Making Light work of it: John Hall (Juan Peron), Alexa Chaplin (Eva Peron) and Dale Vaughan (Che) as one principal trio for York Light’s Evita at York Theatre Royal
WHY will York Light Opera Company have two Evas, two Juan Perons and two Ches in Evita?
Director Martyn Knight has decided to use double casting for the main roles in the February 9 to 19 production at York Theatre Royal in response to Covid-19’s ongoing impact.
“For the five principal roles, they’re all double cast, because we’re still in a pandemic and we wanted to protect ourselves,” he says. “We’ve kept the principal casts separate, which has required us to double the rehearsal time and rehearse in separate rooms.
“But we’ve had cast members drop out with Covid; we’ve had cast members drop out with long Covid; we’ve had cast members suffer injuries. We are on our 18th cast list due to people having to pull out. It’s been a nightmare but it’s also been a labour of love.”
Explaining his reasoning behind “doing the double”, he says: “It’s a fully sung show and double casting provides each team with sufficient rest. The main character parts are huge and it would be a colossal ‘ask’ of any understudy to learn and have to perform those roles without significant rehearsal.
“Double casting provides the best possible cover, which is needed more than ever when putting on the production during a pandemic.”
All the while, Martyn had his annual pantomime commitment – for the 18th year –from November to January as the resident dame at Eastbourne’s Devonshire Park Theatre, playing Nellie Nightnurse in Sleeping Beauty.
Martyn Knight in the poster for this winter’s Eastbourne pantomime role as Dame Nellie Nightnurse
“The gutting thing for me is that I’d never missed a performance, in all those years, working through shingles, ear, nose and throat issues and stomach problems, but then I tested positive for Covid on New Year’s Eve,” he says. “Out of 13, ten of us went down with it during the run; at one point, we had no ensemble and the baddie [Carli Norris’s Carabosse] had to use the stage crew as her minions.
“But I managed to return for the last day, and it was a very powerful, emotional feeling doing the panto this winter, playing to 25,000 people. They needed it, the joy of seeing a show, and that’s why we’re so determined to get theatre back on.”
Hence the precautions taken by York Light for Evita, Andrew Lloyd Webber and Tim Rice’s musical account of the rags-to-riches life story of Eva Peron as she goes from poor provincial child to First Lady of Argentina on her “Rainbow Tour”, using popularity and politics to serve both her people and herself.
For this musical of people, power and politics, Alexa Chaplin and Emma-Louise Dickinson will share the lead role of Eva Peron; Dale Vaughan and Jonny Holbek will play Che; John Hall and Neil Wood, Juan Peron; Dave Copley-Martin and Richard Weatherill, Agustin Maglidi, and Fiona Phillips and Hannah Witcomb, Peron’s Mistress.
Since initial rehearsals last autumn, Alexa and Emma-Louise had not seen each other until their paths crossed in the car park at last Sunday’s rehearsals.
“It’s been a very different experience, where we were only together early in the process, when Martyn was blocking the show, but that was a long time ago,” says Alexa. “It feels very odd not knowing what the other set of principals will be like, but doing it this way, dividing the performances, has meant I could do a show I couldn’t otherwise do, with childcare requirements.
“It will be interesting to see if each night off will feel restful or whether we’ll be chomping at the bit to get back on stage.”
Double act: Neil Wood (Juan Peron), Emma-Louise Dickinson (Eva Peron) and Jonny Holbek (Che) as the other principal trio for York Light Opera Company’s Evita
In preparing for the lead role, Alexa says: “I’m quite a nerd, when it comes to research, reading biographies, finding out about the character, but then, what writers do to a character in a musical is not fully true to life, and you have to bridge that gap of how they interpret her.
“But I feel whatever you think about her politics, Eva’s absolute tenacity and drive and endless energy is incredible – and the musical demands that you match that energy, with it being such a ‘big sing’.”
Emma-Louise was last on stage in a musical in February 2020, playing Nancy in Oliver! at York Theatre Royal, in the weeks before the first Covid lockdown. “The only thing I’ve done since then was the Raise The Roof fundraiser for the Joseph Rowntree Theatre with everyone spaced out and a restricted audience capacity,” she says.
“If someone had said you won’t do a musical for two years…but at least I’ve been fortunate in being able to engage in singing online as a music teacher. It’s such a discipline, performing, and after such a long time off, it’s been a challenge building up the stamina again since we started rehearsals in September.”
