York pantomime comic stooge Martin Barrass, back row, second from right, meets the Stockton Foresters cast for Being Of Sound Mind at Stockton on the Forest Village Hall
STOCKTON Foresters Drama Group will perform Andrew Hull’s little-known gem, Being Of Sound Mind, from November 30 to December 2, much to the approval of York pantomime legend Martin Barrass.
Dame Berwick Kaler’s stalwart sidekick visited last week’s rehearsal of Hull’s murder mystery with all the twists of a corkscrew.
“The Foresters provide the highest standard of any amateur drama society I’ve ever known,” enthused Martin, ahead of the run at Stockton on the Forest Village Hall, near York. “Forget the telly. This is real live entertainment that will have you captivated from start to finish!”
Foresters’ chair Karen Ilsley responded: “Martin has been so supportive of our thriving company, encouraging our talented actors and crew, and letting us in on a few trade secrets! We are honoured to welcome him into our fold and look forward to a long and fruitful association.”
Jasmine Lingard, left, Stuart Leeming and Lynne Edwards in rehearsal for Stockton Foresters’ Being Of Sound Mind
Foresters’ newcomer Jasmine Lingard will play Penelope Asquith, who is eager to discover the truth as to why her late aunt haunts the Goodchild residence. Will the household survive the night to inherit Edward Goodchild’s fortune? Or are the inhabitants destined to succumb to supernatural forces?
Jasmine will have a further role as Eleanor, joined in director Louisa Littler’s cast by Stuart Leeming as Martin Bodmin; Martin Thorpe, as Marshall; Pete Keen, Stephen Asquith; Lynne Edwards, Rebecca Lockhart; Nicky Wild, Jane Brunt, and Russell Dowson, Shaun.
“I have hugely enjoyed working with the Foresters on this production,” said Louisa. “The cast are really responding to the challenge of creating a suspense-filled piece that will have our audience intrigued to the end.”
Stockton Foresters present Being Sound Of Mind from November 30 to December 2 at 7.30pm nightly. Doors open at 6.30pm. Stockton on the Forest Village Hall is on the Coastliner bus route and there will be plenty of accessible parking and a bar. Tickets are on sale at thelittleboxoffice.com/stocktonforesters or Stockton on the Forest Village Shop.
Did you know?
STOCKTON Foresters are teaming up with The Fox Inn for this production. £9 tickets include a voucher for ten per cent off a meal at the village pub in January and February 2024. Vouchers will be available at the village hall.
What will panto favourite Martin Barrass and co be doing this winter at the Grand Opera House?
Martin Barrass, centre with fellow Grand Opera House pantomime stars David Leonard, left, AJ Powell, Suzy Cooper and Dame Berwick Kaler
MARTIN Barrass will star alongside Dame Berwick Kaler, David Leonard, Suzy Cooper and A J Powell in the swashbuckling pantomime adventure Robinson Crusoe & The Pirates Of The River Ouse at the Grand Opera House, York, from December 9 to January 6 2024.
Today, by the way, is Berwick Kaler’s 77th birthday. This winter, Britain’s longest-serving dame will be starring in his 43rd pantomime and second for producers UK Productions.
Meanwhile, the dowager dame’s costume and boots are on display at the V&A Museum, Cromwell Road, London, taking pride of place in the Theatre and Performance galleries until at least February 2024.
Writer-director Dame Berwick will lead his groundbreaking take on Daniel Defoe’s 1719 story of the sailor from York who finds himself marooned on a desert island, but on this occasion, Crusoe will not be sailing solo. Expect the unexpected as the familiar gang assembles again from December 9. Box office: atgtickets.com/york.
Berwick Kaler’s costume, rudimentary wig, trademark yellow and red socks and boots on show at the V&A Museum, London
Drawing Attention commissioned artist Ugonna Hosten with her charcoal, ink and pastel work At The Dawn Of Each New Day at York Art Gallery . Picture: Charlotte Graham
THE British Museum touring exhibition Drawing Attention: Emerging Artists In Dialogue has opened at York Art Gallery as part of a new Season of Drawing.
Compelling up-and-coming names in the field of contemporary drawing are displayed alongside works by celebrated artists within the British Museum collection of prints and drawings.
These new acquisitions include works by some of the youngest living artists ever collected by the British Museum, presented in tandem with works by celebrated artists from Mary Delany and Édouard Manet to Barbara Hepworth, Andy Warhol and Yinka Shonibare.
In this surprising and thought-provoking selection, emerging artists take the medium of drawing in new directions and use innovative approaches. A wide range of techniques and practices are represented, including drawings using make-up on face wipes by Sin Wai Kin and a drawing made with chalk collected from the White Cliffs of Dover by Josephine Baker.
Artists show how drawing, often considered a quiet or private medium, can be used to challenge social norms, explore identity and protest injustice. Catherine Anyango Grünewald has described the time and labour invested in her monumental drawings as a “direct homage” to their subjects, often the victims of institutional crimes.
The painstaking detail of Irish artist Miriam de Búrca’s drawings of clods of earth from cilliní – the unmarked graves of those deemed unfit for Christian burial – forces us to confront an uncomfortable history.
Isabel Seligman, the British Museum’s curator of modern and contemporary drawing, says: “We are excited to share our dynamic and growing collection of contemporary drawings with York Art Gallery, alongside treasures of our historic collection.
Amy Cope admires St John the Baptiste, by Hendrick De Somer 1602 – 1656, in the British Museum’s touring exhibition Drawing Attention: Emerging Artists In Dialogue at York Art Gallery. Picture: Charlotte Graham
“This touring exhibition enables us to highlight over 20 new acquisitions by some of the freshest and most compelling new voices in the field, exploring questions of identity, memory and materiality, and using innovative materials and processes.”
Drawing Attention: Emerging Artists In Dialogue forms part of a broader Season of Drawing that will run until April 21 2024, taking in the annual Aesthetica Art Prize exhibition from February 15 to April 21.
This season of events and exhibitions includes a new commission by artist Ugonna Hosten, an exhibition of works created by participants in the York Art Gallery’s Teenage Art School and a drawing studio space for visitors to make their own drawings.
Ugonna Hosten’s commission, chi; Altarpieces, Liturgy & Devotion, chronicles a heroine’s enchanted journey to initiate a relationship with her chi, a personal guiding spirit central to the Igbo-speaking people of Southeast Nigeria.
