They’ll say owt to entertain you: Stu Freestone, Henry Raby, Hannah Davies and Dave Jarman
DO you want an assortment of noisy, slam-winning York performance poets, word-weavers and gobheads to perform at a social distance near you?
If so, the Say Owt Showcase luminaries Henry Raby, Stu Freestone, Hannah Davies and Dave Jarman are the quartet to entertain you, being “ideal for socially distanced spaces and audiences”.
“We’re York’s lovable and raucous poetry gang and we’re available to programme and present high-energy, 60-minute showcases of the sharp, relevant, hilarious and engaging spoken word,” says Henry, director of the Say Owt’s “war of the words” slam nights.
Stu Freestone: “Cheekiest of rogues”
“Say Owt’s word-warriors have delighted in ripping up stages at the Great Yorkshire Fringe and the Arts Barge in York, the Edinburgh Fringe and the Ilkley Literature Festival, and last month we performed as part of York Theatre Royal’s Pop-Up On The Patio festival, a bubbled and socially distanced event.
“Our Say Owt Showcase on August 28 sold out and played to a drizzly, but happy, audience.”
Performance poet in residence at the Deer Shed Festival, author, playwright and event organiser Raby is noted for his punk poetry being anarchic and raw, with a sharp political edge, much like his regular Tweets.
Taking the mic: Henry Raby in action
He has performed at Latitude Festival, Boomtown Fair and the Intentional Youth Arts Festival and toured with Creative Arts East and Apples and Snakes’ Public Address Tour.
His latest solo show, Apps And Austerity, looks back over the past decade of technology and stultifying, stringent political policies, as aired at the Pop-Up festival last Friday.
Freestone, Raby’s fellow co-founder of Say Owt, is the cheekiest of rogues with his devilish facial hair and a penchant for Hip-Hop. His work is blissful, engrossing and, above all, unflinchingly honest.
Hannah Davies: Addresses themes of young love, female identity and the small moments that makes us smile
An actor too, he has worked with various York companies and in 2015 was nominated for Best Spoken Word Artist at the Saboteur Awards. The only thing remotely cheesy about him is when he may have served you from behind the counter at The Cheese Trader in Grape Lane.
When playwright, actor, poet, writing course tutor and stage director Hannah Davies “isn’t trying to smash the patriarchy”, she is busy with her York theatre company Common Ground.
Hannah has won slams across the UK and was a finalist in the BBC Fringe Slam 2017, and her work encapsulates themes of young love, female identity and the small moments that make us smile.
Dave Jarman: Plucking words out of the air like the ripest of fruit
Say Owt associate artist Dave Jarman describes himself as a “word-gobbing, ukulele-strumming, bodhran-abusing poet from t’North”.
Resident poet for the Great Yorkshire Fringe in 2017, playwright, actor and occasional Elf, he reflects on community, people, places and our national identity in his poetry and performances.
For more information on how to send for the four wordsmen of the apocalypse to do a show for you, email info@sayowt.co.uk.
From Caribbean cruise-ship crooning in spring to York igloo in late-summertime: Conor Mellor performing at the August 23 performance of York Stage Musicals at Rowntree Park. Picture: Jess Main
YORK Stage are heading back to the Rowntree Park Amphitheatre from September 18 to 20, building on the sold-out success of last month’s debut open-air concerts by staging Jukebox Divas.
York Stage Musicals at Rowntree Park marked the company’s first ever outdoor venture, when six professional performers with YSM history, Joanne Theaker, Ashley Standland, May Tether, Richard Upton, Emily Ramsden and Conor Mellor, performed with Jessica Douglas’s band from August 23 to 25.
Conor, back in York from singing on the international cruise-ship circuit, returns for YSM show number two, joined by Dan Conway, Sophie Hammond, Grace Lancaster and Eleanor Leaper.
York Stage Musicals performers aglow with the joy of performing to an audience at last, after the lockdown hiatus, at the Rowntree Park Amphitheatre. Picture: Kirkpatrick Photography
Producer and director Nik Briggs says: “We really were blown away by the reaction to our York Stage Musicals at Rowntree Park concerts last month. To bring live musical theatre back to the city really was an honour and to sell out so quickly and feel the buzz that surrounded the concerts was just crazy!
“I knew, stood there watching the show, that we had to keep going, we had to do more…especially as we’d joked originally that we’d been compelled to do a thing, something, anything. This time we feel the need to do another thing.”
Jukebox Divas will celebrate the art of the Jukebox musical. “With music from shows such as We Will Rock You, Mamma Mia! and more modern releases like & Juliet and Moulin Rouge, audiences will be entertained with vocal tributes to artists such as Elvis Presley, Queen, Meat Loaf, Katy Perry, Carole King and many more,” says Nik.
York Stage director and producer Nik Briggs and musical director Jessica Douglas
York Stage musical director Jessica Douglas again will lead a live band on stage from her keyboards, backing the latest line-up of professional performers. “One of my hardest things to do last time was to decide who to choose to perform from all the professional talent that has worked with York Stage over the past few years; there are so many brilliant performers who I wanted to bring back!” says Nik.
“I had hoped to do two shows originally but only having three nights at first, this wasn’t possible, so when we were able to secure a second slot I knew straight away who to ask.”
Step forward Dan Conway (York Stage: Ghost; UK tour: Kinky Boots, where he understudied and played the male lead); Sophie Hammond (York Stage: Footloose; now back from training in musical theatre in New York), Grace Lancaster (York Stage: Footloose and Whistle Down The Wind; UK tour: Footloose; Watermill: Assassins; Eastbourne: Return To The Forbidden Planet); Eleanor Leaper (York Stage: Joseph; BBC’s Pitch Battle finalist) and Conor Mellor (York Stage: Rock Of Ages; international cruise vocalist).
“I knew, stood there watching the show, that we had to keep going, we had to do more,” says producer Nik Briggs, explaining why York Stage Musicals will perform in Rowntree Park again this month. Picture: Kirkpatrick Photography
Delighted with how well the first show went after three fast-moving weeks of preparation and rehearsal, followed by stage assembly in only two hours on a Sunday afternoon, Nik says: “Audiences can again expect to be wowed by brilliant sound and lighting from Adam Moore and his Tech247 team. The giant igloo stage covering will be back to glow like a Technicolor beacon in the heart of the park once more.
“We’re again working to ensure the safety of our performers, staff and of course audience in the planning of this event. We’re remaining up to date and working to ensure everything we do is guided and informed by City of York Council and the current Government guidance as the event approaches.
“We’ve had so many compliments about the brilliant front-of-house team and a lot of audience members messaged to say how safe they felt watching the show. This was one of the biggest compliments of all. We know for lots of people it was their first outing in months, so for them to feel safe and comfortable was great.”
Hitting the heights: Richard Upton leaps onto a chair in a high spot of the York Stage Musicals at Rowntree Park concert last month. Picture: Jess Main
As with last month’s shows, to ensure they can seat everyone and maintain suitable social distancing of two metres between groups, York Stage have taken the decision to sell spaces for a “Bubble Blanket” for families or support bubbles to sit in, rather than sell individual tickets.
“These spaces are positioned to make sure there’s a two-metre gap minimum between the spaces in every direction while keeping the audience three metres away from the performers,” says Nik. “We’ve created two sizes of ‘Bubble Blanket’ spaces: one holds up to three people and a larger one holds four to six people. Please note, no physical blanket is provided, but you can bring your own or a camping chair.”
