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Opera North and Leeds Playhouse unite for October season of Connecting Voices

Testament: Leeds rapper, writer and beatboxer commissioned for new piece for Connecting Voices. Picture: Anthony Robling

OPERA North and Leeds Playhouse are collaborating on a celebration of the power and expressiveness of the human voice that will bring audiences back into the Quarry Hill theatre next month for the first time since the March lockdown.

They will co-produce Connecting Voices: six new and existing 40-minute pieces of live performance staged safely and Covid-securely in four areas of the Playhouse, played over three weekends in October, fusing classic and contemporary theatre on themes of isolation and connection, resilience and reflection 

Leeds rapper, writer and world record-holding beatboxer Testament has been commissioned to explore the power of the solo voice within a communal space and the relationship between performer and audience, while freelance artists Matthew Eberhardt and Khadijah Ibrahiim will be devising new work together with musicians, poets, actors and young people 

Running from October 2 to 17, Connecting Voices will mark the reopening of Leeds Playhouse six months after lockdown began by “partnering with the wider arts industry to find new and innovative ways of reintroducing audiences to live theatre, in a safe and secure environment, contributing to the life and vibrancy of the Leeds city region”.

Orpheus In The Record Store, written by Testament and directedby Aletta Collins, will fuse spoken word and beatboxing with players from the Orchestra of Opera North in a collaboration in the Quarry Theatre that gives the Greek myth of Orpheus a contemporary Yorkshire twist.

“I’m so excited to be back at Leeds Playhouse with Opera North, especially after this turbulent period,” says Testament. “To be commissioned to create a new piece of work is a massive honour.

“The Playhouse was one of the first organisations to take a chance on me as a theatre maker and it feels like home; their help and support has been invaluable to my growth as an artist.  And only last year I got to work with Opera North as an artist on their Resonance programme, which opened my eyes to new possibilities as a composer.”

Looking forward to live performances returning to Leeds Playhouse, Testament says: “There is much to say and share right now, and I passionately believe theatre has an almost spiritual role in making the direction we wish to go in as a society tangible.

“I can’t wait to be back in front of an actual audience – being together enjoying worlds that we make together in those moments of live connection.”

Khadijah Ibrahiim: Writing and directing Reflections: Dead And Wake for Connecting Voices

What can next month’s audiences expect? “Right now, I’m in the lab creating, pushing buttons, and I’ve got something planned as a beatboxer that has never been like this way before,” says Testament. “I am also super-excited about connecting with Opera North musicians:  we are planning to take the crowd on an epic journey with music, spoken word and live theatre.”

Playing alongside Orpheus In The Record Store will be topical re-awakenings of two pieces from 1958 that present characters isolated from others and struggling to connect again through technology.

The first is Irish playwright Samuel Beckett’s monologue Krapp’s Last Tape, to be performed by Niall Buggy in the Bramall Rock Void, directed by Dominic Hill.  This will be counterpointed by Francis Poulenc’sshort opera La Voix Humaine, performed by Opera North soprano Gillene Butterfield in the Barber Studio, directed by Leeds Playhouse’s Sameena Hussain.

In the Courtyard Theatre, each of the three weekends will see a different and newly devised piece of work from Leeds spoken-word artist Khadijah Ibrahiim and two pieces by freelance director Matthew Eberhardt, whose credits include Opera North’s Street Scene.

They will work  with singers, actors, young people and musicians, including classically-trained singer Keertan Kaur Rehal, Amy J Payne and stalwart Playhouse actor Robert Pickavance, to create contemporary responses to the themes of remembrance, collaboration and the act of storytelling.

James Brining, artistic director at Leeds Playhouse, says: “Re-opening the Playhouse after six months of enforced closure and being separated from each other has made us value even more than before the act of live performance and what that means. 

“Our beautifully refurbished building provides us with many opportunities to safely welcome audiences and artists back into the Playhouse.  Connecting Voices is a carefully curated programme exploring isolation and connection, resilience and reflection, as well as the relationship between performer and audience member in a shared space.”

Brining is delighted to be working once again with Leeds company Opera North. “We’re pooling our resources to help the city of Leeds to get back on its feet and bring joyous and powerful communal shared experiences back to the lives of its citizens,” he says. 

“As we head into our 50th year at this challenging time, it’s vital that we reconnect with audiences and communities and collaborate with bold and diverse voices from across the region. We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again.”

“We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again,” says Leeds Playhouse artistic director James Brining

Richard Mantle, Opera North’s general director, says: “Connecting Voices is a compelling exploration of the power of the human voice and the profound desire to establish meaningful ties out of experiences of isolation and loss.

“We are delighted that we are able to begin the process of welcoming audiences safely back to live performance through this collection of work in partnership with Leeds Playhouse.

“Connecting Voices brings together voices spoken and sung from across the city and wider region, and we are especially thrilled to be collaborating with such a diverse and talented group of freelance artists, singers, musicians, poets and directors who all share artistic ties to both Opera North and to Leeds Playhouse.

“Now, more than ever, it is apparent how strongly intertwined the artistic and cultural community in our region is, and how important collaboration will be in ensuring a vibrant future for the arts and audiences across the city.”

Please note, in line with Government guidelines, audiences will be of limited capacity with social distancing and temperature checking will be conducted too. Tickets will go on sale to Leeds Playhouse’s Supporters’ Club, Playhouse Pass holders and Opera North Patrons from Monday, September 14 and on general sale from 12 noon on Tuesday at leedsplayhouse.org.uk and on 0113 213 7700.

Connecting Voices: the full programme

Krapp’s Last Tape, by Samuel Beckett, directed by Dominic Hill

A 69-year-old man listens to the voice of his 39-year-old self. Looking back on his loves, failures and losses, Krapp rewinds through his life with humour and heartache. A classic Beckett play, both punchy and personal.