Contemplating playing Eva Peron, Emma-Louise says: “Whenever you’re playing a real-life character, there’s an added pressure to make it accurate, so there’s not as much room for interpretation.
“I’ve learned how fascinating it is that someone can be so adored but so reviled, and the only thing I can liken it to is the story of Princess Diana. They were both controversial figures, but when Diana died there was this huge devastation, and her legacy has grown and grown, just as it has for Eva Peron.”
York Light Opera Company in Evita, York Theatre Royal, February 9 to 19, 7.30pm (except February 13); 2.30pm matinees, February 12 and 19. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Pasadena Roof Orchestra: “Feeling this music in their bones like no other group”
IN times of stress, a little nostalgia goes a long way. And nostalgia doesn’t come any better than the Pasadena Roof Orchestra’s evocative excursions, mainly into the 1920s and ’30s.
PRO’s ten players, many doubling on a second instrument, were led by singer-compère Duncan Galloway, who also proved a mean tap-dancer. They feel this music in their bones like no other group I know.
Believe It Or Not (‘I’m Walkin’ On Air’) got everyone going and soon we were into Zing Went The Strings, with pianist Simon Towneley lending his voice to Galloway’s in this James Hanley hit from 1934.
From exactly that era came the short-lived Alex Hill’s I’m Crazy ‘Bout My Baby. English composers were not neglected either, with the dreamier What More Can I Ask?, which Ray Noble wrote to words by Anona Winn.
Irving Berlin’s first really big hit was Alexander’s Ragtime Band, which was launched as early as 1911 by the contralto Emma Carus, although when Al Jolson took it up in New York it really went viral.
Two of Berlin’s big film tunes also found their way onto PRO’s menu: Puttin’ On The Ritz (1929) and Top Hat, White Tie And Tails (1935). All three were given terrific verve.
PRO boasts some of the best soloists in the business, none finer than banjoist Harry Wheaton, who brought lightning fingers and considerable sparkle to Frosted Chocolate. His is a rare talent these days.
Oliver Wilby’s tenor sax brought swinging life to Body And Soul, the number that made Johnny Green’s name in 1928. Percussionist Dominic Sayles gave a more than passable imitation of the legendary Gene Krupa in Drummin’ Man (1939).
Malcolm Baxter’s trumpet took the lead several times, none better than in a six-man Dixieland group that gave a vigorous account of Indiana (‘Back Home Again In Indiana’, 1917).
The best slow smooch came in Duke Ellington’s Black And Tan Fantasy of 1927, although Sam’s tune from Casablanca, As Time Goes By – actually Dooley Wilson in the film – ran it pretty close.
Duncan Galloway has a slick way with these vocals, and his diction improved notably in the second half when the microphones were made to work properly, spearheaded by Cole Porter’s Anything Goes.
It ended with Tiger Rag, a medley of four tunes that hark back to New Orleans of the 1890s. It was right up PRO’s street and brought this stimulating evening to a rousing finish, not forgetting the band’s signature tune, Pasadena, which was actually made famous in this country by the Temperance Seven.
We may be hugely grateful that the Pasadena Roof Orchestra is keeping these traditions alive and kicking. They are welcome back in Yorkshire any time.
York Musical Theatre Company’s artwork for Jekyll & Hyde The Musical
REHEARSALS are underway for York Musical Theatre Company’s May staging of Jekyll & Hyde The Musical.
“The production team were blown away by the high standard of talent that attended the two days of auditions in January, resulting in a very tough task in the casting of roles,” says company stalwart Mick Liversidge. “In fact, deliberation went on to the early hours of the morning after the final auditionee had left on the second day.
“YMTC feel that the resulting cast will deliver a fantastic show, worthy of marking the company’s 120th year. Rehearsals began on Monday and the cast couldn’t wait to get stuck into the sumptuous music of this fabulous show.”
Based on Robert Louis Stevenson’s classic story, the epic struggle between good and evil comes to life on stage to the thrilling pop-rock score of Grammy and Tony Award-nominated Frank Wildhorn and double Oscar and Grammy-winning Leslie Bricusse.
An evocative tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself – finds both women in love with the same man and both unaware of his dark secret.
A devoted man of science, Dr Henry Jekyll is driven to find a chemical breakthrough that can solve the most challenging of medical dilemmas. Rebuffed by the powers-that-be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons, along with the man that the world would come to know as Mr Hyde.
