Simon Armitage, Poet Laureate, Yorkshireman, sherry drinker and York Theatre Royal performer

Lips’ ink: Poet Laureate Simon Armitage with a pen for his thoughts

SIMON Armitage is the fourth Yorkshireman to be appointed Poet Laureate, in the wake of Laurence Eusden, Alfred Austin and the rather better-known Ted Hughes.

“I know bits and pieces of the other two,” says the 56-year-old Huddersfield poet, who succeeded Carol Ann Duffy as the 21st incumbent of the prestigious ten-year post last May.

Next Tuesday and Wednesday (February 4 and 5), he will be performing in York for the first time since his appointment, presenting Seeing Stars: An Evening With Simon Armitage at York Theatre Royal in two fundraising shows to support the theatre’s community work.

“But I don’t see myself as someone who speaks for the county,” says Simon, “Though I’m obviously from here and speak with the voice I grew up with, the noises and dialect I grew up with, and I certainly use Yorkshire in my poetry.”

Historically, the payment for the laureateship was a gift of wine until Henry Pye chanced his arm by asking for a salary in 1790 in the reign of George III. That all changed again when Ted Hughes became Poet Laureate, whereupon Graham Hines, director of the Sherry Institute of Spain, invited him to Jerez in 1986, and the traditional gift was re-constituted.

“They invited me over to Spain last year, and I did my tasting, educating my palate and getting to choose my sherry, and then effectively they send over a barrel every year.”

Do you like sherry, Simon? “I do now!” he says.

Meanwhile, let’s raise a glass to his shows in York next week when Simon will be joined by “well-known actors” for the Seeing Stars poetry readings. “The performance is devised around the shows we did at the Sam Wanamaker Playhouse [at Shakespeare’s Globe in London], maybe four years ago, when Tom Bird [now York Theatre Royal’s executive director] was at the Glob,” says Simon.

“In fact, the first performance was just when Dominic Dromgoole was leaving the artistic director’s post, and we did Sir Gawain And The Green Knight and The Death Of King Arthur poems, and it will be something along those lines with four actors in York.”

As the show’s title indicates, Seeing Stars will feature selections from Armitage’s book of dramatic monologues, allegories and absurdist tall tales of that title. “That book is ten years old this year: it’s very dramatic, very theatrical,” he says.

The York show is being curated by Scarborough-born theatre director Nick Bagnall, with the actors involved yet to be confirmed at the time of going to press.

“I first met Nick when he was playing a monkey trapped in a bathroom in Huddersfield!” Simon reveals. What? “It was a promenade event in a house in Huddersfield in an area called The Yards that was being knocked down,” he explains.

“I’ve since done a couple of my plays with him directing them: first my dramatisation of Homer’s The Iliad, The Last Days Of Troy, at Manchester’s Royal Exchange and Shakespeare’s Globe.

“There are no rules really, no written spec, so it’s a question for each incumbent to decide how they will interpret it,” says Simon Armitage of his post as Poet Laureate

“Then the Liverpool Everyman did The Odyssey: Missing Presumed Dead, which ended up at the Globe.”

Looking beyond next week to Simon’s decade-long tenure as Poet Laureate, what does the role entail?

“There are no rules really, no written spec, so it’s a question for each incumbent to decide how they will interpret it,” he says.

“I’ve decided to do several projects: one of them will be The Laurel Prize: a prize for poems on the theme of the environment and nature and all that goes with that.

“It’s very prevalent in poetry now, and I’m delighted that the Yorkshire Sculpture Park [near Wakefield] will host the prize ceremony in May.

“I’m also making tours of public libraries this year,[The Laureate’s Library Tour], doing a week of eight readings from March 16 to 21 of A and B places: Aberdeen, Belfast, the British Library, Bacup, and several others.” A tour of C and D locations will follow in the autumn.

“This is to give some support to the pretty beleaguered library service because I believe it to be a really important institution,” says Simon.

His greatest wish is to introduce a National Centre of Poetry. “Not in London,” he says. “Poetry is one of our proudest traditions, and hopefully a national centre can be a place of writing, reading, research and residencies.

“It’s a huge capital funding project, a kind of legacy idea, not a one-year pop-up space but something that becomes part of the landscape.”

You may not know, but “there is no writing obligation associated with the role of Poet Laureate,” says Simon. “Wordsworth never wrote one poem in the post!”

The ever-prolific Simon, however, will be writing as prolifically as ever, having been appointed Poet Laureate by Her Majesty The Queen and the Prime Minister.