Performances: October 2, 9 and 16, 8pm; October 3, 10 and 17, 3.30pm and 8pm,
Bramall Rock Void, Leeds Playhouse.

Humour and heartache: Niall Buggy in Krapp’s Last Tape. Picture: Robert Workman

La Voix Humaine, by Francis Poulenc, directed by Sameena Hussain

A devastating short opera exploring the pain and fear of rejection in the rawest fashion. Through the lone voice of the woman, Poulenc expresses the full range of human emotion with a score of caressing warmth and intimacy. This powerful one-woman performance will be sung in English.

Performances: October 2, 9 and 16, 6pm, and October 3, 10 and 17, 1.30pm and 6pm, Barber Studio, Leeds Playhouse.

Orpheus In The Record Store, by Testament, directed by Aletta Collins

Orpheus is alone, playing tunes in his record shop. When an old friend arrives, music and stories collide as the ancient and contemporary merge. Testament takes inspiration from the classical Greek myth in a show that fuses spoken word and beatboxing with classical music from the Orchestra of Opera North.

Performances: October 2, 9 and 16, 9pm, and October 3, 10 and 17, 4.30pm and 9pm, Quarry Theatre, Leeds Playhouse.

Reflections: Dead And Wake, written and directed by Khadijah Ibrahiim

Experience a Jamaican “Nine Night” with literary activist and theatre maker Khadijah Ibrahiim. This thought-provoking performance explores Caribbean rituals around death through poetry, music and ghost [duppy] stories, featuring turntablist DJ NikNak and Paulette Morris. The event also includes performers from the Sunday Practise with their creative response to living through the last six months.

Performances: October 16, 7pm and October 17, 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

Reflections on La Voix Humaine, directed by Matthew Eberhardt

Take your seat on the stage of the Courtyard Theatre, look out into the auditorium and witness actors and musicians explore themes of isolation and connection, of resilience and reflection, through words both spoken and sung. This is a contemporary reflection on Poulenc’s La Voix Humaine and can be enjoyed either alongside the original piece or independently.

Performances: October 2 at 7pm and October 3 at 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

Reflections on Krapp’s Last Tape, directed by Matthew Eberhardt

Relish the power and expression of the solo voice from the stage of the Courtyard Theatre in this celebration of the return of live performance. An actor and a musician collaborate, filling the auditorium with words and music that reflect upon the themes of Samuel Beckett’s monologue Krapp’s Last Tape.

Performances: October 9 at 7pm and October 10 at 3.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

The running time for each Connecting Voices performance is 40 minutes.

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Crowdfunder appeal launched by York director for The Wedding Present musical

David Gedge: Creative consultant for a new musical based around his songs for The Wedding Present

DO you have a gift for a Wedding Present project?

To explain, a crowdfunder campaign is being launched to support the creation of a musical based on the songs of David Gedge’s “semi-legendary“ Leeds group and John Peel favourites, The Wedding Present…with “some brand new material” from Gedge too.

The driving force behind Reception, The Wedding Present Musical, is York writer, theatre director and Engine House Theatre artistic director Matt Aston, fresh from mounting this summer’s season of Park Bench Theatre monologues in the Friends Garden at Rowntree Park.

Gedge, who turned 60 in April, will be the creative consultant for a show that will incorporate his songs for both The Wedding Present and Cinerama, plus the aforementioned new material, targeting 2022 for a Leeds premiere.

The crowdfunder campaign “gives fans the opportunity to get involved at the very beginning of an exciting journey – and pick up a bunch of specially commissioned artwork and merchandise, only available here, in doing so”.

Matt Aston: Artistic director of this summer’s Park Bench Theatre season at Rowntree Park, York, now working on a musical play inspired by his favourite band The Wedding Present. Picture: Livy Potter

Reception is the story of a group of friends from Leeds University who keep in touch over two decades of trials, tribulations, and receptions. Their stories are rooted in Gedge’s songs and the title is inspired by the name of The Wedding Present’s original record label, Reception Records.

The idea of doing such a musical has been brewing for writer/director Aston for several years. When he met Tony Ereira, director of the Come Play With Me and Clue Records record labels – where else but at a Wedding Present gig, in Leeds in early 2019 – the concept was batted around still futher.

The concept of the play started to take shape, with the documentary nature of Gedge’s candid, darkly humorous song-writing in the never-ending minefield of love and loss, lovers and losers, longing and lost opportunity suited to transferring those anguished stories and their quotidian protagonists on to the stage.

As Gedge himself said in Gigslutz on August 24 2015: “I’m interested in the minutiae of relationships. I like to write about what actually happens, rather than some imaginary situation cloaked in metaphor, hence the references to the everyday, though I have been known to decorate the songs with science fiction or comic book references!”

“I first saw The Wedding Present in Derby in 1988, so you could say this musical is over 30 years in the making,” says Matt. “I’ll always be grateful to my older brother and his mates for taking his little 15-year-old brother to his first ever gig.

Writer-director Matt Aston in a Wedding Present T-shirt in rehearsals with actor Chris Hannon for Park Bench Theatre’s production of Samuel Beckett’s First Love. Picture: Northedge Photography

“I got a T-shirt, a set of badges and a nosebleed. Not to mention a new favourite band. I’ve always felt there was something very theatrical about David’s songs. The storytelling, the arrangements, the anguish.

“And, as proven with Cinerama’s re-recording of The Wedding Present’s Valentina album, they have the flexibility to be arranged in a number of different, epic and dramatic ways. Although the show will, of course, still have plenty of fast guitars too!”

Aston and Ereira put the idea to Gedge, along with an early synopsis for the story, and, never one to shy away from a new medium to present his work, Gedge was equally excited to explore the idea further.

