I was heavily tricked into thinking theatre was not a career,” says Alice Wilson
“My first forays were into musical
theatre when I was at Millthorpe School, then Fulford Sixth Form,” she reveals,
recalling her favourite role being Tallulah in Bugsy Malone when she was 16.
“I did theatre through GCSE to A-level
but was heavily tricked into thinking theatre was not a career.”
Instead, Alice has pursued a scholarly path, starting with joint degree honours in anthropology and sociology at Durham University, “so that I could do both science and arts,” she says.
Next came an MA in urban sociology at
the University of York, specialising in housing. “I’ve blagged my way into
pretty good educational institutions as a result of being a working-class queer,”
she says.
Writing her thesis, creating her art, singing: all in a day’s passage for Alice Wilson
“I’m now doing a Ph.D over the next
three years, again at the University of York, where I’m trying to make
radically affordable houses available for the people who need them.”
As part of her Ph.D in sociology with “heavy
fraternisation with environmental science”, Alice is building a tiny house in
the garden of her Heslington home, 30 square metres in size.
“You might think it’s a glorified shed,
but it’s not that glorified,” she says. “It’s a timber-framed structure with
super-insulation made from re-claims from demolition sites.
“Ideally it does inform my Ph.D, so I want to film it in progress, as well as writing a thesis, doing my art and singing all the while – though it all leaves minimal time for singing.”
Alice Wilson “hopes you enjoy the ear feel of her voice”
The tiny house, once complete, will have three rooms downstairs – a main living room, a tiny kitchen and tiny bathroom – and a stepladder will lead to the mezzanine level above: a crawl floor where you can sleep, says Alice. “It qualifies for recreational use, like a summerhouse, so I’ll use it mainly for painting in.”
As her official profile says: “Alice draws
and paints @neither.both.illustrations and post pictures of herself at the
gym @neither.both. Alice recycles, votes left, and worries about how
productive she is being, like all other millennial snowflakes. She hopes
you enjoy the ear feel of her voice.”
As Slack Habits’ songwriter, Andy most certainly enjoys that “ear feel of her voice”. “Alice sang with Slack Habits for a while, playing the Blues Bar in Harrogate, the National Harley Davidson Convention, pubs, festivals, Lendal Cellars and the Little Festival of Live Music in York, and being featured on BBC Introducing, before abandoning us to go into academia,” he says.
“But I didn’t want to let her talent go, so ten months ago we started working together again.”
Andy Wilson and Alice Wilson working on Alice’s album at his Holgate studio in York
The result is such songs as The Other
Woman, Put That Down and Cabaret Queen. “There’s also a mash-up of Led Zep’s
Whole Lotta Love that turns into Whole Lotta Last Waltz,” says Alice. “That
turns it into being a song about domestic violence.”
Andy adds: “I’ve happened to write and
produce for three or four female singers in recent years and the songs on Alice’s
album tell stories about all kinds of different fictional women, good, happy, sad or bad.
“When I started working with Alice, I
was stunned by her talents and charisma but I was also excited by her ability
to ‘become’ the characters she sings about.
So, it was obvious that she would be the perfect musical partner in an
album project that had been brewing for a while.
“Luckily she agreed and now it’s nearly ready. I hope people are going to be moved and entertained by Alice’s ‘other women’.”
All being well, that opportunity should come next month. In the meantime, watch her singing Slack Habits’ “absolute bangers”, ranging from rock and electric blues to smoky ballads, reggae and funk, from 9pm tomorrow (February 22) at the Old White Swan, Goodramgate, York.
Marcello Mastroianni and Anita Ekberg in Federico Fellini’s 1960 film La Dolce Vita
ITALIAN film director
Federico Fellini will be the focus of a Vintage Sundays retrospective season at
City Screen, York, from March 8.
Dave Taylor, City
Screen’s marketing manager, says: “We’re delighted to present five films from
the maestro of Italian cinema on Sundays at midday throughout March and
stretching into April.”
First up, on March 8, will be Fellini’s first international success, 1953’s I Vitelloni (PG), a nakedly autobiographical film, set in his hometown of Rimini, that follows the lives of five young vitelloni, or layabouts.
1956’s Night Of
Cabira (PG), on March 15, bridges the transition between Fellini’s early
neo-realist period and his later more fantastical works. His bittersweet and
eloquent glimpse into the life and dreams of an eternally optimistic prostitute
in Rome later provided the inspiration for the musical Sweet Charity.
La Dolce Vita (12A), from 1960, is an era-defining sensation that chronicles seven nights and seven dawns in the life of gossip journalist Marcello in a vast widescreen fresco of the glitterati of Rome at the height of Italy’s post-war economic boom. Marcello Mastroianni and Anita Ekberg star.
