On your bike: Alex Phelps, front, in rehearsal for his dual roles as the Ringmaster and Phileas Fogg in Around The World In 80 Days
TILTED Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days – in 171 days, to be precise – after a month of rehearsals in York.
Theatre Royal creative director Juliet Forster’s adaptation of Jules Verne’s first toured all four corners of York in August 23 days in 2021, not in a hot-air balloon, but on a trailer, in the tradition of travelling players going from town to town.
Forster’s circus-themed production played four York playing fields – Carr Junior School, Copmanthorpe Primary School, Archbishop Holgate’s School and Joseph Rowntree School – followed by a last stop, back indoors, at the Theatre Royal, where producers Tilted Wig’s new tour of England, Scotland and Wales will open from Thursday to Saturday.
In Forster’s version, Verne’s original characters are transformed, embracing different modes of transport in Phileas Fogg’s fictional frantic race to travel around the world in 80 days.
One original cast member, New Zealander Eddie Mann’s sharp-witted Knife Thrower and Detective Fix, will be joined by Alex Phelps’s resolute Ringmaster and unscrupulous Fogg; actor-puppeteer Katriona Brown’s Acrobat and real-life globe-traveller Nellie Bly; Wilson Benedito’s Clown and Passepartout and Genevieve Sabherwal’s Trick Rider and Aouda.
Around The World In 80 Days director Juliet Forster
Phelps had first made an impression on Forster when playing Sir Andrew Aguecheek with such brio in Joyce Branagh’s Jazz Age take on Twelfth Night for Shakespeare Rose Theatre in York in June 2019.
“That was the first time I’d seen Alex performing, though we’d met at Theatre By The Lake, and I was really keen to consider Alex for the role of Phileas Fogg last time around in 2021, when there were only two names I wanted on my list: Alex and Emilio (Iannucci), but Alex was already committed to doing Justin’s House for CBeebies.”
This time around, Emilio decided not to do the tour, much as he would have like to do so, opening the door for Alex.
“I was doing the CBeebies’ Christmas show when Juliet contacted me, and had a Zoom meeting with her while I was in the dressing room for Dick Whittington And His Cat,” he recalls. “I managed to find a quiet little corner where the wi-fi worked, while everyone wondered what was going on!”
And so, as fate would decree, Juliet has ended up working with both her preferred picks for Fogg. “It does feel like it was meant to happen this way,” she says. “It’s not that you have to typecast a particular role, but there is something about the essential nature, or spirit, of a person that sits right with the role, and that was the case with both Emilio and Alex.
Alex Phelps: Actor noted for his comic skills of physicality and playfulness
“One of my strengths as a director is how I cast and I do a lot of work through the casting process, where interpretation of a character is a big part of that, and if someone is not quite aligned with my thinking…
“But Alex is completely right for it. Playfulness is really important in this role, and I would find it hard to work with someone who didn’t want to be playful, which also brings out the truthfulness.”
Alex concurs: “It’s an important element that can be overlooked, but you’re putting on a play that’s all about ‘playing’. Like two people playing tennis, you’re on either side of the net, and the other person has to hit it back.
“The audience are ahead of the cast – the circus performers playing Verne’s characters – where they know the goal is to complete the journey in 80 days, so the excitement is: how will they get there in that time?
“It’s a comedy, and I really believe great comedy has to tread the razor’s edge of great tragedy, as it does in Aguecheek’s case too, where’s it all very tragic for Aguecheek but very funny for the audience.”
Alex has been studying Buster Keaton for his latest role. “I’ve gone back to his films for Fogg because what he’s so good at is how his face never changes, but all his physical expression comes through his body and that tells the audience everything they need to know,” he says.
Alex Phelps’s Sir Andrew Aguecheek, back row, centre, with Cassie Vallance’s Fabian and Fine Time Fontayne’s Sir Toby Belch, winding up Claire Storey’s Malvolio in Shakespeare’s Rose Theatre’s Twelfth Night in York in 2019. Picture: Charlotte Graham
Juliet and Alex have worked together before, joining forces when she directed CBeebies’ version of Romeo And Juliet, recorded under lockdown restrictions. “Having seen how funny he is physically as an actor and knowing what a genuinely lovely person he is, I kept nagging the CBeebies’ producer to cast Alex as Mercutio, which was going to be a small role but needed someone who would fill it with personality immediately,” she says.
“Under Covid conditions, we had proximity devices to stop you getting within two metres of each other, lunch was at separate tables; everyone had to be completely separate at the hotel.
“It was difficult not to want to direct close-up, and you could only be close to someone for a maximum of 15 minutes in a day, but none of us got Covid, so maybe it was the best way to work, even if it was a bizarre experience.”
Alex would go on to do more CBeebies’ shows, not least being asked to join Justin Fletcher’s Mr Tumble in Justin’s House and making Christmas specials.
Now it is time for his playful Phileas Fogg to fly under Juliet’s direction.
Tilted Wig and York Theatre Royal present Around The World In 80 Days at York Theatre Royal on Thursday, 2pm and 7.30pm, Friday, 7.30pm, and Saturday, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Also: Cast, Doncaster, July 5 to 8; castdoncaster.com. Age guidance: five plus.
The artwork for The Sadies’ 2022 album, Colder Streams
THERE have been so many concerts delayed by Covid. So what? Well, for Canadian roots band The Sadies, the last year has made all the difference in the world.
When chief songwriter and singer Dallas Good died suddenly of natural causes aged 48 last February, the music world stopped and took notice.
While the band aren’t commercially well known, they epitomise the phrase “musician’s musicians”. After 25 years (averaging 100 concerts a year), everything has now changed. So, where once there would have been four on stage, instead there was a power trio.
Travis Good, Dallas’s brother and lead guitarist, had an awfully large weight to carry. On him fell all singing, rhythm and lead guitar work. Notwithstanding facing up to the empty space alongside him.
Hitting the stage with their characteristic attack and few words, The Sadies’ set drew from many corners of their long career (minus their even more numerous collaborations). Not until the seventh song, Questions I’ve Never Asked, did they take a breath and change the tempo. Prior to that it was a hit-and-run mix of punk rock, spaghetti western, bluegrass and Byrds-like jangle. All rolled into a road-worn groove the Toronto group have long been perfecting.
