English Touring Operas in Manon Lescaut. Picture: Richard Hubert Smith
THE secret to this strange production lay in a programme note by its director, Jude Christian. Anyone who had not read it would have been floundering.
After a perfectly reasonable summary of the trials undergone by Manon, Ms Christian launched into an angry tirade about the perils facing young women today, including pornography, deep-fakes and treatment at the hands of police, along with a sweeping indictment of the place of women in opera. Much of it was undeniable, but almost completely irrelevant to the piece in hand.
Her anger led her to interpret Puccini’s first two acts as a “surreal nightmare”. The chorus here are in fancy dress at a poolside party, both designed by Charlotte Henery, with water coolers lined around the edge: all are camping it up to the utmost degree, prancing around like animals.
Manon joins them in a blue wig and inappropriately tight dress. “What do you think of my hair?” she asks her brother. “It’s a choice,” he replies. A terrible one.
Christian’s other indiscretion is to list herself as librettist. Presumably this is meant to excuse her paraphrase – not a translation – of Luigi Illica’s original (although he gets no mention anywhere).
The net effect of these hijinks is to hijack Puccini and present us with a comedy, or at least extreme parody, which has exactly the reverse effect to the one intended. How can one take this Manon’s trials seriously, let alone as a reflection of modern woman’s predicament?
Fortunately, the second half is a little more to the point. A young woman (Manon’s alter ego, perhaps) is asleep at her desk and wakes up slowly, reminding us that it’s all been a dream. Manon’s downhill slide thereafter seems inevitable, given that the two men she has had to choose between are obviously unsuitable.
Des Grieux who arrived in a white suit riding a dolphin, with a fuzzy wig, is far too self-interested to be much use in the long term. Geronte, clad in pink, with a gigantic sombrero, is a figure of fun from the start, even if he offers her wealth.
After their voyage, Manon and Des Grieux find themselves in a desert where he is unable to find water. She dies of thirst. Hence, we now realise, the water in abundance at the start: her life has been prolonged irony.
There are plenty of redeeming features in the music. Jenny Stafford’s game Manon never lets up, if occasionally underpowered. Gareth Dafydd Morris as Des Grieux sports an unfailingly resonant tenor that he could use more subtly. But they are never quite on the same wavelength. Edward Jones’s bass lends gravitas to Geronte, despite the director’s apparent intentions.
Adrian Edwards is a happy-go-lucky Lescaut in a French beret, with a baritone ideally suited for English song. Brendon Spiteri leads the choral capers well as Edmondo.
But the heroes of the hour are the orchestra, conducted with confidence and vigour by Gerry Cornelius, who sustains a lively momentum. His woodwinds are exceptionally crisp.
It is just a pity that the director allows righteous anger to rule her emotions and feels the need to steer so clear of what the opera is really about.
English Touring Opera’s Manon Lescaut is on tour until May 27.
LEEDS Lieder Festival celebrated the start of its 20th anniversary season with a Schubertiade on its opening Sunday.
The common denominator of the lunchtime and evening recitals was the German soprano Nikola Hillebrand, with festival director Joseph Middleton as her piano partner.
We were told that she was experiencing the first signs of a cold, which entailed her cutting two songs. But we would not have guessed she was in any trouble.
She switched seamlessly between the two emotions of Rückert’s Lachen Und Weinen (Laughter
And Tears) before moving to two night songs. Mayrhofer was second only to Geothe in the number of his poems set by Schubert, who always seemed to find a brighter side to the poet’s generally depressive tendencies.
The low-lying Nachtstück (Nocturne) brought out the soprano’s confidential tone and her closeness to the text of Nachtviolen (Dame’s Violets), now in C major after the former’s C minor, was the epitome of intimacy.
In Gretchens Bitte (Gretchen’s Prayer), in the version completed by Britten, she plumbed the dramatic emotions of the girl’s remorse. But always she communicated directly with us.
The first three of Mignon’s songs from Goethe’s Wilhelm Meister were extremely well suited to the almost vibrato-free tone she brought to them, evoking the young teenager’s yearning. The fourth she omitted. Her sense of theatre was more than once threatened by Middleton’s quite forceful interjections, not quite what her announced vocal fragility needed.
Any such fragility vanished in Der Hirt Aus Dem Felsen (The Shepherd On The Rock), where they were joined by Oliver Casanovas Nuevo, principal clarinet of Opera North. It was impossible to believe that this was the work of a composer only a month from his death, so compellingly blithe and high-spirited was it here.
The trio blended superbly. The moment that crystallised the music’s pastoral poise was the clarinet’s mini-cadenza before the dancing finale, when Hillebrand’s carefree coloratura was effervescent.
The evening gala added the baritone of Rodney Williams and the pianist Roger Vignoles. It was dedicated to the memory of Jane Bonner, a faithful servant to Opera North for more than 40 years, latterly as company manager.
