The vinyl front ‘ere: Kate Rusby shows off the cover and orange discs for Hand Me Down
BARNSLEY folk nightingale Kate Rusby is to release her 2020 lockdown covers album, Hand Me Down, on vinyl tomorrow (22/1/2021) on her Pure Records label.
“Ooooooh it looks so beautiful,” says Kate on Instagram. “Gatefold, 180g double translucent orange discs. Very pretty! Sooo excited.”
That wistful ballad later featured on her 2019 studio album, Philosophers, Poets And Kings, and became a concert favourite, whereupon a return visit to Whiley’s studio elicited a mournful reading of The Cure’s Friday I’m In Love, now one of the stand-outs on Hand Me Down.
Kate and her guitar and banjo-playing producer-husband, Damien O’Kane, set about completing an album of covers in Lockdown 1, recorded in their Penistone home studio. “As a folk singer, it’s what I do: reinterpret existing songs,” says Rusby. “The only difference is that usually the songs are much older.”
Some were chosen from childhood or teenage memories (The Kinks’ Days, but from Kirsty MacColl’s sublime version; Cyndi Lauper’s True Colours), two much-covered songs you might have predicted, rather more than Maybe Tomorrow (The Littlest Hobo theme song) or The Show, from family friend Willy Russell’s musical Connie.
The artwork for Kate Rusby’s live Christmas album, Happy Holly Day
Covering a song is as much about what you uncover as you cover, prime examples here being Coldplay’s Everglow, Lyle Lovett’s If I Had A Boat and in particular “role model to her children” Taylor Swift’s Shake It Off, newly revelling in O’Kane’s swing-time banjo.
Nothing evokes lockdown more than the opening Manic Monday, Prince’s song for Kate’s teen favourites The Bangles, slowed and turned to acoustic melancholia for not-so-manic days of longing at home, away from the city buzz. Add South Yorkshire vowels, and who can resist.
The album closes with a ray of perennial summer sunshine, Bob Marley’s Three Little Birds, as Hand Me Down becomes balm for fretful, fearful pandemic days. “I’ve always had overwhelming urges to cheer people up at times of sadness,” says Kate. “I don’t know if it’s a blessing or a curse, but it’s always been part of my genetic make-up.”
A second winter release from Pure Records is Happy Holly Day, a live CD recording of Kate’s online Christmas concert of South Yorkshire pub carols and winter songs, streamed from Cast, Doncaster, on December 12.
That night, Kate’s folk band assembled for the first time since the March lockdown, joined by her “Brass Boys”, spread across a socially distanced stage shared with the Ruby, the fairy-lit reindeer.
As always with Kate Rusby At Christmas concerts, the two sets were followed by an encore in fancy dress, Kate in a halo and angel wings, recovered from her attic from the 2017 album cover photo-shoot for Angels And Men, as she sang Sweet Bells and Yorkshire Merry Christmas alongside Damien in Virgin Mary mode.
Tommy Emmanuel: Fingerstyle guitarist with Certified Guitar Player status
AUSTRALIAN guitarist Tommy Emmanuel will play the Grand Opera House, York, on March 6 2022.
This will be the only Yorkshire show of next year’s 12-date tour from February 25 to March 13 with special guest Jerry Douglas, the Ohio dobro master.
Emmanuel, 65, who last played British shows on the Transatlantic Sessions Tour, has performed in public from the age of six, when he first toured regional Australia with his family band.
By 30, he was a rock’n’roll lead guitarist, playing European stadiums. At 44, he became one of only five musicians to be named a Certified Guitar Player by his idol, Chet Atkins. His concerts take him from Nashville to Sydney, London to York next February.
Twice nominated for a GrammyAward, Emmanuel has received two ARIA Awards from the Australian Recording Industry Association and repeated honours in the Guitar Player magazine readers’ poll. In 2017, he was the cover story for the August edition.
Emmanuel is a fingerstyle guitarist, frequently threading three different parts simultaneously into his material as he operates as a one-man band who handles melody, supporting chords and bass all at once.
He never plays the same show twice, improvising big chunks of every gig. In doing so, he “leaves himself open to technical imperfections, although they provide some of the humanity to an other-worldly talent”.
Tickets are on sale at atgtickets.com/venues/grand-opera-house-york/
“It is especially exciting to delve back in time and revitalise two standout albums from my career,” says Midge Ure, ahead of next year’s Voices & Visions tour
MIDGE Ure & Band Electronica will open next year’s Voice & Visions Tour at the Grand Opera House, York, on February 22.
Scotsman Ure, 67, will be marking 40 years since the release of Ultravox’s Rage In Eden and Quartet albums in September 1981 and October 1982 respectively.