Good gave it everything – his tall lean frame hunched over his Gretsch guitar, his wild, unkempt hair hanging down, and drips of sweat falling off him as he lost himself in the music (his style in that respect was unchanged from his York concerts in 2006 and 2008 at the Junction and Duchess respectively).
His long-term companions, Sean Dean and Mike Belitsky, quietly filled in some of the missing pieces. While the trio gave muscular, pared-back readings of the songs, you couldn’t help but miss that second guitar, the sibling harmonies and the greater freedom to roam.
“Suddenly it all feels different and very strange,” Good said. The song titles reflected that, including A New Beginning and Starting All Over Again (both from 2013’s Internal Sounds).
Good is an amazing guitar player – and he knows what grabs an audience. From the sped-up Cheat to perhaps his signature tune, Northumberland West, this was a masterclass. A shame there was no acoustic material, although his fiddle made a fleeting appearance for a manic hoedown in Uncle Larry’s Breakdown.
While the fuzzed-up overdrive Leave Me Alone or Another Season Again impressed with their energy, more interesting were the melodies and emotions that shone through when The Sadies slowed down.
This was a short set, by their standards, at 26 songs and 70 minutes, but it felt enough. It’s unclear what the future holds for the Sadies. Their 2022 album, Colder Streams, is probably their best – defying the traditional arc and fall of a music career.
This short tour is to promote that record, but what lies beyond is unclear. Touring and performing with up-and-coming duo Kacy & Clayton recently in the States, a dream scenario would be to simply absorb them, Seventies’ Fleetwood Mac style, into the Sadies.
No One’s Listening, a standout outsider’s cry from the new record and a highlight on Sunday night, is wrong, This is a band that has earned a right to play another year, again.
Yorkshire Baroque Soloists at 50, Sir Jack Lyons Concert Hall, University of York, January 25
IT hardly seems possible that Yorkshire Baroque Soloists has been in existence for half a century.
Founded by Peter and Yvonne Seymour, along with trumpeter John Wallace, who was a postgraduate student at University of York at the time, it has ploughed a steady, reliable furrow ever since, often alongside Yorkshire Bach Choir, which began life six years later.
This was a low-key celebration, partly because soprano Bethany Seymour had been under the weather, necessitating a late change of programme. Gone was a Bach solo cantata, replaced by a second Telemann trumpet concerto, thanks to the presence of the Danish trumpeter Niels Tilma, a dab hand on early trumpets.
There were also Bach concertos for violin and for harpsichord, along with two Handel arias and a cantata by Domenico Scarlatti.
In truth, it was a bit of a curate’s egg, good in parts. Hero of the evening was Tilma himself. In both Telemann pieces he was both lithe and accurate, playing a valveless clarino trumpet and making light of their high-lying lines.
Lucy Russell: “Confident account of Bach’s A minor Violin Concerto”
Telemann rests his soloist for most of his slow movements. The exception was the lovely Adagio at the start of his only designated concerto for trumpet. The other ‘concerto’ was in fact a Sonate de Concert with two violins in close attendance, providing lively dialogue.
Bethany Seymour sang despite her troubles, although her coloratura lacked its customary clarity in ‘Let The Bright Seraphim’ (Samson). In the other Handel aria, ‘Eternal Source Of Light Divine’ from Ode For The Birthday Of Queen Anne, she duetted neatly with Tilma’s trumpet. Sad to say, her Italian diction in the concluding Scarlatti cantata let her down: this hall is notoriously unkind to ladies’ voices.
That left two concertos, the only works here not using trumpet. Lucy Russell, whose career as a violinist more or less began with this ensemble and has blossomed notably since, especially as leader of the Fitzwilliam Quartet, gave a confident account of Bach’s A minor Violin Concerto. With only five strings to support her, the bass line – of violone as well as cello – was generally too prominent. But the finale was still exciting.
Less imposing was the Harpsichord Concerto in A, with director Peter Seymour at the keyboard. The problem was a lack of immediacy, caused by having the entire ensemble – eight at its maximum – situated in the back half of the stage, so that there was a large gap between players and audience.
Some harpsichord detail was inevitably indistinct, especially in the hectic finale, although the opening movement travelled at a pleasing clip. Nevertheless, prophets should not be without honour in their own country and we may be extremely grateful to have had such a consistently proficient ensemble in our midst for so long.
Roderick Williams: “Such a perfectionist about diction”
Roderick Williams & Christopher Glynn, Sir Jack Lyons Concert Hall, University of York, January 18
IT used to be said that a successful service in church was one where you came out feeling better about life because the sermon was so good. The feeling is similar when you go to a concert that fulfils every expectation and warms the soul. This was one of those rare occasions.
Christopher Glynn has commissioned new English translations of three of Schumann’s song cycles of 1840 from Jeremy Sams and has given York the honour of hearing their premieres.
Satisfyingly, it was a full house that greeted the first of these, Dichterliebe (A Poet’s Love). That was not all. Three other Schumann lieder prefaced the cycle. A further 16 followed the interval, including a Quilter cycle, all under the umbrella of “Tell Me The Truth About Love”. By any standards it was a feast.
For anyone who knew the Schumann cycle in the original German, the translation initially sounded wrong. No fault of Sams, but the original words kept floating to the surface of one’s memory. Yet in the end there was a gain; there had to be. Roderick Williams is such a perfectionist about diction that he clearly relished using his native tongue. It soon became infectious.
Presumably for copyright reasons, no translation was available. But just to take a single example, ‘Ich Grolle Nicht’. This began ‘I won’t complain, despite my pain’. Williams’s baritone positively dripped with irony, made possible by a translation that captured exactly what Heinrich Heine, the original poet, had in mind. The only disappointment was his decision not to take the optional high note in the penultimate phrase.
Throughout the cycle the flow of the words was hugely satisfying, matching the original syllable for syllable. Just occasionally, Sams failed to find enough syllables and had to resort to melisma (setting a syllable to more than one note). But this was unusual. This translation is a stylish achievement.
