Category: Music

Posted on

REVIEW: Martin Dreyer’s verdict on Stile Antico/Bojan Čičić, York Early Music Festival

Stile Antico: “Go-to” group in the early music world. Picture Marco Borggreve

York Early Music Festival: Stile Antico, York Minster, July 13; Bojan Čičić, St Lawrence’s Church, York, July 13

OVER the past few years, and especially during lockdown, Stile Antico have been something of a “go-to” group in the early music world. No-one is complaining, least of all this critic. As their name implies, style is the watchword of these dozen voices.

Next month we commemorate the 500th anniversary of the death of Josquin des Prez, who is right up there in anyone’s shortlist of great Renaissance composers. He developed a new style that melded northern European technical precision with simpler Italian drama and clarity: it was widely influential for 200 years.

The programme was built around his Missa Sine Nomine (‘no-name’ mass, if you will), which is almost a textbook of imitation between voices, giving listeners multiple pegs to hang their hearing on.

Between the sections of the mass, we heard reminders of Josquin’s associations with his putative teacher Johannes Ockeghem, another of the greats, and two pieces by slightly younger colleagues.

After Josquin’s Kyrie, in which perfectly formed chords emerged from swirling mists of counterpoint, it was good to be reminded of Ockeghem’s sparer harmonies in his four-voice motet Alma Redemptoris Mater.

Following the Gloria, a work called Nymphes des Bois might have sounded almost lascivious in such a religious context. In fact it was Josquin’s setting of a lament by Jean Molinet on the death of Ockeghem in 1497, imploring all nature to weep for an engaging man variously described as gracious, kind and virtuous. It was indeed a gem, and faded symbolically.

Excitement at the start of the Credo became serenely dissonant at Christ’s Passion, before building again to a triumphant Amen. This was singing of the highest calibre, making perfect use of the building’s welcoming acoustic.

After Josquin’s own Salve Regina and an unusually restrained Benedictus, another lament followed, this time from Hieronymus Vinders on Josquin’s death, the dark colours of its seven voices underlined by the absence of sopranos. Finally, Jacquet de Mantua’s medley of Josquin’s greatest hits, doubtless instantly recognisable by contemporary ears, provided an upbeat conclusion.

These two straddled the soothing balm of Josquin’s Agnus Dei, completing the mass. All were a fitting tribute to a much-respected composer – and a timely reminder of his supremacy.

Bojan Bojan Čičić: Late-evening late replacement for Rachel Podger

Late evening at St Lawrence’s Church brought the unaccompanied violin of Bojan Čičić in Bach and Biber. He had gamely taken up the cudgels at the eleventh hour to replace Rachel Podger, who had been “pinged’ into self-isolation”. They have been successful duet partners on disc so are equally talented.

He began somewhat cautiously with the first of Bach’s solo sonatas from 1720, BWV 1001 in G minor. Bach was known as a keyboard layer, but also played the violin all his life so was no slouch where strings were concerned. These fearsomely difficult works from his period at Cöthen laid the groundwork for the virtuoso techniques displayed by such as Paganini in the 19th century.

But they held no terrors for Čičić, even if he warmed up slowly. The slow intro led into more rapid counterpoint, both sections in the minor, until the warm, major-key Largo that was virtually a duet. All were preparation for the moto perpetuo of the final Gigue, which was thrown off with incredible panache.

He continued to dazzle in The Guardian Angel, one of Biber’s famous Mystery Sonatas. Sixty-five repetitions of a four-note descending phrase may not sound promising, but Biber’s Passacaglia overlays them with an extraordinary exploration of technical wizardry. Čičić revelled in it. So did we.

The dance origins of Bach’s Second Partita, in D minor, were keenly emphasised. After an accented Allemanda and the running passagework of the Corrente, we enjoyed a stately Sarabanda with much internal ornamentation.

The extremely sprightly Gigue was prelude to a highly dramatic Chaconne in which Čičić positively rolled his bow all over the strings, at breakneck speed. Its ‘chorale’ in the major came as light relief before the final return to the more serious minor key. Riveting stuff. You did not dare take your eyes off him.

Review by Martin Dreyer

Available online on demand until August 13 at ncem.co.uk/yemf

Posted on

REVIEW: Martin Dreyer’s verdict on The Gesualdo Six, York Early Music Festival

The Gesualdo Six with director Owain Park, back row, centre

York Early Music Festival, The Gesualdo Six, National Centre for Early Music, York, July 15

THIS year’s abbreviated festival, which seems to have ended almost before it began, went out in style with The Gesualdo Six, another group whose visits to York are thankfully plentiful.

With a countertenor on the top line, supported by two tenors, a baritone and two basses, it is well geared for a programme of English motets, especially since its director, Owain Park, underpins them all with a firm, deep bass that would be the envy of any choir.

This was almost a roll call of the great names in Tudor music (without Orlando Gibbons), which also reached back to the early 15th century composer John Forest. He was at one time a prebendary of York before becoming Dean of Wells. His three-part motet Qualis Est Dilectus Est revealed his fondness for voices moving in thirds (once thought a quirky Anglicism).