Ugonna uses the process of drawing to investigate and reimagine alternate precolonial histories. Paintings from the York Art Gallery collection connect her research to her Christian upbringing, while ceramics expand on relationships between the use of water vessels in sacred rituals and ceremonies.
Multi-disciplinary artist Ugonna works across media encompassing collage, drawing and printmaking. Born in Nigeria, she migrated to Great Britain as a child, and in many ways her work seeks to explore the notion of duality – namely earthly and spiritual – as being central to the human experience. Themes of myth as a form of reality and the realm of the unconscious are prevalent in her art.
Ugonna’s route into fine art was via a BA Honours in Criminology that led to a career in the civil service. Those early explorations into the human mind on her degree programme filter into her work now, her artistic practice being an evolution of a sort in piecing fragments together and investigating experiences; historically, personally and imagined.
Seeking to convey the dimensions of the self and its connection to the collective unconscious, she considers her exploration as building on the rich legacy and tradition of storytelling and myth making.
York Art Gallery curator of fine art Becky Gee drawing in the specially created Drawing Studio. Picture: Charlotte Graham
As part of the Season of Drawing, Ugonna has developed and led York Art Gallery’s annual Teenage Art School programme. Participants created work guided by their own experiences and interests, using a broad interpretation of drawing that aligns with Ugonna’s own practice in an exploration of the relationship between printmaking and drawing.
The installation of their works alongside Ugonna’s commission offers visitors the chance to reflect on the vast creative and interpretive potential of drawing.
With that in mind, a range of drop-in sessions and bookable events will run in the specially created Drawing Studio, where visitors can have a go at different types of drawing. Becky Gee, York Art Gallery’s curator of fine art, says: “The Season of Drawing is a dynamic series of exhibitions and events that we hope will inspire visitors to think deeply about different aspects of drawing, and be inspired to try it for themselves.
“We are so grateful to have the opportunity to bring together so many different artists, from the famous and contemporary names of the British Museum to our own Teenage Art School participants.”
Among the Emerging Artists In Dialogue is Charmaine Watkiss, exhibiting her 2021 pencil, water-soluble graphite, watercolour and ink work Double Consciousness: Be Aware Of One’s Intentions, acquired by the British Museum with Art Fund and Rootstein Hopkins Foundation support.
Charmaine, who lives and works in London, completed her MA in Drawing at Wimbledon College of Art, 2018. Her work is concerned with what she calls “memory “, wherein she creates narratives primarily through research into the African Caribbean diaspora, then mapped onto female figures.
Charmaine depicts herself as a conduit to relay stories that speak of a collective experience; starting with an idea, then allowing intuition and a dialogue with the work to take over. Her practice addresses themes of ritual, tradition, ancestry, mythology and cosmology.
Artist Charmaine Watkiss studies her pencil, water-soluble graphite, watercolour and ink work Double Consciousness: Be Aware Of One’s Intentions at York Art Gallery. Picture: Anthony Chapell-Ross
Since her first gallery solo show, The Seed Keepers, for Tiwani Contemporary Gallery, London, in 2021, she has been investigating the herbal healing traditions of Caribbean women; especially those of her mother’s generation, connecting those traditions through colonisation back to their roots in Africa.
In 2022, Charmaine undertook a six-week residency in southwest France at Launchpad LAB that enabled her to explore nature and ecology in a more focussed way, and to combine drawing with making sculptural forms.
On her return, she was selected as a commissioned artist for the 12th edition of the Liverpool Biennial 2023. This allowed her to develop her practice further by creating an installation that consisted of life-sized drawings and sculpture, embodying a healing frequency in response to Liverpool’s troubled historical past.
Charmaine’s first institutional solo show, The Wisdom Tree, ran at Leeds Art Gallery from May to October last year, combining her signature large-scale drawings with more private artworks and notebooks in works that fused her interests in herbalism, alchemy and history and drew on her research into the medicinal and physical capabilities of plants.
Drawing Attention: Emerging Artists In Dialogue runs at York Art Gallery, launching the Season of Drawing, until January 28 2024. The season is backed by the Little Greene Paint Company.
To find out more about the exhibition, the Season of Drawing events programme and how to book tickets (£7, concessions available) at www.yorkartgallery.org.uk.
The full list of emerging artists in the Drawing Attention exhibition
EMII Alrai (born 1993); Catherine Anyango Grünewald (b.1982); Josephine Baker (b.1990); Miriam de Búrca (b.1972); Somaya Critchlow (b.1993); Jake Grewal (b.1994); David Haines (b.1969); Rosie Hastings & Hannah Quinlan (b.1991); Mary Herbert (b.1988); Jessie Makinson (b.1985); Sam Metz, Jade Montserrat (b.1981); Ro Robertson (b. 1984); Sin Wai Kin (b.1991), and Charmaine Watkiss (b.1964).
Matthew Kelly: Defying an injured knee on tour in Noises Off. All pictures: Pamela Raith
MATTHEW Kelly is performing “like a gazelle” in the 40th anniversary tour of Michael Frayn’s riotous farce Noises Off, despite a knee injury.
“I’m already doing it on two new hips, and off stage I have to walk with a stick,” says the erstwhile Stars In Their Eyes presenter, now 73, who takes to the York Theatre Royal stage from tonight.
“I twisted my knee on the set about a year ago on the first tour run. I thought, ‘I’m not going to have any more surgery; I’ll treat it with physiotherapy’, and that’s what I’ve done. It gets me a seat on the Tube every time!
“The knee’s getting better and I’ve kind of got used it, having had to use sticks when I was getting the hips done.”
Matthew takes the role of Selsdon Mowbray, an old actor with a drink problem, “for which I’ve done a lot of research”, he jokes.
“The play’s been going for 42 years, and I was up for the first takeover 40 years ago, when I was invited to follow Nicky Henson in the lead role in the original production.”
Watching Henson’s supreme performance, however, Matthew decided against taking up the invitation. When the chance came to play Selsdon Mowbray, four decades later, this time he jumped at it, new hips and all.
“What makes it work, and the only way it can work, is for the company to be really close, really bonded, and absolutely in tune with each other, which we are,” says Matthew Kelly
On the first itinerary, he played opposite Felicity Kendal; now he is joined by fellow 73-year-old Liza Goddard in Theatre Royal Bath’s touring revival, directed by Lindsay Posner, who staged Richard III and Romeo And Juliet in York’s first season of Shakespeare’s Rose Theatre productions in 2018.