Christopher Glynn: “Extraordinary perceptions coming from his piano”
It almost goes without saying that Williams was totally inside the music. But he could not have done it without the equally extraordinary perceptions coming from Glynn’s piano, allied to an uncanny sense of timing. The postlude, larded with exquisite rubato, seemed to encapsulate all the feelings that had gone before, a perfect précis.
The second half was more free ranging. Four more lieder included three 19th century ladies, Clara Schumann, Fanny Mendelssohn and most notably Josephine Lang, whose harmonically gorgeous Abschied (Farewell) made a strong impact. All three deserve much more recital exposure.
Before them we heard Quilter’s Seven Elizabethan Lyrics and marvelled anew at his modern twist on old harmonies. ‘The Faithless Shepherdess’ was wonderfully crisp, while the setting of Ben Jonson’s ‘By A Fountainside’ was tenderly evocative. Williams is well suited to this cycle, which brings out the full compass of his baritone.
An Anglo-American group completed the evening, including Sophie Hannah’s witty The Pros And Cons and a nicely declamatory I Said To Love, the title song of Finzi’s Thomas Hardy cycle. William Bolcom’s Toothbrush Time was the natty encore. Williams and Glynn make a first-class pairing.
A ‘pre- recital’ featured four singers, all of whom showed promise, although none really made use of their words. They would do well to emulate Williams.
Hannah Davies: Poetic monologues at York Explore Library in Pilot Theatre’s Monoliths for York Residents’ Festival
THE best things in life are not always free, but plenty are this weekend for York residents. Charles Hutchinson also highlights the best value in theatre, music, art and comedy.
Event of the week: York Residents’ Festival 2023, today and tomorrow
ORGANISED by Make It York, York Residents’ Festival 2023 combines more than 100 attractions, events and offers this weekend. Historical attractions such as York Minster, Jorvik Viking Centre, Fairfax House, York Castle Museum, Barley Hall and The Guildhall will be opening their doors for free to residents.
Further highlights include wizard golf at The Hole In Wand; free river cruises with City Cruises; chocolate tours at York’s Chocolate Story; behind-the-scenes tours of York Theatre Royal and a virtual reality experience with Pilot Theatre’s Monoliths, featuring poetic monologues on city, country and coastal northern landscapes by Hannah Davies, Carmen Marcus and Asma Elbadawi at York Explore Library. Restaurants, cafés and shops are taking part too. For full details, go to: visityork.org/resfest.
Fat chance…to see Sofie Hagen in her Fat Jokes show at Theatre@41
Comedy gig of the week: Sofie Hagen: Fat Jokes, Theatre@41, Monkgate, York, Tuesday, 8pm
EDINBURGH Fringe comedy award winner Sofie Hagen presents Fat Jokes, a storytelling show bursting with big jokes, fat punchlines and unforgettable moments. “Come as you are and enjoy an actual fat person at the top of her game,” says the Danish-born, London-based comedian’s publicity blurb. Box office: tickets.41monkgate.co.uk.
Travelogue of the week: Around The World In 80 Days, York Theatre Royal, Thursday, 2pm and 7.30pm; Friday, 7.30pm; Saturday, 2.30pm and 7.30pm
PRODUCERS Tilted Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days in creative director Juliet Forster’s circus-themed version of Jules Verne’s story, first staged on York playing fields in 2021.
Original cast member Eddie Mann will be joined by Alex Phelps, Katriona Brown, Wilson Benedito and Genevieve Sabherwal, who each multi-role as the rag-tag band of travelling big-top performers embarks on a daring mission to recreate Phileas Fogg’s fictitious journey, interwoven with the true story of Nellie Bly’s globe-travelling deeds. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Anna Meredith: Genre-crossing composer and musician heading for The Crescent in Independent Venue Week. Picture: Gem Harris
Innovators of the week: Please Please You presents Rozi Plain and Mayshe-Mayshe, The Crescent, York, Tuesday, 7.30pm; Anna Meredith and Elsa Hewitt, The Crescent, York, Friday, 7.30pm
WINCHESTER singer-songwriter Rozi Plain showcases her fifth album, Prize, released on Memphis Industries on January 13. Highlights among its ten tracks include the blissful single Agreeing For Two, the synth explorations of Painted The Room and the woozy jazz inflections of Spot Thirteen.
Later in the week, in a special show for Independent Venue Week, The Crescent welcomes Anna Meredith MBE, the genre-crossing composer and producer whose work straddles contemporary classical, art pop, electronica and experimental rock. Guitar, drums, cello and tuba feature in her band. Box office: thecrescentyork.com.
Liam Brennan’s Inspector Goole in An Inspector Calls, on tour at the Grand Opera House, York. Picture: Tristram Kenton
Political thriller returns: An Inspector Calls, Grand Opera House, York, February 7 to 11, 7.30pm nightly plus 2.30pm Wednesday and Thursday matinees
PREMIERED at the Theatre Royal in 1989, Stephen Daldry’s radical take on Yorkshireman J B Priestley’s thriller An Inspector Calls returns to York next month with tour regular Liam Brennan once more in the role of Inspector Goole.
Written at the end of the Second World War and set before the First, Priestley’s time play opens with the Birling family’s peaceful dinner party being shattered by the inspector’s call and subsequent investigations into the death of a young woman as the dangers of casual capitalism’s cruelty, complacency and hypocrisy are highlighted. Box office: atgtickets.com/york.
Leroy Virgil: Teaming up with York band The Black Skies at The Crescent
Country gig of the week: Hellbound Glory & The Black Skies, The Crescent, York, February 7, 7.30pm
RENO resident and Hellbound Glory main man Leroy Virgil has single-handedly invented an outlaw country music sub-genre he affectionately calls “Scumbag Country”.
His stories from the seedy underbelly of the place he calls home in sunny Nevada are full of character observations and introspection, set to a soundtrack of folk and blues-laced Americana. His York gig will be one of only three on his debut British tour to promote latest long player The Immortal Hellbound Glory: Nobody Knows You.
Young York alt/rock band The Black Skies will be his backing band as well as playing their own set at this double bill of whisky-drenched, low-slung country and rock’n’roll from the American mid-west and Yorkshire. Box office: thecrescentyork.com.