Two tear-jerkers stood out at either end of the programme. Byrd’s Ave Verum Corpus, immediately following Tallis’s Te Lucis, was touchingly intimate, which added to the reverence it naturally engenders.

Even more telling was Tomkins’s When David Heard, with five voices conducted by Park, which wrung every last ounce of pain from David’s lament for his son Absalom, killed in battle. “Would God I had died for thee” was almost unbearably poignant.

Not all was so solemn. Weelkes’s setting of Psalm 47, All People, Clap Your Hands, was cheerful enough, but not quite as imaginative as the Gibbons version of this psalm. But the group really let rip in a full-throated account of Byrd’s Vigilate, merging neatly at its conclusion. The same composer’s Laudate, Pueri was equally joyful, a full-blooded account from all six singers.

In between came two hymns, by White and Tallis, with the latter’s setting of In Manus Tuas balancing an earlier one by John Sheppard that was extremely quiet, yet creamily controlled. Several times the precentor’s role was sung off-stage, which offered an extra dimension. And then there was the Tomkins. What a piece.

The Gesualdos are coming up on the inside of a longer-lived group from a well-known Cambridge college – and may soon overtake.

Review by Martin Dreyer

Available online on demand until August 13 at ncem.co.uk/yemf.

Posted on

REVIEW: Martin Dreyer’s verdict on Monteverdi String Quartet, NCEM, York

Monteverdi String Quartet: The Madrigal Re-imagined

York Early Music Festival, Monteverdi String Quartet, National Centre for Early Music, York, July 12

AFTER many tribulations, including the exit of several foreign groups and the ‘pinging’ of star performer Rachel Podger into self-isolation, the festival has finally re-opened its doors to live audiences, albeit slimmed down to four days. We must be grateful for small mercies.

The Monteverdi String Band’s hip-sounding monicker cloaks a Mozart-style string quintet, although with gut strings and Mark Caudle’s cello-lookalike bass violin as the lowest voice. On this occasion they were joined by soprano Hannah Ely and by Toby Carr, alternating on lute and theorbo. Their topic was The Madrigal Re-imagined.

The madrigal’s roots lie in 14th century Italian poetry and it has always been associated with voices, at least in this country. But in Italy about 1600 instrumentalists, no doubt envious, began to copy and elaborate on what voices had previously monopolised. Hence this programme. As in so much else, Monteverdi was at the forefront here.

We were offered his version for strings of Cruda Amaryllis. The strings danced with greater urgency in extracts from his Il Ballo dell’Ingrate, where Hannah Ely gave us a tasty reminder (from its finale) of what voices were still allowed. The programme ended with a meaty chunk of Monteverdi’s masterpiece Orfeo. Here it was possible to hear how keenly voice and strings were interlinked in their explorations of Striggio’s poetry.

In between, there were glimpses of other composers, notably Palestrina, in two ‘diminutions’ (elaborations) devised by MSB’s leader, Oliver Webber. In the second, his violin became ever more frenetic in its ornaments beyond, indeed, what any voice could have hoped to achieve. The strings were superbly balanced in ensemble, firmly underpinned by Caudle’s bass line.

Toby Law was graceful in his continuo role, and even contributed a Prelude of his own in 16th century style. A handful of contemporary texts were less successful, conversational rather than properly projected. But they hardly detracted from a stimulating evening.

Review by Martin Dreyer

Available online on demand until August 13 at ncem.co.uk/yemf

Posted on

Chalmers & Hutch notch up Episode 50 of Two Big Egos In A Small Car arts podcast

This one will run and run, as Daniel Bye takes to the hills. On Tuesday and Wednesday, Bye and Boff Whalley’s play These Hills Are Ours will play St Wilfrid’s Church, Harrogate; on Friday, York Theatre Royal

KEEP on running. Graham Chalmers and Charles Hutchinson hit Episode 50 of their chatty art podcast Two Big Egos In A Small Car.

Time to discuss Chumbawamba guitarist Boff Whalley & Daniel Bye’s hill-running play These Hills Are Ours and Brit dementia film Supernova, and to hear a first extract from Graham’s biography of Magna Carta’s mainstay, North Yorkshire folkie Chris Simpson.

To listen, head to: https://www.buzzsprout.com/1187561/8826717

Posted on

Pocklington Arts Centre to add third Primrose Wood Acoustics gig in August

Roll out the bunting: The Dunwells in acoustic mode in Primrose Wood, Pocklington, on July 8

PRIMROSE Wood Acoustics will return to the Pocklington woodland for a third double bill – yet to be confirmed – on August 5.

This step three announcement follows the long-awaited return of live music for organisers Pocklington Arts Centre (PAC) after staging sold-out outdoor concerts in Primrose Wood on July 1 and 8.

Scunthorpe-born virtuoso guitarist, singer and songwriter Martin Simpson and East Yorkshire singer-songwriter Katie Spencer played the first night; Leeds indie-folk/Americana band The Dunwells and York singer-songwriter Rachel Croft, the second.