Middleton and Vignoles joined forces in the Fantasie in F minor for piano duet, D.940. It was not the tidiest account but it acted as a powerful elegy to her. Williams also comically imagined her presence as page-turner but without a shred of disrespect.
He and Vignoles opened the first lieder group, Figures In A Landscape. In the setting of Schmidt von Lübeck’s Der Wanderer, which rivalled Erlkönig for popularity during Schubert’s lifetime, Williams evoked a touching picture of alienation and Vignoles added to his plight; Ganymed provided a predictably upbeat antidote.
To Be Sung On The Water brought us Meeres Stille (Calm Sea), where Williams sustained a very steady line, without vibrato, and Auf Der Donau (On The Danube), perhaps Schubert’s most telling setting of Mayrhofer, in which we sensed the menace leading up to a spine-chilling Untergang (Destruction), totally at odds with the serene introduction.
There was a real feeling of partnership between Hillebrand and Middleton in Fischerweise (Fisherman’s Ditty), with the piano’s bass line reflecting the soprano’s smiles. Her facial features were equally important in Die Gebüsche (The Thicket), as she mirrored man’s connections with nature.
Hillebrand is a born communicator. The final group, Songs Of Night And Nature, had her sustaining a lovely line in Winterabend and finding a very personal touch in Berta’s Lied, with its sham lullaby.
Williams and Vignoles plumbed the mysteries of Nachtstück, equating sleep and death, with an astonishing intensity, but then escaping the fetters of night with a highly theatrical Waldesnacht. It was an evening packed with treasures.
Ewa Salecka: Prima Vocal Ensemble’s artistic director, producer, conductor and percussionist
YORK contemporary choir Prima Vocal Ensemble presents Luminous Night at the National Centre for Early Music, York, on May 19.
Over the past few years, artistic director and producer Ewa Salecka has been the creative mind behind a series of intimate choral and instrumental concerts with the choir and an array of guest musicians.
Now comes a 7.30pm programme of modern choral music for voices, strings, piano and percussion under Salecka’s baton at the NCEM, St Margaret’s Church, Walmgate.
The evening features pieces with a Scandinavian and American theme accompanied by professional musicians Beatriz Carbonell and Chloe Fletcher on violins, Katie Jarvis on viola, Rachel Gray on cello, Greg Birch on piano and Salecka herself on percussion instruments.
Selected by Salecka, Luminous Night showcases two pieces for voices, piano and string quartet by Norwegian composer Ola Gjeilo: Dark Night Of The Soul and Luminous Night Of The Soul.
Prima Vocal Ensemble in concert
“These works, with their meditative, cinematic sound, are raised to new levels by the use of poetry and lyrics by Charles Anthony Silvestri and St John of the Cross,” says Ewa.
The programme also features Arvo Pärt’s Fratres for string quartet, music by Dan Forrest and Elaine Hagenberg, Nordic folk tunes arranged by Frode Fjellheim and “breathtakingly beautiful” pieces by Ivo Antognini and Eugene Butler.
“Our recent sell-out concert series have proved very popular and there will be something for everyone in this event, which coincides with Prima’s 14th anniversary of providing memorable concert opportunities for singers and their audiences: the only choir to perform to this high standard without the need to audition,” says Ewa.
Throughout the first half of 2024, the choir is in parallel preparations for two noteworthy concerts in “Old” York and New York. “In June, we’ll return to New York City and Carnegie Hall for We Sing! We Rise! We Soar!, The Music of Christopher Tin & Greg Gilpin, produced by Distinguished Concerts International New York,” says Ewa.
“No strangers to the iconic venue, Prima will join international performers in a programme that will include multi-lingual music from Christopher Tin’s Grammy award-winning albums. So, if you happen to be in New York on June 9, come and hear Prima in this collaborative performance.”
Prima Vocal Ensemble’s poster for Luminous Night
Reflecting on Prima’s progress, Ewa says: “We’ve covered so much musical ground since our first rehearsal in May 2010. When I think back, I’m amazed by the variety and complexity of music we’ve performed, the amount of programme covered and the individuality of each and every event.
“There are some singers who have been there from the very beginning and I am extremely grateful to still be in this position after 14 years, promoting new music and new concerts in York.
“If anyone is looking for a unique creative outlet, then now really is the perfect time to join us. Rehearsals offer a warm and welcoming atmosphere with an emphasis on a positive, engaging learning experience. We are always welcoming singers who are team players, want to improve their vocal technique and expand their musical palette.”
For tickets for Luminous Night, go to primavocalensemble.com. “Limited spaces are available, so early booking is highly recommended,” advises Ewa.
“To find out more about Prima and the opportunities you can enjoy, please visit primavocalensemble.com.”