The poster for York Ceramics Fair 2023
Going potty for pottery: York Ceramics Fair, York Racecourse, March 4, 10am to 5pm, and March 5, 10am to 4pm
AFTER a short break to find a new venue, York Ceramics Fair makes a March return indoors at York Racecourse for a fourth instalment with an “impressive line-up of ceramicists”, complemented by activities, events, talks and more besides.
A free shuttle bus will be running between York Racecourse, on Kavesmire Road, and the Memorial Gardens Coach Park, in Station Road, York. Tickets: via Eventbrite at yorkceramicsfair.com/ticket-info.
Nik Briggs: Directing York Stage in Everybody’s Talking About Jamie: Teen Edition
Looking ahead: Everybody’s Talking About Jamie, Teen Edition, Theatre@41, Monkgate, York, May 29 to June 3
YORK Stage will be holding the first round of auditions for the Teen Edition of Everybody’s Talking About Jamie today, seeking black, Asian and mixed-race performers aged 13-19 to fulfil Nik Briggs’s company’s commitment to represent the diverse community of Sheffield, the show’s setting, through his casting. A second audition day follows on February 4.
Dan Gillespie Sells and Tom MacRae’s coming-of-age musical follows the true-life story of 16-year-old Sheffield schoolboy Jamie Campbell as he overcomes prejudice and bullying to step out of the darkness to become a drag queen. Box office: tickets.41monkgate.co.uk.
York Chamber Music Festival: Messiaen’s Quartet For The End Of Time, Lady Chapel, York Minster, 24/1/2023
THE prestigious York Chamber Music Festival began its tenth anniversary celebrations with a concert of Messiaen’s visionary work, the Quartet For The End Of Time, in an event contributing to Holocaust Memorial Week.
The venue of York Minster’s Lady Chapel, in front of the Great East Window – which depicts the beginning and end of all things, from the book of Genesis to the book of Revelation, and is fittingly known as the Apocalypse Window – seemed perfect.
Add into this mix four superb musicians, who had to negotiate the cold temperature and generous acoustic – Sacha Rattle (clarinet), John Mills (violin), festival director Tim Lowe (cello) and John Lenehan (piano) – and all the boxes for a wondrous concert seemed to be ticked. Sadly, this was not the case.
The opening Liturgie de cristal began well enough with lovely clarinet and violin birdsong imitations (blackbird and nightingale) but as soon as the piano joined in, it was obvious that it was not fit for purpose. The “power of the mighty angel” framing a quite lovely central section of the Vocalise, pour l’Ange qui annonce la fin du temps, simply never materialised.
To be sure, the Abîme des oiseaux for solo clarinet was played to perfection. Rattle’s delivery was spellbinding, the velvety-rich tone simply gorgeous and even a problematic Minster acoustic seemed to embrace, to cushion, the poignant sound world.
Louange à l’Éternité de Jésus opened with a moving cello solo, lovely playing from Lowe, but the piano sound was simply poor. The Danse de la fureur, pour les sept trompettes fared better with all the instruments playing in unison, but the need for balance meant that the “music of stone, formidable granite sound” barely had a look in.
There was beautiful playing in the Fouillis d’arcs-en-ciel, pour l’Ange qui annonce la fin du temps and the sublime violin solo was focused and indeed transcendental, but as a duet it never made the “slow ascent…towards paradise”.
As I was leaving I had only one remaining concern, that the excellent John Lenehan in particular, simply deserved better than this.
Musetta and her dog in Ellen kent’s production of La Bohème for the Ukrainian Opera & Ballet Theatre Kyiv
INDOMITABLE impresario Ellen Kent had contemplated the unthinkable: calling time on mounting her lavish opera and ballet tours by eastern European companies under her own steam.
Now, however, not even President Putin can stop her as she heads back and forth to Ukraine to bring the Ukrainian Opera & Ballet Theatre Kyiv to Britain, not least to one of her most regular stamping grounds, the Grand Opera House in York next week.
Senbla, part of the Sony Music Entertainment stable, have taken on the financier’s role for her Opera International tours. “I put the productions on; they pay for them and pay me a fee. We’ve been doing this since 2019, and it’s a good way to end my career because it doesn’t carry any risk,” she says.
This arrangement leaves the tireless Ellen free to concentrate on directing rehearsals for the Kyiv company’s 2023 productions of Puccini’s La Boheme and Madama Butterfly and Verdi’s Aida.
Opera director Ellen Kent
What’s more, she has had to make all the arrangements for securing visas and permissions for the Ukrainian orchestra, chorus, soloists and technical and stage crew – 73 people in total – for their British itinerary that opens tonight (26/1/2023) in Manchester.
“The older I get, the more I seem to do,” says artistic director Ellen. “My first opera with the Romanian National Opera was in 1993, and I know this is crazy, but I don’t look any older.”
She is 73, and her diligent, devoted work in being the first producer to bring big-scale opera tours from Eastern Europe to British theatres has seen her come face to face with three conflicts in Ukraine since starting with the Ukrainian National Opera in Odesa in 2002: the Orange Revolution protests of 2004-2005, Donbas under attack in 2014 and now Putin’s “special military operation”.
“This is the most difficult tour I’ve done in my whole life,” says Ellen, who may no longer face financial risks in her work but nevertheless had to fly to war-ravaged Ukraine in November to oversee all the preparations for the tour.
Natalia Matveeva: Ukrainian mezzo-soprano performing in Madama Butterfly
“Ok, there are bombs and drones, but somehow everyone carries on as normal. For this tour, I’ve had to bring them out of Kyiv three times, first to get their visas done for the British Home Office, taking them from Ukraine to Moldova, then getting them on to overnight coaches for rehearsals in Chişinău, putting them in hotels, and calling on my relationship with the Opera Ballet Theatre of Moldova. Now the tour itself.”
Ellen’s administration for this 2023 itinerary has been double that required for any previous travels. “I’ve almost had a nervous breakdown, not from bombs, but from all the bureaucracy, as all men aged 18 to 60 are not allowed out of Ukraine, should they be enlisted, and so you have to get special permission for arts organisations from the Ukrainian Ministry of Defence, who have to send the permissions to individual mobile phones.
“They sent them about two days before, and then you have Kyiv being bombed, and all the telecommunications go down, having booked them on the night train from Kyiv to Chisinau.”