Fellini’s 1963 film, 8½ (15), on March 29, is a semi-autobiographical portrait of creative block and one of the great films about film-making. Beleaguered auteur Guido is unable to finish the film he has planned, luxuriating in his inner conflicts.
The Fellini finale
will be 1965’s Juliet Of The Spirits (15) on April 5. His first colour feature
is an exercise in the neuroses and fantasies of a woman, played by Fellini’s
wife, Giulietta Masina, who suspects that her husband is betraying her.
All the films will start at 12 noon. Bookings can be made on 0871 902 5747, at picturehouses.com or in person at the Coney Street Picturehouse cinema.
A scene from Opera North’s The Turn Of The Screw. Picture: Tristram Kenton
REVIEW: Opera North in The Turn Of The Screw, Leeds Grand Theatre, February 18.Further performances on February 21, 25 and 27, then touring until March 19. Box office: 0844 848 2700 or at leedsgrandtheatre.com
PART of the fascination of any ghost story – and Henry James certainly intended The Turn Of The Screw to be one – is its dabbling with a world that we can never fully comprehend or understand.
We are frightened, as James was himself, by his own creation, by the horrors that our imaginations are led to conjure. The sky – or hell – is the limit.
Myfanwy Piper’s libretto retains most of James’s ambiguities, while Britten’s music wonderfully clarifies their existence but offers no definitive answers to the questions they pose.
We know of Britten’s own obsession with the corruption of innocence. We also have plenty of recent examples of the terrors that may befall children put into care, like Miles and Flora here. The question for a director of the opera is how unambiguous to be.
Alessandro Talevi’s production was certainly probing when it first appeared in the autumn of 2010. This time round, he opens up new possibilities: he hardly misses an opportunity to interpret and he has schooled all six of his cast into finely honed acting, without exception.
In Sarah Tynan’s Governess we have a minutely judged, sexually repressed ingénue: she is as surprised as we are by a lonely Mrs Grose’s fondling attentions. She is equally puzzled by Miles’s come-hither kiss, delivered just before he climbs into her bed: this boy may be in thrall to Quint, but is also prey to rampaging hormones.
So, which of these signals leads up an emotional cul-de-sac? Or are they merely figments of the governess’s fevered imagination? The fact that such questions need to be asked at all is a sure indication that Talevi knows exactly how to provoke.
He also views the tale from the children’s point of view. At one point, we are shown a Narnia-style, fairy-tale landscape – easily taken for a Victorian orangery stocked with exotic flowers – in which younger versions of Miles and Flora can be seen frolicking.
In Madeleine Boyd’s majestic set, Bly is a Victorian pile in need of more than a spring clean, with Quint glimpsed in the tower behind its tall, murky windows. The building itself is part of the oppression all its inmates feel, doubtless compelling them into aberration.
Her costumes are regulation late Victorian, shading into Edwardian, but her hair-styles are notable: the Pre-Raphaelite cast of Miss Jessel’s Titian tresses, Quint’s bright orange thatch and side-burns, Flora’s Alice-curls, all contrast firmly with the governess’s prim blonde bun.
The props are carefully selected too: a manic rocking-horse, a giant four-poster, from whose roof Flora dangles her puppets, a school desk, and a large horn above a turntable, on which Miles “plays” parody Mozart; all bask in Matthew Haskins’ shadow-laden lighting.
After an exceptionally clear prologue, Nicholas Watts fashions a menacing Quint, likely to cause many a nightmare, while Eleanor Dennis’s pregnant Miss Jessel finds an unearthly tone equally guaranteed to spook. Heather Shipp’s seemingly phlegmatic Mrs Grose flashes into emotion more than once.
Tynan’s keenly-observed governess is a study in bafflement as she steadily loses her marbles to guilt and self-reproach. Jennifer Clark’s lively, mischievous Flora suggests someone much younger than she looked, while Tim Gasiorek’s well-tuned, light-voiced Miles acts his socks off.
All have reason to be grateful for the exceptional clarity with which Leo McFall’s orchestra paints their various motifs; one could hardly imagine their playing being more finely nuanced. Talevi’s revival may raise more questions than it answers, but it unquestionably held this audience in rapt appreciation.
THE York Ghost Merchants, at No. 6, Shambles, York, will
hold their inaugural storytelling evening on March 1, hosted by the ghoulish
James Swanton.
At 6pm (sold out), 7pm and 8pm, he will read M R James’s ghost story Canon Alberic’s Scrap-Book, written in 1894 and published in his first collection, Ghost Stories Of An Antiquary Of 1904.