Structured as a play within a play over three acts, Frayn’s chaotic comedy follows the on and off-stage antics of a hapless touring theatre company stumbling its way through the fictional farce, Nothing On, from shambolic final rehearsal to a disastrous matinee, seen silently from backstage, before their catastrophic last performance in Stockton-on-Tees.
If you have enjoyed Mischief’s visits to York with The Play That Goes Wrong and Magic Goes Wrong in recent years, they echo Frayn’s forerunner, a comedy rooted in calamities, pratfalls and slapstick as a cast at war with each other strives desperately to keep a performance on track amid the mayhem.
“What makes it work, and the only way it can work, is for the company to be really close, really bonded, and absolutely in tune with each other, which we are,” says Matthew. “If you get one thing wrong, it can throw the whole play out of kilter.
“I always have good times with companies, but this company is an absolute delight to work with. Having to do three matinees a week, it’s absolutely killing us. There’s no-one having an affair as we’re too knackered!”
Michael Frayn has supported the 40th anniversary tour at every opportunity, as well as tweaking the script. “He’s now 90, and he’s been with us since the start, coming to the opening night when I first did the show with Felicity last year, opening at Bath, and then when we went into the West End,” says Matthew.
“He’s told us it’s the best ever production of the play, though he probably always says that. He’s kind and encouraging, and you just know he’s like that with every company.”
Matthew Kelly in his role as drunken old actor Selsdon Mowbray. “I’ve done a lot of research,” he says
The revival of Noises Off is perfectly timed after the pandemic sent theatres into cold storage. “It’s a love letter to theatre that really lifts the spirit. You hear people rolling around with laughter throughout the show,” says Matthew.
This is the reward for the cast’s meticulously timed comedic performances. “We only had three weeks’ rehearsal for the second tour, and I was the only original member of the cast still in the show. So when we opened in Birmingham, we were still rehearsing during the day as well as performing at night.”
In keeping with the play, things can go wrong. “At one show, one of the girls accidentally left a bunch of flowers on stage, on the upper level, and the next thing that happened was the play began to fall to bits – and the whole place went nuts!” recalls Matthew.
“It wasn’t funny, it was terrifying, but somehow, we got back on track. After the show, I saw a friend, and when I told them it had all gone wrong, they said they’d never noticed! But when things go wrong, they’re only funny to the people who are there watching the show.”
Mind you, actors can play jokes on each other too, like when Matthew was performing Arnold Ridley’s The Ghost Train with Julie Walters and Bill Nighy in Aberystwyth. “When we’re locked in the waiting room, everyone changes place in the dark. Each show we’d have scuffles, where everyone would try to shove each other off stage!” he reveals.
“One Wednesday matinee, when the lights came back on, there was only me on stage, and the rest of the cast were sitting in the front row, arms folded, all looking at me.”
Don’t take it too seriously, Matthew advises himself and those around him in the acting world. “Honestly, no-one cares! We’re only playing in the dressing -up box,” he says.
“It’s a love letter to theatre that really lifts the spirit,” says Matthew Kelly of Michael Frayn’s frenetic farce Noise Off, on tour at York Theatre Royal from tonight
That said, he would love to play King Lear, the third age role that veteran Yorkshire Shakespearean actor Barrie Rutter has said “you should do twice: once when you can do it, and once when you have to do it”.
Kelly’s Lear will surely happen one day. In the meantime, next up, once the Noises Off tour ends in January, will be the world premiere of Jim Cartwright’s The Gap, a two-hander with Denise Welch, running at Hope Mil Theatre, Manchester, from February 9 to March 9.
“It’s about two teenagers running away to London in the Sixties and reuniting much later,” says Matthew. “I first did it as a one-act play about seven years ago, then made a film of it with Sue Johnston during the pandemic, and now Jim has expanded it into a full play.”
The Gap follows the audacious adventures of Walter and Corral. “He’s back up north, she’s still down south,” the theatre website says. “They haven’t seen each other for 50 years, not since their Soho days, back in the swinging ’60s. A chance phone call reunites them for one magical night and in next-to-no time, they’re back to their old tricks.”
What is “the gap”, Matthew? “Cultural? Geographical? I tell you what it is,” he says. “It is the gap of flesh between stocking top and knicker ridge that drives men wild!”
Noises Off, York Theatre Royal, tonight (31/10/2023) until Saturday, 7.30pmnightlyplus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Did you know?
MATTHEW Kelly appeared previously at York Theatre Royal in two Alan Bennett plays: Kafka’s Dick, with his son Matthew Rixon, in 2001 and The Habit Of Art, a fictional meeting between York-born poet W H Auden and composer Benjamin Britten, exploring friendship, rivalry, heartache and the joy, pain and emotional cost of creativity, in 2018.
Aesthetica Short Film Festival director Cherie Federico
300 independent films on your doorstep
EXPERIENCE a vast range of films from around the world with the Official Selection, Guest Programmes and New Wave screenings. This year’s outstanding selection includes films by Ricky Gervais, Maxine Peake, Ben Whishaw and Oscar-winner Tim Webber.
The Official Selection is curated with more than 300 films spanning 12 exciting genres, covering comedy, drama, animation, documentary, family friendly, thriller and more. Guest Programmes come from BFI Doc Society, Iris Prize and We Are Parable among others. New Wave spotlights new talent and is the only strand in a UK festival to showcase graduate films, introducing the filmmakers of the future.
UK film festival first: Pioneering Games Lab
THE Legend Of Zelda: Tears Of The Kingdom sold 10 million copies in three days, making it the fastest-selling game in Nintendo history. Games enable players to interact with stories like never before, from journeying through vast open worlds to navigating mesmeric VR (virtual reality) experiences.
Aesthetica sees the games industry evolving and wants to spotlight and celebrate all that interactive media offer, proudly becoming the first British film festival to develop a Games Lab alongside the film screenings, VR and immersive experiences.
Head to Spark:York to play your way through 40 captivating titles, from squirrel mysteries to mythical island escapades, as these Official Selection games immerse users in imaginative worlds.
Masterclasses and Panel Discussions
WHETHER you are an actor, cinematographer, director, developer, producer, screenwriter or a film aficionado, ASFF has world-class masterclasses to suit you, bringing together big names from across film, games and VR. Speakers include representatives from Aardman, Guardian Documentaries, the BFI, Film4, Ridley Scott Associates, Ubisoft and BBC Writersroom.