Further problems ensued with Ukraine-Moldova border guards, whose computers came up blank for the QR codes for their electronic passes when they were travelling for rehearsals in Chisinau. “The whole lot of them had to stay overnight at a petrol station that happened to have a café. Then I got a call at six in the morning to say the border guards said ‘come again’, as the connections had been fixed.”
Alyona Kistenyova: Ukrainian soprano singing in La Bohème
For the tour dates, Ellen made arrangements for the company to travel by coach from Kyiv to Krakow, still waiting for their electronic pass permissions for their British stay at the time of this interview (January 19), but with time in hand for any hiccoughs ahead of the flight from Poland to Manchester, due to arrive on January 25.
“Putting the war to one side, I’ve always felt very connected to Ukraine because the quality of their operatic work in Odesa, Kharkiv and Kyiv is so high. What I was not prepared to do was just walk away. I love opera, I love working in eastern Europe; it’s exciting.
“I’ve had a ball, I’ve had a good life, and I will not walk away because they must preserve the culture in Ukraine that Putin wants to destroy – and he’s already bombed the Kharkiv company out of functioning,” she says.
“My feeling now is that I want to protect their art and what I’m doing is helping to keep it alive. God help us all if Putin were to take that country over.”
Ellen is already making plans for Ukrainian Opera & Ballet Theatre Kyiv to tour Britain in 2024: “Carmen, definitely Madama Butterfly again,” she says. “And, the third opera…that’s an interesting question. Wait and see!”
A scene from Ellen Kent’s production of Madama Butterfly
UKRAINIAN Opera & Ballet Theatre Kyiv perform Puccini’s La Bohème on February 3 and Madama Butterfly on February 4, at the Grand Opera House, York, at 7.30pm.
Ukrainian soprano Alyona Kistenyova, Korean soprano Elena Dee and French soprano Olga Perrier are the tour soloists for La Bohème, Puccini’s romantic but tragic operatic tale of the doomed, consumptive Mimi and her love for a penniless writer, staged with bohemian art, a brass band and snow effects.
Dee, Kistenyova and Ukrainian mezzo-soprano Natalia Matveeva return in Kent’s staging of Madama Butterfly, Puccini’s heart-breaking story of the beautiful young Japanese girl who falls in love with an American naval lieutenant. A Japanese garden and antique wedding kimonos are promised. Box office:atgtickets.com/york.
Opera North beneath Tim Scutt’s cupola in Tosca. All pictures: James Glossop
Opera North in Tosca, Leeds Grand Theatre; further performances on January 28, 2.30pm; February 3, 22, 25 and 28 and March 2, 7.30pm. Box office: 0113 243 0808or leedsheritagetheatres.com. On tour to Salford, Nottingham, Newcastle and Hull until April 1; more details at operanorth.co.uk.
EDWARD Dick’s updated production of Tosca has returned to Leeds after four and a half years and under his continued aegis on the surface not much has changed.
Still with us, remarkably, is Robert Hayward, who has held onto the role of Scarpia since Christopher Alden’s 2002 production. Giselle Allen is back in the title role. Those two alone are surely enough to bring Yorkshire audiences back in droves. Both have been stalwarts in Leeds for at least two decades, virtually company principals throughout that time.
Otherwise, interest centres on the British debut of Ukrainian tenor Mykhailo Malafii – in fact he had never set foot on these shores until the rehearsals – and the conducting of new music director Garry Walker, taking over from the (now) principal guest conductor Antony Hermus. This quartet makes a tasty combination of the tried and tested on the one hand with innovation on the other.
So, this is no mere rehash. Quite the contrary. From the moment that Callum Thorpe’s lithe Angelotti shins down the rope from Tom Scutt’s central cupola there is the excitement of fear in the air, although it is balanced by Matthew Stiff’s amusingly bumbling Sacristan and Malafii’s smiling Cavaradossi, who seems not to have a care in the world.
Giselle Allen as Tosca and Robert Hayward as Scarpia in Opera North’s Tosca
When the net tightens, the contrast is heightened. We are reminded that Scarpia is not universally despised when the priest at the close of a rousing Te Deum appears to bless him (echoes of Patriarch Kirill’s espousal of Vladimir Putin). More importantly, Tosca and Cavaradossi establish the warmth of their love in their brief rendezvous.
But Act 2 is the real clincher. The scope of Allen’s soprano is breath-taking, thrillingly determined at the top, a chesty growl of revulsion at the bottom. She has surely never sung better. As she and Hayward chased each other over and around Scarpia’s bed – his “office” in every sense – we were on the edge of our seats. This was for real.
Hayward has refined his Scarpia from a straightforward monster into something more nuanced and sinister, a wily pervert. When he wipes a tear from Allen’s cheek with his finger, it is virtually an act of abuse.
He leaves no doubt of his intentions by pleasuring himself against a bedpost. But his baritone tells us that although his lust is up, so is his anger. This is more than menace; it is hell-bent lechery. His death is horrendously gory. When his body twitched just before the curtain, the person in the next seat almost jumped out of their seat.
Bar sales undoubtedly soared in the interval as nerves were soothed. There are not the same shocks in Act 3 although Tosca’s fall backwards through the cupola, now on its side, is hair-raising enough. By now, Malafii’s tenor has reached full flow. His Act 1 sound was dry and quite tight, but as relaxation kicked in his tone warmed and resonated more broadly.
Mykhailo Malafii, in his British debut, as Cavaradossi and Giselle Allen as Tosca
As the run progresses the stars in ‘E lucevan le stelle’ will doubtless glow more brightly. Alex Banfield is a lightweight Spoletta, more PA than gangster, but Richard Mosley-Evans’s thuggish Sciarrone compensates. Bella Blood (double-cast with Hattie Cobb) is a sweet-toned Shepherd Boy. The modern tech paraphernalia of mobiles and laptops only serves to underline that there are plenty of despots still around.
In the overall analysis, Garry Walker’s orchestra is a character in its own right and pulls no punches. The horns, deprived by retirement of their legendary principal Robert Ashworth, are still right on the button at the start of Act 3; the brass in general are fiercely edgy. One can only admire the way Walker’s orchestral punctuation, especially in Act 1, is so tautly disciplined.