Ure & Band Electronica last played the Opera House on October 20 2019 on The 1980 Tour, when Ultravox’s 1980 album, Vienna, was performed in its entirety for the first time in four decades, complemented by highlights from Visage’s debut album, as Ure recalled the year when he co-wrote, recorded and produced the two future-sounding records.
Such was the “overwhelming response” to that retro excursion, Ure will reprise the nostalgia trip for 2022’s Voice & Visions Tour.
In the wake of the global success of Vienna, Ultravox headed back into the studio to record their second album with Ure as frontman, Rage In Eden, a top five entry in Autumn 1981, replete with the singles The Thin Wall and The Voice.
Midge Ure: Three Yorkshire dates on his Voice & Visions tour in 2022
Quartet, their third studio set with Ure, arrived in quick succession with production by The Beatles’ producer, George Martin, no less. It became their third top ten album, boosted by four top 20 singles, Reap The Wild Wind, Hymn, Visions In Blue and We Came To Dance.
Voice & Visions will recall the era of Eighties’ electronics, experimentation and synthesisers in a show that will combine both albums’ highlights with landmark songs from Ure’s back catalogue.
Looking forward to his 2022 travels, Ure says: “I can’t begin to tell you how great it will feel to be back out touring and it is especially exciting to delve back in time and revitalise two standout albums from my career, Rage In Eden and Quartet. This is the logical and emotional follow-up to The 1980 Tour.”
Next year’s tour itinerary also will take in Hull Bonus Arena on February 24 and Sheffield City Hall on March 22. Tickets will go on general sale on Friday (22/1/2021): York, at atgtickets.com/york; Hull, bonusarenahull.com; Sheffield, sheffieldcityhall.co.uk.
Ure & Band Electronica will be completing a hattrick of gigs at the Opera House after first appearing there in November 2017, headlining a 1980s’ triple bill with The Christians and Altered Images.
A midwinter night’s stream: The poster for An Evening With Velma & Jess tonight
AFTER last Friday’s Large & Lit In Lockdown Again solo show online, York drag diva Velma Celli forms a bubble double bill with powerhouse singing hairdresser Jess Steel tonight.
Together they will be presenting An Evening With Velma & Jess, streamed from the riverside abode of Ian Stroughair, the musical actor inside the fabulous international cabaret creation.
Jess, leading light of Big Ian Donaghy’s fundraising A Night To Remember shows at York Barbican, runs the Rock The Barnet salon in Boroughbridge Road, where her clientele can listen to their favourite vinyl on a classic record player while having their hair styled or enjoying a beauty treatment.
Tonight’s 8pm show is the second in a new series of hour-long Velma Celli streamed gigs in lockdown. “It’s the day of the show, ya’ll,” says Velma on Facebook. “So much work and love has gone into this, so if you fancy some lockdown fun, please tune in and support Jess and I.
“Tickets come off sale at 5pm and you have 48 hours to watch it just in case ya busy, Barbra’s.” To book, go to: http://bit.ly/2XxMqrG.
Here Ian/Velma answers Charles Hutchinson’s rapid-fire questions ahead of showtime.
How did last week’s show go? What were the highlights?
“It was SO much fun and camp. I loved singing all new songs and just having a laugh… with myself!”
Having moved from Bishopthorpe to a riverside house, how did the new location work out?
“Lovely! I am living in my friend’s dreamy townhouse at the moment. Posh!”
What will you be singing tonight?
“OOOOOO, Cilla, Disney, ’60s, ’70s, ‘80s, ‘90s. It’s a real mixed bag this time.”
What will Jess be singing?
“Dolly. Gaga. Amy.”
How come you can perform together in lockdown?
“I am in Jess’s bubble. Yes!”
How would you sum up Jess in five words?
“Talent. Kind. Hilarious. Generous. Fabulous.”
How did you celebrate your birthday yesterday in lockdown?
“With snacks. Facetime. Gin.”
What’s the best birthday present you have ever received?
Eboracum Baroque: Streamed concert on January 23 with Henry Purcell’s music to the fore
EBORACUM Baroque will return to the online platform on January 23 with Fairest Isle: Music from the 17th and 18th century England.
The 7pm streamed concert was recorded in October at King’s Ely, a school in Cambridgeshire, when the York ensemble was able to film with no Coronavirus lockdown in place.
Performing that autumn day were Elen Lloyd Roberts, soprano; Miriam Monaghan, recorder; Chris Parsons, trumpet; Miri Nohl, cello, and Laurence Lyndon Jones, harpsichord.