Ensemble Intercontemporain: “The Rolls-Royce of contemporary music performers“
YorkConcerts presents Ensemble Intercontemporain, Sir Jack Lyons Concert Hall, University of York, April 17
ON Wednesday evening, the Rolls-Royce of contemporary music performers, Ensemble Intercontemporain, performed an extraordinary programme of music by Martin Suckling, Thomas Simaku and Olivier Messiaen.
The concert opened with Martin Suckling’s Visiones (after Goya), an inspired response to a specific drawing from Goya’s unique, if somewhat unsettling, Witches and Old Women Album. The Visiones depicts an intimate dance between a possibly inebriated old couple with another chap looking on, or rather on the floor looking up. The image seems to have an uncomfortable erotic edge, perhaps sex in old age.
Anyway, to Mr Suckling’s work. In response to the Goya sketch, Visiones (after Goya) has three instrumentalists, cello, clarinet and piano, and three sections. In the first part, the clarinet and cello dance, serenade each other in ‘repeated microtonal lyrics’.
The percussive piano creates distance and commentary. The effect is very distinct, haunting and not a little spooky. Yet there is intimacy and it is this, as well as the superb playing by Martin Adámek (clarinet) and Renaud Déjardin (cello), that draws you into this sound world.
There is also a genuine warmth of engagement. This is particularly obvious in the second section ‘lullaby’ before the dance becomes ritualistic. The third section is a kind of distorted recapitulation; a memory, a nightmare. Maybe.
The piano (the imperious Dimitri Vassilakis) now sings the song, the clarinet has the role of ‘soft multiphonics’ commentary whilst the cello lets rip to very dramatic effect. The dance returns but now transformed. To be sure the piece was, like the Goya, unsettling. But it was true to the artist’s multi-layered complexity, and beauty. The performance was illuminating.
I had a bit of an issue with a2(b) for violin and cello by Thomas Simaku; not with the forceful piece itself, nor with the thrilling performance by soloists Jeanne-Marie Conquer (violin) and Renaud Déjardin (cello), but with the extensive programme note.
OK, the instrumental explanation of a2 (a due) was fine; it made perfect sense. However, the dramatisation of opposites – a response to the ‘remnants of the wall in Bernauer Strasse’, a tale of contrasting cities, of brutally conflicting ideologies representing oppression and freedom in 1945 Berlin – did not.
To be fair to the composer, he clearly stated that the musical and extramusical could not be separated; they are two aspects of the same song. But for me the piece did not (and could not) deliver an image of complete opposites: because the most striking and distinguished aspect of Simaku’s music is its mastery of an organic, cellular and uniform musical language. The uncompromising, almost violent, gestures and mood swings worked perfectly well on and in their own terms.
However, the piece was jaw-droppingly good and technically seriously accomplished. I thought the fast, driving conclusion with its spent, exhausted epilogue was very effective indeed. The performers were on top of their game, and they needed to be.
Just one minor whinge before the interval: what was it with the photographer taking shots from the back of the auditorium? It was distracting and utterly unnecessary.
After the interval we were treated to the most illuminating performance of Messiaen’s Quartet For The End Of Time. For what it’s worth, the balance of the opening Crystal liturgy didn’t seem quite even, but given the quality of performers and the excellent acoustic, this is more likely due to my ears waking up again after the 20-minute break.
The second movement Vocalise, for the Angel who announces the end of time, was sublime. The control needed and delivered by clarinettist Martin Adámek was extraordinary. The effect was otherworldly, visionary; beautiful, delicate but definitely bleak.
The Interlude was an utter, quirky delight. Were there echoes of Shostakovich? I thought so. Possibly. Renaud Déjardin and Dimitri Vassilakis’s performance of Praise To The Eternity Of Jesus was the best live version I have heard.
Nothing quite prepares you for this experience; it was so hypnotic, so compelling. I think this is due to the piano ‘accompaniment’ which came across so powerfully. At first, a pulse, a heartbeat, gradually driving the cello song with almost hammer-like intensity before they melt into ecstasy, resolution. Quite extraordinary.
The Dance Of Fury, for the seven trumpets, was technically perfect. It delivered a unity of purpose and energy. Edge-of-the-seat stuff. The penultimate Tangle Of Rainbows…was brimming with physicality. It both looked back, specifically to the second Vocalise, as well as to the future and the final movement in particular. The performance of Praise To The Immortality Of Jesus, was simply divine.
Footsbarn Theatre’s Twelfth Night: First British performances in 15 years in world premiere at York International Shakespeare Festival
BUCKLE up for Austen’s sister act, Shakespeare’s battle of the sexes and Sheridan’s scandalous comedy of manners, plus music, art and poetry in the library, advises Charles Hutchinson.