The list of directors, producers and visual effects specialists have worked such iconic projects as: Avengers: Endgame, Bridgerton, Black Panther: Wakanda Forever, Gravity, Ready Player One, Wallace And Gromit, and much more.
Family Friendly screenings: Bring the whole family
INSPIRE your children with a selection of incredible films. The whole family can experience the best in independent cinema at Family Friendly film screenings of comedies, engaging dramas and fun-filled animations. Follow compelling characters, from a brave hummingbird to a shy presenter, in shorts that encourage us to be our best selves. ASFF’s three reels are divided into ascending age groups.
Screen School VR Lab: Expanded Realities here in York
THE possibilities of 360° film are endless. Immersive experiences like these bring audiences closer to the action than ever before, positioning them in both real and entirely imagined environments.
Aesthetica and LCC’s (London College Of Communication) Screen School invite you to dive into a bold selection of imaginative stories. Embark on a multi-sensory journey as you explore the world of 360 cinema. The VR Lab will be held at The Basement, City Screen Picturehouse, alongside panel discussions at York Explore. To join virtually, buy a cardboard headset and experience at home.
Networking Sessions: Meet filmmakers
BUILD relationships, seek out collaborations and make lasting memories. Whether you are looking to connect with industry representatives, discover new opportunities or learn new approaches to filmmaking, Networking Sessions are the perfect opportunity to meet with film sector professionals and share ideas. 2023’s representatives are from renowned organisations such as Canon, The Pitch Film Fund and York special effects studio Viridian FX.
Insightful Workshops: Learn new skills
TRAVEL to the past to uncover the tactile magic of traditional printmaking or look to exciting futures with Test Bed of AI Generators and Writing in 360: A Practical Workshop. A series of workshops will run at Pitcher & Piano, StreetLife Hub, The Guildhall and York Theatre Royal’s Studio, with a host of key organisations, ranging from the London College of Communication and The Pitch Film Fund to Viridian FX and Canon.
These practical workshops are centred around expanded realities, making them essential for those looking to try out new technologies and learn from industry professionals.
Three Exhibitions: Sound & Photography
THE premiere of Flux & Possibilities, Martyn Riley’s deep listening, multi-channel sound installation, explores personal identities and histories at Bedern Hall. Created in partnership with Aesthetica, LCC and Audible, it invites you to listen to numerous female-identifying interviewees across different locations and generations, revealing their personal stories of feminism, inequality and gendered spaces.
Look out too for a film poster exhibition at the StretLife hub and photography exhibition, Inside (Out), featuring three female photographers, at City Screen Picturehouse, both in Coney Street.
Pitching Sessions: Speak with the experts
DEVELOPING a new short or feature project? ASFF offers a series of 20-minute pitching sessions where experts provide guidance on how to develop ideas, break into the industry and further your distribution goals.
These sessions will be led by delegates from BBC Film, Goldfinch, Film4, Guardian Documentaries and Neal Street Productions across various days at Malmaison York, as well as virtually. Pre-selection and applications are required.
Kids’ Workshops: Filmmaking & Games
ASFF believes in nurturing children’s creative potential. New for this year, children can attend workshops to learn how to direct, edit and make films. Budding game developers can join Impact Games to learn what goes into creating the games they love.
Pauline Quirke Academy will lead workshops for young directors keen to get behind the camera, shout “action” and “cut” and tell their unique stories.
Two types of workshops will run: filmmaking and gaming, where children can learn how to code and develop their own games.
Aesthetica Short Film Festival runs in York from November 8 to 12; full programme and tickets at asff.co.uk.
Shed Seven: 30th anniversary celebrations in 2024. Picture: Barnaby Fairley
SHED Seven will mark their 30th anniversary next year with a brace of “extraordinary” outdoor concerts in York Museum Gardens on July 19 and 20. Tickets go on sale on Friday (3/11/2023) at 9am at seetickets.com.
“It’s been a long time coming, and now we can finally announce two special homecoming shows,” says the York band’s website.
“We’re already planning something truly extraordinary for these shows, so you can expect special guests and grand ideas galore. It’s going to be a jubilant celebration of the last 30 years of Shed Seven and a performance like nothing we’ve done before.”
The announcement continues: “We’re thrilled to be joined by special guests Peter Doherty, The Lottery Winners, Brooke Combe, Serotones and Apollo Junction throughout the weekend.”
Doherty recorded a guest vocal for Throwaways, the closing track of Shed Seven’s upcoming sixth studio album, A Matter Of Time, when his band, The Libertines, were at work on new recordings in their Margate studio.
Throwaways is an anything-but-throwaway duet with Sheds’ singer Rick Witter. “We played Bingley Festival a couple of summers ago when The Libertines were headlining the main stage, and as we played, there was Peter at the side of the stage, singing along to all our songs,” recalls Rick.
“When I met him afterwards, he said he used to sit on his bed learning our guitar parts, so I said, ‘would you sing on our new album?’.
“We sent Peter the song Throwaways and he did some harmonising and ad-libbing. It’s a song about outsiders. We’ve always been outsiders, and The Libertines have that about them too.”
A Matter Of Time will be released on Shed Seven’s new label, Cooking Vinyl, on January 5 2024 and can be pre-ordered from shedseven.com.
This will be the first Sheds’ album to feature new members Rob ‘Maxi’ Maxfield, from Audioweb, on drums and Ian Brown band member Tim Willis on keys, along with Witter, guitarist Paul Banks and bass player Tom Gladwin, band stalwarts from the Britpop era.
Did you know?
SUPPORT act Serotones feature Rick Witter’s son, Duke, on vocals, alongside original Sheds’ drummer Alan Leach’s son, Sonny, on guitar.
Did you know too?
SHED Seven’s Museum Gardens shows will be celebrating the 30th anniversary of their debut single for Polydor Records, the double A-side Mark and Casino Girl (March 7 1994), and debut album Change Giver (September 5 2024), rather than the 30th anniversary of the year they formed in York (1990).
Eleanor McLoughlin’s Doctor Victoria Frankenstein and Cameron Robertson’s The Creature in Tilted Wig’s Frankenstein
AFTER their liaison with York Theatre Royal for a tour of Juliet Forster’s production of Around The World In 80 Days earlier this year, Tilted Wig make a welcome return north with Frankenstein. In Halloween season, as chance would have it, in a tour running from September 14 to November 25.