In last November’s round of Arts Council England grants, Opera North was “awarded” a stand-still £10.677 million per annum until 2026, effectively a serious cut. Amid the general whingeing in the British operatic world, Opera North has remained silent and simply got on with it. It’s called Yorkshire grit (as a transplanted southerner I can afford to say that). The proof of the pudding is a Tosca that any company would have been proud to mount.
Review by Martin Dreyer
Opera North’s Tosca plays Hull New Theatre on March 30 and April 1, 7pm. Box office: 01482 300306 or hulltheatres.co.uk.
YORK Residents’ Festival 2023 combines more than 100 attractions, events and offers this weekend.
Organised by Make It York, this annual event returns on Saturday and Sunday, when historical attractions such as York Minster, Jorvik Viking Centre, Fairfax House, York Castle Museum, Barley Hall and The Guildhall will be opening their doors for free to residents.
They also can enjoy free wizard golf at The Hole In Wand, Coppergate Walk, free river cruises with City Cruises and free chocolate tours at York’s Chocolate Story, King’s Square. Theatre lovers can go behind the scenes at York Theatre Royal and experience virtual reality with Pilot Theatre’s Monoliths, featuring sweeping soundscapes and poetic monologues by Hannah Davies, Carmen Marcus and Asma Elbadawi at York Explore Library.
Offers across York eateries and restaurants include 22 Yards Wine, Ambiente Tapas, Brew York, Forest and Trio Mezze Bar. Plus. Look out for retail offers exclusively for residents at Avorium, The Yorkshire Soap Company, Dean’s Garden Centre, The Hat Shop and more besides.
For those preferring to explore the city on foot, plenty of free and discounted walking tours are available. York Photo Walks’ free walks provide the chance to learn and improve photography skills while learning more about the history of York. The Wizard Walk of York promises spellbinding family-friendly walks.
To participate in York Residents’ Festival, you must present a valid York Card, student card or identity card that proves York residency. If presenting an identity card, this must clearly state ‘York’ (such as a driving licence or older person’s bus pass).
Sarah Loftus, Make It York’s managing director, says: “We’re delighted that we have more than 100 attractions, events and offers for Residents’ Festival weekend. This is a great opportunity for residents to rediscover some of the brilliant attractions, retail and food and drink offers on their doorstep. A huge thank-you to our Visit York members for their excellent offers and to our main sponsor, Grand Central.”
Councillor Keith Aspden, leader of City of York Council, says: “I’m delighted that York Residents’ Festival is once again back this year. The weekend is a great way to enjoy our city and support our businesses. There is a lot explore and discover, with I hope something for everyone on offer during this fun-packed weekend of activities.
“Our thanks go to all the partners around the city who have come together to make sure that more than 100 attractions, events and offers are available for residents.”
The full list of offers for York Residents’ Festival can be found at: www.visityork.org/resfest. Please note, some venues require pre-booking.
Alternatively, wade your way through this comprehensive guide!
Attractions
Barley Hall, 2 Coffee Yard, off Stonegate, YO1 8AR
Saturday and Sunday, 10am – 4pm. Free entry after 2pm.
Barley Hall is a medieval townhouse, tucked away down one of the oldest streets in York. The exhibition The Bard At Barley Hall features costumes worn by famous actors. Pre-booking is required online or by phone. Select the “Free Adult” or “Free Child” option or by calling 01904 615505.
Bedern Hall Bartle Garth, St Andrewgate, York, YO1 7AL
Saturday and Sunday, 10.30am to 3.30pm. Free entry.
Discover one of York’s true hidden medieval gems – from butchers to bakers and pork pie makers, chorals to squirrels – as Bedern Hall continues its centuries-old tradition of good food, good friend, and good times. Pre-booking is not required.
Beningbrough Hall, Gallery and Gardens, Beningbrough, YO30 1DD
Grab your calling cards as you explore the garden and uncover the fascinating stories of the people who shaped Beningbrough with never-been-told-before stories from the latest research, voices from the past, interactive elements and family trail. Pre-booking is not required.
Black Swan Folk Club 23, Peasholme Green, York, YO1 7PR
Winter Folk Day performances by folk musicians. Two sessions 2pm to 5.30pm and 7.30pm to 10.30pm in the Black Swan Inn’s Wolfe Room. Pre-booking is not required.
Brew York, Unit 6, Enterprise Complex, Walmgate, York YO1 9TT
Saturday only. Free 30-minute brewery tour and tasting at 1pm and 2pm.
Founded in Walmgate in 2016, Brew York boasts a £2million state-of-the-art production facility and global distribution. See where it all began with a mini-tour of the original brewery as you enjoy a fresh beer on them. Pre-booking is required via email.
City Cruises, King’s Staith Landing and Lendal Bridge Landing
Immerse yourself in history at this iconic site and experience views over the city. A new roof deck, walkways and staircases have opened up parts of the tower, where a new interpretation brings the tower’s history to life. Pre-booking is not required.
DIG: An Archaeological Adventure, St Saviour’s Church, St Saviourgate, YO1 8NN
Saturday and Sunday, 10am to 4pm. Free entry after 2pm.
Discover exciting artefacts from 2,000 years of York history at DIG. Children can grab a trowel and dig up the clues that show how people lived in Roman, Viking, medieval and Victorian times. Pre-booking is required online or by phone. Select the “Free Adult” or “Free Child” option or by calling 01904 615505
Free half-day bike hire (for five hours). One hire per person. Deposit necessary. Pre-booking is required via telephone or email quoting Residents’ Festival.
Holgate Windmill, Windmill Rise, Holgate, York YO26 4TX.
Visit York’s only surviving windmill, built in 1770, now restored and in full working order. Stoneground wholemeal and spelt flour milled here is available for sale. Pre-booking is not required.
Saturday and Sunday, 10am to 4pm. Free entry after 2pm.
Discover York’s Viking legacy at the award-winning Jorvik Viking Centre. Meet a Viking of Coppergate, be up close with rare artefacts and take in the sights, sounds and smells of Viking York. Pre-booking is required online or phone. Select the “Free Adult” or “Free Child” option or by calling 01904 615505.
