Posted on

Dickens of a week lies ahead for Christmas ghost storyteller James Swanton

James Swanton: Dickensian storyteller par excellence. PIcture: Jayne Nicoll

AFTER spinning yarns all this week at London’s Charles Dickens Museum, Gothic York actor James Swanton returns home with his Ghost Stories for Christmas.

At the time of going to CharlesHutchPress, only five tickets remain on sale for the entire run.

As last year, Swanton will be performing three Dickens works, one each night, at York Medical Society, Stonegate, from Tuesday to Saturday.

A Christmas Carol on Tuesday, Thursday and Saturday will be complemented by the lesser performed The Chimes on Wednesday and The Haunted Man on Friday, all at 7pm.

Swanton, the Outstanding Performing Artist winner in the 2018 York Culture Awards, will be the black-clad gatekeeper for all manner of supernatural terrors after memorising three hours of wintery material for his “seasonal roulette of three Dickensian tales”.

Ahead of his Dickens of a week in York, James answers Charles Hutchinson’s questions.

Why is A Christmas Carol so amenable to being presented in so many guises each winter in York and elsewhere, James?

“Could it be that it’s the greatest story ever written? Ebenezer Scrooge has joined Sherlock Holmes and Count Dracula as Victorian literature’s most endlessly adapted characters.

“But unlike the master detective and the master vampire, who constantly crop up in diverse new contexts, Scrooge remains inseparable from his original story. It’s perfectly structured and passionately written. It demands to be told, just as we all demand to hear it, year after year. There’s a great responsibility not to do it badly!”

What form do your three shows take: a reading or more than that in each one-man show?

“I’m happy to say that these are full-fledged dramatisations rather than Jackanory-style readings. This has been quite the Labour of Hercules: 180 minutes of text to memorise to cover the three one-hour readings! But it’s worth it to ensure these pieces are truly alive. My abridgements are closely based on Dickens’s own performance scripts, so their faith to their sources is absolute.”

Will you use a similar performance style for each tale?

“This is old-fashioned storytelling in a suitably atmospheric space. I’m hoping to use every physical and vocal trick in my repertoire to make the audience see Dickens’s pictures as clearly as I do myself.

“The formidable Miriam Margolyes saw me performing one of these pieces in 2017 at the Charles Dickens Museum. She was very complimentary about its pictorial vividness – and she’s not easily pleased!”

Give quick synopses of The Chimes and The Haunted Man…

“Just like A Christmas Carol, these lesser-known works hinge on disenchanted older men who must encounter the supernatural to change for the better. The Chimes is the exuberant tale of a lowly ticket-porter who finds goblins squatting in the bells of his local church.

“Meanwhile, The Haunted Man is a Gothic chiller about a chemist who hatches a bargain with his ghostly double to remove all of his sorrowful memories.”

Dickens’s concern over Ignorance and Want rings out in A Christmas Carol. Rather than being ghosts, the ills of greed and the need for charity and care for others are as alive as ever. Discuss.

“You know, the absence of Ignorance and Want might be the only flaw in The Muppet Christmas Carol (a near-perfect film, as everyone knows). Dickens spectacularly revives the figure of Ignorance in The Haunted Man, in which the feral child receives a ferocious human embodiment. Deeply disturbing.

“And The Chimes is so socially angry that it might as well be called ‘A Brexit Christmas Carol’. It attacks the untrustworthy press, the still more untrustworthy rich, and a world that condemns the poor without considering how they came to such grief. These might be Victorian ghost stories, but they are indisputably stories for our own age.”

We still respond to what Dickens says in a way that contrasts with so many people turning their back on religion. Why?

“Dickens might be considered to have reinvented Christianity for an increasingly secular world. He’s particularly invested in the idea of redemption, and how it might be realised through the death of an innocent child.

“Death is ever-present for Christ, even at the Nativity: think of King Herod’s massacre of the innocents, or the Wise Man who gifts him with the myrrh that’ll preserve his body after the crucifixion.

“All three of these Dickensian ghost stories centre on children in mortal peril. Tiny Tim must be resurrected just as miraculously as Scrooge. Dickens suggests that we can conquer death, but in ways more practical than waiting for an afterlife.”

James Swanton’s Ghost Stories For Christmas, York Medical Society, Stonegate, York, 7pm nightly; A Christmas Carol, December 17, 19, 21; The Chimes, December 18; The Haunted Man, December 20. Box office: 01904 623568 or at yorktheatreroyal.co.uk

James Swanton with his bust of actor Henry Irving in Irving Undead at York Medical Society in October

REVIEW: James Swanton in Irving Undead, York Medical Society, Stonegate, York, October 10 to 12 2019

IT starts with a dusty recording of Henry Irving drifting across the York Medical Society carpet.