Forget Halloween. This is not Frankenstein’s monster of six Hammer horror films or Mel Brooks’s Young Frankenstein. This is Frankenstein reimagined by Séan Aydon after Mary Shelley, as the cover to Tilted Wig’s elegantly designed programme denotes.
An earnest, deadly serious, deeply humanitarian Frankenstein with only one shard of humour and two significant changes: scientist Doctor Victor Frankenstein has become Doctor Victoria Frankenstein (Eleanor McLoughlin), and the gothic sci-fi novel’s 1818 setting has moved to wartime 1943 in Poland.
Neither the Nazis, nor the Second World War in name is mentioned, but the shadow of eugenics, and indirectly the creation of a master race, an Aryan nirvana, casts a dark shadow over Doctor Frankenstein’s experiments and the ruthless university philosophy of Basienka Blake’s Richter.
Aydon’s production opens in a dry ice fog in a wooden hut, the spartan emergency home of Blake’s first character, Captain. A frantic knock on the door: McLoughlin’s exhausted Victoria Frankenstein is seeking shelter and sustenance.
Here are two women “hiding from their past at what feels like the very end of the world”. One of them, Frankenstein, has a terrifying story to tell; the other has a gun in her hand, demanding that she tell it.
Whereupon Nicky Bunch’s set peels back to reveal Frankenstein’s laboratory, where a storm is brewing on the perfect night for sufficient electricity to spark her creation, made from body parts, into life.
In Bunch’s design, the profusion of laboratory jars lights up,like beacons, as if in response to Doctor Frankenstein’s excitement at this golden opportunity for scientific progress. She will share her exact plans with Francine (Annette Hannah in her impressive professional theatre debut), but not with husband Henry (Dale Mathurin), and nor with her sister Elizabeth. On her first visit in six months, with no letters home in that time, Victoria is too preoccupied to have dinner with her.
The Creature’s sudden surge into life as the storm crackles is an electrifying piece of theatre in every way, visually, aurally, musically: the peak of Eamonn O’Dwyer’s sound designs in a scree of discordant strings. Horrifying, remarkable, breathtaking, amid the rusted operating equipment.
Aydon has created a thriller as much as a horror story, one with a sense of moral responsibility that suits its wartime setting but resonates anew in our new age of artificial intelligence and robotics and our fears over the route this AI is taking.
Aydon’s exploration of “the very fabric of what makes us human and the ultimate cost of chasing ‘perfection’” puts both McLoughlin’s Frankenstein and Cameron Robertson’s Creature under the spotlight.
She is thrilled anew at the possibility of creating a partner for The Creature, at his demand, until she is challenged by Hannah’s Francine over her own status, as a dwarf. Where does that fit in with this pursuit of “perfection”?
A shattering moment, indeed, one that confronts all human experimentation and scientific exploration, just as in Michael Mann’s film Oppenheimer this summer.
Robertson’s Creature is never given a name by Doctor Frankenstein. He calls her “Mother” when they finally meet after his escape on that first night through a broken window. Another deeply impactful moment that makes Aydon’s production so powerful in its transition from Shelley’s series of letters to theatre of the imagination, a ghost story of the haunted Frankenstein.
The Creature, left to fend for himself, teaches himself how to talk, to learn Shakespeare too. That will make for an extraordinarily moving finale when The Creature reprises Hamlet’s final speech: What is a man, If his chief good and market of his time Be but to sleep and feed? A beast, no more.“
“The rest is silence,” he concludes, just as Hamlet did. Silence does indeed fall across the Theatre Royal auditorium, but then explosive applause follows, and the conversations begin.
A Frankenstein for today, a cautionary tale with a fearful message for tomorrow, Tilted Wig’s reinvention demands to be seen.
Tilted Wig in Frankenstein, York Theatre Royal, today at 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Not suitable for under 12s.
Shed Seven in 2023: Rick Witter, left, Rob ‘Maxi’ Maxfield, Tim Willis, Paul Banks and Tom Gladwin
SHED Seven release their fourth single off upcoming album A Matter Of Time this week as their autumn tour rolls on with a climactic week of sold-out shows.
Starlings joins Kissing California, F:K:H and In Ecstasy – featuring Happy Mondays’ backing singer Rowetta – in previewing the York band’s January 5 2024 sixth studio set on their new home of Cooking Vinyl.
Building up melancholic layers of piano, strings, dramatic beats and swooping vocal harmonies into a slow-burning finale, frontman Rick Witter’s lyrics offer the hope that perhaps not all goodbyes are forever [as proven by the Sheds’ return to the concert platform in 2007 after splitting in 2003!].
“Starlings showcases the album with a different kind of emotion,” says Rick. “It’s a love letter to a departed partner. I had an idea about a couple who have been together since forever, only for one of them to pass away, and the remaining partner is basically treading water until the time comes where they can be reunited for eternity in the ether.
“Some may say it’s dark subject matter, but I find it also pretty uplifting and is more of a common thing than one might think. The beautiful strings and piano add everything that is needed for such a heartfelt song. It’s nostalgic and reflective but has a feeling of evermore too.”
Yorkshire is missing out on the Sheds’ eight-date “Shoctober” autumn itinerary – originally timed to coincide with a September release date for the album that was subsequently put back – but they did play a 6,000-capacity Sounds Of The City 2023 gig at Millennium Square, Leeds, in July that sold out in a day.
What’s more, hush-hush plans are being made for celebrations of their 30th anniversary in 2024 in home city York. Watch this space; announcements are expected very soon.
Before then, the Sheds will embark on a run of in-store appearances next January to promote A Matter Of Time with a mix of intimate, stripped-back performances and meet-and-greet/signing sessions. Such has been the ticket demand that the schedule has expanded to encompass 16 sessions in ten days.
Among them will be Vinyl Whistle, in Otley Road, Headingley, Leeds on January 5 at 12 noon (sold out) and the HMV store, in Coney Street, York, on January 5 at 4.30pm (tickets: shedsevenn.lnk.to/instores).
Three special album launch shows for A Matter Of Time sold out in a matter of minutes in Kingston upon Thames (January 25), Coventry (January 26) and closest to home, Project House, in Armley Road, Leeds, hosted by Crash Records on January 27. Each will feature two sets: A Matter Of Time, played in its entirety for the first and only time (well, three times), followed the Sheds’ greatest hits.
Meanwhile, album pre-orders have seen all test pressings and all copies of Blood Records’ hand-numbered vinyl rapidly sell out already.