Martin Simpson: Headlined first Primrose Wood Acoustics double bill in Pocklington on July 1

Each was performed to a socially distanced audience of 85 at twilight. “Accompanied by bird song and set under a natural canopy of trees, there was a collective sense of being a part of something special, almost 18 months after PAC last staged a live music event,” said PAC director Janet Farmer.

Artists and audience alike concurred. Joe and Dave Dunwell said: “After 15 months of playing to a computer screen and doing live streams, to be actually playing live in a woodland was just incredible and the audience were just amazing. We loved it!”

Rachel Croft enthused: “For the first time, I felt totally in my element again. Having had all that time off, you get used to not having an amp or an audience or any interaction, so it’s been really special to be in this amazing spot and I’m just really grateful to have been a part of it.”

York singer-songwriter Rachel Croft performing the opening set at Thursday’s Primrose Wood Acoustics concert in the Pocklington sylvan setting

Commenting after Thursday’s concert, audience member Sue Bowden said: “Amazing evening! Fantastic live music in a beautiful setting on a fabulous summer’s evening; brilliantly organised too. Well done to all involved.”

Jane Smith agreed: “What a wonderful gig – our first since March 2020. Great performances in a beautiful setting. Very well organised. Thank you all at Pocklington Arts Centre.”

Julie Eeles said: “A fantastic night: amazing performances by Rachel Croft and The Dunwells. Thank you, Pocklington Arts Centre, for organising the event.”

Thursday’s audience watching The Dunwells in Primrose Wood, Pocklington

Vital to Thursday’s open-air concert was the contribution of sound engineer Daren Bishop. “It was a fantastic event,” he said afterwards. “What a pleasure to be a part of it. I loved mixing the sound in that setting.”

The Primrose Wood Acoustics series comes on the heels of assorted online events and outdoor exhibitions held by PAC since the start of the pandemic. 

“Being able to bring live music back to our audiences has just been incredible,” said the director. “We’d like to thank our customers for their support, as well as Pocklington Cricket Club, Burnby Hall Gardens and Pocklington Town Council for helping to make these events possible.”

Looking forward to reopening: Pocklington Arts Centre director Janet Farmer in the auditorium

Watch this space for the announcement of the August 5 double bill. Meanwhile, to keep up to date with PAC’s future events, head to pocklingtonartscentre.co.uk.

Pocklington Arts Centre will reopen formally on July 20, preceded by two sold-out socially distanced warm-ups: work-in-progress gigs by South Shields humorist Sarah Millican on July 14 and 15 at 7.30pm.

“I’ll be trying out loads of new stuff,” says the Geordie joker. “It’ll be rough and ready and very, very fun.”

Sarah MIllican: Warming up for her Bobby Dazzler tour with a brace of sold-out gigs at Pocklington Arts Centre

Next week’s shows are in preparation for her sixth international tour, Bobby Dazzler, whose 2021/2022 itinerary will bring Millican, 46, to York Barbican from November 12 to 14.

“You’ll learn about what happens when your mouth seals shut; how to throw poo over a wall; trying to lose weight but only losing the tip of your finger; a surprisingly funny smear test, and how truly awful a floatation tank can actually be,” says Sarah, who has “spent the past year writing jokes and growing her backside”.

“I can’t wait to get back on the road and make you laugh,” she adds. For ticket details on the 8pm shows, head to yorkbarbican.co.uk

Posted on

Rachel Croft to showcase Reap What You Sow release at Forty Five Vinyl Cafe gig

Rachel Croft: Blues and greenery in 2021

YORK singer-songwriter Rachel Croft will perform at Forty Five Vinyl Café, Micklegate, York, on July 31.

The 7.30pm gig will showcase the July 23 release of Reap What You Sow, a cinematic, moody taster for her four-track EP of the same name on September 9. Exploring a more potent, bluesy style throughout, further tracks will be second single Time Waits For No Man, Roots and Chasing Time.   

Since Step 3 lockdown easing, Rachel has played the opening night of the second season of socially distanced Songs Under Skies acoustic concerts in York, sharing the June 1 double bill with Wounded Bear in the National Centre for Early Music churchyard garden at St Margaret’s Church, Walmgate.

On July 8, she opened for Leeds band The Dunwells at the second sold-out Primrose Wood Acoustics open-air concert organised by Pocklington Arts Centre.

Rachel will be supported at her Live At Forty Five YouTube Session concert byKell Chambers and Evie Barrand. Tickets cost £10 via fortyfiveuk.com/whatson.  

The poster for Rachel Croft’s July 31 concert at Forty Five Vinyl Cafe, York
Posted on

Briefer Encounters for 2021 York Early Music Festival but it will still be jam packed

And now there are seven: The Gesualdo Six ,with director Owain Park, centre, back row, as they step into the 2021 York Early Music in a late call-up for an Early engagement

ENCOUNTERS, the 2021 York Early Music Festival, will be briefer than first trailered.

Already cut from its usual ten days under Covid constraints, the live festival will now run from July 12 to 15, rather than until July 16 after the Government’s Step 4 lockdown easement was delayed from June 21 to July 19.