LNER Community Stadium (York RLFC), Kathryn Avenue, Monks Cross Drive, Huntington, York, YO32 9AF
Sunday only. Free tours at 11am, 12pm, 1pm, 2pm (12 people maximum per tour)
Head inside the inner sanctum of North Yorkshire’s premier rugby league teams. The LNER Community Stadium hosts the York Knights and Valkyrie, who offer residents the chance to join them on stadium tours, sharing the full matchday journey of the players and taking in the club’s history. Meet at the York RLFC club shop 15 minutes before your booked tour time. Pre-booking is required by filling out this form: https://docs.google.com/forms/d/e/1FAIpQLSc-rW6csfuGUuWpc2otzeB0_PdMUp4sqkB2bf6v-xH_4U1X4g/viewform?usp=sf_link
Lost Earth Adventures, Brimham Rocks, Summerbridge, Harrogate, HG3 4DW
Saturday and Sunday. Free three-hour taster session.
Try rock climbing and abseiling at Brimham Rocks. Suitable for all abilities and anyone aged 7+. All equipment included. Maximum two people per booking. Pre-booking is required via email.
Merchant Adventurers’ Hall, Fossgate, York, YO1 8XD
Fascinating tales, awe-inspiring architecture and intriguing, rare artefacts to be explored at this timber-framed building. The Merchants’ Coffee House will be open, serving food and drinks. Pre-booking is not required.
Merchant Taylors of the City of York members will be on hand to explain the many colourful facets and intriguing 600-year history of this medieval hall. Pre-booking is not required.
National Centre for Early Music, St Margaret’s Church, Walmgate, York, YO1 9TL
A Residents’ Festival weekend special taster for the NCEM’s monthly singing session, Cuppa & A Chorus. No experience necessary; only a willingness to sing. Hot drinks and cakes too. Pre-booking is required online.
Pilot Theatre – Monoliths VR, at York Explore Library, Library Square, Museum Street, York YO1 7DS
Saturday and Sunday, 10am to 12:30pm and 1.30pm to 5pm. Free event.
A chance to experience virtual reality with York company Pilot Theatre’s Monoliths, exploring three northern environments with sweeping soundscapes and poetic monologues, in an event sponsored by York BID. Monoliths is an arresting testament to the inextricable link between person and place.
The Guildhall, St Martin’s Courtyard, Coney Street, York, YO1 9QL
Residents will have access to all areas of The Guildhall, with a self-guided interactive tour of the 15th century medieval hall, historic council chamber and committee room. All cakes and coffees will have 10 per cent off at the Riverside Cafe for the weekend, and those who complete the quiz will be in with a chance of winning a £20 voucher for the Cafe Lounge. The venue’s wedding coordinators will also be on hand to show any newly engaged couples around. York Gin will be running free gin tastings and talks for residents from 11am on both days. Pre-booking is not required.
Visit “the world’s most magical golf course” in the heart of York. This Wizard-style adventure will see you tackle a bubbling cauldron and become part of a giant picture while you search for Grobblenook! Entry only; excludes potion. Pre-booking is required online. Use code RESFEST2023.
William’s Den, Castle Farm, Wold Hill, North Cave, East Riding, HU15 2LS
Saturday and Sunday, 10am to 4pm. Free entry (but small booking fee).
Custom-built family adventure playscape with indoor play areas, climbing ropes and zip lines, woodland walks and pizza dining. Pre-book your free tickets for William’s Den online using the promo code YKRES2829. A booking fee of 50p is payable.
Discover the regiments’ stories from 1685 to the present day. Trails, crafts and object-handling. While here, collect a free mini-sketch book (made from recycled coffee cups), pencil and sketching guide to sketch your favourite parts of York as you go around the city. Pre-booking is not required.
York Art Gallery, Exhibition Square, York, YO1 7EW
The galleries of fine art and ceramics are free to enjoy. Discover a new display of treasures from the stores. See jewels of the collection in a new light plus rarely displayed works. Pre-booking is required online. Maximum group size of six.
York BID – Reunion, St Sampson’s Square, York, YO1 8RR
On show until February 6.
York’s winter nights are being brightened up by Kumquat Lab’s light art installation, Reunion. Brought St Sampson’s Square by York BID, this artwork represents connectedness and the act of gathering together.
Immerse yourself in 400 years of York’s history, whether the Victorian street Kirkgate, infamous prisoners in the spooky cells or the Swinging Sixties. Pre-booking is required online. Maximum group size of six.
The Friends of York Cemetery will open the Pritchett Chapel for self-guided walking trails, catacomb tours, garden walks and much more. Discover the cemetery’s history and make a cone bird feeder, an activity ideal for children. Free tea/coffee and cake. Pre-booking is not required.
York Cold War Bunker, Monument Close, York, YO24 4HT
York Cold War Bunker uncovers the secret history of Britain’s Cold War. Enter the blast-proof doors and investigate the more unusual side of York’s heritage. In active service from the 1960s to the 1990s, the bunker was designed as a nerve-centre to monitor fallout in the event of a nuclear attack. Pre-booking is required online. Use code RESFES101
York’s Chocolate Story, King’s Square, York, YO1 7LD
Drop in to use a range of Lego and Duplo to build the wonderful city of York. Take inspiration from historic maps of York from the city’s archives. What will you create? Pre-booking is not required.
York Explore Library: Mapping Historic York Exhibition, Library Square, York YO1 7DS
Explore the history of York’s built environment. Learn about York as it was, as it is, and as it might have been in this display of original material from the city’s archive. Pre-booking is not required.
York Mansion House, St Helen’s Square, York, YO1 9QL
Saturday and Sunday, 10am to 5pm (last admission 4pm). Free entry.
Walk in the footsteps of lords and ladies, cooks and butlers. Explore four floors, from the authentic Georgian kitchen below stairs to the 18th century splendour above, steeped in 300 years of scandal, secrets and superstition. Pre-booking is not required.
York Medical Society has its own rooms within a beautiful Grade II listed building in Stonegate, providing a location for topical lectures, events and wedding receptions. Explore the building; refreshments will be available, with proceeds supporting York Foodbank. Pre-booking is not required.
Experience panoramic views of York from the highest point in the city: York Minster’s Central Tower. See medieval stonework and gothic grotesques as you climb 275 steps to the top. You must be aged 8+ to climb the tower.