“The call came from Theresa May a week before she resigned,” recalls Simon. What did that involve? “It was a private call.”

What did the Prime Minister say? “It was a private call!” Simon says again.

Seeing Stars: An Evening With Simon Armitage, York Theatre Royal, February 4 and 5, 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

Copyright of The Press, York

Grand Opera House donates £8,765 in bucket collections to York Hospital charity

Customer experience manager Lauren Atkins, left, deputy customer experience manager Laura Castle, ticketing and sales manager Beth Scott and York Teaching Hospital Charity community fundraiser Joe Fenton with the Grand Opera House bucket collection cheque in the York theatre’s auditorium.  Picture: David Harrison

THE Grand Opera House, York, is to donate £8,765 to the York Teaching Hospital Charity from bucket collections held at performances in 2019.

The donation will go towards “helping to fund the extras to improve healthcare facilities above and beyond the NHS making patients feel better”. 

Joe Fenton, the hospital charity’s community fundraiser, said: “We’d like to say a huge thank-you to the Grand Opera House and to everyone who generously donated at the bucket collections held across 2019.

“The incredible amount that has been raised is truly inspiring and will go a long way in improving the staff and patient experience across our hospitals. 

“The money will be used benefit a number of wards, including the Children’s Ward, Dementia, the Renal Unit and our Maternity Bereavement Suite, so thank you for your fantastic support.”

Clare O’Connor, theatre manager at the Cumberland Street theatre, said: “We’re absolutely delighted to have contributed nearly £9,000 (£8765.17) to numerous departments – Renal  Unit, Children’s Ward, Dementia Appeal and Butterfly Appeal – in the hospital over the past 12 months, in conjunction with the wonderful York Teaching Hospital Charity.

“Without the very generous donations of our audience members, and the time kindly given by volunteers for collections, we wouldn’t have achieved so great a figure, which means so much to all the staff at the Grand Opera House.”

Clare continued: “The patients and relatives who use these departments at York Hospital will benefit greatly from these funds, which will improve their experience during a difficult time, and we look forward to more successful fundraising over the next 12 months. Thank you.”

Pianist Joe Alexander Shepherd to perform at NCEM in aid of Charlie Gard Foundation

York contemporary classical composer Joe Alexander Shepherd

YORK pianist Joe Alexander Shepherd will play in aid of the Charlie Gard Foundation at the National Centre for Early Music, York, on March 7.

Joe studied at Bootham School, where he learnt to play the piano from a young age, before moving on to Paul McCartney’s Academy of Music in Liverpool as a teenager.

He composes and performs intricate, minimalist contemporary classical music with subtle touches of atmospheric melancholy, in the vein of Ludovico Einaudi, Michael Nyman, Dustin O’Halloron and beyond.

The poster for Joe Alexander Shepherd’s March 7 concert

Writing since the age of 15, piano has always been in the heart of Joe’s songs, adding his own twist with textural synths to bring the simplistic melodies to life.

After signing a worldwide record deal with the Vancouver label Nettwerk, he launched his five-track debut EP, Time, in an intimate concert at the Unitarian Chapel, St Saviourgate, York, in September 2018.

Recorded at his York home over a two-year period, it compromised the title track, One Day, Opus 266, Amore and Love Me Like You Did Before. “I’m now working towards my second EP and there’ll be an album to follow in the near future, released through Nettwerk, whose roster includes the likes of Passenger, Fun, Stereophonics, to name a few,” he said at the time.

The artwork for Joe Alexander Shepherd’s debut EP, Time, in 2018

Joe will showcase new material alongside special guest cellist Isaac Collier at his March 7 concert. Maybe an indication that recordings could be on their way?

Reflecting on his career so far as a performer and in-demand composer, he says: “I was lucky to compose the soundtrack for UEFA’s World War One Truce video, starring footballers Wayne Rooney, Gareth Bale and Sir Bobby Charlton, and I’ve also written pieces for the Rugby Football Union, BBC One, BBC Two and Land Rover. My dream is to perform at the Royal Albert Hall in London, playing my own original material to fans across the globe.”

Support act Rachel Croft. Picture: Jono

Joe’s support act at his 7.30pm charity concert will be York singer-songwriter Rachel Croft. Tickets cost £15 on 07853 070201 or by email to stephanie@thecharliegardfoundation.org.

The Charlie Gard Foundation charity supports children, adults and their families affected by mitochondrial disease. 