This is the sound of “the strangest actor who ever lived”, and to a modern ear, the voice is indeed strange and deathly as Irving negotiates a speech from Shakespeare’s Richard III.

A door opens to the side of the stage, and what first emerges is a thin, long finger of actor-writer James Swanton, then all his digits curl round the door frame. Enter the gaunt Swanton, as spindly of leg as Irving notoriously was.

James Swanton in his role as Henry Irving, ” the strangest actor who ever lived”

As ever, whether playing Dracula, Dickens’ Bill Sikes, Frankenstein’s Creature, Lucifer or now Irving, Swanton brings an angular physicality to his bravura performance, wherein he seems to consume the character he plays, so wholly does he take on the part.

As we know too from his solo performance of Dickens’ A Christmas Carol last winter, he is a wonderfully eloquent storyteller, his writing full of intelligence, understanding, wit and drama.

Here Swanton’s Irving relates the story of his life and death, not least how Bram Stoker, his business manager for 20 years is said to have immortalised him by writing the horror story Dracula. The pain behind the mask for the “undead” and restless Irving is that Dracula is now better known than theatre’s first knight: a case of being out for the Count.

“I hope to do the old man justice,” said James Swanton, as Henry Irving confronted his demons in Swanton’s one-man show

Obsessive in his art, ill-fated in love, fearful of scandal, Irving specialised in playing mad monarchs, guilt-stricken murderers and the Devil, delivered with a Gothic, macabre air that apparently “petrified 19th Century London”. Swanton delights in playing Irving’s Romeo, a frightening performance from the early master of horror acting met with derogatory reviews that Irving reads out with a glum glower.

Swanton contends that Irving was a deeply subversive figure with a work, work, work ethic, driven by some mightier force. All this comes through in an intense performance, underscored with admiration for his fellow traveller along theatre’s pit-laden path.

“I hope to do the old man justice,” said Swanton in advance. He certainly does that, while adding to his stock as a formidable talent in his own right.

Charles Hutchinson

Posted on

Review: A Nativity for York, Spurriergate Centre, York

Babe in arms: Raqhael Harte’s Mary with the infant Jesus. Picture: John Saunders

A Nativity for York, York Mystery Plays Supporters Trust, Spurriergate Centre, Spurriergate, York, until Sunday

A NATIVITY for York is a new solo venture for the York Mystery Plays Supporters Trust, an hour-long festive first directed by Philip Parr.

The City Guilds wagons have parked up for the winter; Corpus Christi feast day is but a summer memory, and the mediaeval Mystery Plays have moved indoors for four nights and days of Christmas shows.

Glad tidings of great joy: Sally Maybridge’s Angel Gabriel in A Nativity for York. Picture: John Saunders

Thursday’s audience is sitting at tables, sipping hot drinks, the community cast placed among them from the start, to emerge one by one into their roles, with the company’s musicians and singers to the back of the church building. This positioning is a reminder that the Mystery Plays are of the people, for the people, by the people; always were, always will be.

This Nativity play is not one for tea-towel headgear, tons of tinsel, awkward children and extraneous animals in the stable. Instead, Parr’s production knits together text from eight of the 48 plays in the York cycle, here presented in a “northern dialect of Middle English origins but modernised”. Modernised might be stretching it: this is still the street language of the plays of yore, where “mickle” means “a large amount” or “much”.

Stable relationship: Raqhael Harte’s Mary and Chris Pomfrett’s Joseph with the new-born Jesus. Picture: John Saunders

What is modern is the presence of rucksacks and backpacks, a pram, an M&S bag, high-street clothes and Raqhael Harte’s Mary in jeans and hooded winter coat. That said, Las Vegas Elvis would love the cut of two of the Kings’ outfits, regal white for Wilma Edwards and dazzling blue for Stephanie Walker, an irreverent comment maybe, but their countenance could not be more reverent.

Costume designer Filip Gesse balances past and present, the everyday and the holy, robes and jackets in equal number, linking the plays’ history with today. Just as the deeply affecting storytelling has resonance with our need for a new guiding light, new hope, new beginnings (disconnected, it would seem, from the Godless political event going on that divisive, decisive day).

Wise move: Stephanie Walker’s King seeks the infant Jesus. Picture: John Saunders

Parr’s Nativity for York juxtaposes the Christmas miracle with the story of an ordinary couple caught up in events beyond their control that will change their lives forever. 

“The Nativity is probably a story that much of our audience will know, but we wanted to give it a fresh, new and contemporary perspective,” he says. “Joseph, Mary and their baby are really no different from any other refugees: fleeing their country, persecution and the threat of death.” Thought for the day, indeed.