“With this crowdfunder campaign, we are looking to raise initial funding to get a first draft of the script written, some artwork and branding in place, and to start preparing for a period of research and development in early 2021 to road test our ideas – Covid-19 permitting – with a group of actors/musicians and some brand new material from David,” says Matt.

“The intention is to be in a position to premiere the musical in Leeds in 2022  – and this campaign is a chance for fans to get involved from the beginning with a bunch of rewards that are all exclusive to this production, including specially commissioned artwork from Lee Thacker,  illustrator of David’s autobiography, Tales From The Wedding Present.”

To support the project, go to: https://www.crowdfunder.co.uk/reception-the-musical

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More Things To Do in and around York and at home, as opposed to a “social gathering” for the joy of six. List No 14, from The Press

Helen Wilson in a damned spot of Scottish bother in York Shakespeare Project’s Sit-down Sonnets at Holy Trinity churchyard, Goodramgate, York. Picture: John Saunders

MUSICAL theatre in a park, drag cabaret at a sports club, Shakespeare sonnets and songs in churchyards, high-speed film action at an airfield and chamber music online catch Charles Hutchinson’s eye

Graveyard smash of the week: York Shakespeare Project’s Sit-down Sonnets, Holy Trinity churchyard, Goodramgate, York, until Saturday

WHEN York Shakespeare Project’s Macbeth bit the dust in March, put on hold by the Covid lockdown, York’s purveyors of Shakespeare’s Sonnet Walks decided to stage a sit-down, but not as an act of protest.

Director Mick Taylor and producer Maurice Crichton hatched a plan to present assorted familiar Shakespeare characters, brought into the modern world, to reflect on the pandemic with an accompanying sonnet.

Holy Trinity’s churchyard, with its five park benches, tree shelter and mown grass, provides an ideal socially distanced open-air setting. Bring a rug, cushion, camp chair, flask and biscuits, suggests Maurice, to performances at 5.45pm and 7pm, plus 4.15pm on Saturday.

Polly Bolton: Sharing a double bill with Henry Parker in the NCEM churchyard

Double bills in another churchyard: Songs Under Skies, National Centre for Early Music, St Margaret’s Church, Walmgate, York, tonight, September 16 and 17

SONGS Under Skies brings together the National Centre for Early Music, The Crescent, The Fulford Arms and the Music Venues Alliance for an open-air series of acoustic concerts.

The opening night with Amy May Ellis and Luke Saxton on September 2 was driven inside by the rain. Fingers crossed for more clement conditions for Wolf Solent and Rosalind tonight, Polly Bolton and Henry Parker on September 16 and Elkyn and Fawn the following night.

Gates will open at 6.30pm for each 7pm start; acts will perform either side of a 30-minute interval with a finishing time of 8.30pm. 

The Bev Jones Music Company in a socially distanced rehearsal for Sunday’s show at the Rowntree Park Amphitheatre

Musical theatre showcase part one: Bev Jones Music Company, Strictly Live In The Park, Rowntree Park Amphitheatre, York, Sunday, 3pm.

THE Bev Jones Music Company stage a full-sized musical theatre concert with more than 20 socially distanced singers and a five-piece band on Sunday afternoon.

Strictly Live In The Park promises a “spectacular show for all the family, with popular show music, pop music, dance and comedy”, under the musical direction of John Atkin with choreography by Claire Pulpher.

Expect numbers from Adele to Robbie Williams, Cabaret to Hairspray, Mack & Mabel to South Pacific, The Full Monty to Chess, Miss Saigon to the finale, Les Miserables, all arranged by the late company driving force Bev Jones. Also expect temperature tests on arrival.

Conor Mellor in York Stage Musicals’ first show at the Rowntree Park Amphitheatre, York. He will be back for the second one too. Picture: Jess Main

Musical theatre showcase part two: York Stage Musicals present Jukebox Divas, Rowntree Park Amphitheatre, York, September 18 to 20, 7pm

AFTER the sold-out three-night run of York Stage Musicals’ first ever outdoor show last month, producer/director Nik Briggs and musical director Jessica Douglas return to their Rowntree Park psychedelic igloo to stage Jukebox Divas.

Jessica’s band line-up has changed, so too has the singing sextet, with Conor Mellor from the debut show being joined by Dan Conway, Sophie Hammond, Grace Lancaster and Eleanor Leaper.

“With music from We Will Rock You, Mamma Mia! and more modern releases like + Juliet and Moulin Rouge, audiences will be entertained for 90 minutes with vocal tributes to artists such as Elvis Presley, Queen, Meat Loaf, Katy Perry, Carole King and many more,” says Nik.

Baby Driver: one of the films with high-speed thrills to be screened at AA Getaway Drive-in Cinema at Elvington Airfield

Car experience of next week: AA Getaway Drive-in Cinema, Elvington Airfield, near York, September 18 to 20

AFTER Daisy Duke’s Drive-in Cinema on Knavesmire, now comes a celebration of high-speed thrills and derring-do skills at Elvington Airfield…on screen, courtesy of AA Getaway Drive-in Cinema.

Tickets have sold out already for the September 19 screenings of James Gunn’s 2014 space chase, Guardians Of The Galaxy (12A), at 2.30pm and James Mangold’s 2019 Ford v Ferrari race-track clash, Le Mans 66 (12), at 7.30pm.

Bookings can still be made, however, for Guardians Of The Galaxy on September 18 at 2.30pm and September 20 at 7.30pm and Edgar Wright’s 2017 getaway-car heist thriller, Baby Driver (15), September 18, 7.30pm, and September 20, 2.30pm.

No more kitchen-sink dramas for Velma Celli as York’s drag diva deluxe swaps live-streaming for the great outdoors in Acomb tomorrow

Stepping out of her Bishopthorpe kitchen into the York open air: Velma Celli: An Evening Of Song, York RI Community Sports Club, New Lane, Acomb, tomorrow, 8pm.