This has ruled out the participation of Spanish Baroque ensemble L’Apothéose, winners of the 2019 York Early Music International Young Artists Competition, along with Ensemble Clément Janequin, from France, and the Italian-Spanish trio sonata ensemble La Vaghezza. In their stead come two late additions: British vocal ensemble The Gesualdo Six and Florilegium.

“The festival may have shrunk from ten days to four, but it’s still jam-packed with concerts, which will be one hour in length, with no interval and no reserved seating, audience members being seated on arrival within social bubbles” says festival director Delma Tomlin.

“Because any musicians who lived outside of the UK had to consider the need to quarantine or the consequences of a positive Covid test once here, it just wasn’t worth the complications for them or us.

“The good news is that L’Apothéose will now play their Young Artists’ Showcase and record here next March; we hope to carry EEEmerging artists La Vaghezza over into the 2022 festival, though that will not be possible for Ensemble Clément Janequin, and the York Early Music International Young Artists Competition will definitely return at next summer’s festival, after the competition couldn’t happen this year.”

Rachel Podger: Performing works by JS Bach, Tartini and Biber in The Violinist Speaks at St Lawrence’s Church, Hull Road, York, on July 13 at 9.15pm

Delma expects that plenty of international musicians who had to forego performing in the 2020 festival, after being booked for the aborted original programme, will now play at the 2022 event. “The festival is filling up already, but not yet with a theme in place!” she says.

In another sign of Covid-times, the 2021 festival is a non-brochure event. “We had boxes and boxes of brochures that we then had to recycle, once everything changed, and since then we’ve doing everything online,” says Delma.

“So we’ve been reliant on people looking online constantly for updates and programme details for our 2020 Christmas festival, the Awaken concert series, the Beverley and East Riding Early Music Festival, and now this summer’s festival, but I can confirm we’ll produce print in the autumn for the 2021 York Early Music Christmas Festival.”

Roll on Monday’s opening concert “At last, we’re able to welcome audiences back to York in person,” says Delma. “The theme of Encounters, most vitally between audience and artists, seems particularly pertinent at this time when we can celebrate the joy of music making and being back together again to appreciate these glorious sounds together.

“For over a year, our home of St Margaret’s Church has been missing the energy and excitement that live audiences bring to us and we can’t wait to throw our doors wide open again.”

Delma Tomlin: Director of York Early Music Festival and the National Centre for Early Music, Yorkl

Both the opening and closing concerts will be performed twice at the National Centre for Early Music, Walmgate: Monteverdi String Band, led by Oliver Webb, on July 12 at 6.30pm and 8.45pm and The Gesualdo Six on July 15 at the same times.

“We’ll clean everything down and put the same concert on 90 minutes later,” explains Delma. “The 6.30pm concerts are sold out but we still have tickets available for the later performances.

“Oddly enough, The Gesualdo Six were meant to be playing at a festival in France at this time but couldn’t go, so we’ve been able to accommodate them, and Ensemble Clément Janequin, who can’t come here, will now be playing in France!”

Florilegium step into the festival breach to perform a Celebrating Bach programme at the NCEM on Wednesday at 7.30pm, joining a line-up of guest artists such as harpsichordist Steven Devine with Robin Bigwood (St Lawrence’s Church, Hull Road, Tuesday, 1pm) and violinist Rachel Podger (St Lawrence’s Church, Tuesday, 9.15pm).

The Society of Strange & Ancient Instruments present their weird and wonderful Trumpet Marine Project (The Citadel, Gillygate, Wednesday, 1pm, sold out); lutenist  Jacob Heringman celebrates Josquin des Prez in Master of the notes II: Inviolata (Merchant Adventurers’ Hall, Fossgate, Wednesday, 9.30pm, sold out) and bass Matthew Brook, in tandem with York classical leading light Peter Seymour, performs Amore Traditore – Cantatas for bass and harpsichord (St Lawrence’s Church, Thursday, 1pm).

Delma is particularly delighted to announce that the festival will be working in partnership with the Alamire Foundation, in Flanders, to present a long-awaited concert at York Minster by renaissance vocal ensemble Stile Antico in Tuesday’s 7.30pm programme of Josquin des Prez – Master of the notes I: Missa Sine Nominee on the 500th anniversary of the Franco-Flemish genius’s death.

The Society Of Strange & Ancient Instruments: 2021 York Early Music Festival concert will be recorded for BBC Radio 3

The live festival may be shorter, but the event will still run to Sunday in an online festival, YEMF ’21 Online, available from Thursday to the weekend, after the success of last summer’s first online package.

“This will include concerts recorded during the festival alongside specially commissioned highlights by the Rose Consort of Viols and the University Baroque Ensemble,” says Delma.

“The Gesualdo Six will open this four-day online festival with a live streamed concert from the NCEM on Thursday at 6.30pm.

“The online festival provides us with the opportunity to share some of the festival highlights with the widest possible audience, presenting concerts filmed by digital producer Ben Pugh and sound engineer Tim Archer in some of the city’s stunning venues: Merchant Adventurers’ Hall, St Lawrence’s Church and St Margaret’s Church,” says Delma.