Festival of the week: York International Shakespeare Festival, until April 28
SHAKESPEAREAN Identity is the theme of the sixth York International Shakespeare Festival, now an annual event, run by director Philip Parr. Sponsored by York St John University, it features moving shows, lectures by internationally recognised academics, exhibitions and workshops presented by Shakespeare enthusiasts from all over the world.
Among the highlights will be Footsbarn Theatre’s first British visit in 15 years with Twelfth Night, American actress Debra Ann Byrd’s powerhouse solo show Becoming Othello and York Explore’s exhibition of 300 years of representations of Othello. Tickets and full programme details are available at yorkshakes.co.uk/programme-2024.
Katherine Lea: Making her Hotbuckle Productions debut in Pride & Prejudice at Helmsley Arts Centre
Ryedale play of the week: Hotbuckle Productions in Pride & Prejudice, Helmsley Arts Centre, tonight, 7.30pm
IN artistic director Adrian Preater’s humorous, multi role-playing adaptation of Jane Austen’s 1813 novel, Hotbuckle Productions enter the world of the Bennets.
From headstrong Elizabeth to proud Mr Darcy, rich characterisations abound as five sisters deal with marriage, morality and misconceptions. “Hotbuckle up for the carriage ride of your life” with Joanna Purslow, Tomas Mason and company newcomer Katherine Lea. Box office: 01439 771700 or helmsleyarts.co.uk.
Carl Hutchinson: Storytelling Geordie comic appearing at The Crescent, York
Comedy gig of the week: Carl Hutchinson: Today Years Old, The Crescent, York, tomorrow, 7.30pm
YORK’s Burning Duck Comedy Club presents Geordie comic Carl Hutchinson in his third consecutive back-to-back tour show, Today Years Old. Expect a night of storytelling, rich in observation and physical comedy. Box office: thecrescentyork.com.
Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof
Musical of the week: NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, York, April 23 to 27, 7.30pm and 2.30pm Saturday matinee
STEVE Tearle directs NE Theatre York in Jerry Bock, Sheldon Harnick and Joseph Stein’s musical, taking the role of Tevye, the humble village milkman, for the third time too in this 60th anniversary production.
When three of Tevye’s five daughters rebel against the traditions of arranged marriages by taking matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds, against the backdrop of the Tsar’s pogrom edict to evict all Jews from his Russian village in 1905. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Lydea Perkins’ Lady Teazle and Joseph Marcell’s Sir Peter Teazle in Tilted Wig’s The School For Scandal, on tour at York Theatre Royal next week
Touring play of the week: Tilted Wig, Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, April 23 to 27, 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees
JOSEPH Marcell, fondly remembered as Geoffrey the butler in the American comedy series Fresh Prince of Bel Air, stars in Seán Aydon’s new production of Richard B Sheridan’s comedy of manners The School For Scandal, where gossip never goes out of fashion.
Marcell plays Sir Peter Teazle, who believes his young wife is sleeping with someone else. Not true, but if her husband believes it, maybe she should give it a go. After all, if you are going to cause a scandal, you may as well enjoy it. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Florence Poskitt: Stepping into Kate’s shoes in York Shakespeare Project’s The Taming Of The Shrew
Seventies’ Shakespeare play of the week: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday
IN a late change of cast, actor-musician Florence Poskitt, from the York musical comedy duo Fladam, is taking over the principal role of Kate in Maggie Smales’s production of Shakespeare’s controversial battle of the sexes, now set in 1970.
A psychedelic world is opening up, promising peace, love and equality, but Kate was born to be wild and wants a voice of her own. The times they are a’changin’ and the old order is dead…or is it? Let battle commence. Box office: tickets.41monkgate.co.uk.
Barrie Rutter: Shaking up Shakespeare at Northern Broadsides and beyond
Breaking down the Bard barrier: Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, April 26, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm
BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.
Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, created his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.
Kai West’s poster for Bull’s Live At The Library day on May 19, based on the Cluedo board game design
Gig announcement of the week: Bull present Live At The Library, York Explore Library & Archive, Library Square, York, May 19, from 12 noon
YORK Explore and Please Please You team up with York band Bull for a day of music, art and poetry to celebrate Explore York’s tenth birthday and raise funds for York’s libraries. The climax will be a 6.30pm to 10pm gig by Bull, Marnie Glum, Rowan and performance poet Stu Freestone (tickets, tickettailor.com/events/exploreyorklibrariesandarchives/1216274).
Free activities include open mic-style performances run by Bull frontman Tom Beer in the Marriott Room from midday, featuring Gabbie Lord, Maggie, Gilles, She Choir, Filipe, Old Time Rags, Eve Thomas & Co and more, plus art workshops for all ages hosted by Izzy Williamson (lino printing, 1pm) and Bull bassist and illustrator Kai West (T-shirt design and screen printing, 12 noon to 2pm) in the Garden Room, with donations welcome.