Founder Chris Parsons says: “We’re determined to keep going and provide support to young freelance musicians in these challenging times. We’re also very keen to continue to offer exciting new digital content for our audiences who we wish we could perform to in person.”
Looking forward to the January 23 stream, Chris says: “We’ll take the online audience back to 17th and 18th century England, featuring some of the great composers of the day, particularly Henry Purcell, who was held in such high regard at the time.
“The programme includes some of Purcell’s big hits from the London stage, productions that had never been seen in England until now – it must have been pretty amazing!
“Purcell’s stage works of the 1690s were huge spectacles with elaborate Italian stagecraft, and we’ve picked music from The Fairy Queen, an adaptation of Shakespeare’s A Midsummer Night’s Dream and the patriotic King Arthur.”
What else? “Music and musicians from Europe flooded London at this time and Italianate music was very much in vogue,” says Chris. “So we’ll feature a virtuosic recorder concerto by Sammartini, who made his name in 18th century London, and a Vivaldi sonata, alongside British composers, including John Blow and an overture featuring the trumpet by William Croft.”
Summing up that period of music-making, Chris says: “One of Ely’s famous sons, Oliver Cromwell, played a major part in shutting the theatres and not allowing concerts earlier on in the 17th century, so it was an amazing melting pot of music-making in London when Charles II returned to the throne, and for composers like Purcell an amazing place and time to be writing such brilliant music.”’
Taking concerts online amid the strictures of the Covid-19 pandemic has been a fruitful new avenue for Parsons and his fellow musicians. “Our virtual winter season was a success, when we streamed A Baroque Christmas, recorded at Wimpole Church and Wimpole Hall in our second home of Cambridge, on December 12.
“We feel incredibly lucky to have filmed the Fairest Isle concert back in October while we were able to be together, and we have some virtual projects in the pipeline for 2021.
“These include a 17th century pub concert – with beer tasting from a local brewer – coming up in February, which we hope will be an exciting online experience for our audience too.
“We’ll be embracing technology again for that one, recording parts individually and then sticking them all together. All being well, we also hope to film a concert in York in March but it’s hard to plan for the future.”
The Fairest Isle concert will be premiered on youtube.com/eboracumbaroque and at facebook.com/eboracumbaroque. “We’re very keen to make our concerts accessible to all, so whether you are new to baroque music or a regular watcher of early music, we hope there is something for everyone,” says Chris.
“We introduce each piece with a background of the composer and the history of the piece to set the scene.
“So, on January 23, we invite you to sit back, relax and enjoy this varied and energetic programme from the comfort of your own home.”
The programme for Fairest Isle: Music from the 17th and 18th century England:
Hark The Echoing Air from The Fairy Queen, Henry Purcell (1659 -1695);
Recorder Concerto in F Major, Sammartini (1700 – 1775);
I Allegro, II Siciliano, III Allegro Assai;
Sweeter Than Roses from Pausanias, The Betrayer Of His Country, Henry Purcell; Overture from With Noise Of Cannon, William Croft (1678 – 1727);
I Moderato, II Allegro, III Adagio, IV Allegro;
Music For A While from Oedipus, Henry Purcell;
Cello Sonata in Bb Major, Antonio Vivaldi;
I Largo, II Allegro, III Largo, IV Allegro;
Lovely Selina from The Princess Of Cleve, John Blow (1649 – 1708);
Two movements from The Division Flute, Anon;
I, Readings Ground, II, A Division On A Ground;
Fairest Isle from King Arthur, Henry Purcell.
Did you know?
EBORACUM Baroque is an ensemble of young professional singers and instrumentalists, formed in 2012 by Chris Parsons at the University of York and the Royal College of Music, London.
Teddy Thompson: New tour dates, new album in 2022. Picture: Gary Waldman
TEDDY Thompson’s January 22 gig at Pocklington Arts Centre will now take place precisely one year later.
His rearranged January/February itinerary also will visit Leeds Brudenell Social Club on January 23 2022.
Thompson, 44, will be releasing an as-yet-unnamed new album to coincide with the tour. Had the pandemic not ruled out this month’s travels, he would have been showcasing Heartbreaker Please, his May 2020 break-up record, instead.
The relationship ended just as the English singer-songwriter with the New York City home address was finishing up penning the songs. “I tend to write sad songs, slow songs. It’s what comes naturally,” he says. “So I tried to make an effort here to set some of the misery to a nice beat! Let the listener bop their heads while they weep.”
The son of singer-songwriters Richard and Linda Thompson, Teddy emigrated to the United States at 18 to embark on a career of his own. He was influenced heavily not by folk music but by such artists as Buddy Holly, Chuck Berry, Elvis Presley and the Everly Brothers.