Helen Wilson completes her Chekhov big four with The Seagull, but what next?

York Settlement Community Players director Helen Wilson bonding with Cliff, the seagull from Dotty’s Vintage Tearoom in Staithes, ahead of her production pf The Seagull

CHEKHOV devotee Helen Wilson set herself the challenge of directing the 19th century Russian’s four greatest plays for York Settlement Community Players in ten years.

Next month, the project will be completed with his 1895 tragicomedy The Seagull, his most famous work, as Settlement celebrate their centenary by returning to the York Theatre Royal Studio.

First, however, Helen will give a library talk tomorrow (January 29) from 6pm to 8pm at York Explore to mark Anton Chekhov’s 160th birthday, under the title of Adventures In The Cherry Orchard: Chekhov And Me. 

“Why is Anton Chekhov so beloved and called ‘the father of the modern theatre’,” Helen will ask herself. “I’ll seek to explain why through anecdotes and a little biography; casting a light on why he called his plays ‘comedies’.

“So, come and toast Chekhov’s 160th birthday with a glass of vodka or wine and be entertained by extracts of his work from The Seagull cast. As I direct the fourth of his major plays, I’ll share my enthusiasm for a great Russian dramatist.”

Chekhov And Me: Helen Wilson’s talk at York Explore

This will be York tutor, theatre director and actor Helen’s final Chekhov production as Settlement tackle the late 19th century work that heralded the birth of modern theatre with its story of unrequited love, the generation gap and how life can turn on a kopek: a raw tragicomedy of poignancy yet sometimes absurd playfulness.

She had not envisaged doing all the Chekhov quartet when she set out in March 2010. “I did Three Sisters in the Theatre Royal Studio, and I thought that would be that, as it was my ambition to do that play,” recalls Helen.

“But then I did The Cherry Orchard at Riding Lights’ Friargate Theatre in September 2015, and I was on a roll, so we did Uncle Vanya in the Theatre Royal Studio in March 2018 and now The Seagull in the Studio again. Two actors have been in all of them: Maurice Crichton and Ben Sawyer. They just keep auditioning!”

Helen can see patterns in Chekhov’s work when putting the four side by side. “Chekhov has both ensemble text and ‘duo-logue’, where there’s so much going on and so much subtext too,” she says.

“So for The Seagull, I’m having to hold both ensemble rehearsals and separate rehearsals for the main characters.

Helen Wilson and seagull Cliff in Staithes

“And having done the three other plays, I can point to the pattern where Act One is always a souffle, with plenty of laughing at these slightly inept characters thinking they are something they’re not, and the audience having that delicious moment of thinking, ‘well, actually that’s not going to happen’. Then Chekhov likes to lob a bomb into the room in Act Three.”

Helen has “always felt that The Seagull has never fully made sense on stage” when she has seen past productions. “Like Irina Arkadina has always been seen as a monster, when she’s not,” she says.

“It’s important to show what’s beneath that, and Chekhov always gives you the opportunity to see the other side of the character. That’s what I want to explore and exploit.

“They’re all vulnerable, every one of them…but when I went to see Vanessa Redgrave in the play when I was nine, I wasn’t very impressed! Her speech at the end wasn’t very good!

“In this production, I want there to be vulnerability, but also warmth, in every character, for the audience to be able to laugh and cry with them.”

Settlement regular Maurice Crichton (Vanya) and Amanda Dales (Yelena) in rehearsal for York Settlement Community Players’ Uncle Vanya in 2018

Helen sees a difference between The Seagull and the other three plays. “It isn’t like the others in that the ending is very abrupt,” she says. “Chekhov was very influenced by Ibsen, and this is more of an Ibsen ending than elegiac, but the play is also a great deal funnier than people realise, especially in Act One.

“As with Ibsen and Shakespeare, you can be too reverent in how you present it, but I want people to find the characters recognisable types that they know.

“All life is there; you don’t have to hit people over the head with it. All the resonance is there. It’s all going at someone’s home and that’s how it should feel.”

What has Helen learned from her earlier productions? “Not to have so much on stage, like having a chaise longue previously! The costumes will be period, there’ll be a soundscape and lighting, but what matters is to make it absorbing to watch, so it’s going to be very intimate.”

Settlement’s production, by the way, will be carrying the best wishes of writer/translator Michael Frayn, who has sent the York company a message of gratitude. “It’s a wonderful achievement for YSCP to have performed all of Chekhov’s four last great plays – and I can’t help being pleased, of course, that they have chosen to use my translations,” he wrote.