Trips run every 45 minutes, starting at 10.15am on Saturday, with the last taking place at 3.30pm. On Sunday, the first trip begins at 1.15 pm; the last at 2.45pm. Trips can only be booked in person on the day, are weather dependent and will be available on a first-come, first-served basis. Health and safety conditions apply; see website for details.
York Steiner School, 33 Fulford Cross, York, YO10 4PB
A warm welcome awaits all York families at the seasonal craft day and tour. Experience the magic of a Steiner education over a hot drink in the cosy community room and find out why parents rate them so highly! Pre-booking is required via email or telephone. Numbers are limited to four families per session.
Yorkshire Heart Vineyard & Brewery, The Vineyard, Pool lane, Nun Monkton, York, YO26 8EL
Sunday, 10am to 3.30pm. Free vineyard tour and wine tasting.
Yorkshire Heart are offering wine tasting in their Winehouse café and a short vineyard and winery tour on the hour every hour from 11am until 2pm. Pre-booking is not required.
Yorkshire Museum, Museum Gardens, Museum Street, York, YO1 7FR
Home to some of the greatest archaeological and geological finds in Britain. Explore York’s Roman, Viking and medieval past through a range of artefacts and meet our prehistoric predecessors in Yorkshire’s Jurassic World! For all the family. Pre-booking is required online. Maximum group size of six.
York Theatre Royal, St Leonard’s Place, York, YO1 7HD
Find out more about the fascinating history of the Theatre Royal, discover secrets about the backstage world and learn more about the building. Pre-booking is required via the box office.
Join York’s Hidden History and uncover the city’s ancient, natural and scientific secrets on their guided walks. For the Residents’ Festival, they will be offering a York Ice Walk in the morning and a Micklegate Meander in the afternoon. Pre-booking is required via the events section of their Facebook page: facebook.com/yorkshiddenhist
The photo walks involve learning and developing photography knowledge, while exploring York’s rich history, people, nature and architecture. The aim is to inspire you to stretch your creative legs when out and about with your camera. Walks will take two hours. Pre-booking is required via email or phone.
Wizard Walk of York, Shambles, by the railings of St Crux Church, York.
Join The Wizard of York for family fun with spellbinding magic, comedy and a dash of history. Ideal for ages five to ten and their families. Pre-booking is required via email. Please include details of the total number of adults and children.
All Saints’ Church has two days of events, with a coffee morning and church history talk on Friday, followed by tours of the stained glass and anchorhold, fun family activities, and illuminated evensong and benediction on Saturday. All welcome. Pre-booking is not required.
Central Methodist Church, St Saviourgate, York, YO1 8NQ
This Grade II-listed building, built in 1840, is one of the few chapels of its period still intact. See the horseshoe-shaped interior with gallery and box pews and listen to the organ, one of the finest in York. Pre-booking is not required.
St Denys Church Welcome Day, Walmgate, York, YO1 9QD
A warm community welcome is extended to allcomers with tea, tours, talks and entertainment under the theme of “Eat-Pray-Love…”, telling the history and ambition of St Denys Church, alongside refreshments both bodily and spiritual, while celebrating the refurbished church fabric and fabulous ‘Henry’ organ installation.
Trinity Church York, St Anthony’s Hall, Peasholme Green, York, YO1 7PW
Visit the medieval hall to see timber bracing, 15th century carvings and the home of a thriving church. Mini-lectures at 10am, 11am and 1pm on Saturday on Medieval Motherhood, How York Became Christian and The York Conservation Trust. Pre-booking is required via email.
Explore the garden where the Terry chocolatier family lived on its opening weekend for 2023. Five acres of garden rooms surround their former home. Discover fragrant borders, wildlife areas and glasshouse, alongside a more formal pond and lawn. Pre-booking is not required.
Behind York Minster, discover this intriguing house on a tour. See the collection of fine antiques, art and furniture created by the wealthy, eccentric Industrialist Frank Green, who gave it to the National Trust in 1930. Pre-booking is required online via the website. Select National Trust member option and type RESFEST when asked for a membership number. Bring valid York Card or residency ID on the day.
Alan George: Conducted Academy of St Olave’s Winter Concert
The Academy of St Olave’s Winter Concert, York St John University Creative Centre Theatre, York, 21/1/2023
THIS concert in support of the Jessie’s Fund charity celebrated the music of Schubert, Beethoven and Schumann.
The opening of Schubert’s Incidental music for Rosamunde did seem a tad tentative, hardly surprising given the occasion and new venue with its somewhat dry acoustic. But the Academy quickly hit their stride with a confident Overture brimming with energy and lovely woodwind contributions, dancing gracefully in their many pastoral guises.
This is the first time I have heard this pick’n’mix of musical treats, and the performance was a delight: warm and dignified (Ballet music in B minor), humming nobility (Entr’acte in D major), decisive tempo shifts and a lovely delivery of that melody (Entr’acte in Bb) and so forth.
Then we were suddenly transported to the musical grown-ups’ table with a thrilling performance of Beethoven’s “heroic” Overture Leonore No. 3. This is a truly remarkable work, symphonic in scope and depth.
The musical journey from dark to light, despair to hope was compellingly conveyed in this focused, driven performance. The ‘distant’ trumpet call (signalling the liberation of Florestan and Leonore) was very telling.
Following the interval was a chocolatey-rich delivery of Schumann’s wonderful Symphony No. 3 (Rhenish). I love this work, indeed I love the musical generosity of thiswork. And so did the orchestra. Under the assured musical direction of conductor Alan George, the performance oozed clarity and confidence.
The Rhenish has no introductory welcome, the starting trigger is fired with the players delivering a high-energy, joyful first movement. There was much to admire here, but balance is the key for the necessary clarity, and this performance had it. I particularly enjoyed the quite extraordinary sound world of the fourth “Cathedral Scene” movement, with gorgeous, ecclesiastical (perhaps?) trombone playing.
But I will leave the final word to the orchestral leader Claire Jowett. Ms Jowett has performed this vital, always understated, almost unnoticed role for more years than I care to remember (sorry Claire). And yet the importance of leading the strings with such certainty of purpose is integral to the success and confidence of all concerned.