Richard Thompson: Playing the Platform Festival in Pocklington on July 21
Settling into New York at 23, he has released six albums and featured on the soundtrack of the Golden Globe and Bafta-winning film Brokeback Mountain, as well as collaborating on projects with Rufus and Martha Wainwright.
Teddy also recorded songs for the soundtrack to the Leonard Cohen tribute, I’m Your Man, and contributed songs to the Nick Drake retrospective, Way To Blue.
He will be supported on his 12-date tour by another artiste with a folk-roots heritage: Roseanne Reid, eldest daughter of The Proclaimers’ Craig Reid.
Father Richard, the 71-year-old English folk-rock luminary, songwriter and guitarist, will play next summer’s Platform Festival, run by Pocklington Arts Centre at The Old Station, on July 21.
Fairport Convention alumnus Richard now lives in Montclair, New Jersey, after three decades in Los Angeles.
Tickets for Thompson times two are on sale at pocklingtonartscentre.co.uk.
A Long night: Josie Long will be performing for the Your Place Comedy live-stream from her living room on January 24
AS LOCKDOWN 3 urges everyone to “stay home”, Charles Hutchinson takes that advice in selecting entertainment for the dark days and nights ahead.
Somewhere over the pandemic horizon, he highlights a couple of shows in the diary for the autumn.
Ahir Shah: Joining Josie Long in a remote double bill for Your Place Comedy
Live-stream lockdown humour from living room to living room: Josie Long and Ahir Shah, Your Place Comedy, January 24
LOCKDOWN 3 has brought another round of Your Place Comedy home entertainment. “As before, we’ll be broadcasting from comedians’ living rooms, kitchens and attics or, as was the case with Lucy Beaumont, her homemade pub,” says virtual comedy club organiser Chris Jones, Selby Town Council’s arts officer.
The format remains the same: two headline comedians, some stand-up and some chat, all juggled by regular compere Tim FitzHigham. First up will be Josie Long and Ahir Shah on January 24; line-ups are yet to be confirmed for February 28 and March 28.
The live-stream shows will be free to watch but with donations keenly encouraged at yourplacecomedy.co.uk.
Pea’s home; green: Story Craft Theatre storyteller Cassie Vallance looks forward to next week’s Crafty Tales session
Interactive stories for children: Story Craft Theatre’s Crafty Tales
CASSIE Vallance and Janet Bruce cannot hold their Crafty Tales sessions in person during Lockdown 3 but will continue to deliver sessions “directly to you via the power of Zoom”.
“Each 50-minute session is packed full of crafting, storytelling and educational fun with lots of activities to keep your little folk’s imagination alight,” says Cassie. “There are still a few spaces left for next week’s 10am sessions based around Julia Donaldson’s The Runaway Pea on January 20, 22 and 23.”
Coming up on January 27, 29 and 30 will be Elaine Wickson’s Super Stan. For more details and to book, go to storycrafttheatre.co.uk.
Parasols aplenty: A scene from the National Gilbert and Sullivan Opera Company production of The Pirates Of Penzance at the 2019 International Gilbert and Sullivan Festival, now available online. Picture: Jane Stokes
Operetta on screen: International Gilbert and Sullivan Festival, G&S Opera TV On-Line Streaming Service
WHEN the Coronavirus pandemic put paid to the 2020 International Gilbert and Sullivan Festival at Harrogate Royal Hall, the festival launched its online streaming subscription service at gsoperatv.
“New content is being continually added,” says festival stalwart Bernard Lockett. “It features the very best of more than 26 years of the National Gilbert and Sullivan Opera Company, along with top amateur productions performed at our festival, G&S films and fascinating documentaries and interviews, and is the only place to experience so many outstanding Savoy operas.”
The subscription rates for general viewers is £9.99 per month or £99 annuallyThe 2021 festival is in the diary for August 8 to 22 in Harrogate, preceded by Buxton Opera House the week before.
Chelsey Gillard: Stephen Joseph Theatre associate director, hosting online script-reading sessions
Play for the day appraisal: Online script-reading sessions, Stephen Joseph Theatre, Scarborough, from January 20
RUNNING online on Wednesdays from 11.30am to 1.30pm for five weeks, the fun sessions will dive into five classic comedies: Aristophanes’s Lysistrata on January 20; Shakespeare’s A Midsummer Night’s Dream, January 27; Moliere’s Tartuffe, February 3; Sheridan’s The Rivals, February 10, and Feydeau’s A Flea In Her Ear, February 17.
Participants will read sections of the plays aloud and work with SJT associate director Chelsey Gillard to consider their themes, stories, writing styles and historical context in a relaxed discussion. Session bookings can be made at sjt.uk.com.