Helen Wilson standing by cherry blossom when directing The Cherry Orchard in 2015

“Most productions of the plays these days seem to be ‘versions,’ with the period, location, genders, and politics changed to make them more relevant to audiences who might otherwise not be up to understanding them.  

“People in York, though, are evidently made of tougher stuff, because the simple intention of my translations is to get as close to the original Russian as I can.  Just occasionally, perhaps, it’s worth trying to catch the sense and feel of what Chekhov actually intended. So, thank you, YSCP!”

Helen has stated this will be her last Chekhov, but out of the blue she says: “Having done the other three, in some ways I’d like to do Three Sisters again. Having learned things since I did it, I’d do it differently but more or less with the same cast.

“You get into a rhythm of what these plays are like, and they still move me every time. It’s like a labour of love doing them.

“But when I finish this one, I’d love to do an Arthur Miller one next. The thing about Chekhov and Miller is that they’re universal. You don’t have to modernise them for resonance. They will always resonate in their own period.”

A word in your shell like by the sea at Staithes: Cliff and The Seagull director Helen Wilson

York Settlement Community Players in Chekhov’s The Seagull, York Theatre Royal Studio, February 26 to March 7, 7.45pm plus 2pm matinee on February 29; no Sunday or Monday performances. Box office: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.

Tickets for Helen Wilson’s Chekhov talk at 6pm tomorrow (January 29) at York Explore, Library Square, Museum Street, York, cost £5 at yorkexplore.org.

Quick question:

What’s the story behind seagull Cliff, Helen?

“He’s called Cliff and he lives in the window of the much frequented Dotty’s Vintage Tearoom in Staithes, collecting coins for the RNLI. He was allowed to commune with me for an hour or two and seemed to enjoy it!”

Wig, beard, green coat, Rory Mulvihill is ready to steal the show again as Fagin

Rory Mulvihill, donning beard, wig and iconic green coat, to play Fagin for a second time. Pictures: Anthony Robling

YORK Light Opera Company mark 60 consecutive years of performing at York Theatre Royal by presenting Lionel Bart’s Oliver!, 60 years after the musical’s West End debut.

Running from February 12 to 22 in a revival directed by Martyn Knight, with musical direction by John Atkin, the show is based on Charles Dickens’s novel Oliver Twist and revels in such songs as Food, Glorious Food, Oom-Pah-Pah, Consider Yourself and You’ve Got To Pick A Pocket Or Two.

Leading the cast of 40 will be Rory Mulvihill, a veteran of the York theatre scene, who will be playing Fagin after a career with York Light that does not quite stretch back 60 years but does run to 35. “I started in 1985 with the summer show Songs From The Shows, which was a cabaret-style show, where I remember I was part of Three Wheels On My Wagon as a cowboy,” he says.

Reflecting on his subsequent myriad York Light roles, he says: “I’ve enjoyed all of them, but the one I’m most proud of is Barnum. It was a tremendous show. Every member of the cast had to learn a circus skill and perform it to full houses. I spent four months going to a circus school three days a week learning how to tight rope walk.”

Rory Mulvihill in the rehearsal room for York Light Opera Company’s production of Oliver!

Rory is playing Fagin for the second time, so he is well qualified to analyse the musical’s portrait of the trickster who runs a den of nimble young thieves in Victorian London’s murky underworld.

“The character is written very differently in the musical from the novel, in a way that makes you feel for him. You know fundamentally he’s a bad person but there’s always something that redeems him,” he says. 

“If I had to describe him in three words, I remember there was an advert for creme cakes about 40 years ago and the slogan was ‘naughty but nice’, so I’m going to go with that one. 

“I don’t do anything specific to get into character. Someone once said their character builds as they dress up as them and that certainly applies to Fagin as I’ll be having a beard, wig and the iconic long green coat. It certainly helps wearing the costumes to get into character.”  

Rory Mulvihille’s Fagin with his two Artful Dodgers, Jack Hambleton and Sam Piercy

Picking out the differences between the first and second times he has portrayed Fagin, Rory says: “The children involved give Oliver! its dynamic. It’s a different set of kids and crew of course.

“We only have one set of kids this time instead of two. Having done it once, I’m not starting again, I’m building on what I’ve done before. Hopefully I’ll not stumble over the lines and give a better performance.”