Angela Hewitt: “A multitude of subtleties and a sensational technique”
PIANIST Angela Hewitt played preludes and fugues, framing examples by Mendelssohn, Shostakovich and Barber with the original master himself, J S Bach. These bare facts mask a multitude of subtleties and a sensational technique. She held her capacity audience spellbound.
Most performers are ill advised to open with an address, just when the punters are all agog with anticipation. But her words were delivered so graciously, with wit and charm, that we were delighted to hear her insights. And she was insistent on no applause until the interval, a smart decision that helped everyone’s focus.
In mid-career Mendelssohn made a deliberate study of Bach’s counterpoint, which resulted in his six Preludes & Fugues, Op 35. The first of these swerves between E minor and E major. Hewitt made a stunning moto perpetuo of its prelude, before robustly highlighting the fugue subject in a majestic crescendo to its climactic chorale.
Shostakovich was another composer to hold Bach in reverence and he wrote a full set of 24 Preludes & Fugues, Op 87 in 1951. The spare textures of the F minor fugue, No. 18, are ideally suited to Hewitt’s style and its counterpoint emerged with immense clarity.
Even more incisive was the demanding fugue that concludes Barber’s piano sonata, its relentless cross-accents dazzling at high speed.
Hewitt had opened with the earliest numbers from the Book I of Bach’s Well-tempered Clavier, a handful more than the programme had promised – perhaps she was in the zone and forgot herself. No-one minded in the least, quite the contrary. Her ability to give differing degrees of prominence to contrapuntal lines, even as many as three or four, remains one of the wonders of her intelligent approach to Bach.
The last of Bach’s six partitas (dance suites in all but name), BWV 830 in E minor, is one of the towering monuments of the keyboard repertory. The crispness of her rhythms was especially apparent here.
After a rhapsodic Toccata, with a fine central fugue, the Allemande was phrased with particular subtlety, so that the succeeding Corrente, taken at some pace, had a jack-in-the-box flavour by comparison; the abrupt Air was brisk too.
The stately Sarabande was deeply melancholic, its dotted rhythms making it taut, even edgy. There was room here for a touch more serenity. After a witty Gavotte, the Gigue, even with the jagged intervals of its fugue, was remarkably balletic, further testament – although none was needed – to Hewitt’s prodigious dexterity, both mental and physical.
As an encore, she wound down with the very first of Mendelssohn’s Songs without Words, in E major, generating a wonderful cantabile.
Katherine Lea: Making her Hotbuckle Productions debut in Pride & Prejudice
BUCKLE up for Austen’s sister act, Shakespeare’s battle of the sexes and Sheridan’s scandalous comedy of manners, plus music, art and poetry in the library, baroque and blues concerts and tragic opera, advises Charles Hutchinson.
Ryedale play of the week: Hotbuckle Productions in Pride & Prejudice, Helmsley Arts Centre, Saturday, 7.30pm
IN artistic director Adrian Preater’s humorous, multi role-playing adaptation of Jane Austen’s 1813 novel, Hotbuckle Productions enter the world of the Bennets.
From headstrong Elizabeth to proud Mr Darcy, rich characterisations abound as five sisters deal with marriage, morality and misconceptions. “Hotbuckle up for the carriage ride of your life” with Joanna Purslow, Tomas Mason and company newcomer Katherine Lea. Box office: 01439 771700 or helmsleyarts.co.uk.
Patricia Qua: Ceramicist and graphic designer taking part in York Open Studios for the first time in Hempland Drive, York
Art around every corner: York Open Studios, Saturday and Sunday, 10am to 5pm
AS many as 156 artists and makers who live or work within a ten-mile radius of York will be welcoming visitors to 106 workspaces to show and sell their art, ranging from ceramics, collage, digital, illustration, jewellery and mixed media to painting, print, photography, sculpture, textiles, glass and wood. Among them will be 31 new participants. Full details and a map can be found at yorkopenstudios.co.uk. Look out for booklets around the city too.
Keeping an eye on things: English Touring Opera in Puccini’s Manon Lescaut at York Theatre Royal
Opera of the week: English Touring Opera in Manon Lescaut, York Theatre Royal, Friday, 7.30pm
ENGLISH Touring Opera returns to York in Jude Christian radical production of Giacomo Puccini’s heartbreaking Manon Lescaut, for which she brings incisive direction to her sharp, poetic new translation.
Puccini’s 1892 breakthrough hit presents a devastating depiction of a woman wrestling with her desire for love on her own terms and the rigid double standards imposed on her by society. Box office: 01904 623568 or yorktheatreroyal.co.uk.
London Obbligato Collective: Opening the York Baroque+ Day at the NCEM
Classical concert of the week: London Obbligato Collective, York Baroque+ Day, National Centre for Early Music, York Saturday, 12 noon
FORMED by Masumi Yamamoto, the new London Obbligato Collective focuses on “accompanied harpsichord sonatas”, where the harpsichord is given the solo role within the trio sonata texture, highlighting and enriching the colours and nuances of the instrument.