“Going online extends the festival’s reach internationally, giving us the chance to boost our ticket income possibilities, so while we use small venues, such as lutenist Jacob Heringman playing to 60 people in candlelight at the Merchant Adventurers’ Hall, the decision to embrace online opportunities means others can enjoy it too. This provides a new stream of income at this time, turning around our business strategy on a pin.”

All next week’s concerts will be streamed, except for Stile Antico, whose Josquin des Prez programme instead will be available online at Laus Polyphoniae 2021, part of the Flanders Festival that runs in Antwerp from August 20 to 29.

Stile Antico: Renaissance vocal ensemble to perform long-awaited concert at York Minster, presented by York Early Music Festival in partnership with the Alamire Foundation, Flanders. Picture: Marco Borggreve

The NCEM and York Early Music Festival have embraced the need to explore digital opportunities since the pandemic took hold. “The acquisition of Tim Archer, who I’ve known through our relationship with BBC Radio 3, has been key to this. When Tim left Radio 3, I asked him to work with us as our sound engineer, and he’s since worked alongside Ben Pugh on our festivals and the Awaken spring event,” says Delma.

“On top of that, we’ve been very grateful to have been granted Culture Recovery Fund funds to support our sustainable strategy,” says Delma.

“We’ve received two funding boosts, the first for the acquisition of digital equipment, the second to help to cover the loss of income after we lost £100,000 from our usual revenue streams because of the pandemic lockdowns.”

Reflecting on the changes brought on by the need to react to Covid times, Delma says: “It has pushed us very specifically into a whole new world of digital sharing and income generation, running parallel with that, and all our staff have been willing to adapt and embrace the changes. We’ve also been determined to make the online service as simple to use as possible, requiring only your email address.

“The other very positive thing has been our blossoming relationship with The Crescent [community venue] and The Fulford Arms, especially with Harkirit Boparai and Chris Sherrington, and the Independent Music network, putting on the Songs Under Skies concerts in the NCEM garden last summer and this summer.”

Post-festival, the YEMF ’21 Online concerts will be available to view on demand until August 13 2021 and tickets will be on sale until August 6 at ncem.co.uk. Live festival tickets are selling fast, with social distancing measures still in place to limit numbers, so hurry, hurry to book at ncem.co.uk before you are too late to be Early next week.

Did you know?

THE 2021 York Early Music Festival concerts by Rachel Podger, The Society Of Strange & Ancient Instruments and The Gesualdo Six will be recorded for broadcast on BBC Radio 3’s Early Music Show in late-July.

Copyright of The Press, York

Posted on

More Things To Do in and around York as 145 artists and makers open studio doors. List No. 40, courtesy Of The Press, York

Minster, by textile artist Carol Coleman, who is taking part in York Open Studios at 1 Carlton Cottages, Wigginton

AHEAD of Monday’s already trailered Step 4 pronouncement, Charles Hutchinson unmasks events aplenty, from Open Studios to heavy metal heaven, theatre comedy to theatre tragi-comedy, musical celebrations to  a triple exhibition.

Big art event of the next two weekends: York Open Studios 2021, preview night tomorrow, 6pm to 9pm; July 10/11 and 17/18, 10am to 5pm

AFTER the Covid-enforced fallow year of 2020, York Open Studios returns this weekend for its 20th parade of the city’s creative talent.

The event sees 145 artists and makers open 95 studios, homes and workplaces, and among them will be 43 debutants, with full details at yorkopenstudios.co.uk.

York’s biggest annual art showcase spans ceramics, collages, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, furniture, sculpture and textiles.

Still feeling their Old Selves after lockdown easement: Yorkshire four-piece look overjoyed at the prospect of headlining tomorrow’s very heavy metal bill at The Fulford Arms

Hardcore gig of the week: Old Selves, Blight Town, Cast Out and Realms at The Fulford Arms, York, tomorrow, 7.30pm.

“WHAT at an absolute heavy metal treat,” enthuses Fulford Arms supremo Chris Sherrington, ahead of tomorrow’s headbanger fiesta, headlined by fiery Yorkshire four-piece Old Selves.

Playing loud too will be Nottingham progressive post-hardcore/math rock quintet Blight Town, York punk’n’roll/metalcore crossover band Cast Out and Yorkshire post-hardcore act Realms, who “make music for people who never grew out of their emo phase”. Tickets: thefulfordarms.bigcartel.com/ or on the door.

Lead actors Sandy Foster and Tom Kanji in rehearsal for Laura Wade’s comedy of domestic bliss turned to blister, Home, I’m Darling. Picture: Ellie Kurttz

Make a trip to Scarborough for: Home, I’m Darling, Stephen Joseph Theatre, July 9 to August 14

SWEET peas in the garden; homemade lemon curd in the kitchen; marital bliss in the bedroom, Judy and Johnny seem to be the perfect couple. Sickeningly happy, in fact, in Laura Wade’s domestic comedy-drama. 

Is their marriage everything it seems, however? Are there cracks in their happiness? What happens when the 1950s’ family values they love so much stop working in the 21st century as the couple discovers that nostalgia ain’t what it used to be. 