Bearing her gift: Jenna Drury’s Shepherd with Raqhael Harte’s Mary and Jesus. Picture: John Saunders

Sally Maybridge’s Angel Gabriel looks down from above in radiant white, while cast members move among the full house, sometimes in circular motions as the Kings (completed by Ben Turvill) and the Shepherds (Ged Murray, Michael Maybridge and Jenna Drury) make their journeys to seek out the new-born king, wrapped up in Mary’s arms.

All the while, Chris Pomfrett’s Joseph is protective, concerned, dutiful, specs propped on his head in his few calm, reflective moments, fearful at others.

The weight of responsibility: Chris Pomfrett’s Joseph must take Mary and Jesus to a safe place after learning of Herod’s decree to put all infant males to death. Picture: John Saunders

Parr, artistic director of Parrabola and driving force behind the York International Shakespeare Festival, not only directs with suitable gravitas and awareness of making the fullest spectacle of the church setting, but also has written and arranged the beautiful music. Instrumental or choral, accompanied or a cappella, it sounds wonderful as it rises within these bare walls.

Thursday and tonight’s performances have sold out, but seats are available for shows at 12 noon, 2pm and 6.30pm tomorrow (December 14), and 12 noon and 2pm on Sunday. Rejoice at this news and book now on 01904 623568, at yorktheatreroyal.co.uk or from the Theatre Royal box office in person.

Charles Hutchinson

Posted on

REVIEW: Fieri Consort, National Centre for Early Music, York, 11/12/2019

Helen Charlston: “Some splendid coloratura”

York Early Music Christmas Festival: Fieri Consort, National Centre for Early Music, York, December 11

SORRY to pour cold water on your show, chaps, but this was not the oratorio it was billed to be. Giovanni Girolamo Kapsperger, an Italian with Austrian forebears, described his theatrical piece of 1629, The Shepherds of Bethlehem, as a “dialogo recitativo” – a dialogue in musical speech – a forerunner of oratorio certainly, but not the real McCoy. That was still to come.

Now that’s cleared up, Kapsperger certainly made a hefty stab at dramatising the Christmas story and the five singers and four players of Fieri put up a pretty good case for it. So we had the shepherds and the angels battling for the spotlight, while the librettist – a pope-in-waiting – delivered unctuous praise of the present pope, Urban VIII, via a narrator.

What the work lacked in arias was pleasingly filled in with motets and other madrigal-style commentaries, mainly from an earlier generation of composers. So Hassler hinted at the Annunciation, Michael Praetorius’s rose bloomed again, Marenzio admired the Christ-child and Victoria evoked the mystery of it all.

Fieri bring plenty of meat to the table in this repertory. These are strong, modern voices quite without the preciousness once so treasured by early-music buffs, but smooth at the edges as well, so that their blend is exceptionally polished. Shading was less prevalent here. There was even some splendid coloratura from Hannah Ely and Helen Charlston, courtesy of Carissimi, and the instruments kept up tasty chatter behind it all.

Review by Martin Dreyer

Posted on

Emma Osman’s perfect birthday present is a role in Kay Mellor’s Band Of Gold premiere

Do the hustle: Emma Osman as sex worker and single mum Carol in Kay Mellor’s Band Of Gold at Leeds Grand Theatre. Picture: Anthony Robling

KAY Mellor had seen at least 30 actors for the all-important role of hustler Carol in her stage version of Band Of Gold, then in walked Emma Osman.

“She looked right, she sounded right…and she turned out to be from Leeds,” recalled the Leeds writer-director at the question-and-session session that followed Monday night’s performance of her world premiere at Leeds Grand Theatre. “I couldn’t believe it. It must have been meant to be.”

Born in Leeds, raised in Moortown until she was eight, then Selby and York, Emma is being billed as “newcomer Emma Osman”. Although she has played Carly Reynolds in BBC One’s Doctors and Beth Ayres in Snatch on screen, this is her “break-out role”, performing alongside EastEnders’ Laurie Brett, Hollyoaks’ Kieron Richardson, Emmerdale’s Gaynor Faye, Coronation Street’s Shayne Ward and York actor Andrew Dunn, from Victoria Wood’s dinnerladies.

“The call came through my agent, and I met Kay in Leeds, two weeks before my 25th birthday,” says Emma. “It was confirmed I’d got the role later that evening, and what an early birthday present that was!”

Emma first caught the eye in York as a regal, mysterious and love-struck Titania in Nightshade Productions’ A Midsummer Night’s Dream on the city-centre streets in July 2012. Two summers later, by now studying at East 15 Acting Acting School, she returned home to play Oda-Mae Brown in Pick Me Up Theatre’s Ghost The Musical: the sassy comic-relief Whoopi Goldberg role in the film version.

Emma Osman in 2014, when she was playing Oda-Mae Brown in Pick Me Up Theatre’s Ghost The Musical in York

Now living in London, Emma is nevertheless delighted to be back north once more, and Mellor’s  story of “life on the lane” in Bradford’s red-light district in the 1990s has resonance for her.