AFTER a spring and summer of concerts live-streamed from home, York drag diva Velma Celli takes to the outdoor stage at a sports club.

“The show will be a mixed bag of whatever I fancy on the day – pop, rock, impressions and some musical theatre obviously – and of course requests online. Message me on Facebook,” advises Velma.

Very special guests are promised: definitely York soul powerhouse Jessica Steel will be among them.

Tim Lowe: York Chamber Music Festival artistic director and cellist

Festival of the month: York Chamber Music Festival, September 18 to 20

THE 2020 York Chamber Music Festival is going online to live-stream three concerts from the National Centre for Early Music, Walmgate, York, in a celebration of the 250th anniversary of Beethoven’s birth.

Festival artistic director and cellist Lowe will be performing with Simon Blendis and Charlotte Scott, violins; Matthew Jones, violin and viola; Jon Thorne, viola, and Katya Apekisheva, piano. For full details on the programme and on how to watch the concerts, go to ycmf.co.uk.

Strictly between us: Anton du Beke and Giovanni Pernice’s tour poster for Him & Me next summer at the Grand Opera House, York

One for the 2021 diary: Anton & Giovanni, Him & Me, Grand Opera House, York, July 12

STRICTLY Come Dancing staples Anton du Beke and Giovanni Pernice will link up for their debut tour together, Him & Me, next year.

Details are sketchy, but the dapper Sevenoaks ballroom king and the Italian stallion say: “This show promises to be the best night out in the Summer of 2021 for all ages…A true dance extravaganza!”

Anton and Giovanni will be joined by a “world-class cast” of dancers and singers for a show produced by Strictly Theatre Co and directed by Alan Burkitt.

And what about…?

A visit to the reopened Bar Convent Living Heritage Centre exhibition in Blossom Street, York. Malton Harvest Food Festival on Saturday. New Light Prize Exhibition, with more than 100 artists, opening at Scarborough Art Gallery on September 19. York Walking Festival, running or, rather, walking until Sunday (details at iTravel York website).

Jon, by Laura Quin Harris, at the New Light Prize Exhibition at Scarborough Art Gallery

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The future of folk is here as Joshua Burnell travels to Mars on portentous new album

“On this album, I’m tapping into that terrible looming dread of what could go on in the future,” says Joshua Burnell. Pictures: Elly Lucas

THERE is no time like the present for Joshua Burnell’s new album: the place where a retro past meets a bold other-worldly future.

Newly released through Proper Music, Flowers Where The Horses Sleep finds the York multi-instrumentalist returning to writing his own songs.

“The last two records, 2018’s Songs From The Seasons and  last year’s The Road To Horn Fair, were traditional, so that was cheating!” says Joshua, winner of the Rising Star accolade in the 2020 Folking Awards.

“Certainly it’s been a big liberation to go back to my own song-writing for the first time since Into The Green [his 2016 fantasy epic].”

His website introduces his work as “folk-fused baroque’n’roll”. Some call it prog-folk with leanings to contemporary classical and vintage pop-rock too. His press release talks of Joshua “seemingly having his own musical time machine”, giving him the ability to teleport listeners between music’s yesterdays and tomorrows.

This is the moment for us to ask questions,” says Joshua

Or no more tomorrows, given his concern for our future. “On this album, I’m tapping into that terrible looming dread of what could go on in the future. There’s a doomsday feeling to some of the songs,” says Joshua.

“What’s going on now, with the pandemic, is a taster. What we’re going through is nature’s way of saying this is what you deserve, you horrible lot. But climate change ultimately is the bigger concern.”

In the transportation ballad Look At Us Now, Joshua imagines a future where we live on Mars in a tale combining folklore, climate change and space travel dreamer Elon Musk. “Definitely science fiction, yes, but science fiction is only science fiction until someone invents it for real,” he says.

“An uninhabitable Earth is something we can foresee, so while that song is sci-fi, with elements of doom and gloom thrown in, this is the moment for us to ask questions.

“What are we doing? Where are we going…when we take pleasure from all the delights of the 21st century that are a wonderful distraction from what’s happening?

“We’ve gone for a folky Bowie look, a folky, darker Aladdin Sane,” says Joshua, explaining Elly Lucas’s photographic portfolio for promoting his new album

“The problem comes down to economic greed. With all these advances, we wouldn’t be going there unless there was something to be made from it.”

Does Joshua consider himself to be a soothsayer? “There’s a romantic aspect to it, but folk singers have often talked about now and warned about the future; folk musicians are almost like political activists,” he says.

“But unlike politicians, folk musicians have the advantage of sitting on the sidelines, being able to be more daring in what they say, which fulfils the same role as punk music did.”

Equally adept on Hammond organ, acoustic guitar, accordion, mellotron, synths and a Steinway grand piano, Joshua’s boundary-pushing musicianship spans layered theatrical soundscapes and starker arrangements.

“What I’m trying to do is tell stories and take people somewhere else, taking them from the here and now, sometimes with a moral tale,” says Joshua, who was born in the Haute-Savoie in France but now lives, writes music and teaches in York.

“Folk singers have often talked about now and warned about the future,” says Joshua

“A lot of that comes from Tolkien…because so much of his work includes his own folk songs. Those stories are not fantasy rubbish. They’re giving people messages, but he didn’t want them to be allegorical. You can take something into the real world from them, or you can see them just as stories.

“From my teenage years, I adopted that as my ethos as a storyteller, where there’s something deeper there if you want to find it.”

Finished only two days before lockdown, Flowers Where The Horses Sleep is timely…and NOT all doom and gloom. “The songs were all inspired by people, past and present, and explore humankind’s remarkable ability to find beauty, even in the hardest of times,” he says.