Liz Stevenson directs this co-production between Theatre by the Lake, Keswick, Bolton’s Octagon Theatre and the SJT. Box office: thesjt.uk.com.

Back together in Beulah: Actor-musicians Jim Harbourne and Ed Wren reunite next week, having first performed the show for The Flanagan Collective in 2012

Theatre resurrection of the week ahead: The Flanagan Collective in Beulah, Summer At The Mill, Stillington, near York, July 14 to 16, 8pm to 10pm

AN island sets sail into the sunset; a boy watches a lion running out of the sky, and an old man is sleeping as Alexander Wright’s Beulah reawakens in Stillington.

Inspired by William Blake’s world of a “mild and pleasant rest”, Wright plays with  notions of reality, of the permeable times of day and liminal states of being, in a show woven with storytelling, puppetry and soaring live music, first staged at York Theatre Royal in the bygone summer of 2012.

Directed by Tom Bellerby, Beulah is performed by actor-musicians and composers Jim Harbourne and Ed Wren. Box office: atthemill.org.

Father Of The Flowers, by York artist Linda Combi, from her exhibition The Last Gardener Of Aleppo at Pyramid Gallery, York

Exhibition launch of the week times three: Pyramid Gallery, Stonegate, York, Friday to September 5

ERUM Aamir, Debbie Loane and Linda Combi form the suitably triangular structure of Pyramid Gallery’s summer show. Not one, but three exhibitions will run in two upstairs rooms.

For Celestial Garden, Manchester ceramic artist Erum Aamir has made intricate porcelain sculptures that fuse her scientific research and artistic imaginations, complemented in the front room by seascape and landscape paintings by Easingwold artist Debbie Loane under the title of The Peace Of Wild Places.

York artist Linda Combi presents The Last Gardener Of Aleppo, a series of original collages and mixed-media artworks and giclee prints that form a moving tribute to Abu Waad in aid of The Lemon Tree Trust and the United Nations High Commissioner for Refugees agency.

Not having a ball: Luke Dickson as doomed Leeds United manager Brian Clough in The Damned United at York Theatre Royal

Second time lucky: The Damned United, Red Ladder Theatre Company, York Theatre Royal, July 15, kick-off 7.30pm

THE Damned Pandemic curse struck again when June 16’s performance of The Damned United was postponed after one of the actors had an inconclusive lateral flow test. Tickets remain valid for the post-Euro 2020 new date.

Anders Lustgarten’s darkly humorous adaptation of David Peace’s book about Brian Clough’s 44 days in purgatory as Leeds United’s manager is built around the double act of tortured genius Clough (Luke Dickson) and father figure/assistant Peter Taylor (David Chafer).

The beauty and brutality of football, the working man’s ballet, bursts out of a story of sweat and booze, fury and power battles. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

No, that’s not England manager Gareth Southgate, second from left, front row, in Black Sheep Theatre’s line-up

Raise the roof booster:  Black Sheep Theatre, For The Love Of Musicals, Joseph Rowntree Theatre, York, July 24, 2.30pm and 7.30pm

MUSICAL director Matthew Clare and his merry band, plus a heap of York singers, present a concert programme packed with musical delights as they seek to prove that “There’s No Business Like Show Business”.

The song list for this Black Sheep Theatre fundraiser for the Joseph Rowntree York, spans Annie Get Your Gun, the classics and more recent shows, such as Dear Evan Hansen. Box office: josephrowntreetheatre.co.uk.

Joshua Burnell: Live At Forty Five gig in August. Picture: Stewart Baxter

Intimate gig announcement of the week: Joshua Burnell, Live At Forty Five, Forty Five Vinyl Café, Micklegate, York, August 14, 7.30pm

JOSHUA Burnell, progressive York purveyor of folk-fused baroque’n’roll for the modern world, performs in a three-piece line-up, including Frances Sladen, at Forty Five Vinyl Café next month.

Expect a showcase for latest album Flowers Where The Horses Sleep and his new EP, Storm Cogs, featuring songs about a folk singer who went missing for 30 years (Shelagh McDonald), a storm-chasing flying machine and a childhood memory, “written and recorded in lockdown and released as the world recovers”.

Elsie Franklin supports. Tickets are on sale at fortyfiveuk.com/events/joshua-burnell-live-at-fortyfive.

Posted on

REVIEW: Clive, alias Phil Grainger, Music At The Mill, Stillington Mill, near York, July 2

“The second cut is always the deepest when Phil Grainger sings”. Picture: Fair Dinkum Film

BEST buddies since Easingwold schooldays, Alexander Flanagan Wright and Phil Grainger reeled off a series of At The Mill double bills back home in North Yorkshire in the first summer of Covid after their Australian tour was aborted.

New York and Edinburgh Fringe plans were scuppered too, after old York called them home, and more than a year later, they are still here, making magical theatre, song and spoken word.

Oh, and building an outdoor theatre too on Stillington Mill’s disused tennis court, with Alex’s father, Paul, and mother, Maggi, playing a prominent role too in establishing the new and impressively diverse At The Mill enterprise (more of which in a CharlesHutchPress interview with Alex later this week).