Written 22 years after the ITV crime drama’s finale in 1997, the play retains the setting and storyline of the humorous but heartbreaking original series, wherein a group of women, Carol, Rose, Anita and Gina, a young mother newly on the game, must battle for survival…and a killer is on the loose.

“I’ve got a lot of family that lived in Bradford. My aunt used to work in the job centre, dealing with lots of sex workers, meeting the women Band Of Gold is based on,” says Emma. “In fact, the woman who Carol is based on is coming to the show.”

Normally, Emma has a rule not to watch a show before auditioning for a part. “But because Band Of Gold was written about real people, I broke that rule and watched all the series before meeting Kay,” she says.

Life on the lane and in the hustlers’ bar: Emma Osman’s Carol, Laurie Brett’s Anita and Gaynor Faye’s Rose in Kay Mellor’s Band Of Gold. Picture: Anthony Robling

“I’ve also watched a lot of documentaries on sex-workers, especially the Holbeck one in Leeds. It’s interesting to see how even though the women have to be tough, they’re also very vulnerable and they’re just everyday girls in extraordinary circumstances.

“What Band Of Gold does so well is show it all, the vulnerability, the banter and the problems that have put them where they are.”

Carol was “the Cathy Tyson role” in the TV series, but Osman gives it her own stamp, bringing lip, no-nonsense nous, jagged humour, resilience and a strut to a feisty woman who can handle a disinfectant bottle as well as she can deal with men’s demands and the inherent dangers of her work, taking care of herself and daughter Emma.

“There’s a pressure there, but you have to make the role your own,” she says. “I appreciate being given this opportunity to do something so powerful and to play a character who’s so strong and feisty.”  

“I’m honoured to be working with Kay Mellor, so I want to make her feel proud,” says Emma Osman

Working with a writer-director on a premiere has “definitely been different from my past theatrical experiences, though limited,” says Emma. “This way, if Kay wants to change a line, she can, if it makes more sense for the plot or improves the dialogue, so there was a lot more going on in rehearsals. And she’s been making changes during the run, giving us notes after shows, so we’re still working on it.”

Emma adds: “It’s given me such an insight into playing Carol, and it’s such an honour to be doing this play in Leeds with Kay, especially as I was born here and lived here until I was eight.”

Playing Carol is a “dream role”, she says. “I’m a big feminist and I’m into playing feminists, so this is ‘full-on percussion’ as my first big stage part. I’m honoured to be working with Kay, so I want to make her feel proud, just as I want to make the sex workers, or former sex workers, who are coming to see the play feel that we’re telling their stories truthfully.”

Kay Mellor’s Band Of Gold runs at Leeds Grand Theatre until Saturday, December 14. Performances:  2.30pm and 7.30pm today; 7.30pm tomorrow; 2.30pm and 7.30pm, Saturday. Tickets update: limited availability on 0844 848 2700 or at leedsgrandtheatre.com.

Charles Hutchinson

Posted on

REVIEW: Sleeping Beauty awakes at York Theatre Royal but should Dame Berwick era be put to bed?

Giving him the bird: David Leonard’s Evil Diva in Sleeping Beauty at York Theatre Royal. All pictures: Robling Photography

Sleeping Beauty, York Theatre Royal, until January 25 2020. Box office: 01904 623568 or at yorktheatreroyal.co.uk

UNLESS you have been asleep for 100 years, you will know Sleeping Beauty is the first York Theatre Royal pantomime since Berwick Kaler hung up his big boots after 40 years as Britain’s longest-serving dame.

Unlike Elvis, however, Kaler has not left the building. Now 73, he is still taking care of business, writing the script; co-directing with Leeds City Varieties rock’n’roll pantomime alumnus Matt Aston; appearing in two film sequences and in doll’s head form for baby Beauty, and providing sporadic voice-overs too. In other words, there is still a Kaler on the loose.

Slice-up: A J Powell’s ever-changing modes transform him into Edward Scissorhands

“You have given me a purpose to life,” he told his adoring panto public as he waved goodbye through the final curtain on February 2 this year. “I’m not going anywhere. If this theatre needs me, I’ll be back like a shot.”

Executive director Tom Bird and co decided they did need him for the first pantomime of the post-dame, post Damian Cruden directorship era. Britain’s best villain, David Leonard, perennially bouncy sidekick Martin Barrass, ageless principal girl Suzy Cooper and chameleon Brummie A J Powell said they needed him too, to write the script.

And so Berwick was back like a shot, ticket sales have passed the 30,000 mark, but how do you fill the black hole, the tornado wreaking havoc, the master adlibber, the smasher of theatre’s fourth wall that is the Kaler dame?