Performances will start at 7pm and run for 90 minutes without an interval. Tickets: available only online at www.yorkstagemusicals.com; Bubble Blanket Space for 1-3 people, £40; for 4-6 people, £65.
Emily Ramsden performing at last month’s York Stage Musicals at Rowntree Park. Picture: Jess Main
Five questions for producer and director Nik Briggs
What did you learn from mounting your first outdoor venture last month?
“Working outside was a daunting prospect, having not done it before. Doing it , while also ensuring we were working within the ever-changing Covid guidelines, was a whole other ball to juggle.
“One thing we were certain about was we knew we wanted to give audiences the same high-quality production and performance standards that they have come to expect from a York Stage show.
“But with that comes a lot of wires, lights, instruments and of course electricity…in an outdoor area, where we can’t stop weather!
“When we arrived at our outdoor rehearsal venue in Leeds to tech the show, the weather was nothing short of torrential. Driving across the A64, my heart was sinking but, with the brilliant team of theatre professionals we work with, we came away from that day knowing that our planning and preparation had left us ready to succeed: ,we could do this in (nearly) all weathers!
Ashley Standland in the solo spotlight at last month’s open-air concert. Picture: Jess Main
“We were lucky to have great weather up to the final show when it was raining all day through to ten minutes into the show, but the audience were brilliant! They all showed up with waterproofs and wellies and really got into what we renamed our festival version of the concert! So the biggest lesson was to not be scared of rain!”
Are you doing anything differently this time?
“It’s a whole new set of songs, nearly a full set of new singers – Conor [Mellor] managed to wangle his way back in again – and a new band. We really wanted to reach out and help as many people as possible with the concerts when those who work in our industry have had such a tough time. There may be a few extra surprises this time around but we’re still working on those at the moment!”
How are you conducting rehearsals? On Zoom? In a room, socially distanced?
“Like last time, rehearsals are happening in a range of ways. There is lots of independent learning of harmonies etc, where we have sent out recordings to the performers, so we only have to come together to piece all the parts together and keep contact to a minimum.
“When we are together social distancing, temperature checks and hand sanitiser are all aplenty! We keep at least two metres apart and never sing face to face to also mitigate any risk.”
Joanne Theaker centre stage at York Stage Musicals’ first outdoor performance. Picture: Jess Main
Should other 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 re-open fully?
“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 don’t 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 is 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 of York Theatre Royal – and in fact was the inspiration for the way I have ran York Stage over the past seven years.
Emily Ramsden, left, Joanne Theaker and May Tether keep their distance in the Rowntree Park igloo
“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 Patio 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.”
The definition of ‘Diva’ is: noun: ‘a famous female singer of popular music’…or ‘a self-important person who is temperamental and difficult to please (typically used of a woman)...but your Jukebox Divas show brazenly has a cast of three women and three men. Outrageous! Explain!
“Charles, it’s 2020, you can be whatever you want to be…and looking back, the men I’ve worked with are often way bigger divas! And no, I’m not naming any names!”
“We want to explore how we connect with loved ones, with our community, with nature and with our culture,” says Tom Higham, York Mediale’s creative director
YORK Mediale returns next month to deliver ambitious and cutting-edge digital arts projects inspired by and reacting to 2020.
For its second iteration, the international new media arts organisation has lined up six new commissions, five being world premieres, the other, a UK premiere.
Running from October 21 into the New Year, the programme of events will take place in York neighbourhoods, online and at two cultural landmarks, York Minster and York Art Gallery.
The first York Mediale in 2018 was the largest media arts festival in Britain, drawing an audience of 65,000 to diverse digital-rooted events over ten days, celebrating York as the UK’s first and only UNESCO Creative City of Media Arts.
The Coronavirus pandemic has led York Mediale to forego the original 2020 festival dates of October 21 to 25, instead “pivoting from a biennial festival to a charity creating and delivering a year-round programme of exceptional digital arts events, embedded in and enriching the creative life of the city of York and beyond”.
In a progression from the 2018 debut, this will involve working closely with York artists, young people and neighbourhoods.
Themes of love, nature and community – particularly poignant at this time following months of lockdown and isolation – will run through artists’ installations and interactive performance, engaging audiences both in person and digitally.
Leading artists in their field from across the world have created work for York, such as Marshmallow Laser Feast, fresh from their show at the Saatchi Gallery in London; composer, musician and producer Elizabeth Bernholz, otherwise known as the artist Gazelle Twin, and arts collective KMA, whose installations have transformed numerous public spaces, from London’s Trafalgar Square to Shanghai’s Bund.
The York community is being encouraged to take part, so today the Mediale team is launching two calls for participation. Firstly, Mediale is calling out for 50 members of the public to feature in a piece that will serve as a memento for the times we live in.
Secondly, in collaboration with York’s Guild of Media Arts and nine other UNESCO Creative Cities of Media Arts, Mediale is launching a call-out to York artists, worth £2,500.
Tom Higham, York Mediale’s creative director for the 2018 festival and now the 2020 one too, says: “York Mediale is a place where, through digital arts, we can explore, challenge and reflect on our lives.
“Plans for this year’s Mediale were well underway as the pandemic took hold. That we’re able to work with artists and producers to create an event at all is something we’re really proud of.”
Mediale planned “as best it could” for what it knew would be a different type of event. “We looked closely at the works already submitted and worked to develop the pieces that would most closely examine these extraordinary times,” says Tom.
“We wanted to explore how we connect with loved ones, with our community, with nature and with our culture. We have been developing projects around those themes, and we’re excited to now present a series of works.
“All of these projects resonated with us at the start of 2020 but we could never have imagined how they could develop to so beautifully reflect our worries, hopes and relationships to our communities.”
York artist and filmmaker Kit Monkman: Collaborating with Gazelle Twin and University of York Music Department for Absent Sitters, an online event at York Mediale 2020
York Mediale audiences will discover how the human body is hardwired, synchronised and inextricably linked to nature; experiment with a new form of performance, and explore the invisible transaction between a person and a piece of art and how WhatsApp has shaped communities for the COVID generation at this year’s “diverse, digitally engaged and mentally stimulating event”.
What digital delights are upcoming in York Mediale 2020-2021?
People We Love, November 2 to 29 at York MInster
THIS commission from creative collective KMA will be positioned in the Minster nave, where a new temporary “congregation” will be made up of a collection of five large high-definition screens, showing a series of video portraits focused on people that have been filmed looking at a photograph of someone they love.
The viewer will not know who is being looked at but will experience the emotion on the face projected on screen before them, interpreting each unspoken story.
Visitors can add their story to the installation as a pop-up booth will be on-site, ready to capture the love stories of the city without the need for words.
Human Nature, October 21 to January 24 2021 at York Art Gallery
A TRIPTYCH of installations under the banner of Human Nature, curated by York Mediale and York Museums Trust, comes together as a centrepiece of York Mediale 2020 in a “hugely ambitious show”.
Embers And The Giants, a short film by Canadian media artist Kelly Richardson, makes its UK premiere, exploring human intervention through thousands of tiny drones mimicking a natural spectacle, suggesting a time when we will need to amplify nature in order to convince the public of its worth.