Last August’s set finished with Phil announcing that wood had arrived for Alex and Phil to start work on converting that summer’s marquee into an outdoor theatre. “If they build it, we will come,” vowed CharlesHutchPress, and sure enough, this summer finds that theatre in full sail for concerts and theatre shows.

For one night, Phil and Alex teamed up with two friends in Foraged & Forged, a showcase of new material written specially for the occasion. Friday night put polymath Phil in the solo spotlight, in the guise of Clive, and while the pre-show rain enforced a late decision to abandon the plan to do one set from one stage, and a second from another, the format of an acoustic first half and electric second set was retained.

“It’s been a bit of an hour,” he said, putting on his bandana in readiness for adopting Clive mode. “It’s ‘look at how good this would have been. Now is what you’re getting’!”

What we were getting was the solo music project of singer, songwriter, musician, sound engineer, magician, actor, Gobbledigook Theatre director and event promoter Phil Grainger. Why Clive, you ask? Phil is not a name for a singer, he reasons. Er, Phil Collins? “Exactly,” said Easingwold Phil in a typical shard of attractively blunt Yorkshire wit that peppered his performance. “Clive is the name for the thing that’s me doing this.”

Phil Grainger, in Clive mode, performing Under The Sea from the Disney songbook. Picture: Fair Dinkum Film

Clive is his middle name, and his father’s name too, so Clive it is, and tonight the Stillington Mill’s a-Clive with the sound of music. Beautiful, poignant, happy, sad, funny, heart-felt music, sung in one of those surging soul voices where the second cut is always the deepest when Phil, sorry, Clive, lets rip. One of these voices where you ache waiting for those transcendent moments.

Clive would divide his sets, he said, between songs he had been writing for a long time, others that were new, and some so new they were only half written. He would stop them at the point they were half-finished, with no pretence of finesse.

You cannot help but warm to such candour, or indeed to his off-the-cuff sporadic dips into a newly acquired Disney songbook. Or his seemingly rudimentary, yet deeply affecting guitar, that recalls Billy Bragg’s less-is-more playing.

Clive, his dad, was there, and so was his mum. “I didn’t know they were coming,” said Phil, promptly deciding to change his “emotional set-ender” to his “emotional opening number”. “This song is about my mum. It’s called My Mother,” he said, whereupon mum raised a knowing eyebrow.

Soon we learned she does better Sunday roasts than a Toby Carvery, she effing hates swearing and is no fan of tattoos either. Under Alex’s encouragement, Phil’s lyrics are coming on apace, matching his gift for melody, and built around a winning line in couplets and a desire to take the advice of The Streets’ Mike Skinner to always end with a memorable pay-off.

His hymn of praise to the lure of York’s welcoming arms, whenever he is away, is awaiting both completion and confirmation of its title – “it might be Angel Of The North,” he speculated – but already it is completely moving.

Alex and Phil had vowed never to return to the pieces they wrote in a day to perform to an audience that night, but promises are made to be broken, and so out came Home, the one with 14 houseplants acquired by Phil’s girlfriend Angie for their cottage nest and Alex’s poetic “tatty clattering” as a home is found inside a house. “With you I’m two-up; I was one down on my own,” finished Phil. Mike Skinner would surely approve.

Phil Grainger and Alexander Flanagan Wright last August, when they mounted a week of The Flanagan Collective and Gobbledigook Theatre shows at At The Mill, by the 18th century corn mill. Picture: Charlotte Graham

After a pleasingly erratic stroll through Disney’s Can You Feel The Love Tonight, the acoustic set concluded with two of Phil’s finest, Little Red and Colour Me In: one pulling at the frayed edges of a disintegrating relationship; the other, from Phil and Alex’s show Orpheus, a ballad that would fit perfectly on Guy Garvey’s Finest Hour on BBC 6Music. “I’m drunk on colour and I’m drunk on soul,” Phil sang, and how we drunk it in.

Electricity was thankfully restricted to Phil’s switch of guitar and not lightning for the second half, introduced by storyteller Phil with his recollection of trying to pay the £600 required for the instrument in £2 coins gathered over time ten years ago. Bank the coins, he was told, but eventually the guitar was his.

A decade later, he finally chanced his arm at a guitar solo in Safe Travels, Hurry Back, words by Alex, title and soar-away tune by Phil. The solo? Grainger’s transition into Jimi Hendrix is on hold.

Best title of the night award went to Hallelujah For The Hell Of It, best couplet to: “I’m hard to read like a broadsheet; you’re hard to keep like the off-beat”.

That made it back from Australia in February 2020, as did another Alex and Phil composition, If Destroyed Still True, written late into the night after their last supper before the urgent flight home, this one composed with Aussie friend Jamie on laptop.

“Just to be clear, we’ve never done this one live, since we wrote it in an hour that night,” said Alex, duly doing his Kae Tempest-style spoken words live, interwoven with Phil’s yearning vocal part and Jamie’s infectious recorded instrumental refrain.

One-man band and his bandana: Phil Grainger performing his Clive show. Picture: Fair Dinkum Film

It could have gone wrong at any moment, instead it went beautifully right, and it is in such unpredictable, knife-edge moments that Summer At The Mill is creating its distinctive alchemy.