Should you be wondering, the album title came from a story on the Family Ghosts podcast wherein a Japanese-American woman, interned in an American concentration camp during the Second World War, recalled how the prisoners, forced to live in stables, grew flowers to bring beauty into the ugly reality of their days.

Mumbai husband-and-wife artists Hari & Deepti’s papercut artwork for Joshua Burnell’s album cover

Beauty extends to the papercut album cover by Mumbai husband-and-wife artists Hari & Deepti, whose imagery plays out in the song Run To Me, recounting a surreal experience when Joshua and partner Fe [vocalist Frances Sladen] explored a ruined fortress near Harewood House, only to be approached by men carrying guns.

They took to their heels. “As we were running, a deer leapt out of the undergrowth and for one gloriously fairy-tale moment locked eyes with me and ran alongside us,” says Joshua.

Flowers Where The Horses Sleep is broad-ranging. Joan Of The Greenwood is a traditional folk song pastiche so authentic, you would swear it must come from a dusty old folk songbook.

Let Me Fall Down evokes Berlin’s decadent Kit Kat Club in its burlesque account of greed, while the Steinway on the album-closing Two Stars recalls the cabaret piano on David Bowie’s Hunky Dory album.

“What we’re going through is nature’s way of saying this is what you deserve, you horrible lot,” suggests Joshua.

Yet Flowers Where The Horses Sleep also marks a progression in Joshua not over-elaborating in any of his song structures. “I used to throw everything into the mix, but now, knowing when a song is finished has been a case of deciding what is enough,” he says.

“I’ve been trying to do a lot more of stripping it back for a song to have more space…though I still love those prog-rock elements with multiple textures!”

Combining artwork from Mumbai with recording in England and mastering at Stirling Sound in New York, not to mention the video for stand-out track Le Fay being made in New York too, the creation of the album spans three continents, such are the possibilities of our technological age. “I must go for four continents next time!” says Joshua.

The promotional imagery carries a closer-to-home Yorkshire stamp:  the Sixties polo neck and make-up were fashioned by photographer Elly Lucas at Light Space Leeds. “We’ve gone for a folky Bowie look, a folky, darker Aladdin Sane,” says Joshua. “She works in a very hipster space and has become the go-to photographer of the folk scene, working with The Unthanks, Eliza Carthy and Martin Carthy, and I loved how she used black curtains, yellow light and dividing panels and did all the make-up herself.”

Inevitably his autumn tour with his six-piece band has been postponed until the spring, when Pocklington Arts Centre, among others, awaits. In the meantime, invest in Flowers Where The Horses Sleep: Joshua Burnell in full bloom.

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Katie Melua cancels November 7 gig at York Barbican as Covid scuppers autumn tour

Katie Melua: Tour cancelled. Picture: Tetesh Ka

KATIE Melua has called off her 45-date autumn tour, scuppering her York Barbican return on November 7.

Her official statement reads: “Due to the current Coronavirus outbreak and the Government measures implemented to limit its spread, Katie Melua’s October & November 2020 shows have been cancelled. Customers will be given a refund on their ticket purchase from their ticket agent.”

Melua adds: “I’m sad that we can’t play for you this year. When all this is over, I promise we’ll have an amazing time. K x.”

Georgian-born Melua had earlier announced the October 16 release of Album No. 8 – yes, her does-what-it-says-on-the-tin eighth studio album.

The accompanying tour was put in place last November in days of innocence before Covid re-wrote the rules of human engagement, but that does not stop the delivery of Melua’s “most cohesive and assured recording to date after a prolonged period of musical rediscovery” at 35.

Billed as her most personal yet, her lyrics “attempt to reconcile the knotty complexities of real-life love to its fairytale counterpart, as Melua draws from the vernacular of folk songs to evoke a sense of magic-hour wonder mirrored by string arrangements whose depth and movement evoke Charles Stepney’s work with Rotary Connection and Ramsey Lewis”.

On her first studio set since 2016’s In Winter the full track listing will be: A Love Like That; English Manner; Leaving The Mountain; Joy; Voices In The Night; Maybe I Dreamt It; Heading Home; Your Longing Is Gone; Airtime and Remind Me To Forget.

Already doing the rounds is first single A Love Like That, a cinematic exploration of love, with lyrics by Melua, production by Leo Abrahams and a cast of musicians that embraces  drummer Emre Ramazanoglu, flautist Jack Pinter and the Georgian Philharmonic Orchestra.

Katie Melua’s cover artwork for Album No.8

The video is the first in a series of collaborations between Melua and director Charlie Lightening, who has worked previously with Paul McCartney, Liam Gallagher and Kasabian. Joining Melua on screen is Star Wars, Dunkirk and MotherFatherSon actor Billy Howle.

“I’m really proud of the video,” says Katie. “I loved working with Charlie Lightening. We had lots of talks about how to make it a meaningful work and deal with the new limits on filming. We went with just me and Billy Howle on screen, we tried to show with subtle gestures and nuances the truth of love in its early stages. Hopefully, everyone can enjoy watching it.”

Charlie says: “It was so nice to collaborate with Katie on this project. We talked through the idea at length and honed what we wanted to achieve. It’s always so good when the artist has a strong idea of where the visual needs to go.

“It meant we could create a character and figure out this narrative journey that you go on throughout the film. The music is so cinematic so to create this film has been so rewarding. Everything just came together perfectly in the end.”

Katie says of the writing process for A Love Like That: “This song is asking the essential timeless question about mad love, ‘How do you make a love like that last?’ But before it became about love between a couple, it started its life centred on my relationship with work and the stamina required to keep being an artist in the music industry.

“It was only after my co-composer Sam Dixon and I wrapped our session that I retreated to a cottage in the Cotswolds for three weeks to wrestle with the song’s lyrics. A Love Like That continues a narrative that is across the new album.  And in the context of love, it’s about having the courage to speak openly and freely.”