The Tides Within Us, a commission from immersive art collective Marshmallow Laser East, looks at the journey of oxygen from lungs to the heart and body in a series of installations that echoes the ecosystem within nature.
Fine artist Rachel Goodyear presents Limina, a series of animations supported by her intricate drawings, in response to an untitled sculpture from York Art Gallery’s collection; all offering a glimpse into the psyche and fragments of the unconscious.
Absent Sitters, October 21 to 25, online
GAZELLE Twin, billed as “one of the UK’s most vital contemporary voices in electronic music”, collaborates with York artist and filmmaker Kit Monkman and the University of York Music Department to experiment with a new form of performance.
In this intimate, shared event, you will be guided by a “performer medium” to investigate what is live performance in 2020? The audience, contributing via video call, will become part of an online audio-visual experience that examines the power of “collective imagination” and the importance of “presence/absence” in a live event. Are we live? Can we connect? Who are you? Questions, questions, questions.
Good Neighbours, October 21 to 25, The Groves, York
GOOD Neighbours, from Amsterdam’s affect lab – interactive artist Klasien van de Zandschulp and researcher Natalie Dixon – is based on research into the micro-politics of communities and the increase in WhatsApp neighbourhood watch groups through lockdown.
Individual audience members will use their own mobile devices as they immerse themselves in a weirdly familiar fictional documentary walk alongside live performance, taking place in The Groves area of York.
What exactly is York Mediale?
York Mediale is an international media arts organisation that celebrates York as the UK’s first and only UNESCO Creative City of Media Arts. The independent arts charity was founded in 2014 to mark that designation.
As well as bringing new commissions from leading artists to the city for each festival, Mediale provides opportunities for the best emerging talents to showcase their art. Through incorporating technologies into their works, artists of all kinds will challenge, provoke, interrogate and celebrate our cities, our landscapes, our lives.
UPDATE 15/10/2021
THE RETURN OF PEOPLE WE LOVE, YORK MINSTER, OCTOBER 16 to NOVEMBER 12 2021
KMA creative collective artist Kit Monkman stands beside one of the faces in the People We Love installation, commissioned by York Mediale, at York Monster on October 14 2021. Picture: Tony Bartholomew
YORK has the chance to love People We Love all over again after the KMA creative collective’s installation for York Mediale had to close only three days into its York Minster residency in November 2020.
The Covid pandemic’s second national lockdown forced the sudden shutdown, but now Kit Monkman’s commission from the festival of digital media arts has a second run from October 16 to November 12.
People We Love returns refreshed for 2021 with 25 new subjects added, filmed at Spark:York, to combine with those recorded last year for the evocative installation sited in the Minster nave, just below the Great West Window with its Heart of Yorkshire.
This temporary ‘congregation’ is made up of a collection of five large high-definition screens, each showing video portraits of York residents looking at an unseen, unnamed picture of someone they love.
Viewers watch them reflect, remember and be reminded of a loved one, filmed as they respond silently but expressively to a series of questions in a Scottish accent, unheard by the audience.
Willow Bowen, York Mediale assistant producer and People We Love participant, at the 2021 installation launch at York Minster. Picture: Tony Bartholomew
After multiple months of Government restrictions keeping people at a distance from family and friends, People We Love has become an even more poignant reminder of how precious love and those loved are. Then add the church season of All Souls Day and Armistice Day, and the exhibition could not be better timed nor better placed.
People We Love was inspired by The Life And Opinions Of Tristram Shandy, Gentleman by Coxwold parson and author Laurence Sterne. First published in York in 1759, the book contains a blank page for the reader to imagine, draw or write about a person they love.
KMA’s Kit Monkman, artist and creator of People We Love, says: “In Tristram Shandy, the reader becomes an active participant in the book. We wanted to take that idea and incorporate it into People We Love, making the audience member an active participant in the creative process as they engage with the film.
“There is a private communion between the person filmed and the viewer, and each draws their own meaning from it, the viewer never knowing anything about the story between the person on screen and their photograph.”
Each unspoken story has its own tale to tell, but one that will never be discovered by the viewer, who will instead have their own understanding of what they are watching, creating a different narrative.
“You don’t have to emote with words; it can be all in the face,” says KMA’s Kit Monkman. Picture: Tony Bartholomew
In a time where it has become more commonplace to interact with those we love via a screen, this quiet artwork offers a chance for contemplation and consideration in a sacred building.
Neil Sanderson, director of the York Minster Fund, says: “We’re delighted to have People We Love return to the Minster after its early closure in 2020 due to the national lockdown. The installation forms part of a wider season of remembering at the cathedral that we hope will give visitors time to pause, reflect and think about their own loved ones during what has been an extraordinarily difficult time for so many.
“This installation kicks off our season of memorial, with All Saints’ Day, All Souls Day and Remembrance Sunday to come, and it’s such an important thing to do, remembering people who have died, especially at this time.
“This is a model we would like to build on as it fits in so well with the vast window and the Heart of Yorkshire. One of the great challenges is finding things that work well here as the Minster is such a monumental building, but People We Love does exactly that. But you also don’t need to explain it to people: they will each get something out of it, just as people get a lot out of the Minster in different ways.”
Among the new faces in the installation for 2021 is York Mediale assistant producer Willow Bowen. Explaining her choice of photograph, she says. “In choosing someone who was dead, I didn’t necessarily want to make myself cry. I’d heard the recording with the questions before, because of working on the project, and one person came to mind when I first heard them, so that was the only choice for me. Being filmed was a very cathartic experience for me and transportive too.”
“Being filmed was a very cathartic experience for me,” says Willow Bowen. Picture: Tony Bartholomew
Looking at herself on screen, Willow says: “I remembered being really emotional when I was filmed, but now, when I see myself, I look really stoic, so maybe I had constrained my feelings inside, rather than bubbling over, and yet I’d felt very emotional – I’m just not showing it.”
KMA’s Kit Monkman loves the interaction between the installation and the Minster. “Just being in this space, even if you’re not religious, it’s an awe-inspiring building that makes you reflect and contemplate. You look around and you find yourself contemplating, and so it’s nice to make that connection, with People We Love being here, as we approach All Souls Day and Remembrance Sunday.”
Coming face to face with the human face on screen at a time when we have had to wear masks adds to the installation’s impact. “During the pandemic, we’ve talked about how people have been masked, when so much of the face and emotional expression is hidden, but all these faces in People We Love are without masks and that makes them all the more powerful,” says Kit.
Silence is important to the installation: “We could have had the sitters talking, but that’s not what this work is about. It’s about human connection, and a desire to have that connection, without the need for conversation,” says Kit.
“You can just look into their eyes and empathise with them. It’s not about knowing about what someone is feeling, but being supportive and understanding.
CharlesHutchPress editor Charles Hutchinson with Kit Monkman at the press launch of People We Love on October 14. Picture: Tony Batholomew
“You don’t have to emote with words; it can be all in the face. Besides, if you ask the people you’re filming to tell you about the person in the photograph and what they’re thinking, they probably wouldn’t be anywhere near as forthcoming.”
Developing this point further, Kit says: “What always strikes me is that it’s just so rare to see an ‘uncurated’ face, faces that are stripped of self-consciousness. In People We Love, they are genuinely being themselves in that moment. It’s a privilege to hold them in our gaze as they do that.