Next Saturday’s programme includes 18th century music by Felice Giardini, Johann Christian Bach and Carl Friedrich. Box office: 01904 658338 or ncem.co.uk.
Lydea Perkins, as Lady Teazle, and Joseph Marcell, as Sir Peter Teazle, in Tilted Wig’s The School For Scandal. Picture: Anthony Robling
Touring play of the week: Tilted Wig, Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, April 23 to 27, 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees
JOSEPH Marcell, fondly remembered as Geoffrey the butler in the American comedy series Fresh Prince of Bel Air, stars in Seán Aydon’s new production of Richard B Sheridan’s comedy of manners The School For Scandal, where gossip never goes out of fashion.
Marcell plays Sir Peter Teazle, who believes his young wife is sleeping with someone else. Not true, but she is starting to think that if her husband believes it, she should give it a go. After all, if you are going to cause a scandal, you may as well enjoy it. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Florence Poskitt: Stepping in to play Kate in York Shakespeare Project’s The Taming Of The Shrew
Seventies’ Shakespeare play of the week: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday
IN a late change of cast, actor-musician Florence Poskitt, from the York musical comedy duo Fladam, is taking over the principal role of Kate in Maggie Smales’s production of Shakespeare’s controversial battle of the sexes, now set in 1970.
A psychedelic world is opening up, promising peace, love and equality, but Kate was born to be wild and wants a voice of her own. The times they are a’changin’ and the old order is dead…or is it? Let battle commence. Box office: tickets.41monkgate.co.uk.
Redfish Blues Band: Returning to Milton Rooms, Malton
Blues gig of the week: Redfish Blues Band, Ryedale Blues Club, Milton Rooms, Malton, April 25, 8pm
NOMINATED for Blues Band of the Year and Blues Album of the Year in the UK 2024 Blues Awards, Redfish Blues Band return to Malton with Christian Sharpe on vocals and guitar, Steve McGuckin on Hammond, Rod Mackay on bass and Steve Gibson on drums.
As witnessed on their Together Is Better album and Soho Rising (Girls, Girls, Girls) single, they play a delicious, bubbling gumbo of blues, soul, gospel and funk in live performances defined by energy and restraint. Box office: 01653 696240 or themiltonrooms.com.
Kai West’s poster for Bull’s Live At The Library day on May 19, based on the Cluedo board game design
Gig announcement of the week: Bull present Live At The Library, York Explore Library & Archive, Library Square, York, May 19, from 12 noon
YORK Explore and Please Please You team up with York band Bull for a day of music, art and poetry to celebrate Explore York’s tenth birthday and raise funds for York’s libraries. The climax will be a 6.30pm to 10pm gig by Bull, Marnie Glum, Rowan and performance poet Stu Freestone (tickets, tickettailor.com/events/exploreyorklibrariesandarchives/1216274).
Free activities include open mic-style performances run by Bull frontman Tom Beer in the Marriott Room from midday, featuring Gabbie Lord, Maggie, Gilles, She Choir, Filipe, Old Time Rags, Eve Thomas & Co and more, plus art workshops for all ages hosted by Izzy Williamson (lino printing, 1pm) and Bull bassist and illustrator Kai West (T-shirt design and screen printing, 12 noon to 2pm) in the Garden Room, with donations welcome.
Steve Tearle’s Tevye and Perri Ann Barley’s Golde in NE Theatre York’s Fiddler On The Roof
DIRECTOR and lead actor Steve Tearle is at the helm of NE Theatre York’s revival of Fiddler On The Roof at the Joseph Rowntree Theatre, York, next Tuesday to Saturday to celebrate the American musical’s 60th anniversary.
Based on Sholem Aleichem’s story Tevye And His Daughters (or Tevye The Dairyman) and other tales, the nine-time Tony Award-winning 1964 musical has music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein and is best known for the songs If I Were A Rich Man, Matchmaker, Miracle Of Miracles and Sunrise.
Set in the Pale of Settlement in Tsarist Russia in 1905, the story centres on Tevye, the humble milkman and family man, who lives a very simple life in the small village of Anatevka.
When three of his five daughters rebel against the traditions of arranged marriages and decide to take matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds.
Steve Tearle’s Tevye and Alice Atang’s Fiddler, Tevye’s conscience, in NE Theatre York’s Fiddler On The Roof
Tevye must cope not only with his daughters’ strong will to marry for love – each one’s choice of husband moving further away from the customs of his faith – but also with the Tsar’s edict to evict the Jewish community from their village [in the story’s nod to the Kishinev pogrom, an act of persecution against Russian Jews in April 1903].