Clowning around: Jon Marshall’s Ringmaster with Steve Collison’s Clown in Magic Carpet Theatre’s Magic Circus
Online children’s show of the month: Magic Carpet Theatre in Magic Carpet, Pocklington Arts Centre YouTube channel
HULL company Magic Carpet Theatre filmed their fun family-friendly show, Magic Carpet, behind closed doors at Pocklington Arts Centre last October. By public demand, its free streaming run is being extended to January 21 at: youtu.be/CNrUixTMWdQ.
Performed by director Jon Marshall and Steve Collison with magical illusions, comedy, circus skills and puppets, it tells the humorous tale of what happens to the ringmaster’s extravaganza plans after the artistes and elephants fail to arrive and everything has to be left in the calamitous hands of the clowns. Disaster!
His master’s voices: Alan Ayckbourn recorded his audio version of Haunting Julia at home. Picture: Tony Bartholomew
Online ghost play of the season: Alan Ayckbourn’s Haunting Julia, Stephen Joseph Theatre, Scarborough
ALAN Ayckbourn’s 2020 audio version of his ghost play Haunting Julia is being given an afterlife. Originally available at sjt.uk.com/event/1078/haunting_julia until January 5, the winter chiller now will be online until January 31.
Revisiting his 1994 play, Ayckbourn’s audio recording features the voice of the Stephen Joseph Theatre’s 81-year-old director emeritus. Or, rather, the three voices of Ayckbourn, who plays all three parts.
Rufus Wainwright: Songs inspired by middle age, married life, fatherhood, friends, loss, London and Laurel Canyon
Baroque’n’roll gig of the autumn: Rufus Wainwright, York Barbican, October 13
LAUREL Canyon singer-songwriter Rufus Wainwright’s October 27 2020 tour date at York Barbican has moved to October 13 2021. Tickets remain valid for the rearranged date with his new band.
Last July, Wainwright, 47, released his ninth studio album, Unfollow The Rules, his first since 2012. “I consider it my first fully mature album; it is like a bookend to the beginning of my career,” says Rufus, whose fearless, mischievous songs were inspired by middle age, married life, fatherhood, friends, loss, London and Laurel Canyon.
Taking the mic: Omid Djalili looks forward to letting the Good Times roll again
Ready for a laugh: Omid Djalili, The Good Times Tour, Grand Opera House, York, November 10
OMID Djalili cannot wait to be back where he belongs, on stage, after experimenting with a Zoom gig where he was muted by no fewer than 639 people and a drive-in gig when he witnessed one audience member leave his car, attach a hose pipe to his exhaust and feed it through the window.
The British-Iranian stand-up’s 2021 excursions could not have a more positive title: The Good Times Tour. Let’s hope he is right, although who can predict if his shows at Harrogate Theatre on May 6 and Hull City Hall on May 26 will be given the go-ahead.
In his diary too are: Platform Festival, The Old Station, Pocklington, July 22, and Masham Town Hall, September 18 and 19. Oh, and Leeds Town Hall on October 28 in faraway 2022.
Velma Celli: Large & Lit In Lockdown Again but from a new location
AFTER his “Fleshius Creepius” panto villain in York Stage’s Jack And The Beanstalk, Ian Stroughair planned to pull on his drag rags for a live Velma Celli show on January 15 at his adopted winter home of Theatre @41 Monkgate.
He anticipated more shows would have followed too, but then came York’s new impediment of Tier 3 status post-Christmas, and inevitably tighter restrictions still to come until the jabs make their point.
Consequently, he announces instead: “Darlings, as we head back into a lockdown in York, Velma Celli is back on the streaming! My first show, Large & Lit In Lockdown Again, is on Friday (8/1/2021) at 8pm. I would love you to join me for an hour of camp cabaret fun! Get those requests and shout-outs in!”
In 2020, Velma hosted a series of streamed shows from Case De Velma Celli, alias the drag diva’s Bishopthorpe kitchen. Firstly, on April 29, a fundraiser for St Leonard’s Hospice, followed by Large & Lit In Lockdown and virtual versions of the cabaret queen’s hit shows Equinox, Me & My Divas and A Night At The Musicals.
Usually to be found once a month gracing The Basement stage at City Screen, York, Velma returned to live performance in York by signing up for a rugby club – York RI Rugby Union Football Club, in New Lane, Acomb, to be precise – for An Evening Of Song outdoors under the September stars.
Jack And The Beanstalk saw Ian turn to the dark side as the vainglorious “Fleshius Creepius”, and now, newly moved into a riverside abode in York, he is ready to return to Velma Celli mode from Friday.