“We have just filmed them; we have not ‘curated’ the videos in any way; we are just showing people as they are. That’s where it differs from advertising or portraits.”
The power of imagination is important to People We Love. “If you are just showing a human face, it is still fascinating, but when you know they are looking at someone they love, that sparks the imagination,” says Kit.
“Our culture in the modern world has robbed us of the space for our inner imagination because instead it’s been commodified amid the rise of binge-watching. Our inner space has been bought, but this installation is unapologetically about imagination. Empathy and imagination are two bedfellows here.”
People We Love is testament to “the invisible thread that binds us all” – love – as we seek to understand each silent story. “Because that’s what we do every day, isn’t it, as we try to reach out and understand what’s going on behind the eyes of another.”
UPDATE 7/11/2021
John Mateer looks at his sister Penny Mateer, on screen, on Pittsburgh Day at York Mediale’s People We Love installation on November 5. Picture: Esme Mai
YORK Mediale’s People We Love installation has now been commissioned by the Pittsburgh Downtown Partnership in the United States, where it will open next April in its first international showing.
In keeping with KMA’s York template, the team there has filmed Pittsburgh people looking at photos of someone they love, and on November 5, the York Minster installation replaced the videos of York residents with around 70 people from the Pennsylvanian city.
Participation in the project was especially meaningful for siblings John and Penny Mateer. John lives in York and his sister Penny is an artist in Pittsburgh; they have not seen each other since the start of the pandemic . Penny took part in the project and her face was among those shown on the screen in the Minster for one day only.
Penny said: “Even though I am camera shy, I had to participate in this project because of its theme. I also had to participate because my brother John, a video-effect producer, lives in York. I was surprised to feel such emotion and love through focusing only on a photograph during the guided meditation. It was truly cathartic.
“Those feelings of community, connection and love, which we’ve all missed because of the pandemic, are needed now more than ever.”
KMA artist Kit Monkman on Pittsburgh Day at the People We Love installation at York Minster. Picture: Esme Mai
John said: “It was a great surprise when my sister Penny told me that she was participating in People We Love and I couldn’t wait to see her contribution.
“As she’s an artist, I’m used to seeing her on the ‘other side of the frame’, so to speak, not as part of the work itself. Having known Kit Monkman for nearly 20 years, I knew it would be something special. How serendipitous that he chose to use my hometown for the installation’s US debut and how wonderful that I could see it in my current home of York.”
Artist Monkman said: “People We Love is a work with global appeal; the ability to read a loving human face is universal. Every face tells its own unique story, and each and every edition of People We Love speaks of and to its own community. That’s why I was so excited to bring the varied and poignantly beautiful faces of Pittsburgh to one of the world’s most contemplative spaces.”
Tom Higham, York Mediale’s creative director of York Mediale, concluded: “It’s so exciting that a project that started out at York Mediale is travelling over to the US next year. People We Love is such a profoundly moving installation. It feels very personal to be looking at a person as they contemplate the face of someone they love, and I know that audiences in Pittsburgh will feel the same connection.”
Keep on running: Jennifer Clark as Gretel, with Claire Pascoe as Mother behind her, in the opening performance of Whistle Stop Opera: Hansel And Gretel at Slung Low, The Holbeck, Leeds. Picture: Tom Arber
ALL three Saturday performances of Whistle Stop Opera: Hansel And Gretel at the National Centre for Early Music, York, have sold out, but now the bewitching open-air show will pop up on York Theatre Royal’s Pop-Up Patio tomorrow too.
Touring from August 18 to September 5 as part of Opera North’s Switch ON autumn programme of outdoor events and digital projects, the 40-minute production is devised and directed by John Savournin for four singers and accordion and provides an introduction to opera for families, as well as being suitable for adults.
The Whistle Stop mini-opera uses excerpts from Engelbert Humperdinck’s magical 1893 opera to retell the fairy tale of two hungry children, lost in the woods, and a gingerbread cottage that hides a scary secret.
Every witch way: Claire Pascoe’s Witch in shocking pink in Hansel And Gretel
“Journey through the woods and gorge yourself on the exciting twists and turns of the plot as you meet the characters along the way,” says Opera North. “Just beware of the evil witch and don’t stray too far from your tour guide – you never know what trickery you may encounter along the way.”
Whistle Stop Opera: Hansel And Gretel has been performed in outdoor settings across the North in August and September, with social distancing in place for audience members and performers and limited numbers of tickets available, in accordance with Covid-19 guidelines, for “pods” of up to five people, although exact seating arrangements have varied from venue to venue.
In the Hansel And Gretel company are Laura Kelly-McInroy (Jennie Hildebrand in Street Scene, 2020) as Hansel; Jennifer Clark (Flora, The Turn Of The Screw, 2020) as Gretel; Claire Pascoe (Emma Jones, Street Scene, 2020; Witch, Into the Woods, 2016) as Mother/Witch, and director John Savournin (Carl Olsen, Street Scene, 2020; Priest Fotis, The Greek Passion, 2019) as Narrator/Sandman. Miloš Milivojević will play accordion.
Clasped hands at the double: Jennifer Clark’s Gretel and Laura Kelly-McInroy’s Hansel in Whistle Stop Opera: Hansel And Gretel
In the initial announcement, Hansel And Gretel was to have played Pontefract Castle, Pontefract, tomorrow at 4.30pm, but that performance no longer appears on the Opera North listings.
Instead, York Theatre Royal’s patio will play host to shows at 1pm and 3pm with a maximum audience of 35 at each one. Given the speedy uptake of tickets for Saturday’s 11.30am, 1pm and 3pm performances in the NCEM garden, do not delay a moment longer in booking for tomorrow at yorktheatreroyal.co.uk, tickets costing a fiver. Please note, access to Pop-Up On The Patio events is restricted to paid ticket holders only.
The Theatre Royal also advises: “As we all know, the weather in England can be unpredictable, so we recommend dressing for the weather and bringing waterproofs just in case.”
The Pop-Up On The Patio stage at York Theatre Royal with deck-chair seating
This short-notice addition to the Pop-Up programme comes on the back of the Pop-Up On The Patio festival that ran on three Fridays and Saturdays from August 14 to 29, co-ordinated by Theatre Royal producer Thom Freeth.
Taking part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, were “Yorkshire’s finest theatre and dance makers”.
Step forward York Dance Space; Mud Pie Arts; Crafty Tales; Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre; puppeteer Freddie Hayes; Cosmic Collective Theatre; performance poet Henry Raby; Say Owt Showcase, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson and singer Jess Gardham.
York Theatre Royal’s artwork for the inaugural Pop-Up On The Patio festival
Looking back on the weather-defying patio parade of shows, executive director Tom Bird says: “It’s been brilliant to do a patio season; we’re totally over the moon with how it went. It’s just been terrific to give local artists the chance to perform, even if it’s only to 35 people each show.
“Now we’re announcing the Whistle Stop Opera performances and we’re looking to do more outdoor shows.”
Giles Shenton: Back on terra firma when he performs Jerome K Jerome’s Three Men In A Boat at the Milton Rooms in Malton
THE Milton Rooms in Malton will reopen this month for its first events since lockdown began in March.
Ryedale Blues Club will host the first musical event with York’s DC Blues Band and special guest Nick Steed on September 24 at 8pm, followed by Kick In The Head’s production of Jerome K Jerome’s Three Men in a Boat on September 27 at 2.30pm.