A key part of his role is leading the young cast around him. “Whenever you work with kids, it’s difficult to begin with because they’re scoping you out to see what they can/can’t get away with, but once you get over that, it’s a joy.

Jonny Holbek as Bill Sikes with Roy as Bullseye in York Light Opera Company’s Oliver!

“They’re now quite relaxed in the company of the adult cast and I’m getting to know them – maybe a bit too cheeky at times. Theatre is the best gift you can give a kid to carry through their life.”

That sentiment takes him back to Leeds-born Rory’s first steps in theatre. “Funnily enough Oliver! was the very first show I was ever in. I played the Artful Dodger in a school production at St Michael’s in Leeds in 1968. It was just by accident really. I was just asked to do the part by the director. That was my introduction to theatre and I’ve been doing it ever since. Now I’ve come full circle with Oliver!”

Rory, who has lived in York since the mid-1980s, worked as a lawyer for more than 30 years, at Spencer Ewin Mulvihill and latterly Richardson Mulvihill in Harrogate, before retraining as a teacher of English as a Foreign Language, but he has always found time for a parallel stage career.

In doing so, he has been not only a leading man in multiple musicals but also has played both Jesus and Satan in the York Mystery Plays; York lawyer and railway protagonist George Leeman in In Fog And Falling Snow at the National Railway Museum, and lately Sergeant Wilson in Dad’s Army and the outrageous Captain Terri Dennis in Peter Nichols’s Privates On Parade for Pick Me Up Theatre.

Rory Mulvihill, centre, as the flamboyant Captain Terri Dennis in Privates On Parade

Last summer, he set up a new York company, Stephenson & Leema Productions, with fellow actor and tutor Ian Giles, making their June debut with Harold Pinter’s ticklishly difficult 1975 play No Man’s Land.

Now his focus is on Oliver!, performing alongside Alex Edmondson and Matthew Warry as Oliver; Jack Hambleton and Sam Piercy as the Artful Dodger; Emma-Louise Dickinson as Nancy and Jonny Holbeck as the villainous Bill Sikes.

Rory looks forward particularly to singing the climactic Reviewing The Situation. “It’s a tour de force,” he reasons. “You can’t really go wrong with it. It’s a fantastically written song with a beautiful tune, comedy and pathos.

“Please sir, I want some more…and more”: Matthew Warry and Alex Edmondson, sharing the role of Oliver in York Light Opera Company’s Oliver!

“Lionel Bart clearly thought ‘I’m just going to take the audience’s emotions and put them through the ringer’. So, at the end, they don’t know whether to laugh or cry. A wonderful piece of work.”

As the first night looms on the horizon, will Rory experience first-night nerves, even after all these years? “For me, rehearsals can be more worrisome than being on stage,” he says.

“Performing in front of your peers, certainly for the first time, can be very nerve racking, and it’s getting over that that prepares you for being on stage. By the time you get on stage, you have butterflies of course, but you know you can do it.”

York Light Opera Company present Lionel Bart’s Oliver!, York Theatre Royal, February 12 to 22, 7.30pm plus 2.30pm matinee on both Saturdays. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Who are the new additions to the Deer Shed 11 festival this summer?

Cate le Bon: Deer Shed 11 this way

DEER Shed Festival’s second wave of acts for July 24 to 26 at Baldersby Park, Topcliffe, near Thirsk, is confirmed today.

Ghostpoet, Cate Le Bon, Tim Burgess and Warmduscher are among more than 30 new additions, complementing a bill that already features Stereolab and Baxter Dury among its headliners.

Two-time Mercury nominee Ghostpoet will join headliners Stereolab on the Friday Main Stage line-up, while Welsh avant-pop singer-songwriter Cate Le Bon will play before Deer Shed’s yet-to-be-revealed Saturday night Main Stage headliner. 

Tim Burgess, frontman of Madchester icons The Charlatans, will headline In The Dock, Deer Shed’s second of four live music stages, on the Friday, followed by The Twilight Sad and Kate Tempest on the Saturday and Sunday respectively. 

Boy Azooga, Dream Wife and Jesca Hoop are all artists familiar with performing at Baldersby Park, 100 acres of North Yorkshire parkland, woodland, lakes and rivers that Deer Shed calls home. Boy Azooga will be on the Main Stage on the Sunday, Dream Wife have been elevated to In The Dock headliners on the Friday and Jesca Hoop will join Roddy Woomble as a Lodge stage headliner on the Saturday. 