Tearle will be playing Tevye, forever associated with Israeli actor, singer and illustrator Topol in the Oscar-winning 1971 film, where he reprised the role he had originated on Broadway and went on to perform more than 3,500 times between 1967 and 2009.
Tearle, by comparison, will be chalking up a hattrick of turns as Tevye, a part he played previously for New Earswick Musicals at the JoRo in November 2016 under Ann McCreadie’s direction, when the York Press review praised him for his “limitless charisma and exemplary dad dancing”.
“Tevye is a dream role,” he says. “You get to go through so many emotions. It’s an honour to play this part again, bringing him to life with NE Theatre’s amazing cast. It’s a fab experience.
“The show may be 60 years old but it’s very relevant today with the empowerment of women as Tevye’s daughters rebel against faith and tradition by choosing who they want to marry. The story highlights the struggles of the Jewish community too.”
Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof
NE Theatre also wanted to do the show as a tribute to the late Mavis Massheder, who made her first stage appearance for New Earswick Amateur and Dramatic Society (now NE Theare York) in 1954 in the chorus of The Gondoliers and was elected chair in 1969.
Mavis steered the company through the many ups and downs and difficult times the theatre industry experienced over the next 45 years. She died in 2020 aged 91.
Perri Ann Barley will play Tevye’s wife Golde, joined by Maia Stroud, Rebecca Jackson, Elizabeth Farrell, Alexa Lord-Laverick and Paige Sidebottom as his daughters, Ali Butler Hind as Yente and Alice Atang as The Fiddler, Tevye’s conscience.
The company will include Kit Stroud, Callum Richardson, Finley Butler, Geoff Seavers, Toby Jensen, James O’Neill, Scott Barnes, Chris Hagyard, Kelvin Grant, Pascha Turnbull, Aileen Hall, Carolyn Jensen and Greg Roberts too.
NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, Haxby Road, York, April 23 to 27, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Beth Nielsen Chapman: Nashville Songwriters Hall Of Fame inductee, heading for Leeds
NASHVILLE singer-songwriter Beth Nielsen Chapman will play Leeds City Varieties Music Hall on August 30 on her British summer tour.
Born in Harlingen, Texas, 65-year-old Beth has recorded 15 albums and her compositions have been recorded by Elton John, Bonnie Raitt, Bette Midler, Willie Nelson, Neil Diamond, Mary Chapin Carpenter, Mindy McCready, Trisha Yearwood, Waylon Jennings, the Indigo Girls, Barbara Mandrell, Roberta Flack, Brenda Lee, Anne Murray and Keb’ Mo’, among others.
Amy Grant, Bonnie Raitt, Emmylou Harris and Kimmie Rhodes, John Prine, Michael McDonald, Paul Carrack and Vince Gill have all performed with her on her albums. Her music has been featured in films and in television series too, such as ER and Charmed.
This Kiss, the American Society of Composers, Authors and Publishers’ 1999 Song of the Year, sung by Faith Hill, garnered Beth a Grammy nomination, as did her song The Mighty Sky in 2012.
She was Nashville NAMMY’s 1999 Songwriter of the Year and was inducted into the Nashville Songwriters Hall Of Fame in 2016.
Having lost her first husband, Ernest Chapman, to cancer in 1994, Chapman survived breast cancer herself in 2000 and a brain tumour in 2009. Her concerts, workshops and Keynote presentations draw from direct experience in her “fascinating dance between cognition, healing and the creative flow, her songs taking you on a journey through the depth, humour and the wonder of life”.
She recorded the 2016 album Liv On with Olivia Newton-John and Amy Sky, featuring songs about loss and moving on from grief that they performed on tour in Canada, the United States, the United Kingdom and Ireland in 2017.
Beth, who is an ambassador for the Buddy Holly Foundation, has taught songwriting and creativity masterclasses at universities and colleges internationally, such as the Royal Scottish Academy of Music & Drama, Liverpool Institute of Performing Arts and Berklee College of Music, Boston, Massachusetts.
Beth’s latest album, CrazyTown, was released on Cooking Vinyl, in 2022, the year when her second husband, psychologist and photographer Bob Sherman, died from leukaemia.
Tickets for her 7.30pm Leeds concert are on sale at bethnielsenchapman.com.
Beth Nielsen Chapman: Which country star hasn’t she written for?!
Songs written by Bethy Nielsen Chapman for other acts
Here We Are, Alabama; The Colour Of Roses, Bette Midler; What’s The Matter With You Baby, Claudia Church; When Love Is New, Crystal Gayle; All The Reasons Why, Long Way Down, for Highway 101; You Say You Will, Holly Dunn; World Of Hurt, Ilse DeLange; Simple Things, Jim Brickman and Rebecca Lynn Howard; The Moment You Were Mine, Juice Newton; Five Minutes, Lorrie Morgan; Happy Girl, Martina McBride; Almost Home, Mary Chapin Carpenter; Far Cry From Love, Megan McKenna; She Walks With Me (co-written), Michael W Smith; One In A Million, Mindy McCready; Deep Inside Of You, Neil Diamond; Save Yourself, Suzy Bogguss; Strong Enough To Bend, Tanya Tucker; Sometimes Goodbye, Terri Clark; Down On My Knees, You Say You Will, Trying To Love You, Trisha Yearwood; Shine On Me, Old Church Hymns And Nursery Rhymes, Waylon Jennings; Nothing I Can Do About It Now, Ain’t Necessarily So, If My World Didn’t Have You, Willie Nelson.