Venue manager Lisa Rich says: “The whole team is very much looking forward to opening our doors to audiences later this month.
“It has been a long, arduous seven months for everyone, so we hope that the return of live entertainment in Malton will go some way to putting a smile on people’s faces.”
Social distancing measures will be in place for both events and plans have also been developed for anyone who wants to hire the venue.
Winn-win situation: Paul Winn will lead DC Blues Band in the Milton Rooms’ first concert since the March lockdown
“The Milton Rooms team is working hard to ensure that everything is as safe as possible,” says Lisa. “Risk assessments are in place and the venue has achieved the Visit Britain ‘We’re Good to Go’ industry standard.
“Like every business in Ryedale, we will be following strict health and safety guidelines for anyone visiting the Milton Rooms, be they a volunteer, audience member or someone who has hired the building.
“That will obviously mean restricting the number of people who can attend an event. However, we are lucky in that the main hall is large enough to accommodate up to 100 people safely with ample social distancing.” Under those social-distancing measures, tables will range from two people up to groups of six.
Lisa was appointed venue manager of the Milton Rooms at the end of February, only to be faced almost immediately with the lockdown and the cancellation of a glut of events planned for 2020.
An urgent Go Fund Me appeal was launched in April to help to safeguard the Market Place community centre’s future and has raised £2,500 so far.
A barrel of fun: Giles Shenton raises a glass to the return of theatre at the Milton Rooms in Three Men In A Boat on September 27
“It has been probably the most difficult year ever for the Milton Rooms and personally very frustrating as I was appointed just as the country closed down,” says Lisa.
“However, we have been busy behind the scenes preparing for reopening and exploring how the venue can be utilised by our whole community. Luckily, we have had amazing support from the public, who obviously value our lovely arts centre and want it to continue for future generations. We are very grateful to each and every one of them.”
In the first concert on September 24, Ryedale Blues Club founder Paul Winn leads DC Blues Band, who hail from “the mighty Ouse Delta in York” and have been playing their own take on the blues with original material and selected covers since 2012, opening for such acts as Dr Feelgood, King King, Sari Schorr and Marcus Bonfanti. Doors will open at 7.30pm; tickets cost £7.50.
Kick In The Head return to the Milton Rooms on September 27 to present Three Men In A Boat, a “rip-roaring barrel of fun” with Giles Shenton playing the part of writer Jerome K Jerome in this 95-minute one-man/Three Men show.
Shenton, who previously starred in Old Herbaceous, will take the helm for this delightfully ridiculous tale of men behaving badly while messing about in boats. He invites you to “join Jerome as he recounts the hilarious story of his boating holiday along the magnificent River Thames with his two companions, George and Harris, and Montmorency the dog. Come and join in the fun.” Doors will open at 2pm; tickets cost £15.
Polly Bolton: Tickets are still available for her Songs Under Skies concert on September 16
SONGS Under Skies kicks off tonight under foreboding skies at the National Centre for Early Music, York, with a double bill of Amy May Ellis and Luke Saxton.
All but one of the open-air acoustic concerts in the churchyard gardens of the NCEM’s home at St Margaret’s Church, Walmgate, has sold out as live music with an audience returns to the NCEM for the first time since the March lockdown.
Tickets are still available for Polly Bolton and Henry Parker on September 16, but hurry as the capacity is only 50.
You can buy tickets for family groups or as individuals. Seating each night will be in pods and full details can be found at tickets.ncem.co.uk/.
Songs Under Skies bring together the National Centre for Early Music, The Crescent, The Fulford Arms and the Music Venues Alliance for the September series.
Bella Gaffney expresses her delight at the chance to play a concert again
Taking part are Amy May Ellis and Luke Saxton tonight (September 2); Dan Webster and Bella Gaffney, tomorrow; Kitty VR and Boss Caine, September 9, Wolf Solent and Rosalind, September 10; Polly Bolton and Henry Parker, September 16, and Elkyn and Fawn, September 17.
Concerts for last month’s online York Early Music Festival had to be recorded and filmed behind closed doors at the NCEM, with no audiences, for digital streaming from July 9 to 11.
For Songs Under Skies, 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. Social distancing will be strictly observed and masks must be worn inside the NCEM but will not be required in the garden.
NCEM director Delma Tomlin says: “We’re thrilled to be able to welcome artists and audiences back to our home at St Margaret’s Church, thanks to the invaluable help of our York partners, and I’d like to say a huge thank-you to them.
“We hope that this marks the beginning of a gradual and safe return to being able to bring you much more music over the months to come.
Sold out: Boss Caine’s double bill with Kitty PR on September 9
Like all arts organisations, the last few months have been difficult, but we’re lucky to have received overwhelming support from our loyal audiences and from our funders, to whom I would like to extend my heartfelt thanks. We hope you’ll be able to join us for these wonderful Songs Under [the] Skies of our beautiful city.”
Chris Sherrington, who runs The Fulford Arms and is the North East regional coordinator for the Music Venues Alliance, says: “Both The Crescent community venue and The Fulford Arms are excited to be working with our York Music Venue Network partners, the NCEM, to help fill some of the cultural vacuum that has sadly been affecting York since March.
“It’s an exciting opportunity to bring our expertise together and programme a beautiful series of shows in a safe and stunning space with a range of amazing talent. We hope this will be the first of many such endeavours.”
The NCEM has been one of the first arts organisations to stream online concerts, seeking to keep music alive since the beginning of lockdown and attracting a worldwide audience of more than 70,000 in the process.
Over the past few months, the NCEM has streamed a series of concerts from its archives, followed by the aforementioned York Early Music Festival Online with its combination of concerts and talks. The Director’s Cut, Delma’s selection of festival concert highlights, is available to download and keep. Go to ncem.co.uk for more details.
Author Ian Donaghy with the first edition of his new lockdown book, A Pocketful Of Kindness
TRAVEL back to times BC, before Covid.
Let York author, singer, event organiser, conference speaker and dementia care campaigner Ian Donaghy take up the story. “Imagine if we had been told on New Year’s Eve, ‘enjoy the next 12 weeks because, come March 2020, schools will close the gates,” he posits.
“Pub and restaurant curtains will be drawn and live music venues and theatres will be told the show mustn’t go on… and on top of that, there will be no cuddles allowed’.”
Never has the world needed a bigger cuddle than in these uncharted waters, says Big Ian, whose response to lockdown inertia was to write a 229-page cuddle of a book entitled A Pocketful Of Kindness.
“During lockdown, many people were furloughed, uncertain of their futures,” says Big Ian, larger-than-life host of such York community events as A Night To Remember at York Barbican and Xmas Presence, former school teacher and now a “key voice in care”.
On song: Ian Donaghy hosting A Night To Remember at York Barbican
“As a conference speaker, I suddenly realised the venues I usually fill with delegates, whether ExCeL London or the Harrogate Convention Centre, were now Covid-19 Nightingale hospitals. Everything I did on my public-speaker travels had disappeared.”
At his home, not far from the York Barbican, where his band Huge played the first ever show, a restless Ian needed to keep himself busy.
Noting the acts of kindness that were proliferating in lockdown, he hit on the idea of writing a pocket-sized book on that very subject.