Producer Leo Abrahams picks recording the orchestra in Tbilisi with Katie as his highlight. “The arrangement is written to convey the protagonist’s changing state of mind throughout the song: from turbulent to calm, sentimental to defiant. Technically, this was probably the simplest arrangement on the record but we had to do almost 20 takes of the tremolando introduction to get the right amount of aggression but with an elegant resolution. The players seemed to enjoy it.” 

Melua last played York Barbican in December 2018, when she was joined by the Gori Women’s Choir.

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Velma Celli, drag glamour, cabaret song, diva drama… and a rugby club in Acomb

Velma Celli: Game for a laugh and a song at York RI Rugby Union Football Club in Acomb on Friday night

YORK drag diva Velma Celli is signing up for a rugby club in her home city.

Velma, the cabaret creation of West End and international musical actor, singer and dancer Ian Stroughair, will play at York RI Rugby Union Football Club, in New Lane, Acomb on Friday night after a spring and summer of lockdown shows live-streamed from Ian’s Bishopthorpe kitchen.

In the wake of such online diva delights from Case de Velma Celli as Large & Lit In Lockdown, Equinox, Me And My Divas and A Night At The Musicals, here comes An Evening Of Song, live in the Acomb open air.

“Bring your bubble, chairs and campness to York RI Club, New Lane for a spectacular outdoor evening of music and laughs beneath the stars,” says the club website. “Joining Velma will be some of Yorks greatest vocal talents!”

Here, Charles Hutchinson asks Ian/Velma to stretch out on the psychiatrist’s sofa for a spot of quick-thinking self-analysis and more besides.

What did you learn about yourself in lockdown?

“That I wasn’t spending enough time at home.”

Were there good things to being back in York, quarantining after your Australian shows in your home city, rather than in the Big Smoke?

“Goodness, yes. It’s just such a beautiful place and people are lovely.”

What were the best aspects of doing shows online?

“Learning how to do it well. A new skill, it was tricky, but we got there.”

What were the worst aspects?

“Learning how to do it well. A new skill, it was tricky, but we got there.”

“Lovely people there and I grew up in Acomb, so it just feels right,” says Velma Celli/Ian Stroughair, looking forward to Friday’s show

Is there long-term potential for online shows, given that not everyone can get down to London…or even to The Basement, at City Screen, your regular York haunt?

“Yes, I think it will continue to bridge the gap well into 2021. Theatre and the like are going to be baby-stepping it for a long time, so online can keep us all entertained: something we have all learned we need so much in our lives.”

How did you feel to be performing to a live audience again in person at Proud Cabaret All Stars in London last Friday and Saturday? What have you missed most?

“It was AWESOME! I will never forget it. The atmosphere was incredible. It was at a stunning venue on Embankment…it’s HUGE! I’ve missed it all but mostly the cast. The energy and, of course, the audience. 

You’re playing a rugby club in York on a Friday night…that’s brave! Discuss!

“Someone suggested there and I went down and met the lovely Caroline [Knight] and I was sold. LOVELY people there and I grew up in Acomb, so it just feels right.” 

What will feature in An Evening Of Song…the title would suggest a show that can go anywhere, span any genre, climb every musical mountain?

“HA! Yes, it will be a mixed bag of whatever I fancy on the day and of course requests online. Message me on Facebook, peeps!

“Pop, rock, impressions and some musical theatre (obvs).”

Did Lockdown give you a chance to experiment anew with the powder and paint?

“I didn’t. I only wear make-up for the show and I enjoyed the break. It takes forever!”

If anyone is heading down to London on October 8, what can they look forward to in That Drag Show, “an evening of debauched fun and fabulosity at London’s newest drag revue show”, with you, Karla Bear and Portia at the Proud Cabaret City? 

“The triple threats, sent from the Gods. The girls are AWESOME! Really talented folks, so the place might explode.”

Triple threats: Velma Celli and That Drag Show co-stars Karla Bear and Portia

Who are Karla Bear and Portia? What do they each specialise in?

“Karla is an Ozzie import and she wasted no time making a stamp on the UK drag scene, appearing in Kinky Boots in the West End within weeks of arriving.

“She was in the Australian cast of Wicked. She won Drag Idol UK, was the closing act at London LGBT Pride in 2019 and is the girl next door you don’t want your daddy to meet! 

“Portia is a West End legend and made an infamous splash into Soho when she originated the role of Young Bernadette in Priscilla Queen Of The Desert at The Palace Theatre and also in La Cage Aux Folles. She’s one of London’s most sought-after hosts and has more legz than a bucket of chicken.”

What is the impact on the live drag scene of this sudden burst of TV shows – the latest being Canada’s Drag Race on BBC Three – for drag addicts needing their glamorous fix?

“Drag is hugely popular now, which must be a good thing.”

Velma Celli: An Evening Of Song, with special guest Jessica Steel, York RI Rugby Union Football Club, New Lane, Acomb, September 11, 8pm, doors 7pm. Tickets: from £16.50 at https://www.ticketweb.uk/event/velma-celli-an-york-ri-rugby-union-football-tickets/10685505

“Please get your tickets in advance of the day as we need to organise tables cos of good ole Covid,” says Velma. “Get those [song] requests in darlings at https://www.facebook.com/VelmaCelliCabaret/”

Velma Celli, Karla Bear and Portia in That Drag Show, Proud Cabaret City, Mark Lane, London, EC3R 7AH, October 8, 8pm, doors 7pm. Tickets: £20 to £50 at https://www.ticketweb.uk/event/that-drag-show-proud-cabaret-city-tickets/10698715

Velma Celli’s poster for Friday’s show with A Night To Remember favourite Jessica Steel as a special guest

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Shed Seven LIVE? Not this summer, alas, but on a new album out in December, yes

Shed Seven’s artwork to announce their December 4 live album, Another Night, Another Town

SHED Seven are to release a live album on December 4 after a frustrating summer of Covid-cancelled gigs.