Tickets for Virtual Velma start at £10 via http://bit.ly/3nVaa4N. Watch this space for news of an online show every Friday from Ian’s new HQ.
Here, Ian answers Charles Hutchinson’s quickfire questions at the outset of a new year still shrouded in uncertainty for the arts world.
From where will you be streaming the January 8 show? Still as a kitchen-sing drama or from a different room at your new riverside pad?
“The living room.”
On a technical level, what did you learn about doing digital streams from your earlier series of shows?
“That tech is stressful but once you have a system, it’s a piece of cake.”
Ian Stroughair as Fleshius Creepius in York Stage’s pantomime, Jack And The Beanstalk
What will the new show feature: any songs making their debut?
“Expect lots of divas as per. I’m gonna whack in some classic Amy Winehouse too: Back In Black.”
Will a remote guest be joining you?
“Not this time. You get Velma all to yourself.”
Your 2020 ended on a high with the villainous Fleshius Creepius in York Stage’s Jack And The Beanstalk. How did it feel to be back on stage in a show with a proper run to it?
“It was EVERYTHING. Such a joy and a wonderful experience. Feel so lucky and positive for a return of theatre as a whole!”
What did you enjoy most about performing this pantomime – a new hybrid of “pansical” or “musical theatre with pantomime braces on” – in your home city?
“Working with the entire team. Everyone was sensational. The most talented cast I’ve ever worked with.”
What were your highlights of 2020, aside from the pantomime?
“Reconnecting with York. I’ve fallen in love with it big time. Growing up here was a very different place and time, especially for the LGBTQIA+, but now it’s SO much more diverse.”
What realistic hopes do you have for yourself in 2021?
“That I can stay afloat until venues can open. It’s hard but, my lord, I’ll plod on.”
What hopes would you still have for 2021 in an ideal world?
“That theatre and the arts in general would have a boom and rebirth. I’m hopeful but realistic it may take longer than I dream.”
If you could address the Government, why do the arts matter?
“We need the arts more than we ever thought. It’s entertainment. It’s escapism. It’s culture. We all need it.”
Grayson Perry: Two shows in York in 2021; one an exhibition of “Lost Pots” at York Art Gallery, the other, his existentialist gig, A Show For Normal People, at York Barbican
AFTER a year where killjoy Covid-19 re-wrote the arts and events diary over and over again, here comes 2021, when the pandemic will still have a Red Pen influence.
Armed with a pantomime fairy’s magic wand rather than Madame Arcati’s crystal ball from Blithe Spirit, when what we need is a jab in the arm pronto, Charles Hutchinson picks out potential highlights from the New Year ahead that York will start in Tier 3.
Velma Celli: Had planned to present A Brief History Of Drag at Theatre @41 Monkgate in January; now heading online at home instead
Back on screen: Velma Celli, Large & Lit In Lockdown Again, streaming on January 8
AFTER his “Fleshius Creepius” panto villain in York Stage’s Jack And The Beanstalk, Ian Stroughair was planning to pull on his drag rags for a live Velma Celli show in January, and maybe more shows to follow, at his adopted winter home of Theatre @41 Monkgate.
Instead, he writes: “Darlings, as we head back into a lockdown in York, I am back on the streaming! My first show is next Friday at 8pm. I would love you to join me for an hour of camp cabaret fun! Get those requests and shout-outs in!” Tickets for Virtual Velma start at £10 via http://bit.ly/3nVaa4N; expect an online show every Friday from Ian’s new riverside abode.
Shed Seven: Headlining all-Yorkshire bill at The Piece Hall, Halifax, in the summer
Open-air one-off event of the summer: Shed Seven, The Piece Hall, Halifax, June 26
FRESH from releasing live album Another Night, Another Town as a reminder of what everyone has had to miss in 2020, Shed Seven have confirmed their Piece Hall headliner in Halifax has been rearranged for next summer.
The Sheds have picked an all-Yorkshire support bill of Leeds bands The Wedding Present and The Pigeon Detectives and fast-rising fellow York act Skylights. For tickets, go to lunatickets.co.uk or seetickets.com.
Cocktail Party 1989, copyright of Grayson Perry/Victoria Miro, from the Grayson Perry: The Pre-Therapy Years exhibition, opening at CoCA, York Art Gallery, in May
Most anticipated York exhibition of 2021: Grayson Perry: The Pre-Therapy Years, York Art Gallery, May 28 to September 5
CHANNEL 4’s champion of people’s art in lockdown, Grayson Perry, will present his Covid-crocked 2020 exhibition of “lost pots” at the Centre of Ceramic Art (CoCA) next spring and summer instead.