All rise: Martin Barrass’s down-to-earth Queen Aradne with Jack Lansbury’s King and newcomer Howie Michaels’ Funky the Flunky in Sleeping Beauty

This is the elephant in the room, a role more usually taken by Barrass in one of his animal acts. In fact, a better comparison is Banquo’s ghost, haunting this halfway house of a panto.

Sleeping Beauty retains the Kaler template, from Babbies And Bairns theme tune opening to Hope You’ll Return Next Year finale to convoluted plot, via disappointingly unfunny films (one with Berwick and Harry Gration) and a futile slosh scene.

As there ain’t no-one like Berwick’s dame, the remaining panto gang of four spread out their familiar traits without ever filling the gap. Thankfully, there’s no rest for the wicked, and so David Leonard is still fab-u-lous, with a dash of dame, or more truthfully waspish drag queen, about his Evil Diva, and his character switch with Powell’s ever-so-nice Darth Vader is the show’s one coup de theatre.

Principal girl, cuddly toy: Suzy Cooper’s Princess Beauty

Suzy Cooper’s Princess Beauty goes from St Trinian’s schoolgirl with a cuddly toy to leading song-and-dance routines, searching forlornly for better material, especially in a year when she has excelled as Lady Macbeth in Shakespeare Rose Theatre’s Macbeth at Blenheim Palace.

Without his buddy Berwick to bounce off, Martin Barrass is in no man’s land – or even no mam’s land – as Queen Ariadne, not a dame, nor a queen, one with only one good (Bile Beans) costume and only one innovation, a nod to Eric Morecambe, to go with the old Barrass tropes.

Musical theatre newcomer Howie Michaels’s Funky the Flunky, big voice, big stage presence, fares well, and Jack Lansbury’s King/Tarquin Farquhar, dance captain Danielle Mullan and the ensemble work their panto socks off in frankly difficult circumstances, their reward coming in the stand-out Teenage Dirtbag routine, Grace Harrington’s best choreography..

Beauty and the beastly: Suzy Cooper with vainglorious villain David Leonard

Was it a mere coincidence that new designer Anthony Lamble’s sets lacked the sparkle of old, just as the comedy lacked the spark, surprise, timing, topicality and magical mayhem of the peak Kaler years?

Last night felt awkward, uncomfortable, indulgent. Bird and the board have to ask: “Are the days of this brand of pantomime behind you?”, because the patented but weary “same old rubbish” won’t suffice next year.

This is no laughing matter, and here are the options. Bring back Dame Berwick full on, working from the inside, not the outside, with all that goes with that; freshen up the panto in a different way, or find a new vehicle to utilise the talents of Leonard, Cooper, Barrass and Powell. Many a theatre has moved on from pantomime, whether Leeds Playhouse, the Stephen Joseph Theatre or Hull Truck, and still found a winter winner. We await the Bird call…

Charles Hutchinson

Posted on

No rest for post-dame Berwick Kaler as Sleeping Beauty awakes at Theatre Royal

The final curtain: Berwick Kaler saying farewell to 40 years as York Theatre Royal’s pantomime dame on February 2 2019

LAST night was press night for Sleeping Beauty, the first York Theatre Royal pantomime since Berwick Kaler hung up the dame’s big boots after 40 years.

Unlike Elvis, however, Kaler has not left the building. Now 73, he is still taking care of business, writing the script; co-directing with Leeds City Varieties rock’n’roll alumnus Matt Aston; appearing in two film sequences and in doll’s head form for baby Beauty, and providing sporadic voiceovers too.

How was the show? A thing of beauty, or should this panto format be put to sleep? See Charles Hutchinson’s verdict later today.

In the meantime, let’s remember the Dame Berwick Kaler years from an Ugly Sister in 1977 to exit stage left, February 2 2019. The total reads: Jack And The Beanstalk, six pantos; Mother Goose, five; Cinderella, five; Aladdin, five; Dick Whittington, four; Babes In The Wood, three; Sleeping Beauty, two; Sinbad The Sailor, two; Humpty Dumpty, one; Beauty And The Beast, one; Old Mother Milly, one; Dick Turpin, one; Humpty Dumpty, one; York Family Robinson, one; Robin Hood & His Merry Mam, one, and his last stand, The Grand Old Dame Of York, one. 

Posted on

Northern Ballet travel to Imperial Russia for Cinderella’s Christmas in Leeds

Up in lights: Northern Ballet dancer Martha Leebolt in David Nixon’s Cinderella. at Leeds Grand Theatre from December 17. All pictures: Emma Kauldhar

NORTHERN Ballet return home from December 17 for the festive season in Leeds with artistic director David Nixon’s enchanting adaptation of Cinderella at the Grand Theatre.