He already had two all-life-is-here books to his name, firstly Dear Dementia, published in June 2014 and now available in libraries home and abroad.
Writer Ian Donaghy and director Gemma McDonald at the Joseph Rowntree Theatre box office when hatching their plan to convert The Missing Peace into a Rowntree Players production
Next, in December 2017, came The Missing Peace, Creating A Life After Death, whose transfer to the stage by Gemma McDonald and the Rowntree Players should have been playing the Joseph Rowntree Theatre this weekend.
The Missing Peace had taken three years from first thought to printing, a longer gestation than an elephant birth. Come 2020, he had so many heart-warming stories bubbling away, waiting to be told, he felt compelled to put finger to keyboard once more, and lockdown’s quietitude allowed him a more concentrated focus, a much faster turnaround.
“Like many people, I like to work from a finish line backwards, so I needed to create a finish line. Not just a raison d’etre, but a raison d’aider, to help people in this difficult time,” says Big Ian, whose 50th birthday fell in those shutdown weeks.
York pianist Kieran White as he appears in the story A Fish Out Of Water
“So, after transforming the garden and doing some pretty shoddy decorating, I reflected on what was important in this new simplified world.
“The world had stopped, giving us a rare period of clarity – an opportunity to reflect, to see who and what really matters in our lives and who and what doesn’t.”
He set about writing stories from his experiences in dementia care; teaching young people with learning difficulties; working in crime reduction for the Home Office and 30 years as a showman singer, fronting bands in his native North East, Yorkshire and Nottingham.
The book combines short stories, monologues and TED Talk-style chapters highlighting the virtues and power that kindness has had in transforming people’s lives.
Sir Bobby Robson: The subject of Ian’s story A League Of His Own
Page after page of true stories, full of humour, revelation, wry observation and pathos too, recount the deeds of England and Newcastle United manager Sir Bobby Robson, Irish boxer Barry McGuigan, American blues guitarist Robert Cray and an army of selfless people you will “never have heard of but will want to meet”.
Big Ian’s celebration of kindness attracted award-winning Private Eye cartoonist Tony Husband, who provided a cartoon, such was his belief in the inspirational project.
“The idea behind the book is that you gift it to someone who has made a huge impact in your life with their acts of kindness who may not realise it,” says Big Ian. “This enables you to reflect on who has helped get you where you are today.”
Seventy stories in total, they will make you laugh, cry and think in equal measure, promises Big Ian, whose storytelling elan has prompted one reviewer to call him “an Alan Bennett for the 21st century, who finds tomorrow’s charm and nostalgia in today”.
Kieran White’s reaction on being gifted a copy of A Pocketful Of Kindness
A Pocketful Of Kindness is available only from bigian.co.uk and is proving popular already, selling 1,500 copies in its first week, based solely on word of mouth.
“Many companies have bought bespoke versions of the book with their company logos to show their employees how appreciated they are,” says Big Ian.
Summing up his philosophy in advocating a championing of kindness, he says:
“Look back on your life and think…
Who believed in you?
Who pushed you?
Who said, ‘If there’s anything you want, I’m here’….and actually backed it up.
Who asked you how you were and waited for an answer?
Tony Husband’s cartoon, Be Kind, gifted to Ian Donaghy for A Pocketful Of Kindness
Who inspired you?
Who believed in you when even you didn’t?
Who gave you your standards?
Who made time for you despite being so busy?
Who was kind when the world was not?
Think who helped make you.
Who would you send the book to?”
Inevitably influenced by being written in lockdown, A Pocketful Of Kindness is “a book for our times”. “As its centre-piece, it even features a chapter called Stop The World I Want To Get Off about the chaos 2020 has dealt us all,” says Ian.
“But now I predict a new pandemic that I’ve already witnessed in communities and in care homes that I think won’t need a vaccine, as I expect the result to read: Covid 19 Kindness 20.”
Pocketed: Book editor Charles Hutchinson shows off his reward for suffering Ian Donaghy’s “punktuation”
AS an act of kindness in the lockdown lull, Ian Donaghy asked yours truly to edit some stories that he wanted to turn into a book.
As an act of kindness, CH said ‘Yes’…and so the to and fro and fro and to of 70 stories began.
As an act of cruelty, Ian subjected CH to his erratic punctuation, or “punktuation”, as his father has so aptly described it.
As an act of generosity, ex-Maths teacher Ian put up with being judged as if for a school report, story after story.
Now, however, the result can be yours, courtesy of Big Ian providing five copies to be awarded to recipients for the five best reasons to do so, honouring acts of kindness you want to showcase.
Send those brief stories of kind deeds to charles.hutchinson104@gmail.com, marked Kindness Acts, with your name, address and daytime phone number, by September 13.
Who deserves a copy of A Pocketful Of KIndness? Have your say by sending your suggestion and reason to charles.hutchinson104@gmail.com
The 2021 line-up of headliners and early confirmed acts for Leeds Festival and its sister event, Reading Festival
LEEDS Festival will have headliners at the double next summer after last week’s no-show in Covid-2020.
Croydon rapper Stormzy and ex-Oasis lippy lead vox Liam Gallagher, bill toppers from this summer’s scrapped event, will have their day in the Bramham Park sun/rain, joined by four 2021 additions: American rapper Post Malone, rock bands Catfish And The Bottlemen and Queens Of The Stone Age and dance duo Disclosure, who released their new album, Energy, last Friday.
Only Rage Against The Machine from the 2020 headliners will not be at next summer’s August 27 to 29 event.
The six headliners will be split between Main Stage West and Main Stage East in what Melvin Benn, managing director of promoters Festival Republic, calls Leeds Festival’s “most epic plan yet”.
Gallagher will be the Friday headliner on Main Stage East; Queens Of The Stone Age, Friday, Main Stage West; Stormzy, Saturday, East; Catfish And The Bottlemen, Saturday, West; Post Malone, Sunday, East, and Disclosure, Sunday, West.
Further acts confirmed for next summer are Lewis Capaldi; Two Door Cinema Club; Doja Cat; Mabel; AJ Tracey; Fever 333; DaBaby; Ashnikko; MK; 100 Geks; Lyra; Madison Beer; Sofi Tucker and Beabadoobee.
Tickets go on sale on Thursday (September 3) from 9am at leedsfestival.com and via Ticketmaster. Tickets bought for this summer will remain valid; alternatively, refunds will be available.
Benn envisages that entry to Bramham Park, near Wetherby, will be monitored by an NHS-linked tracing app, to be shown at the security gates.
Family drama: Playwright John Godber with wife Jane Thornton and daughters Martha and Elizabeth
LIVE indoor theatre will return on the East Coast this autumn at both Scarborough’s Stephen Joseph Theatre and Hull Truck Theatre.
Today, the SJT announces an “innovative autumn and winter season for 2020 that has been carefully crafted to combine live theatre for socially distanced audiences with digital work for those that prefer to stay at home”.
In the SJT’s headline news, the waiting for Godber’s new play is over. The world premiere of the ground-breaking former Hull Truck artistic director’s Sunny Side Up! will be a family affair, starring John Godber, his wife Jane Thornton and their daughter Martha Godber from October 28 to 31 in The Round.