Specially curated by the York Britpop luminaries and available exclusively through the Sheds’ store, Another Night, Another Town “captures their dynamic live performances and anthemic songs over 21 tracks”.

As trailed on the shedseven.com website, Shed followers can pick up a limited-edition coloured gatefold vinyl edition, a special double CD set, a 180g heavyweight triple vinyl version and a download, plus a selection of new merchandise.

From this week, you can pre-order a signed copy to download album opener Room In My House and Ocean Pie now.

“A few words” from frontman Rick Witter accompany the announcement: “When it became clear virtually no live events would be taking place this year and with no Shedcember [December tour] to look forward to, we thought it was a good time to go through recordings from our 2019 [Shedcember] tour and 2018 Castlefield Bowl show [in Manchester] to curate the best live album we could.

“From 10,000 people singing along to Chasing Rainbows at Leeds Arena to playing the classic outro of I Am The Resurrection in the home of the Stone Roses, this 21-track album features the best from our live shows over the last couple of years.”

The live album has been mixed by Chris Sheldon, who produced the Sheds’ 1996 album A Maximum High and 1999 single Disco Down (whose lyrics have been raided for the ‘Another Night, Another Town’ title).

Taking it sitting down: Shed Seven have been left with a blank summer gig diary in Covid-19 2020

“We’re delighted with the results, which we think are as close as we can get to capturing the Shed Seven live experience on record,” continues Rick, 47. “We haven’t released a live album since we returned as a five-piece in 2007 and we certainly haven’t released one as good as this!

“We hope this album provides just a little bit of the live experience we’re all missing before we return in 2021.”

Another Night, Another Town will be Shed Seven’s fifth “live” album after Where Have You Been Tonight? Live, in 2003; Live At The BBC, in 2007; See Youse At The Barras: Live In Concert, 2009, and Live At Leeds 2007, digital download only, in 2009.

The track listing will be: Room In My House; Mark; Where Have You Been Tonight?; People Will Talk; Devil In Your Shoes; Butterfly On A Wheel; She Left Me On Friday/I Am The Resurrection; Better Days; On Standby; It’s Not Easy; Getting Better; Enemies And Friends; Ocean Pie; Dolphin; High Hopes; Disco Down; Bully Boy; Going For Gold; Parallel Lines; Invincible and Chasing Rainbows.

The Sheds should have been playing in the open air at The Piece Hall, Halifax, on September  19, but as with this summer’s post-racing concert at Doncaster Racecourse on August 15, preceded by Witter and guitarist Paul Banks’s acoustic set at Pocklington Arts Centre’s Platform Festival at The Old Station on July 11, Covid-19 intervened.

However, Shed Seven’s diary for outdoor engagements in 2021 is taking shape: Don 21 Music Live, Doncaster Racecourse, May 15; Neighbourhood Festival, London, May 29; Isle of Wight Festival, Newport, June 18; The Piece Hall, Halifax, June 26; Corbridge Festival, July 3; Belladrum Tartan Heart Festival, Beaufort, July 31, and Watchet Music Festival, Somerset, August 29.

Meanwhile, The Piece Hall has added Nile Rodgers & Chic to next summer’s concert list, booked in for June 18 with Liverpool soul singer Rebecca Ferguson as the support act. Tickets will go on sale at 10am on Friday at www.seetickets.com and www.lunatickets.co.uk

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Only One Question for…York Stage Musicals’producer and director Nik Briggs

Chairing the event: Richard Upton in a moment of high drama in York Stage Musicals At Rowntree Park in August. Picture: Jess Main

SHOULD theatre companies be more adventurous, like you, and crack on with finding ways of getting out there and performing, despite Culture Secretary Oliver Dowden’s caution over when theatres can reopen fully, Nik?

“AS long as people are being sensible, following the guidelines and keeping safe, then, yes, of course people should be pushing forward! It’s not easy, there is a hell of a lot of risk, but it’s certainly worth it.

“People can go sit in restaurants and bars, so I really dont see why, with social distancing and if it’s financially viable, we shouldn’t be producing?

“If any city can produce work in these weird times, it’s York, where we have a strong history of successfully mixing professional and community casts. Damien Cruden really led the way with this in the city, when he was artistic director at York Theatre Royal, and in fact was the inspiration for the way I have ran York Stage over the past seven years.

“There really is enough professional talent locally to make it work in some way, as shown by our Rowntree Park concerts, York Theatre Royal’s Pop-Up On The Patio series and Engine House Theatre’s Park Bench Theatre shows!

“My biggest fear for the future, though, is that we are going to be sat with our larger venues sitting empty and artists all around the city desperate to work.” 

York Stage Musicals present Jukebox Divas at Rowntree Park Amphitheatre, York, September 18 to 20, 7pm. Box office: www.yorkstagemusicals.com

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York Chamber Music Festival goes online to celebrate Beethoven’s 250th anniversary

THE 2020 York Chamber Music Festival is going online to live-stream three concerts from the National Centre for Early Music, Walmgate, from September 18 to 20.

Festival artistic director Tim Lowe says: “This year, we can’t have an audience because of the Covid-19 virus, but we were determined to put on some wonderful concerts anyway.

“We’ll be able to celebrate the 250th anniversary of Beethoven’s birth as first planned, and the only change is that we’ve decided it’s not possible to stream the lunchtime recitals”

Cellist Lowe will be performing with Simon Blendis and Charlotte Scott, violins; Matthew Jones, violin and viola; Jon Thorne, viola, and Katya Apekisheva, piano.