In the Canadian-born choreographer’s account of “the world’s most famous rags-to-riches fairy tale”, he combines dance with magic and circus skills, as seen on tour already at Nottingham Theatre Royal and Norwich Theatre Royal last month.

Puff the magic! Ashley Dixon as The Magician in Northern Ballet’s Cinderella

In Northern Ballet’s Cinderella,a tragic end to a perfect summer’s day leaves Cinderella with no choice but to accept a desolate life of servitude. At the mercy of her wicked Stepmother, Cinderella seeks joy where she can but, after encountering the handsome carefree Prince skating on a glistening lake of ice, she yearns for another life.

Despite her sadness, Cinderella never forgets to be kind and her generosity is repaid when a chance encounter with a mysterious magician changes her destiny forever.

Touching moment: Javier Torrres as Prince Mikhail and Minju Kang as Cinderella

Cinderella is not only choreographed and directed by Nixon, but he has designed the opulent costumes too. The ballet is performed to an original score by Philip Feeney, played live each performance by Northern Ballet Sinfonia. Duncan Hayler has designed the transformative sets, complemented by Tim Mitchell’s lighting design.

Nixon says: “This production of Cinderella, while being immediately recognisable as the famous fairy tale, offers something different to other traditional ballet adaptations.

Point of order: Minju Kang and Rachael Gillespie in Cinderella

“We have staged our ballet in the winter wonderland of Imperial Russia, opening up the possibilities of this colourful world as a new setting for Cinderella to make her journey. “Audiences will see the dancers skate on a glistening lake of ice, stilt walkers entertaining in a marketplace and the fateful Ball held in a Fabergé-inspired ballroom.”

He concludes: “Cinderellais ultimately the story of a young woman who must travel a challenging road to achieve happiness and our ballet is a joyful adaptation filled with action, magic and fun.”

You will go to the Ball: Minju Kang’s Cinderella in Northern Ballet’s Cinderella

Northern Ballet’s Cinderella runs at Leeds Grand Theatre, December 17 to January 2 2020, 7pm (not December 24 or 31); 2pm matinees, December 18, 21, 24, 27, 28 and 31, January 2; Sunday shows at 4pm, December 22 and 29; no Sunday evening shows. No performances on Christmas Day, Boxing Day and New Year’s Day. Box office: 0844 848 2700 or at leedsgrandtheatre.com.

Cinderella production credits

Choreography, Direction and Costume Design: David Nixon

Music: Philip Feeney

Set design: Duncan Hayler

Lighting design: Tim Mitchell

Associate and original scenario: Patricia Doyle

Costume design assistant: Julie Anderson

Circus skills training: Greentop Circus

Magic consultant: Richard Pinner

Posted on

Bob Geldof’s Boomtown Rats announce York gig and first album in 36 years

Here come the Citizens Of Boomtown: Bob Geldof, second from right, and The Boomtown Rats are to play York Barbican next spring

BOB Geldof’s punk old guard, The Boomtown Rats, are on their way to York Barbican on April 25 2020 on their Citizens Of Boomtown tour.

Tickets go on sale at 11am on Friday (December 13) on 0203 356 5441, at yorkbarbican.co.uk or in person from the Barbican box office.

Next spring’s tour will complement the release of a new album, Citizens Of Boomtown,  the Rats’ first studio work since In The Long Grass in May 1984. Full details will be announced “very soon”.

Irishman Geldof, now 68, formed The Boomtown Rats in Dublin in 1975, touring in their early days with The Ramones and Talking Heads en route to achieving BRIT, Ivor Novello and Grammy awards.

Lanky, lippy frontman Geldof, pianist Johnny Fingers and co became the first Irish band to top the UK charts with Rat Trap in 1978 and made number one in 32 countries with I Don’t Like Mondays in 1979.

The Boomtown Rats recorded six albums, The Boomtown Rats in 1977; A Tonic For The Troops in 1978;The Fine Art Of Surfacing, 1979; Mondo Bongo, 1980; V Deep, 1982, and the aforementioned In The Long Grass two years later.

That year, Geldof formed the Band Aid charity supergroup, co-writing the chart-topping single Do They Know It’s Christmas (Feed The World) with Ultravox’s Midge Ure and later organising the Live Aid and Live8 fund-raising concerts in aid of Ethiopian famine relief in 1985 and 2005.

He played solo gigs at the Grand Opera House, York, in November 2002 to promote his Sex, Age & Death album, and at Harrogate Royal Hall in May 2012 after releasing How To Compose Popular Songs That Will Sell in 2011. It didn’t sell, ironically, peaking at number 87 in the British album charts.

His last stage appearance in York should have taken place in a line-up alongside Alan Johnson MP, Nicky Morgan MP and David Dimbleby in June 2016 at Central Hall, University of York. He was to have spoken on behalf of the Remain campaign on the last Question Time before the EU Referendum, but recording of the BBC1 show was cancelled after the death of Batley and Spen MP Jo Cox.