Do check out the Aussie video at: facebook.com/orpheuseurydicethegods/videos/2254587891515753; the chorus will be your new earworm within minutes.

The Little Mermaid’s Under The Sea survived its Big Phil DIY – Does It Yorkshire – reinvention, and then it was time for Phil to revisit the “wise and gorgeous” recording of Easingwold Players’ stalwart Bronwyn Jennison, who passed away last year.

It had been a highlight of last summer’s Clive show and now, reactivated for the first time since then, Bronwyn’s rendition of Alex’s words had even greater weight after the year we’ve all had. “You carry on, wild child, and I’ll carry on,” said Bronwen through the ether, and Phil and Alex will indeed carry that flame.

Phil’s finale was a humdinger: an audience hum-along to the anything but humdrum Hum, “another song we said we’d never do again, but it’s too special not to!”.

Last August’s review ended with a call to Phil to record an album, and indeed the Half Man Half Bull download has since emerged, but that is a team creation, not the full Phil, and so, Phil, even more than last year, please head into the recording studio. Your mother, for one, would be chuffed.

“I’m so glad I could be here to sing to the benches I made,” he signed off. So we were, so we were.

Review by Charles Hutchinson

Posted on

REVIEW: Martin Dreyer’s verdict on A Little Night Music, Opera North/Leeds Playhouse

Old flames reunited at Opera North: Stephanie Corley as Desirée and Quirijn de Lang as Fredrik in A Little Night Music at Leeds Playhouse

A Little Night Music, Opera North and Leeds Playhouse, Leeds Playhouse, until July 17. Box office: 0113 213 7700 or at leedsplayhouse.org.uk

THE collaboration between Opera North and Leeds Playhouse has finally resumed 13 months after originally intended. It has been a long wait but has picked up very fruitfully.

A bitter-sweet musical by the grand old man of bitter-sweet, Stephen Sondheim, is the perfect vehicle, reflecting on the fall-out from amatory accidents in European operetta just as we all contemplate a newly changed cultural scenario.

James Brining’s new production, updated to mid-20th century and hand in glove with Madeleine Boyd’s flexible set, is everywhere imaginative and often heart-warming, reaping the very best from a widely talented cast.

On the Playhouse’s apron stage – no proscenium arch (except briefly an improvised one for a Baroque throwback in The Glamorous Life – there is virtually no scenery. All is movable furniture: two clothes-rails, a grandfather clock, a doll’s house, a toiletry dresser, a double bed, a half-submerged piano. The only fixed point comes in Act 2, where the centrepiece is a fountain surmounted by a cherub, which is probably Eros.

James Holmes’s theatre orchestra – using the original and incomparable Jonathan Tunick orchestration – is placed at the back, stage right and blacked out for Act 2. Lighting designer Chris Davey’s discreet spots gently guide us to the next focal point, so that we are duped into feeling the action is continuous, the scene-changes happening magically.

Although much of the music moves in triple time, reflecting the triangular relationships of the story, its character evolves with the scenes. Holmes is masterful at these changing colours and accents, while remaining in close touch with his singers.

The Scandinavian twilight of Act 2, with alto flute, cor anglais, celesta and harp, is positively fragrant. He can equally easily find a lament in a waltz, as in Henrik’s Later, or pomposity in a polonaise, in the Count’s In Praise Of Women. His orchestra is the unsung hero of the evening.

There are some pretty splendid singers too. Heading the list has to be Josephine Barstow’s Madame Arnfeldt, the grande dame of the tale who has seen it all before, as she sardonically reminds us from her wheelchair in Liaisons. She exudes effortless authority through her commanding mezzo and diction that is a paragon of clarity.

As her actress daughter Desirée, Stephanie Corley brings a lovely soprano to her vacillating emotions; in Send In The Clowns, against a backdrop of slow choreography, her pacing and rubato is wondrous.

Opposite her – and incidentally rekindling their double act from Kiss Me, Kate with Opera North – is Quirijn de Lang as her erstwhile lover Fredrik, the lawyer caught in a mid-life crisis, whose firm baritone fires You Must Meet My Wife. His fall into the fountain is straight out of P G Wodehouse. Together their ambivalent emotions are cleverly cloaked.

Christopher Nairne brings an incisive baritone to his poker-faced Count, while Helen Évora’s Countess has charm to burn, notably in Every Day A Little Death. A word too for the Petra of Amy J. Payne, who brings both pizzazz and pathos to The Miller’s Son, a marvellous piece. Corinne Cowling’s Anne, Fredrik’s virginal second wife, and Laurence Kilsby’s high-strung Henrik merge neatly into elopement, while Agatha Meehan makes an engaging young daughter to Desirée (her alternate is Lucy Sherman).

The Quintet, five chorus members from Opera North acting like a Greek chorus, seem to me to sum up the whole show: they blend superbly, proving that good teamwork will always win the day. Congratulations to all, especially James Brining for pulling it all together.                                                                                                        

Review by Martin Dreyer   

Proudly powered by WordPress