On September 18, their programme will be: Beethoven’s String Quartet No. 11 in F minor, Op. 95, Serioso; Herbert Howells’ Fantasy String Quartet, Op. 25 and Robert Schumann’s Piano Quintet in E Flat major, Op. 44.

On September 19, they will play: Beethoven’s String Quartet No. 1 in F major, Op.18, No. 1; Josef Suk’s Piano Quartet in A minor, Op.1 and César Franck’s Piano Quintet in F minor.

September 20’s festival climax will open with Beethoven’s String Quintet in C major, Op. 29, followed by Antonín Dvořak’s String Quintet in E Flat major, Op. 97.

“In each of the three online concerts, I’ve selected one work to represent or point to key moments in Beethoven’s artistic evolution and spiritual journey,” says Tim. “It was Beethoven’s great tragedy that for much of his adult life he became progressively deaf until there was nothing left. It would seem that as his outer-ear faded, so his inner-ear quickened.”

Assessing each Beethoven piece, Tim says: “In the String Quartet No. 1 in F major, Op.18, No. 1, we catch Beethoven thinking hard about his entry to this genre and already changing convention, poetic and assured.

“The String Quintet in C major, Op. 29 is a pivotal work that is the harbinger of his middle-period chamber music, a bubbling attractive piece that belies Beethoven’s realisation of impending deafness.

“The enigmatic, experimental F minor String Quartet, Op. 95 is the forerunner of his last series of ‘late’ quartets, already reaching for the stars but with a new sort of music never heard before, light years ahead.”

​Summing up the accompanying works, he says: “Almost everything else in the programme can be thought of as a legacy of this one man [Beethoven]. A feature of the 2020 event is that we’re playing piano quintets, which was more or less invented as an ensemble by Robert Schumann – having immersed himself in a study of Beethoven’s trios and quartets – Mozart and Haydn too – while his wife, international pianist Clara, was away on tour.” 

A Yorkshireman’s favourite price will apply. “To maximise our outreach, we’ve decided that the concerts will be free to listen to and we hope you will join us this month to enjoy them,” says Tim. “But we ask that you make a donation if you possibly can, in lieu of buying tickets.

“Putting on these concerts and recording them is very costly. York Chamber Music Festival is a non-profit charity that depends on support from donors and sponsors. Please help if you possibly can: there is a ‘Donate’ button on our website, ycmf.co.uk, should you wish to help.”

Over the past seven years, York Chamber Music Festival has presented more than 40 concerts and recitals. “We’ve brought to the city some of the country’s best, internationally renowned players,” says Tim.

“Feedback and press reviews both refer to the freshness and vitality that the festival artists bring to core and less familiar chamber music repertoire. Steven Isserlis, Anthony Marwood, Ian Brown, Adrian Brendel, Charles Owen, Emma Johnson, to name but a few, have joined us for great music-making.”

For full details on the 2020 festival programme and participating musicians and on how to watch the concerts, go to www.ycmf.co.uk.

“We hope you can join us for some wonderful live concerts from York. Stay safe and well,” concludes Tim.

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Bev Jones Music Company to perform Strictly Live In The Park at Rowntree Park

The Bev Jones Music Company cast in rehearsal at York Maze for Strictly Live In The Park

THE Bev Jones Music Company will stage a full-sized musical theatre concert with more than 20 socially distanced singers and a five-piece band at the Rowntree Park Amphitheatre, York, on September 13.

Strictly Live In The Park promises a “spectacular show for all the family, with popular show music, pop music, dance and comedy” from 3pm to 5m.

“York deserves this fun Sunday afternoon,” says producer Lesley Jones, Bev’s widow. “We just want to give the public, mainly families, the chance to enjoy entertainment once more.

Bev Jones Music Company cast members maintaining social-distancing at the Rowntree Park Amphitheatre

“The cast are so happy to be performing once again, especially when our big spring production, Calamity Jane, was cancelled by the lockdown in March, just four days before the curtain would have gone up.”

The first York community theatre company to stage a musical theatre concert on this scale since the easing of lockdown, the Bev Jones Music Company will perform “typical Bev Jones spectacular music”.

“All the music was arranged by Bev, the company mentor, so we’ll have a huge variety with numbers from Adele to Robbie Williams, Cabaret to Hairspray, Mack & Mabel to South Pacific, The Full Monty to Chess, Miss Saigon to the finale, Les Miserables,” says Lesley.

The Strictly Live In The Park poster for the September 13 concert

“Every number has been changed to suit the current guidelines regarding singing and live music. The huge dance numbers are limited but we’re adapting what we can.” 

The company rehearsed at York Maze for the first time last week. “We only get three rehearsals to put this show together, because we cannot rehearse indoors yet, and thankfully the Maze allowed us those three rehearsals,” says a grateful Lesley.  

“We have directed the show ourselves; John Atkin is the musical director with his five-piece band; Claire Pulpher is the choreographer and all our usual cast members are performing.”

Taking shape: First day of rehearsals for Strictly Live In The Park at York Maze

Among the company for this Not For Profit production will be Chris Hagyard, Sally Lewis, Larry Gibson, Terry Ford, Kelly Bolland and two returning members, who had moved on to become full-time professional performers, Nathan Lodge and Jordan Langford.

“Our concert has been risk assessed thoroughly and all audience members will have hand sanitisers and temperature checks, plus all seating will be in socially distanced, marked-out bubbles. All the cast will be checked too,” says Lesley. 

“Picnic blankets, rugs and chairs are welcome, as are picnics as there’ll be no public refreshments on sale, in line with Government guidelines. We’ll have a large number of stewards to offer assistance and all safeguards will be in place to ensure that people feel happy and safe in every way.” 

Strictly Live In The Park is strictly an all-ticket event, with tickets on sale on 01904 501935 or at josephrowntreetheatre.co.uk. Seats will be sold in bubbles for two (£15) or up to six people (£30).