Warmduscher will play at Deer Shed on the Saturday, bringing their industrial post-punk sounds to the Main Stage after Tainted Lunch was named among BBC 6 Music’s 2019 Albums of the Year. 

As is Deer Shed tradition, Yorkshire and North East acts will be well represented: step forward Hull punks LIFE; Leeds indie bands Marsicans and Ruthie; Sheffield nerd disco trio International Teachers Of Pop; North York Moors alt rock band Avalanche Party; Leeds folk singers Serious Sam Barrett and Gary Stewart and north easterners Mt. Misery, Tom Joshua and Beccy Owen. 

A wealth of folk-influenced artists have been added too, among them Erland Cooper, Admiral Fallow; I See Rivers; Kitt Philipa; Rachael Dadd; Eve Owen; Irish Mythen; Conchúr White and The Magpies. 

The alternative rock contingent is bolstered by the additions of hotly tipped bands W.H. Lung, Do Nothing, Egyptian Blue, Kate Davis and Friedberg. 

Irish folk duo Morrissey & Marshall will present their Dublin Calling radio show live from Balderbsy Park, featuring live performances by Steo Wall, Brigid Mae Power and Padraig Jack. 

Harrogate Big Beat producer Rory Hoy and Newcastle producer Meg Ward will be Deer Shed’s first DJs, spinning tunes back to back at the Friday late-night silent disco, while Happy Mondays’ Bez will take to the decks and dancefloor for Sunday’s closing party. 

The festival team still has a handful of high-profile names left to reveal, but cards will be kept close to the chest for the time being. 

Festival director Oliver Jones says: “There has yet to be a year at Deer Shed where we haven’t significantly expanded the music offering. The day may eventually come where we decide we have enough amazing bands, but that year certainly isn’t 2020. 

“Ghostpoet, Cate Le Bon, Tim Burgess and Warmduscher, joining headliners Stereolab and Baxter Dury, plus a mass of artists ready to break the big time in 2020, are all ensuring the music line-up is once again brimming with world-class talent, and we still have an ace up our sleeve for the Saturday headline slot.” 

The second tier of tickets for Deer Shed’s 11th summer festival are expected to sell out at midnight on Friday, January 31. Tier 3 tickets will be available from Saturday at an increase of £10 per adult ticket. For tickets and more information, go to deershedfestival.com.

Full list of artists confirmed for Deer Shed Festival 11 (additions in bold):

Stereolab (headline); Baxter Dury (headline); Ghostpoet, Cate Le Bon; Kate Tempest (Telling Poems); Tim Burgess; The Twilight Sad; Sinkane; Warmduscher; Boy Azooga; Dream Wife; Roddy Woomble; Jesca Hoop; Snapped Ankles; Melt Yourself Down; Liz Lawrence; LIFE; Marsicans; Erland Cooper; Dry Cleaning.

Admiral Fallow; W.H. Lung; Ren Harvieu; International Teachers of Pop; Avalanche Party; I See Rivers; Kitt Philippa; Rachael Dadd; Native Harrow; Kate Davis; Big Joanie; Do Nothing; Egyptian Blue; Rina Mushonga; Friedberg; Heidi Talbot & Boo Hewerdine; Ruthie; Serious Sam Barrett; Eve Owen.

Irish Mythen; Tom Joshua; Brigid Mae Power; Conchúr White; Gary Stewart; Beccy Owen; Mt. Misery; Morrissey & Marshall present Dublin Calling; Steo Wall; The Magpies; Padraig Jack; Bez (DJ); Rory Hoy (DJ); Meg Ward (DJ)

2020 Jorvik Viking Festival is all talk in York next month. Here come the experts

Viking reproduction gold rings at the Jorvik Viking Festival

HORDES of Norse academics will descend on York during the 36th Jorvik Viking Festival, armed with fresh news of the Viking world.

During the February 15 to 23 festival run, lectures and talks will explore the concept of a single common European-wide market enjoyed by the Vikings, the remarkable voyage of replica ship The Viking and the latest discoveries at Trondheim.

The programme of talks has been compiled by Dr Chris Tuckley, head of interpretation for York Archaeological Trust.  “Jorvik Viking Festival is attended by Norse enthusiasts from around the world, from children getting their first taste of Viking culture, to academics who have devoted their lives to learning more about our Scandinavian ancestors,” he says.