York Musical Theatre Company invite audiences to “be immersed in the myth and mystery of 19th century London’s fog-bound streets, where love, betrayal and murder lurk at every chilling turn and twist” in the May 25 to 28 run at the Joseph Rowntree Theatre, York.
Tickets are on sale on 01904 501935 or at josephrowntreetheatre.co.uk. For the Early Bird discount of £2 off each ticket, use the promo code JEKYLL22HYDE when booking online.
Jekyll & Hyde cast:
Dr Henry Jekyll/Mr Edward Hyde: Steven Jobson Emma Carew: Alexandra Mather Lucy Harris: Nicola Holliday & Claire Pulpher (shared role) John Utterson: Anthony Gardner Sir Danvers Carew: Nick Sephton Simon Stride: Matthew Ainsworth Lady Beaconsfield: Helen Spencer Lady Savage: Elizabeth Vile Archibald Proops: Ryan Stocks General Glossop: Rob Davies Bishop of Basingstoke: Ryan Richardson Spider: Ben Caswell Nellie: Erin Keogh
Hawkwind keyboardist Tim Blake and guitarist Dave Brock in concert . Picture: Oz Hardwick
YORK poet, musician, academic and photographer Oz Hardwick is exhibiting “very much a labour of long-standing obsession” at City Screen, York.
On show in the upstairs corridor until February 19 are his photographs of Hawkwind, one of the earliest space rock groups, who formed in Ladbroke Grove, London, in 1969 and have since gone through many incarnations, taking in hard rock, prog rock and psychedelic rock.
Lemmy, later of Motorhead, and Silver Machine, the June 1972 single that peaked at number three, are but part of a story that Oz has photographed from 1980 to 2021.
For many years he has focused on poetry and the academic world, way back in the 1970s, Plymouth-born Oz trained as a photographer, combining that skill with his passion for music and alternative culture.
Over the years, he has contributed to many album covers and books, most recently being the main photographic contributor to Martin Popoff’s Hawkwind: A Visual Biography, published by Wymer last year.
Oz exhibited a selection of his photographs at a festival at the Alhambra in Morecambe in 2018. “Then I was going to have a little exhibition to coincide with the band’s York Barbican show on their 50th anniversary but that didn’t quite work out,” he says.
“And so, it was going to be City Screen to coincide with the 50th anniversary of their first album [August 1970’s Hawkwind by Hawkwind], which was in 2020, so that didn’t happen either.
“But here it is at last, upstairs in City Screen, a bit of a celebration of a countercultural institution that’s probably been more influential than most people realise and is still going strong.”
Oz Hardwick: Poet, musician, professor of creative writing and photographer
Here Oz answers CharlesHutchPress’s questions about that “labour of long-standing obsession”.
What first drew you to Hawkwind, Oz?
“In 1972, I was a 12-year-old boy who loved music, with a particular enthusiasm for glam rock and a growing interest in heavy rock that came via my elder sister’s friends. I’ve read many times how David Bowie’s Starman on Top Of The Pops ‘changed everything’ for many people, and I remember the performance.
“However, it was the week after that Silver Machine appeared and for me that was really exciting. It’s up on YouTube now, but in those days all your friends would be watching the same thing at the same time, and I recall having to ask a friend the next day what this band had been called, because the clip – filmed in concert and cobbled together to accompany the single (and watched on a black-and-white TV) – had absolutely blown me away.
“I had no idea what was making some of those noises, the energy was like nothing I’d heard, and the band looked unhinged. It wasn’t just an exciting new group; it was a little glimpse of an alternative universe, which looked way more exciting than the one I was in. These people weren’t dressing up like Bolan and Bowie (who I really liked, by the way); there was a sense of this being real.
“And then, when I finally acquired an album the following year – the monumental Space Ritual – there were passages of poetry accompanied by unearthly electronic sounds. I’d picked up a love of poetry by osmosis from my grandfather who lived with us.
“He’d had no education, really, but had a passion for the Lake Poets and Burns, who were deeply attached to the places where he’d grown up and become a farm worker, and this was something which set that linguistic energy into the cultural context in which I was growing up – pop music, Apollo-era science fiction, and so on. And the artwork was amazing, too. It was the full package.”