Hot off the presses: Shed Seven’s album cover artwork for A Matter Of Time
The usual Shed three of Witter, guitarist Paul Banks and bassist Tom Gladwin recorded the album in Spain with new recruits Rob ‘Maxi’ Maxfield, from Audioweb, on drums and Ian Brown band member Tim Willis on keys, replacing founder members Joe Johnson and Alan Leach, who left after the 2021 summer festival season.
As with November’s 2017’s Instant Pleasures, the sessions were produced by Youth – famed for his work with Pink Floyd, Paul McCartney, The Orb and The Verve – at his residential El Mirador Studios in Andalucia, southern Spain.
Maxfield and Willis had first joined for the Sheds’ rearranged “Covid tour” dates in 2021, whipping 20 songs into shape at ten weeks’ notice. “They’re amazing, very professional musicians, who’ve brought a new kind of vibe to the band, but it’s still very much Shed Seven, with the spirit of the band rising high,” says Rick.
“It’s given us a kick up the backside, and that’s proven by me and Paul beginning to write the album seriously in March 2022 and finishing the songs by December, the quickest since we wrote A Maximum High in 1995. We must have hit a rich purple patch; pretty much everything that came out of us was good.”
For A Matter Of Time, the Sheds reconnected with the classic albums that first inspired them to form a band in York in 1990: The Smiths, R.E.M., U2, Simple Minds, The Cure, even Duran Duran.
As Paul Banks puts it, the songs are a heartfelt homage to those cherished times, while embodying the essence of rebirth, leading to three titles out of 12 featuring “Let’s Go”.
“This record is Shed Seven but with a new edge,” says Rick. “This is more the next rung on the ladder after Instant Pleasures. It just feels better and more grown up.”
Listen out for special guest contributions, not only from Happy Mondays back singer Rowetta’s fervent gospel vocals on In Ecstasy and Reverend And The Makers’ Laura McClure on the folk-pop Tripping With You, but also The Libertines’ Peter Doherty duetting with Witter on the dramatic closer Throwaways.
“We played Bingley Festival a couple of summers ago when The Libertines were headlining the main stage, and as we played, there was Peter at the side of the stage, singing along to all our songs,” recalls Rick.
“When I met him afterwards, he said he used to sit on his bed learning our guitar parts, so I said, ‘would you sing on our new album?’.”
Doherty duly recorded his vocals for Throwaways remotely at Margate. “He did some harmonising and ad-libbing,” says Rick. “It’s a song about outsiders. We’ve always been outsiders, and The Libertines have that about them too.”
A Matter Of Time can be pre-ordered or pre-saved at https://shedsevenn.lnk.to/AMOTPR.
Noises Off: Michael Frayn’s on-stage and off-stage comedy on York Theatre Royal’s main stage from Tuesday. Picture: Pamela Raith
HALLOWEEN films and double bills, classic comedy and a time-travelling York legend, a Disney deep freeze and a punk/jazz collision help Charles Hutchinson leave behind October for November frights and delights.
Play of the week: Noises Off, York Theatre Royal, Tuesday to Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
MATTHEW Kelly, Liza Goddard and Simon Shepherd lead the cast in Theatre Royal Bath’s touring revival of Michael Frayn’s riotous Noises Off, directed by Lindsay Posner, who staged Richard III and Romeo And Juliet for York’s first season of Shakespeare’s Rose Theatre productions in 2018.
Structured as a play within a play, this cherished 1982 farce follows the on and off-stage antics of a touring theatre company stumbling its way through the fictional farce Nothing On, from shambolic final rehearsals to a disastrous matinee, seen silently from backstage, before the catastrophic final performance. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Nick Naidu and Imogen Wood in Punch Porteous – Lost In Time at All Saints North Street
York legend of the week: Punch Porteous – Lost In Time, All Saints North Street, York, tonight, 7pm.
HAVE you heard or indeed seen the eccentric, evasive York legend Punch Porteous: soldier, philosopher, worker (when absolutely unavoidable), husbandman, connoisseur of ale and now the subject of poet Robert Powell, creative practitioner Ben Pugh and producer John Beecroft’s “multi-media drama experience”?
York Theatre Royal creative director Juliet Forster directs Powell, Nick Naidu and Imogen Wood in Powell’s story of an ordinary man with an extraordinary predicament, lost in time in York. While the city shape-shifts around him, he is catapulted unpredictably into different eras of its history from c.70 to c.2023. Box office: yorktheatreroyal.co.uk/show/punch-porteous-lost-in-time/.
The poster for Navigators Art & Performance’s Punk/Jazz explorations at The Basement, City Screen Picturehouse, York
Music, poetry and comedy bill of the week: Navigation Art & Performance present Punk Jazz: A Halloween Special, The Basement, City Screen Picturehouse, York, tonight, 7.30pm
COMPLEMENTING the ongoing Punk/Jazz: Contrasts and Connections exhibition at Micklegate & Fossgate Socials, Navigators Art & Performance bring together energetic York punk band The Bricks; intense improvisers Teleost; the Neo Borgia Trio, formed for the occasion from a University of York big band; grunge-influenced Mike Ambler and the experimental Things Found And Made.
Taking part too will be firebrand polemical poet Rose Drew and comedians Isobel Wilson and Saeth Wheeler. Box office: https://bit.ly/nav-punkjazz.
The Gildas Quartet: Presenting the String! concerts at the NCEM
Children’s concerts of the week: MishMash presents String!, National Centre for Early Music, Walmgate, York, tomorrow, 11.30am and 2pm
THE Gildas Quartet lead tomorrow’s double celebration of the string quartet in informal 40-minute performances featuring a diverse programme from Haydn to Jessie Montgomery, Joseph Bologne, Chevalier de Saint-Georges to Dvorak, and everything in between.
Staged creatively to bring the audience into the music, these fun concerts are suitable for ages seven to 11 and their families. Box office: 01904 658338 or ncem.co.uk.
Community film event of the week: The Witches (PG), Theatre@41, Monkgate, York, tomorrow, 2.30pm
MAKE It York and The Groves Community Centre team up for a Halloween screening of Robert Zemeckis’s visually innovative 2020 film The Witches. Based on Roald Dahl’s novel, it tells the darkly humorous, heartwarming tale of an orphaned boy who goes to live with his loving Grandma in late-1967 in the rural Alabama town of Demopolis, where they have an run-in with the Grand High Witch (Anne Hathaway). Box office: tickets.41monkgate.co.uk.