“So, alongside the colourful hands-on events and presentations, we always host a series of talks and lectures that are accessible to a wide range of people, from enthusiastic amateur historians to leading names in the worlds of archaeology and research.”

Talks for 2020 include:

  • Home & Away: Fashion and identity in the Viking Age, presented by Dr Gareth Williams, of the British Museum, on February 18 at 7pm at the Jorvik Viking Centre.

This talk will explore how fashion varied across the Viking world, including how it fused with other styles as the Vikings explored the globe.  Tickets cost £25.

Here come the Vikings
  • The Helen Thirza Addyman Lecture by Chris McLees, archaeologist and researcher at Trondheim, a 10th century Viking trading settlement, on February 19 at 7pm at Fountains Lecture Theatre, York St John University. 

 This lecture will present the archaeology of this important place on the northern periphery of the Viking and medieval worlds, including the results of excavations at sites associated with the renowned late-Viking kings Olav Haraldsson (St Olav) and Harald Hardrada. Tickets are £10 for adults, £8 for concessions.

  • Looking for Jet in A Dark Place,  by Sarah Steele, consultant geologist for Whitby Museum, who explores the trade in black jet around the Viking world at the Jorvik Viking Centre on February 20 at 7pm.

The mineral of jet, which requires extreme global warming to form, was traded as far afield as Greenland, yet remains notoriously difficult to identify in the archaeological record.  Attendees will learn how modern technology may soon appreciate fully  the scope of Whitby Jet’s trade during the medieval period.  Tickets cost £25.

All of these events build up to the Richard Hall Symposium, closing the festival on February 23 in the De Grey Lecture Theatre at York St John University.

The theme of that day’s talks will be A Single Market for Goods and Services? , Travel and Trade in the Viking World, with experts including Professor Lesley Abrams, of Oxford University, Dr Gareth Williams, from the British Museum, Dr Jane Kershaw, of the School of Archaeology at Oxford University, and Maria Nørgaard, project leader at Vikinger på Rejse, Denmark. 

For more details on all the talks and presentations at the 2020 Jorvik Viking Festival, visit jorvikvikingfestival.co.uk.

The Stranglers call time on big tours with autumn gigs. Leeds and Sheffield beckon

The Stranglers: last full-scale tour in 2020

THE Stranglers, still going strong after 46 years, have decided their 21 October and November dates will be their final “extensive full production UK tour”.

“This is the last time we intend to play together in this way,” they say, after announcing Yorkshire gigs at Sheffield City Hall on October 30 and Leeds O2 Academy on November 12. “While we may not be checking out completely just yet, this will be the last opportunity to see us playing together in a comprehensive touring format.”

No more heroes on the road on full UK tours post 2020, autumn’s shows are a chance to enjoy peaches from a back catalogue of 24 Top 40 singles and 18 Top 40 albums before they walk on by to other ways of still gigging.

Responding to “overwhelming demand” from Stranglers fans, the invitation went out to Ruts DC to be this autumn’s special guests, so, yes, they will be Staring At The Rude Boys.

Meanwhile, The Stranglers – The Movie, a crowd-funded documentary that “attempts to cram the band’s complex story, full of wild anecdotes, into one film”, will be released imminently.

Tour tickets go on sale on Friday at gigsandtour.com and ticketmaster.co.uk.

Made In Dagenham cast made up by meeting with Rachael Maskell MP and West End actor Scott Garnham

Councillor Robert Webb, Kayleigh Oliver (playing Barbara Castle), Rachael Maskell MP, Martyn Hunter (playing Harold Wilson) and Councillor Anna Perrett at Sunday’s rehearsal run of Made In Dagenham

YORK Central MP Rachael Maskell and West End musical theatre star Scott Garnham, from Malton, popped along to Sunday’s rehearsal run of Made In Dagenham.

The session was open to York Residents Festival visitors as the Joseph Rowntree Theatre Company prepared for their fundraising musical production in aid of the Joseph Rowntree Theatre.

Presented by the JoRo’s in-house company, Made In Dagenham tells the true story of the beginning of the equal pay for women movement, focusing on the Ford strike at Dagenham in the 1960s.

The choice of show could not be more relevant because the York performances coincide with the 50th anniversary of the passing of Barbara Castle’s Equal Pay Act of 1970.

The Cortina girls and Buddy Cortina, from the Joseph Rowntree Theatre Company show, with Malton actor Scott Garnham, from the original West End production. of Made In Dagenham. Left to right: Lucy Plimmer, Jenny Jones, Ben Huntley, Scott Garnham, Karen Brunyee and Ashley Ginter.