Written and directed by Godber, the humorous and moving Sunny Side Up! depicts a struggling Yorkshire coast B&B and the people who run it. “Join proprietors Barney, Cath and Tina as they share their stories of awkward clients, snooty relatives and eggs over easy in this seaside rollercoaster that digs into what our ‘staycations’ are all about,” invites John.
Further news bongs go to a new audio recording by former SJT artistic director Sir Alan Ayckbourn and a one-woman Christmas show, likely to be one of the few in the region, specially rewritten to adapt to prevailing Covid-19 pandemic circumstances.
After the lockdown success of his debut audio play, Anno Domino, premiered by writer-director Ayckbourn and his wife, actor Heather Stoney, Ayckbourn goes solo for Haunting Julia, his ghostly 1994 play, wherein he will play all three parts. As before, his master’s voice can be heard only via the SJT website, sjt.uk.com, with the play being available online “throughout December”, although the exact dates are yet to be rubber-stamped.
Going solo: Sir Alan Ayckbourn will re-visit his 1994 ghostly play Haunting Julia in a solo audio recording in December
The SJT Christmas show, from December 4 to 30, reassembles the crack team behind the hit productions of the past four winters: director Paul Robinson, writer Nick Lane and musical director Simon Slater, the latter two both serving up shows earlier in the season too.
Adapted by Lane from the Hans Christian Andersen story, the solo version of The Snow Queen will be performed by Polly Lister, who played Mari in Jim Cartwright’s The Rise And Fall Of Little Voice and Di in Amelia Bullmore’s Di And Viv And Rose when part of the SJT’s 2017 summer repertory company.
Scarborough-born Slater, an SJT associate artist, will appear in Douglas Post’s one-man thriller Bloodshot from October 21 to 24 in The Round, where all productions will be mounted, save for the online performances.
Slater will play Derek Eveleigh, a photographer with a serious drinking problem, who pursues a mysterious female subject across 1957 London from racially troubled Notting Hill to the raucous entertainments of Soho.
Often comedic Nick Lane’s sardonic, surreal and “intensely autobiographical” first straight play, My Favourite Summer, was premiered at Hull Truck in January and February 2007. This autumn, the original cast and the belting Nineties’ soundtrack will return in the torrid tale of Dave, who spends a month working alongside a nutcase called Melvin in the summer job from hell in 1995.
Winter chill: Polly Lister in the SJT’s one-woman Christmas show, The Snow Queen, written by Nick Lane
Saving money to take the girl he loves away on holiday, before she disappears out of his life forever, has never been so hard. Still, at least the weather’s nice in a comedy for “everyone who’s ever been in love and lived to tell the tale”.
Lane, whose adaptation of The Sign Of Four was well received by SJT audiences last year, will direct the semi-staged 2020 performance of My Favourite Summer in a run from November 12 to 14.
The autumn/winter season will begin on October 1 with a live performance on Zoom of Love Letters At Home. “In response to our desire for connection in times of physical distance, Uninvited Guests have created an innovative, digital, wholly personal and wonderfully live experience,” the SJT announces.
By collecting song requests and dedications from audience members, Uninvited Guests create a show guaranteed to be unique to each audience. Join them on Zoom to raise a glass to long lost and current loves, to mums and dads, and to absent friends.
Light entertainment: A switched-on Katie Arnstein in her one-woman show Sexy Lamp
“Have you ever been treated like an inanimate object?” asks Katie Arnstein in her solo show Sexy Lamp on October 15. Katie has suffered that slight, she says, although in reality she is a “friendly, lovable and hilarious real-life person”.
Join her as she re-lives, through story and songs, all the times she was not seen as one, however. Billed as “somewhere between the comedy of Victoria Wood, the comfort of going for a drink with your best mate and the high drama of Hamlet”, Arnstein’s show won both Show of the Week and Pleasance Pick at last year’s VAULT Festival in London. “It’s nothing like Hamlet,” she corrects herself.
In Alison Carr’s dark comedy, Dogwalker, on November 6 and 7, Helen finds a dead body in the local dog park, whereupon suddenly everyone is paying attention to her. At least for a little while.
Now she has had a taste of the limelight, Helen will not fade into the shadows without a fight in a play that first dropped through the SJT Open Script Submissions window and is being developed for a potential run at the Edinburgh Fringe under the direction of Chelsey Gillard, the SJT’s Carne Trust associate director.
Carr, by the way, had the disappointment of her sold-out performances of The Last Quiz Night In Earth in March being scrapped under the Coronavirus theatre shutdown.
On the beach: Serena Manteghi, in her guise as teenage single mum Yasmin in Build A Rocket. In November, she returns to the SJT. Picture: Tony Bartholomew
After writer Alexander Flanagan-Wright and musician Phil Grainger’s performances of linking shows Orpheus and Eurydice in the At The Mill season at Stillington Mill and York Theatre Royal’s Pop-Up On The Patio festival, Serena Manteghi will be in the cast for SJT performances from November 19 to 21.
Serena premiered Eurydice to award-winning success in Australia, when joined in the two-hander by actor and designer Casey Jay Andrews. She will be familiar to SJT audiences from playing LV in The Rise And Fall Of Little Voice and Yasmin in the premiere of Christopher York’s Build A Rocket.
From The Flanagan Collective and Gobbledigook Theatre stable, Orpheus and Eurydice are modern re-tellings of ancient Greek mythology, interweaving a world of dive bars, side streets and ancient gods. (Newsflash: 21/10/2020: Flanagan-Wright, Grainger, Manteghi and Andrews will be performing the plays together in a new version at the SJT).
A series of rehearsed play readings will take place in the theatre on October 7, 13 and 20, then each Tuesday from November 3 to 24, including Sarah Gordon’s The Underdog, Katie Redford’s Tapped and Rebecca Jade Hammond’s Canton.
Further shows will be announced soon, among them an evening of conversation with Hull-born Maureen Lipman and an innovative online show from outspoken Denby Dale comedian Daniel Kitson.
“We see it as part of our ongoing civic role to open as soon as is reasonably practicable and to present irresistible work,” says SJT artistic director Paul Robinson
The re-opened SJT has been showing films in the McCarthy at the former Odeon cinema building since last month and will continue to do so. Now, artistic director and joint chief executive Paul Robinson is looking forward to the return of live theatre.
“We’ve worked hard to create an ambitious season of relatively small-scale work, but one that promises great entertainment and really does have something for everyone, including shows for those who are happy to return to the building, and also for those who aren’t.
“We see it as part of our ongoing civic role to open as soon as is reasonably practicable and to present irresistible work alongside meticulously thought-through health and safety measures.
“Our family show at Christmas, for instance, was originally written for five actors, but that would have made rehearsing impossible under current guidelines. Writer Nick Lane has adapted it into a remarkable one-woman show that we’re confident will be every bit as much fun as the original and will really showcase the multi-talented Polly Lister.”
The SJT has introduced comprehensive measures for the safety and comfort of its audiences – full details at https://www.sjt.uk.com/were_back – and has been awarded VisitEngland’s We’re Good to Go industry standard mark, signifying adherence to government and public health guidance.
On a knife edge: Simon Slater in Bloodshot, playing the SJT from October 21 to 24
“Everything will pay proper heed to social distancing, for both the audience and for our staff and performers,” says Robinson. “The seating capacity in The Round will vary from show to show but the socially distanced maximum will be 185.”
All the autumn and winter events will be added to the SJT website shortly; booking will open for Circle members from September 8 and for general sales from September 11.