Emily Portman & Rob Harbron: Delving into folk traditions to emerge with a fresh sound
Folk concert of the week: Emily Portman & Rob Harbron, National Centre for Early Music, Walmgate, York, Tuesday, 7.30pm
EMILY Portman, from The Furrow Collective, and Rob Harbron, who performs with Leveret, Fay Hield and Jon Boden, have formed an inspired collaboration to delve into English folk traditions with an intricately woven contemporary sound.
Portman (voice, banjo and piano) and fellow composer Harbron (concertina, guitar and voice) released their debut album, Time Was Away, last November, comprising eight English folk songs and two 20th century poems set to music. Box office: 01904 658338 or ncem.co.uk.
Chris Green accompanying FW Murnau’s Nosferatu
Halloween screaming/screening of the week: Nosferatu: Live Silent Cinema, Theatre@41, Monkgate, York, Tuesday, 7.30pm
CHRIS Green’s score was commissioned by English Heritage for an outdoor screening of FW Murnau’s 1922 German Expressionist vampire film at Dracula’s spiritual home of Whitby Abbey. Now the composer plays his haunting blend of electronic and acoustic instruments for the first time in York to accompany the first cinematic interpretation of Bram Stoker’s Dracula, one that gave birth to the horror movie. Box office: tickets.41monkgate.co.uk.
Please Please You’s poster for Steve Gunn’s Rise solo concert
Double bill of the week: Please Please You presents Steve Gunn & Brigid Mae Power, Rise@Bluebird Bakery, Acomb, York, Wednesday, doors 7.30pm
EXPERIMENTAL Brooklyn guitarist and songwriter Steve Gunn’s “forward-thinking” songwriting draws on the blues, folk, ecstatic free jazz and psychedelia, suffused with a raga influence. His website says he is “currently somewhere working on new music”, although York will be the first of 12 solo gigs in Britian, Spain and Poland in November.
Wednesday’s gig will be opened by Irish singer-songwriter Brigid Mae Power, whose latest folk-tinged dreampop album, Dream From The Deep Well, arrived in March. Box office: seetickets.com/event/steve-gunn/rise-bluebird/.
Meet York Stage’s young princesses in Disney’s Frozen Jr
Musical of the week: York Stage in Disney’s Frozen Jr, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm plus 2.30pm Saturday matinee
IN a story of true love and acceptance between sisters, Disney’s Frozen Jr follows the journey of Princesses Anna and Elsa, based on the 2018 Broadway and West End musical set in the magical land of Arendelle, with all the Kristen Anderson-Lopez and Robert Lopez songs from the animated film.
Producer Nik Briggs directs a cast led by Megan Pickard, Bea Charlton, Matilda Park and Esther de la Pena as the princesses. Malachi Collins plays the Duke of Weselton, Lottie Marshall, Bulda, and Oliver Lawery, King Agnarr. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
In Focus: Say Owt Slam, with special guest Polarbear, The Crescent, tonight, 7.45pm
Spoken word artist and writer Polarbear: Making an apperance at tonight’s Say Owt Slam at The Crescent, York
SAY Owt, York’s loveably gobby gang of performance poets, take over The Crescent community venue twice a year for a raucous night of spoken word and poetry in the form of a stellar slam.
Fast, frantic and fun, a slam gives each poet three minutes to wow the audience. Regular host Henry Raby enthuses: “We love doing Say Owt on a Saturday night, because it’s a party! A poetry party!
“Although one poet will be crowned a Say Owt Slam Champion, this isn’t a bitter battle. It’s a celebration as poets bring a variety of styles and forms. In the past, we’ve had tender personal reflections, hilarious laugh-out-loud comedy poems and fiery political tirades.”
Special guest at tonight’s Say Owt Slam in York will be Polarbear. “The last time he graced our city, Polarbear (a.k.a Steven Camden) was supporting Scroobius Pip and Kae Tempest,” says Henry. “He’s an internationally acclaimed spoken word artist and award-winning writer from Birmingham, whose poetry drips with gorgeous storytelling.
“He talks about people and places with a unique ear for language: celebrating the tiny human characteristics.”
Since first stepping on stage in 2004, Polarbear has performed his work and led creative projects from Manchester to Melbourne and Kuala Lumpur to California, as well as featuring on BBC Radio1, 3 and 6Music, attracting 155,000 views on YouTube and releasing a live album on Scroobius Pip’s Speech Development record label.
A few surprises might be in store tonight too. Box office: thecrescentyork.com/events/say-owt-slam-featuring-polarbear/ or on the door.
Mike Hickman as the insufferable Mayor in Settlement Players’ Government Inspector. All pictures: Sarah Ford
GOVERNMENT Inspector is to be confused with The Government Inspector. As was A Government Inspector, Deborah McAndrew’s adaptation of Nikolai Gogol’s Russian malarkey for Northern Broadsides in 2012.
David Harrower’s take on Gogol’s 1836 political satire dates from a year earlier and was the choice of Alan Park, dynamic actor and even more dynamic Theatre@41 chair, when picked to direct Settlement Players’ autumn production in his first time back in the director’s seat in 15 years.
McAndrew shifted the council shenanigans from small-town 19th century Russia to the small-town Pennines. Harrower keeps the Russian locale but moves Gogol’s cautionary tale of bribes, backhanders, brown envelopes and bent practices to the crumbling Soviet days of the 1980s, although its digs at corporate cronyism and rotten eggs could be directed at any complacent, corrupt, smug local authority, any time, any place, anywhere.
Sonia Di Lorenzo’s Bobchinsky, left, Katie Leckey’s Dobchinsky, Paul Osborne’s School Superintendent and Mark Simmonds’s Head of Hospitals all suck up to Andrew Roberts’s Khlestakov in Government Inspector
Park’s design team of Richard Hampton and Stephen Palmer favour the greys and dour blocks of Russian Brutalism in a minimalist set of one chair and desk.
Faded Soviet Union graffiti is splattered on the walls of the traverse stage, drapes and beading put the red into Russia, while costume duo Judith Ireland and Grace Trapps have fun with Eighties’ shell-suits and track suits, braces, bright shirts, ghastly ties and clashing bold-checked jackets. All topped off by shoulder pads for the high fashions of the Mayor’s wife, Anna, (Alison Taylor) and daughter Maria (Pearl Mollison, returning to the boards after several years backstage stage-managing productions).