It would have marked the Irish knight, famine relief crusader, dot.com entrepreneur and rock veteran’s return to the Central Hall stage for the first time since 1986. That year Geldof had encouraged the audience to dance at a Boomtown Rats show despite a no-dancing rule in the contract.

“Since that day, only students have been allowed to attend York university gigs,” he recalled in an interview in 2002. “I only invited them to dance! We were a ******* dance band, for Christ’s sake.The student union sued us, but it was sorted out.”

How? “We ignored it! But I better not remind them – though they would have to sue the Rats, not me!”

Charles Hutchinson

Posted on

John O’Connor re-creates a Dickens of a reading of A Christmas Carol…minus the raw egg

John O’Connor as Mr Charles Dickens, presenting A Christmas Carol at the De Grey Rooms Ballroom

IN 1858, Charles Dickens came to Yorkshire to give public readings of A Christmas Carol, including in York on September 10 that year.

From next Tuesday to Saturday, in the De Grey Rooms Ballroom, next to York Theatre Royal, John O’Connor invites you to “experience what it must have been like to have been in the audience” as he transforms himself into Mr Dickens to present a heart-warming evening with the author himself, in the spirit of Christmas past, present and future.

“It’s one of the richest stories in English literature,” says John, whose one-man show will be staged by the European Arts Company at 7.45pm nightly. “Like all great works of art, it’s infinitely adaptable and has never fallen out of fashion.

“Its themes of loneliness, compassion, forgiveness, social inequality, money, family and redemption are as relevant today as in 1843 when it was written. As soon as the story was published, several stage versions appeared on the London stage and this tradition has continued to the present day. From Doctor Who to The Muppets, the story is constantly being reinterpreted for new audiences in interesting ways.”

What makes O’Connor’s performance distinctive amid the annual glut of A Christmas Carol shows? “Charles Dickens came to York and gave a public performance of A Christmas Carol on September 10 1858. What must it have been like to have been in the audience 161 years ago? By all accounts, Dickens completely captivated everyone lucky enough to see him. In this show, we try and recreate that experience for the audience,” says John.

“Our production takes place in the De Grey Rooms, a beautiful Georgian ballroom that provides the perfect backdrop. Many adaptations tend to overplay the sentimental side of A Christmas Carol, but it’s also a very dark story written as a cry of anger against the Poor Laws, which unjustly punished the dispossessed of society, especially children, through the workhouse system.

“It’s fascinating to hear Dickens balance the sentimental with the fantastical and the political to create an incredibly powerful piece of theatre.”

Although we tend to think of poverty as being a 19th-century problem, the charity Barnardo’s estimates that more than three million children live in poverty in Britain today.

“This is why we’re raising money for the Great Ormond Street Hospital charity to help transform the lives of modern-day Tiny Tims this Christmas.,” says John. “Our show is an authentic glimpse into the heart of the story, in a gorgeous atmospheric setting, and in aid of a good cause.”

By O’Connor taking on the guise of Charles Dickens, his audience receives the story directly from the author himself. “At its best, the show is like a conversation with the author,” he says. “We use Dickens’s original public-reading script, so it’s fascinating to see what he highlights in the telling of it and how he takes us on Scrooge’s redemptive journey.”

Unlike Dickens, however, Euroepan Arts Company’s production has the benefit of modern theatre techniques, such as lighting, sound effects and video projections, to take the audience on a transformative trip.

“It’s a very emotional journey and the audience laughs and cries along with the author himself,” says John, who will be dressed in Dickens mode and plays all the characters.

“I’ve researched and studied the way Dickens performed it and use some of these techniques in the show,” he says. “However, there are also some authentic parts of Dickens’s performance that I’ve chosen to leave out.

“For example, how he prepared for a reading: two tablespoons of rum mixed with cream for breakfast, a pint of champagne for tea and, half an hour before he went on stage, a glass of sherry with a raw egg beaten into it!”

European Arts Company presents John O’Connor in A Christmas Carol, De Grey Rooms Ballroom, York Theatre Royal, York, December 17 to 21, 7.45pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk 

Posted on

Neighbours’ Mark Little turns evil in York for panto sorcery in Snow White

Mark Little at the press day to launch Snow White And The Seven Dwarfs at the Grand Opera House, York. Picture: David Harrison

MARK Little has to decide on the colour for his pantomime goatee beard when playing the evil Lord Chamberlain in Snow White And The Seven Dwarfs at the Grand Opera House, York.

“It was purple two years ago, green last Christmas, maybe black and white this time,” says the ex-pat Australian actor, comedian, writer, television presenter and 2019 Dancing On Ice contestant, who will be appearing in his 15th panto from tomorrow (December 12) to January 4.