Lemmy, photographed by Oz Hardwick in his post-Hawkwind years leading Motorhead. Not featured in the City Screen exhibition
Did you meet Lemmy [Hawkwind’s bass player from 1972 until being fired in 1975, when he formed Motorhead]? If so, what are your memories?
“Lemmy was still in the band when I first saw Hawkwind in Plymouth Guildhall in February 1974, but I didn’t meet him until the early Motorhead days.
“When they started out, they were getting awful reviews and nobody much was interested as they were slogging around fairly grotty little clubs. I, of course, turned up to their first Plymouth gig early – I always wanted to get down the front – and the first few of us to arrive were roped into carrying a grand piano down the fire escape.
“Those were the days. It meant we got to hear the soundcheck, and I think we were let in free, too. And there was a bit of a tongue-tied greeting.
“They played a few times locally while they were still struggling along, and the band were always really welcoming, chatty, funny and down-to-earth. Then they went off to be pretty huge and no longer played to small but passionate audiences in sticky-floored clubs. “However, several years later I was at an open-air Hawkwind gig at Crystal Palace – the legendary event at which they shared the stage with Vera Lynn – and during the afternoon I happened to be walking vaguely towards Lemmy in the field.
“Amazingly, he stopped me and asked how I was. He was a fully-fledged rock star by then, but he still remembered those people who supported the band when there weren’t all that many of us. And I don’t think many people would be like that.”
Hawkwind’s stage set with the band logo at its heart. Picture: Oz Hardwick
You know the drill: “First three numbers only. No flash”. What are the challenges of photographing a band in concert under those circumstances?
“They will insist on moving about! I think the particular challenge with rock music is the lighting changes. It’s true with many artists, but Hawkwind were always particularly tricky as there was never much light on the band, who were quite often shadowy figures against brighter backgrounds. There’s still some of that, but less so than there used to be.”
Do you prefer photographing a band on stage, in the studio or off-guard?
“I much prefer photographing bands on stage. I’ve done some more posed off-stage work from time to time, but my enthusiasm has always been for capturing artists doing what they do, rather than imposing myself too much on things.
“When I was training as a photographer, I got really into theatre work, and it grew out of that, I think. Also, I’m a very socially awkward person (cripplingly so when younger), so it’s good to vanish into the background.
“In relation to this, I have to say how generous Hawkwind were, letting this awkward young bloke with a camera onto the side of the stage, into the dressing room, and so on. Again, I think this is probably quite unusual, to say the least.”
Where and when did you train in photography?
“I was at Plymouth College of Art in the late 1970s. I’d already learned the basics there on Saturday mornings while I was at school and I’d taken an O-level, so it was the logical next step – and I had no idea what else I might do.
“I’ve never been very career oriented. I’m now professor of creative writing over at Leeds Trinity University, but it’s not something I ever intended: I just always wanted to create things and was looking for ways to do so that worked for me. These days I only do a little bit of photography and it’s mostly writing, but they’ve both been constants for years, with just the balance shifting.”
Hawkwind: Black Sword. Picture: Oz Hardwick
You describe Hawkwind as a “countercultural institution”. In what ways?
“They emerged from that vibrant countercultural movement which had a bit more edge and political substance, which drew on agit-prop theatre, cutting-edge graphic design, the alternative press, and so on.
“They were effectively the ‘house band’ of that culture, supporting various causes, and while things have changed immensely, they have remained on the edge. They were at the heart of the free festival culture of the 1980s, for example, and they still have close associations with the Sea Shepherd and wildlife charities in particular.
“And they are a band who have evolved their own community, too, with their own small festivals and also taking artists under their wing to an extent.”
How have Hawkwind “probably been more influential than most people realise”?
“Anyone with a vague interest in ‘classic’ rock music will know Silver Machine but the chances are good that they won’t know anything else. Their influence is disproportionate, though.
Hawkwind founder member Dave Brock: 53 years and counting. Picture: Oz Hardwick
“Because of the directness of their music and their disdain for the mainstream, they were a major – and frequently cited – influence on punk rock, while most of their contemporaries were being derided.
“Their experiments with electronics fed into ambient and New Age soundscapes and that was one of the roots of synth-pop, and the extended, repetitive structures are one of the foundations of the dance music that evolved from the late 1980s and continues to do so. In the diverse niches of contemporary alternative rock, they’re pretty much everywhere.”
Playing devil’s advocate, what does it take for a band to survive for 53 years on one hit?