The Pre-Therapy Years reassembles Perry’s earliest forays into ceramics; 70 “explosive and creative works” he made between 1982 and 1994. Look out too for the potter, painter, TV presenter and social commentator’s existentialist September 6 gig at York Barbican: Grayson Perry: A Show For Normal People, wherein he will “distract you from the very meaninglessness of life in the way only a man in a dress can”.
Chris Moreno: No festive cheer at Christmas, but now he looks forward to presenting The Great Yorkshire Easter Pantomime, Aladdin, on Knavesmire, York, in spring 2021
A pantomime in the spring? Yes, The Great Yorkshire Easter Pantomime in a tent on Knavesmire, York, March 19 to April 11
CHRIS Moreno, director of Three Bears’ Productions four pantomimes at the Grand Opera House from 2016 to 2019, will direct York’s first ever “tentomime”, Aladdin, this spring with a cast of “21 colourful characters”.
The Great Yorkshire Easter Pantomime will be presented in the luxurious, heated Tented Palace, Knavesmire, in a socially distanced configuration compliant with Covid-19 guidance.
The big top will have a capacity of 976 in tiered, cushioned seating, while the stage will span 50 metres, comprising a palace façade, projected scenery and magical special effects. Look out for the flying carpets.
Going solo: Julie Hesmondhalgh in The Greatest Play In The History Of The World at York Theatre Royal from February 16
Falling in love again with theatre: The Love Season at York Theatre Royal, February 14 to April 21
ON December 15, York Theatre Royal announced plans to reopen on St Valentine’s Day for The Love Season, with the audience capacity reduced from 750 to a socially distanced 345.
Full details will be confirmed in the New Year with tickets going on sale on January 8, and that remains the case, says chief executive Tom Bird, after hearing yesterday afternoon’s statement to the House of Commons by Health Secretary Matt Hancock.
“We’re carrying on with our plans, including presenting Coronation Street and Broadchurch actor Julie Hesmondhalgh in husband Ian Kershaw’s one-woman play, The Greatest Play In The History Of The World, from February 16 to 20,” he confirmed.
Van Morrison: A brace of bracing nights at York Barbican in May
Six of the best at York Barbican in 2021
YORK Barbican has remained closed since the March lockdown, foregoing even the UK Snooker Championships in November and December.
A reopening date is yet to be announced but mark these shows in your diary, if only in pencil: Rob Brydon, A Night Of Songs & Laughter, April 14; Jimmy Carr, Terribly Funny, May 2; country duo The Shires, May 23; Van Morrison, May 25 and 26; Paul Weller, June 29, and Rufus Wainwright, Unfollow The Rules Tour, October 13.
Ceramicist Beccy Ridsdel: Looking forward to the 20th anniversary of York Open Studios
Anniversary celebration of the year: York Open Studios, April 17 and 18; 24 and 25, 10am to 5pm
2020 turned into a virtual Open Studios with displays online and in windows, but already 140 artists and makers are confirmed for the 20th anniversary event in the spring when they will show and sell their work within their homes and workspaces.
Many of 2020’s selected artists have deferred their space to 2021, but new additions will be announced soon, the website teases. “We’re channelling the optimism and enthusiasm from all our artists to ensure this year’s 20th show is one of the best,” says event co-founder and ceramicist Beccy Ridsdel.
Dr Delma Tomlin: Administrative director of the 2021 York Early Music Festival, running from July 9 to 17
And what about?
Festivals galore, as always, in the self-anointed “City of Festivals”. Coming up are the Jorvik Viking Festival; York Fashion Week; York Literature Festival; York Early Music Festival; York Festival of Ideas, the Aesthetica Short Film Festival and more besides.
Ian Stroughair’s Flesh Creep: “Joyously evil-turned-up-to-11 villain”. Picture: Kirkpatrick Photography
MONKGATE magic!
Every year like clockwork, you wolf down the first clutch of chocolates from your Advent calendar, then panto arrives.
Men as women.
Women as men.
Two crew members as a horse.
Oh yes, it is!
Oh no, it isn’t!
Jack And The Beanstalk: “The healthy, bright-eyed and slim” bean feast of a York Stage pantomime, as promised by the newly appropriated Biles Beans sign
Children’s eyes agog.
But not in 2020.
The year that the show MUSTN’T go on.
Just watch the news.
Tisn’t the season to be jolly!
As theatres up and down the land spend Christmas in darkness, a shard of light could be seen down an alleyway off Monkgate.
It’ll never work.
How could it work?
Jack….and the beanstalk: Jordan Fox’s Jack with stage manager Lisa Cameron’s hand-made beanstalk in the York Stage pantomime. Picture: Kirkpatrick Photography
Necessity is the Mother of Invention.