After starting out playing the “silly billy” daft lad, he has since settled into the baddie’s role. “You get to an age in pantomime where you become a bit old for the fool, which needs a lot of energy,” says Mark. “I reached a point where I thought, ‘where do I fit in’? Ah, the baddie.”

Now 60, Snow White will be his eighth panto since switching to the dark side. “My villains tend to be crazed rather than evil. Unhinged. More Maggie on acid, than Boris! Unnerving,”  he says.                                                                                                                                                                                                                                                                                                                                                         

“I don’t make my baddies creepy. I call the children ‘stinkers’, and the more I insult them, the more angry they get with me, and they know the more they show dissent, the more I react, but they know that good has to triumph over evil, so I love to hear them booing.

“There’s a lot going on right now to make us want to boo, but theatre is a safe environment to do it. That’s one of the reasons theatre is there for, especially panto, to mock things we don’t agree with, celebrate things we love and reflect on where we’re going.

“So I like to ‘place’ my baddie in that present time. Like Trump not being acceptable, and we have a licence to openly mock that.”

After making his name as Joe Mangel in the Australian soap Neighbours from 1988 to 1991, Mark has lived in Britain for 25 years, 20 of them in Brighton before moving to Wood Green, London, to be close to his grandchildren.

The great cape: A swirling Mark Little in evil Lord Chamberlain mode for Snow White And The Seven Dwarfs. Picture: David Harrison.

He has presented The Big Breakfast, appeared regularly on The Wright Stuff and Big Brother’s Bit On The Side and toured his one-man show Defending The Caveman, playing the Grand Opera House in 2007 and York Theatre Royal in 2010. Pantomime has become a fixture on his calendar in Britain, but back in Australia, it is a different story.

“There’s no such thing. Australia doesn’t have theatre in its DNA. Sport, yes, but culture’s put to one side. It’s all sport. You have to have a number on your back! But here in the UK, Brits are going to the theatre from the age of six and playing football. You do both.

“As I was growing up, all our television came over from Britain. It’s not a mystery that I ended up living here because we were brought up on all that culture.”

Gradually Australia sought its identity through film, whereas “even Neighbours took a while for Australia to connect with,” says Mark. “It wasn’t heralded the same way it was over here. It was ‘the show with the sets that wobbled’. But it was celebrated here.”

Neighbours went from being “the soap that no-one noticed in Australia” to,” whoosh, a show that really took off”. Mark arrived in Britain to perform his own comedy show at the Edinburgh Fringe just as the first series began to be aired over here, two years behind Australia.

“I wasn’t ready for what happened next. Joe Mangel took over!” he says. “That’s a phenomenon I’ll never recover from. If the Brits get into something they love, they hold on hard and strong. Joe Mangel will live with me forever.

“I ended up presenting The Big Breakfast, having done that type of TV in Australia on Zoo TV, and they thought I could do the same thing here. My style of comedy is fairly crazy, anarchic, plenty of mayhem. People trusted Joe Mangel, so I was ‘Johnny Foreigner taking the mick and mocking British culture’, which they don’t like usually here, but they’d taken to Joe Mangel, so they loved it.

“My comedy suited that Tiswas style, and it’s the kind of show that TV looks like it’s crying out for now.”

Mark Little, left, with his Snow White And The Seven Dwarfs co-stars, Steve Wickenden, Martin Daniels, Louise Henry, Jonny Muir, and Vicki Michelle. Picture: David Harrison

At the time of this interview, Mark was sporting a full beard from a three-week shoot filming the low-budget independent film Passing Through in the South of France. “David Hall, a playwright and theatre director, wrote the part for me,” he says.

“It’s his first feature film, and I play an Australian teacher who’s been in Britain for 25 years and decides to go to the South of France with his new wife, on her new anti-depressants, to try to forge a new life amid the gypsies,” he says.

“But along comes his estranged son to remind him of his old life. All their problems come up and we see if they can be rectified or not.

“It’s not a car-chase film! It’s not chick.lit! It’s a bit old-fashioned in style with an international flavour. It’s taking a cathartic look at a modern relationship, a modern family, in an anti-depressant world, where they’re trying to deal with the past and the present by creating a new future when he has his redundancy money.”

Metaphysical in tone, Passing Through is set at a time “when it’s hard to be happy, and what is happiness anyway?”, says Mark. “It doesn’t come up with schmaltzy answers. My character just thinks we better have some fun making a future.”

By comparison, pantomime is a world of certainty where good will defeat evil, and Mark Little’s grandchildren will enjoy every chance to “boo Pop”.

Mark Little stars in Snow White And The Seven Dwarfs, Grand Opera House, York, from December 12 to January 4 2020. Box office: 0844 871 3024 or at atgtickets.com/york

Charles Hutchinson