Park’s show may be of Shakesperean length – even the cast was conceding the first half was too long on the first night, as the clock ticked towards three hours – but it nevertheless moves at a fair old lick, led by Mike Hickman’s frenetic Mayor.
Competitive mother and daughter: Alison Taylor’s Anna, the Mayor’s wife, in a power-dressing clash with Pearl Mollison’s Maria
The running time could have been shortened by not inserting a town band to perform deadpan dollops of Eighties’ hits, but that would have taken away from one of the primary joys of Park’s perky production, led by musical director Jim Paterson’s Buster Keaton-faced interjections and sometimes silent bewilderment.
Patterson has his moment in the sunshine too when called on to read the lines of a serf, book in hand, humorously growing into the role the more confident he becomes, in the tradition of a chorus line conversion to a principal.
His keep-it-simple keyboards and quickfire hop on to guitar are joined by Adam Sowter’s deliberately cheesy Eighties’ flourishes on keys, Matt Pattison’s guitar and Florence Poskitt’s accordion. Pattison and Poskitt’s interval rendition of Islands In The Stream is a particular delight, stripped of Kenny Rogers and Dolly Parton’s big-haired country romanticism.
A note of concern: Adam Sowter’s Police Superintendent, left, and Mark Simmonds’s Head of Hospitals discover the latest revelation from Matt Pattison’s Postmaster’s habit of opening mail
Patterson, Pattison and Poskitt are part of a cast that puts the emphasis on the ensemble, on comedy teamwork, but with room for individual flair and double-act tomfoolery to shine too.
Hickman is on a hot streak after his mysterious, cunning Captain Philip Lombard’s in Pick Me Up Theatre’s And Then There Were None last month, and here his corrupt character goes from over-confident to nervous wreck, as unloved as Malvolio.
November’s Movember campaign to cultivate moustaches to raise awareness of men’s health issues may still be around the corner, but Park’s coterie of men have done so already, from Hickman and Patterson to Mark Simmonds’s Head of Hospitals, Sowter’s biscuit-dipping, tea-drinking Police Superintendent and Paul Osborne’s School Superintendent, who receives a standing ovation after a piece of flustered comic invention involving choking on a cigar in the form of a kazoo.
Shopkeepers at the treble: Alexandra Mather, left, Adam Sowter and Florence Poskitt
Matt Pattison’s full-of-wonder/snooping Postmaster and Paul French’s lackey Osip were already fully bearded as their programme mugshots reveal.
In Shakespeare master-and-servant tradition, French’s Osip is doing the bidding for Andrew Roberts’s Khlestakov, the “government inspector” of Gogol’s play, or so all the town assumes when sent into a panic by news of his imminent arrival.
Roberts, with his moustache from a matinee-idol cigarette card and Terry-Thomas air, is a dapper chancer, with comic timing and humorous physicality that revels in his ascension to the lead role.
Judging the moment: Maggie Smales’s Judge in Government Inspector
Spot-on casting all round by Park, from Taylor’s vainglorious Anna and Mollison’s preening Maria, to Maggie Smales’s corruptible Judge, Poskitt’s quick switches from gormless Shopkeeper to Mishka and Alexandra Mather’s trio of wide-eyed cameos.
Forever arguing with each other’s account of what’s happening, landowners Dobchinsky and Bobchinsky receive the clowning treatment from Irish-accented University of York theatre MA student Katie Leckey in her Settlement debut and Sonia Di Lorenzo in her Settlement return after a seven-year hiatus. These shell-suit shockers are one of many reasons to inspect Government Inspector, sent from Russia with gloves off.
Performances are at 7.30pm tonight (27/10/2023); 2.30pm and 7.30pm tomorrow. Box office: tickets.41monkgate.co.uk.
Aghast again: Musical director Jim Patterson in Government Inspector
YORK classical pianist Sarah Beth Briggs will perform her Variations Plus recital at Sheffield Crucible Theatre’s Playhouse on November 4 at 2.30pm.
Everyone will be able to “see the pianist” in action at this Music In The Round event because the piano will be rotated 180 degrees at the interval in the Crucible’s former Studio theatre.
“I’m delighted to be returning to the Crucible to present my Variations Plus programme,” says Sarah. “This series offers a wonderful opportunity to de-formalise classical music. The idea of having the audience all around me and offering accessible spoken introductions to make everyone feel they can really relate to what they’re listening to is so refreshing.”
In her two-hour Piano Masterpieces recital, Sarah will play works from her 2023 album, Variations, released on AVIE Records this spring.
At the heart of the programme will be Hans Gál’s tightly structured four-movement Sonata from 1927, with a set of variations as its rather haunting third movement. Sarah was invited to perform this work by the Hans Gál Society at a Gál Celebration Concert at Queen’s Hall, Edinburgh, following plaudits for her recordings of Gal’s Piano Concerto (Gramophone Critic’s Choice) and Piano Trio (Gramophone Editor’s Choice.)
The first half will place Gál between Mozart’s late Duport variations and Mendelssohn’s virtuosic Variations Sérieuses, regarded by many as his most significant piano work, while in the second half Beethoven’s Variations on God Save The King will preface Schubert’s classic theme and five variations that comprise his much-loved B flat impromptu, D935 No. 3.
The poster for Sarah Beth Briggs’s Variations Plus programme in Sheffield
The programme will conclude with two works by Chopin. Firstly, his Berceuse, originally offered to its publishers with the title Variantes, later changed to Berceuse, perhaps to represent the rocking of the cradle depicted by the ostinato bass that runs throughout the piece.
Finally, Chopin’s Fourth Ballade, effectively a set of variations on a rather tragic theme with contrasting interludes building up to a dramatic coda: a work that the late John Ogdon said “contained the experience of a lifetime”.
“Most of my programme will be well known and loved by regular concert goers, but it would be great to think that it might attract less frequent classical music attendees too,” says Sarah.
“Alongside familiar repertoire, I’m excited to present Hans Gál’s 1927 Sonata, with its haunting Variations 3rd movement, as a centrepiece. Having been proud to play a part in a major Gál revival on disc, it’s good to introduce this fascinating composer to live audiences.”
Box office: 0114 249 6000 or sheffieldtheatres.co.uk. For Sarah’s introduction to her Playhouse programme, here is her home video: https://www.youtube.com/watch?v=WqvONlLvSSw
SARAHh Beth Briggs will perform Hans Gál’s Piano Concerto in Germany in December with the Hofer Symphoniker, having made the world premiere recording with the Royal Northern Sinfonia in 2016.