In James’s story, a scholar travels to a small French town for a kind of working vacation and there he discovers a small, rather dissolute old cathedral. On entering, he meets with the sacristan, who guides him around.
Eventually, they make their way to the church library where
the sacristan shows him all sorts of old and antiquarian books that peak the
scholar’s interest. One in particular, the sacristan seems especially eager to
show off.
The York Ghost Merchants: “the world’s first spook shop”, set up by David Bloodworth and Snowhome’s Angus McArthur
The scholar is captivated by the book, the personal scrapbook of one Canon Alberic, and duly offers to buy it. The sacristan sells it to him for a pittance and his desperation to release it from his possession is palpable.
On his way out, the scholar is given another gift, a
crucifix, by the sacristan’s daughter, who insists he takes it free of charge.
Later that same night, as the scholar is studying his new-found
treasure, he encounters a page with a disturbing illustration that is central
to the story’s suspenseful narrative.
Actor, writer and storyteller James Swanton was born in York, the ghost-infested city that informed his lifelong passion for the macabre. Winner of the 2018 York Culture Award for Outstanding Performing Artist, he has been described as “remarkable” by Simon Callow, as “extraordinary” by Miriam Margolyes and as a “horror star of the future” by Kim Newman.
Gateway to the ghoulish: James Swanton on the ghostly streets of York
Whether playing Dracula or Lucifer in The York Mystery Plays
in the Shambles Market or performing his one-man shows Irving Undead and Charles
Dickens’s winter stories at York Medical Society, Stonegate, he continues to
drive his critics to raid their Thesaurus. In times past, they have dismissed
him as “a tattily dressed raven”; “a young Boris Karloff”; “positively stunning
in his grotesqueness” and “lanky”.
The £25 ticket price includes the 45-minute storytelling session
and a limited-edition Canon Alberic ghost. Please note, these ghosts are
available only to those attending the event and not without the ticket.
“Use the word COLLECT at checkout if you would like to
collect your ghost and ticket, rather than having them posted to you,” says
Angus McArthur, of The York Ghost Merchants.
Tickets can be booked at yorkghostmerchants.com or on 01904 896545. Opening hours for The York Ghost Merchants, sited in the former Via Vecchia and Pinder and Scott’s bakery shop, are Monday to Saturday, 10am to 5.30pm-ish, and Sundays, 11am to 5pm-ish.
PORTICO Quartet play a standing show at The Crescent, off
Blossom Street, York, on Tuesday night.
Sending out echoes of jazz, electronica, ambient music and
minimalism since forming in London in 2005, these Mercury Prize nominees have
created their own singular, cinematic sound over the course of five studio
albums and one EP.
In the line-up areDuncan Bellamy, drums and electronics; Milo Fitzpatrick, bass; Taz Modi, hang drums and keys, and Jack Wylie, saxophone.
Portico Quartet made their breakthrough with 2007’s Knee-Deep In The North Sea, followed by the John Leckie-produced Isla in 2010, the self-titled Portico Quartet in 2012 and Art In The Age Of Automation in August 2017, plus its companion EP, Untitled, in April 2018.
Each album has seen Bellamy, Fitzpatrick, Modi and Wylie expand their
palette or explore new trajectories, a modus operandi continued with last
October’s Memory Streams, released on Gondwana
Records.
Ouroboros presents Portico Quartet at The Crescent, York, on Tuesday (February 25). Tickets cost £18.50 from The Crescent or Earworm Records, in Powells Yard, Goodramgate or at seetickets.com or more on the door from 7.30pm.
The Boy Who Bit Picasso: art and fun at York Theatre Royal Studio today and tomorrow. Picture: Geraint Lewis
WHEN Picasso comes to stay, anything can happen at York Theatre Royal Studio today and tomorrow.
Untied Artists invite four year olds and upwards to “come and play down on the farm with Tony and Picasso”.
“We’ll
have loads of fun, make crazy pictures and tell the true story of how a young
boy became friends with one of the greatest artists who ever lived,” they say.
The Boy Who Bit Picasso is an interactive piece of theatre with storytelling, music and chances to make your own art – whether mask-making, collages or drawings – in a hands-on, humorous family show that introduces the influential 20th-century Spanish artist through the eyes of a young boy.
Inspired
by Antony Penrose’s book of the true story of how a boy became friends with
Pablo Picasso, Untied Artists’ show is directed by Jake Oldershaw and
originally was co-produced with Oxford Playhouse.
Tickets for today and tomorrow’s 11am and 2pm performances are on sale on 01904 623568, at yorktheatreroyal.co.uk in person from the Theatre Royal box office.