The subject of equal pay and discrimination is close to Rachael Maskell’s heart, as the Labour MP spent many years as a union rep campaigning for equal rights. Re-elected at the December 12 General Election, she has been appointed as Shadow Secretary of State for Employment Rights. 

Addressing the company on the Rowntree Theatre stage, Ms Maskell said: “This is an inspirational story you are telling, and it remains a story of women at work today. If we don’t speak out, how do we expect things to change?”

She described the women of Dagenham as “sparky women who would not take no for an answer”, and urged the JoRo company to “go out there and keep fighting”.

Scott Garnham, who has performed many times on the Rowntree Theatre stage, appeared  in the original London production of Made in Dagenham in the role of Buddy Cortina.

The Joseph Rowntree Theatre Company’s fabulous machinists of Dagenham meet York Central MP Rachael Maskell and York councillors Robert Webb and Anna Perrett

In York last week for Friday’s tribute show The Best Of Frankie Valli & The Four Seasons at the Grand Opera House, on Sunday Scott said: “To come and support this local community theatre is really important to me. I learned a lot of my stagecraft here in this building.

“The venue is a real hub for performers of all ages and backgrounds, and theatre is a very unifying experience. I’m so pleased that the Joseph Rowntree Theatre Company have chosen to do this show as their annual fundraiser.  It’s the story of a truly inspirational group of women, many of whom I had the great pleasure to meet.”

Despite its gritty subject matter, Made In Dagenham is described as a heart-warming story, full of humour, coupled with wonderful music. Although the show is not suitable for young children, on account of “some very strong language”, the company hopes to introduce a wide new audience to the sparky women of Dagenham.

Next week’s production runs from February 5 to 8 at 7.30pm nightly plus a 2.30pm Saturday matinee. Tickets are available on 01904 501935, at josephrowntreetheatre.co.uk or in person from the Haxby Road theatre’s box office.

Morrissey, Leeds and a dog chain combine in arena gig and album release

The album artwork for Morrissey’s March 20 album, I Am Not A Dog On A Chain

MORRISSEY will preview his new album, I Am Not A Dog On A Chain, at Leeds First Direct Arena on March 6.

This will be the northern marrow to his one southern gig, The SSE Arena, Wembley, London on March 14.

Released on March 20 on BMG, the album will be preceded by the single Bobby, Don’t You Think They Know?, featuring guest vocals by Seventies’ Motown legend Thelma Houston.

“One of the biggest joys for me in this business is getting the opportunity to collaborate with other top artists,” says Thelma, now 73. “I love the challenge to see if what I do can work with what they’re doing.

“Sometimes it works, and sometimes it doesn’t. I think the blend of what Morrissey is singing and what I’m singing really works on ‘Bobby’. And it was a lot of fun working with Morrissey in the studio too!”

Produced by Joe Chicarelli, whose credits include Beck, The Strokes and The Killers, I Am Not A Dog On A Chain was recorded at Studio La Fabrique in Saint-Rémy-de-Provence, France, and Sunset Sound in Hollywood, California.

“I’ve now produced four studio albums for Morrissey,” says Chicarelli. “This is his boldest and most adventurous album yet. He has pushed the boundaries yet again, both musically and lyrically. And once again proving that as a songwriter and singer, he is in his own category. In truth, no one can be Morrissey but… Morrissey.”

I Am Not A Dog On A Chain follows last May’s California Son, a covers album that featured Ed Droste, of Grizzly Bear, Billie Joe Armstrong, of Green Day, LP (aka Laura Pergolizzi), Broken Social Scene’s Ariel Engle, Petra Haden and Young The Giant’s Sameer Gadhia.

Morrissey’s last album of original compositions was Low In High School in 2017. The new one has a track listing of Jim Jim Falls; Love Is On Its Way Out; Bobby, Don’t You Think They Know?; I Am Not A Dog On A Chain; What Kind Of People Live In These Houses?; Knockabout World; Darling, I Hug A Pillow; Once I Saw The River Clean; The Truth About Ruth; The Secret Of Music and My Hurling Days Are Done.

I Am Not A Dog On A Chain arrives against the backdrop of The Smiths’ former frontman, 60, sparking controversy with his latter-day political views.

Tickets for his Morrissey Live In Concert 2020 gig in Leeds are on sale at gigsandtours.com, ticketmaster.co.uk and axscom/uk.