To book, visit sjt.uk.com/whatson or call the box office on 01723 370541. The box office is open Thursdays to Saturdays, 11am to 4pm, for both phone calls and in-person bookings.
HULL Truck Theatre will reopen with the Hull Jazz Festival from November 12 and a seating capacity reduced to 20 to 30 per cent, but The Railway Children will not go ahead.
A statement from the Ferensway theatre announces: “The Hull Jazz Festival is a key part of our autumn season and we are really pleased that after eight months of closure, we are able to work with long-term partners J-Night to open the building with their exciting programme. Audience capacity will be smaller as we adhere to social distancing, but the programme and experience will still be the same great quality.”
York playwright Mike Kenny’s The Railway Children will be back on track in December 2021 after being de-railed from its 2020 Hull Truck Theatre Christmas run by the Covid curse
However, the theatre bosses have had to make the “difficult decision” to postpone the 2020 Christmas production of E Nesbit’s The Railway Children, scripted by York playwright Mike Kenny in a re-visit of his award-winning adaptation for York Theatre Royal at the National Railway Museum (2008/2009) and Waterloo Station, London (2010).
“The creation of one of our Christmas shows usually begins in August but without an announced date from the Government on when theatre performances can resume without social distancing, a show of this scale would not be economically viable,” the Hull Truck statement reads.
“The Railway Children will be postponed until Christmas 2021 and all tickets will be automatically transferred into the equivalent date, time and original seat selection. We will be contacting all customers with details of their ticket transfer and, with our reduced team, we ask that customers do not contact the box office at this time.”
The statement continues: “While we may not be able to do something in our auditorium on the scale of The Railway Children, we remain committed to creating magical Christmas experiences for our audiences and are delighted to announce we will be producing an alternative show for 2020.”
The new show will be a promenade production of Prince Charming’s Christmas Cracker that will enable audiences to enjoy a festive adventure within small groups and under social-distancing measures as they move through the theatre.
“We are very excited to have a reopening date,” says Hull Truck Theatre artistic director Mark Babych
What lies in store? Every year on Christmas Eve, Prince Charming – soon to be King and deluded Crooner – celebrates the festive season with an annual knees-up: the Christmas Cracker. This year, a big announcement is imminent and you are all invited.
Further details and on-sale dates for Hull Jazz Festival and Prince Charming’s Christmas Cracker will be announced in September, alongside up-to-date information on how Hull Truck is being made a safe place to visit within Government guidelines.
Announcements on the updated January to March 2021 season will be made later in the autumn, once Hull Truck has more information regarding social-distancing guidelines.
“We are dependent on Government advice on social distancing regarding the ability to stage productions and therefore whether they are financially viable,” the statement emphasises.
Artistic director Mark Babych and his joint chief executive officer, Janthi Mills-Ward, say: “We are very excited to have a reopening date to bring alive our wonderful theatre again. We will obviously be operating at a much-reduced capacity – 20 to 30 per cent – while social distancing is in place, which makes re-opening a difficult financial jigsaw of what and how we present work.
Truck on: Hull Truck Theatre’s main auditorium, reopening from November 12
“But with meticulous planning to ensure the theatre is a safe place and innovative ideas for a programme that is possible with social distancing, we look forward to sharing the joy of live theatre again.”
They continue: “Part of this will be doing Christmas differently this year, which presents lots of creative challenges for the Hull Truck team to work on together, as well as opportunities for freelance artists.
“Our vision is to create a joyful, fun and uplifting production that takes audiences on an exciting journey through the theatre and we are sure this show is going to be just what we all need to get us in the Christmas spirit after a difficult year!”
Please note, Hull Truck “asks for your patience and kindness at this time as the box-office team work to contact all customers who have booked for The Railway Children”.
Banding and bonding: The Sam Johnson Big Band and and a galaxy of York musical theatre stars recording Broadway Baby to raise funds for Theatre @41’s roof renovation
TWENTY-ONE singers, 22 musicians and even four cats have come together – remotely, you can never herd cats – to make a fundraising video for Theatre @41 Monkgate’s roof renovation.
Under the musical direction and arranging skills of pianist Sam Johnson, they have recorded a big-band version of Broadway Baby, marking the 90th birthday year of composer Stephen Sondheim.
The video combines the Sam Johnson Big Band with cast members from the York musical theatre scene and you can see them in full swing on YouTube at: https://www.youtube.com/watch?v=H6RcpRBJPwA
York band leader, tutor, composer, performer, producer and now video maker Sam says: “I put the video together, getting in touch with all the singers, after having put together four or five other videos with the Big Band. I thought it would be a good video to wrap them all up and to include such a large number of people together for the cause!
“I also noted that everyone in the video has benefited in some way from the Monkgate venue, whether it be through a performance or rehearsal.”
“It’s a good, brassy Broadway big-band number to mix the two ensembles together in the smoothest way possible,” says band leader Sam Johnson of Sondheim’s Broadway Baby
Explaining his choice of musical-theatre song, with its apposite Covid-era lyric of “Waiting for that one big chance to be in a show”, Sam says: “I went for Sondheim’s Broadway Baby song-wise as it’s from one of the shows I’ve enjoyed most working on at Monkgate when Pick Me Up Theatre staged Follies’ last year.
“It’s a good, brassy Broadway big-band number to mix the two ensembles together in the smoothest way possible!”
Welcoming the fundraising boost of Broadway Baby, Theatre @41 board secretary Jo Hird – whose “dressing up is better than my vocals” on the video – says: “With Theatre @41 closed, we’re trying to crack on with as much decorating and renovating as we can, so as not to disrupt shows when we’re allowed to reopen.
“One of the shows we had to postpone was Pick Me Up Theatre’s Sondheim 90: A Birthday Concert to celebrate the New York composer’s 90th birthday. How brilliant of Sam Johnson to put Broadway Baby together. It took a lot of coordinating.
Sam Johnson in rehearsal with his big band in pre-Covid days
“We’re really grateful to Sam for bringing this fundraiser to life because we need every penny we can get to repair our roof and keep our Monkgate building open.”
The cast taking part in the recording were: Susannah Baines; Emily Chattle; Emma-Louise Dickinson; Anna Hale; Iain Harvey; Sam Hird; Jo Hird; Darren Lumby; Sandy Nicholson; Adam Price; Emily Ramsden; Tracey Rea; Andrew Roberts; Rosy Rowley; Lauren Sheriston; Maggie Smales; Joanne Theaker; Dave Todd; Juliet Waters; Natalie Walker and Jennie Wogan.
Joining pianist, musical director and arranger Sam Johnson in the band were Katie Wood and Katie Maloney on alto sax; Richard Oakman and Stephen Donoghue on tenor sax; Nick Jones on baritone sax and a multitude of trumpet players, Connor McLean, Sam Rees, Charles Tomlinson, James Lolley, Daniel Dickson and Leo James Conroy.
So too did trombonists Anna Marshall, Lauren Ingham and Fliss Simpson; violinists Claire Jowett and Emily Jones, viola player Jess Douglas; cellist Lucy McLuckie; guitarist Tom Holmes; upright bassist Georgia Johnson and Andy Hayes on the drum kit.
Look out too for cameo appearances by a quartet of cats, Strummer, Misty, Paris and Bob.