Gold top performance: Reuben Khan’s Joseph in York Stage’s Joseph And The Amazing Technicolor Dreamcoat. All pictures: Charlie Kirkpatrick
AFTER Lee Mead, Keith Jack, Joe McElderry and Union J’s Jaymi Hensley, Joseph’s coat of many colours fits Reuben Khan delightfully lightly at the Grand Opera House.
The University of York psychology student, from Burnley, has plenty on his mind: third-year studies; his debut York Stage title role and applications to London drama schools to do a Masters degree in musical theatre.
On the evidence of his assured performance at 23, especially vocally, his future looks as bright as the Technicolor Dreamcoat that had him “saying the colours of Jospeh’s coat before I could spell them” on car journeys with his mum.
Director, producer and designer Nik Briggs returns to Lloyd Webber and Rice’s early musical for the first time since his “Joseph as you’ve never seen it before” show at the Joseph Rowntree Theatre in November 2018 with its cast of 50 and Joseph in pyjamas.
Performing on crutches: Finn East’s Simeon singing with the Brothers
The Grand Opera House offers the opportunity to deliver a production on a bigger scale, not in cast size, but in lighting, staging and visual impact, aided by the fabulous parade of costume designs from Charades Theatrical Costume, St Helens.
The stage is built from scratch, as first the Narrator, Hannah Shaw, then Joseph and children from York Stage School (divided into Team Canaan and Team Egypt) oversee the creation of the world of Canaan, home to Jacob and his 11 sons (some of them daughters in Briggs’s company).
It looks so inviting, you want to book a holiday there. All it needs now to complete the scene is a camel. Oh, and here comes a camel on wheels, pretty much life-size!
From the off, this sung-through pop musical moves at a lick: typified by Finn East’s Simeon defying his injured knee to speed around on crutches, popping up everywhere and taking on a second role too as the Snake.
Hannah Shaw, who studied music at York St John University, sets the tone and style in glittering dress and shiny boots, engaging with the children like a teacher, driving the show forward and singing with oomph, both in her high notes and a lower register.
Storyteller in song: Hannah Shaw’s Narrator
Reuben Khan’s Joseph sings like a dream, whatever a song demands, whether tenderness, drama, power, or emotion further heightened by standing atop a ladder on a stage suddenly full of them in one of Briggs’s most striking designs.
Khan’s characterisation of Joseph has to be expressed largely through Rice’s narrative lyrics, and he does so particularly strongly in the dark ballad Close Every Door, while Any Dream Will Do is as irresistible as ever.
Lesley Hill’s choreography is as playful, fun and camp as this glitterball of a musical demands, at its best in the glorious ensemble number Joseph’s Coat, where Adam Moore’s lighting design matches every change of colour in the lyric.
Briggs’s company revels in playing old favourites with a knowing campness that has only increased with the passing of the years, especially in Jacob (Martin Rowley) and the brothers’ cod rendition of the sad chanson Those Canaan Days, exaggerated French accents et al.
The York Stage company in Joseph And The Amazing Technicolor Dreamcoat
Benjamin’s Calypso is even dafter, full of Caribbean joy as Cyanne Unamba-Oparah’s Judah has the brothers walking on sunshine.
Pop hit after pop hit hits home in all manner of musical styles, from Alex Hogg leading the brothers in the One More Angel In Heaven hoedown to Matthew Clarke’s vainglorious Potiphar luxuriating in the richness of his self-titled song.
In the absence of Carly Morton with shingles (get well soon, Carly), Amy Barrett takes on the rock’n’roll role of Pharaoh, traditionally played in sequinned-Elvis-in-Las-Vegas style. Not so much Elvis as Elvira here, but her Song Of The King is still a peach (one of the 29 colours in Joseph’s coat, by the way).
Adam Tomlinson’s 15-piece orchestra is on top form throughout, savouring the multitude of song styles and pumping up the beat for the Joseph Megamix finale as the party vibe suffuses the cast and cheering audience alike.
York Stage in Joseph And The Amazing Technicolor Dreamcoat, Grand Opera House, York, 7.30pm tonight, Wednesday and Thursday; 5pm and 8pm, Friday; 2.30pm and 7.30pm, Saturday. Box office: atgtickets.com/york