This needed ideas, creativity and the personnel to pull it off and even then one announcement could pull its plug at any moment.
This had failure written all over it.
As we walked past the finest piece of genius marketing on Boxing Night, extending the locals’ favourite landmark – the Bile Beans sign on Lord Mayor’s Walk – to read “Bile BeanSTALK”, we were smiling even before the first line.
“Where’s the Minster?”, people ask? “It’s just over the wall from the Bile Beans sign.”
After a balanced diet of cheese and Toblerones, could this be the panto to keep us “healthy, bright-eyed and slim?”.
Alex Weatherhill’s Dame Nanna Trott: “Showing off a range to stop Mariah Carey warbling her festive favourite”. Picture: Kirkpatrick Photography
As we walked through the door, greenery festooned every bannister and surface.
With a tiny capacity of only 60 to meet Covid safety requirements, this was not so much a family panto as a “bubble panto”.
Jack was played by the endearing Jordan Fox, who somehow managed to be both idiot and hero at once.
Flesh Creep was played by the joyously evil-turned-up-to-11 Ian Stroughair, who was nearly eight feet tall with hat!
A three-piece dance troupe featuring dance captains from both the Grand Opera House (Emily Taylor) and Theatre Royal (Danielle Mullan) felt like a luxury as did a small house band (Jessica Douglas, Sam Johnson and Clark Howard).
Corners could have easily been cut but weren’t. Quality clearly means everything to writer-director Nik Briggs.
“Top-tier entertainment”: May Tether as Jill Gallop (on the podium) with ensemble trio Emily Taylor (left), Danielle Mullan and Matthew Ives. Picture: Kirkpatrick Photography
The cast faced magnetic north as a convoy of beautiful original songs and production numbers ran through the show, choreographed by West Ender Gary Lloyd .
The harmonies as all the cast sang together were spellbinding, as the hairs on the backs of your arms acknowledged this wasn’t another panto re-heat -this was fresh.
I could listen to May Tether (who played Jill) sing the terms and conditions of an insurance policy and she’d make it sound like Carole King had penned it.
Where many pantos have actors, singers or dancers with on obvious ‘also ran’ in their skill set, every cast member was a Swiss Army knife of lethally sharp talent.
Rarely do you get soulful vocals from a panto fairy (Livvy Evans) and even the Dame, played by Alex Weatherhill, showed off a range to stop Mariah Carey warbling her festive favourite.
Head’s gone: Writer-director Nik Briggs and stage manager Lisa Cameron in a revealing moment for the longer-than-usual pantomime cow, Daisy, in Jack And The Beanstalk. Picture: Kirkpatrick Photography
Surprisingly, the cast showed no fatigue from the three-shows-a-day schedule but it begs the question why this wasn’t in a bigger venue with Covid measures in place. I can only imagine that the paperwork and risk assessments took more paper than the script in this impossible year. The audience were even guided to do hand gestures, as everybody desisted from shouting “Oh yes he is” all night.
Every ticket in this traverse set-up was a golden ticket as each group was separated into plastic booths. This is “in your face” theatre – but socially distanced of course – that you can feel, not just watch.
Featuring some of the most original gags I have ever heard in a panto to reflect the times, plus a couple of very well-known faces on screen who could grace any stage in the land, this is a show full of surprises: doing the same things differently. Proving that theatre can adapt to fit around the safety of its audience to give a Christmas to remember to a year many of us would like to forget.
“Soulful vocals”: Livvy Evans as Fairy Mary in Jack And The Beanstalk. Picture: Kirkpatrick Photography
In 2020, when Amazon have delivered everything to your doorstep, Briggs has delivered not just a panto, but also West End-quality musical theatre, while maintaining a safe distance, and NOBODY will be writing ‘Return to Sender’ on this triple threat-laden package.
York’s Tier 2 status meant that the doors could open, but there is nothing Tier 2 about this show in Monkgate. This is top-tier entertainment for all of your bubble.
Review by Ian Donaghy
Show times: December 29, 2pm (sold out) and 7pm; December 30, 2pm (sold out) and 7pm; New Year’s Eve, December 31, 12 noon (sold out); January 2, 2pm (sold out) and 7pm; January 3, 1pm and 6pm.
Please visit yorkstagepanto.com for an update on performances once York’s new Tier status is confirmed in the Government briefing tomorrow (30/12/2020).
Name up in lights: The traverse stage for York Stage’s Jack And The Beanstalk, with the audience seated in Perspex-shielded bubbles. Picture: Kirkpatrick Photography
Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only.