“Now, that’s a complex one to answer, but part of it, I suspect, is that there was just the one hit. The follow-up, Urban Guerilla, was famously withdrawn amidst controversy as its release coincided with terrorist attacks, and that was pretty much it for pop stardom.
“Instead, they used the money from Silver Machine’s success to fund the elaborate staging of their ambitious Space Ritual tour, which led to the double album that is still regularly cited as one of the best live rock records ever.
“With the live reputation they built up, they didn’t really need to be on Top Of The Pops. I guess the ‘what if?’ scenario raises the question of whether, if they had managed a couple of follow-up hits, they might have had a brief flare at the top and just disappeared once they started slipping down the ratings.
“Interestingly, a couple of albums in recent years have made higher chart placings than anything they’ve released since the mid-’80s, so things haven’t worked out too bad. And, of course, they still have the instantly recognisable big hit on pretty much every ’70s rock compilation that gets released, which in itself is one up on thousands upon thousands of bands.”
Huw Lloyd-Langton in his days as a Hawkwind guitarist. Picture: Oz Hardwick
When did you first photograph Hawkwind; when did you last photograph them?
“My earliest (not great) photos are from 1980, the most recent from 2021. As it happens, though, the first time I ever took a camera to a gig was a Motorhead show in, I think, 1978, so there’s a connection there.”
What is the story behind you exhibiting your Hawkwind photos at a festival in 2018?
“The band organise their own little festivals and suchlike. In 2018, they had a weekend at the Alhambra in Morecambe, which was put together with poet, performer and all-round good guy Matt Panesh, to contribute towards keeping this beautiful old theatre open in quite a deprived part of the country.
“Hawkwind played a couple of times, along with assorted friends and relations; there were performances of plays by the late Robert Calvert (who, along with mainstay Dave Brock, wrote Silver Machine) and amongst the peripheral events and attractions I had a small photographic exhibition, with a number of pictures that had been on album covers, in books, and so on.”
How did you select the photos now on show in the City Screen corridor?
“The exhibition features most of those I had printed for Morecambe, along with a few more oldies and some taken in 2021. Though it was another terrible year for the performing arts, Hawkwind managed a couple of shows.
“The highlight was definitely their Hawkfest over a sunny weekend in north Devon last summer. With a little under a thousand attendees and a great line-up – including two sets by Hawkwind and various members playing with other bands – and a lovely bunch of like-minded people getting together after months of lockdowns, it was a wonderful celebration of the music and of that community I mentioned earlier. There are a few photos from that weekend.”
Mr Dibs: Hawkwind’s vocalist, cellist, guitarist and bass player from 2007 to 2018. Picture: Oz Hardwick
How has the art of rock music photography changed over the past 40 years?
“I think it’s changed in the way all photography has changed. In the 1980s and 1990s, you’d really read the performance and get a few gems from your 36 or maybe 72 frames. Nowadays, anyone with a phone can get a couple of good shots from the 600 they take, all of which they upload onto Facebook.
“If I can get a bit cosmic for a second, though, the relationship between a photographer and the performance is very, very different. There’s an intensity of focus in the moment, coupled with a kind of acquired second sight, whereas I suspect someone waving their phone over their head is outside the moment. But we can maybe talk about ‘art’ another time!”
Which camera do you favour?
“The shorthand techie answer is Nikon for film and Canon for digital. Really, though, it’s anything that can capture a decent image (and most can) because all a camera does is capture what you see. It’s much more about looking than technology. As an aside, I do rather like seeing what the flaws in really poor cameras can do – I do like a bit of chaos.”
Do you keep a list of the album covers and books to which you have contributed photographs?
“I’m really bad at keeping records. I’ve built up quite a body of work in both writing and photography and am generally looking at the current project and the next thing. In terms of Hawkwind, the photos that have given me most satisfaction are the front cover and booklet of TheFlicknife Years box set of 1980s’ recordings.
“I was following the band all over and really immersing myself in that wonderful world I glimpsed on Top Of The Pops back in ’72, and the idea of having something on the front of an album just seemed like fantasy.
“There were two United States reissues in the’90s – Zones and Do Not Panic – that came with posters of my photos, which were special to me in themselves, but also my parents had them on their hall wall for the rest of their lives and would proudly show them to all visitors. “Beyond that, there are a lot of album covers by the band and also off-shoots (there are a lot of ex-members after 53 years).
“Of the books, I’ve a number of pictures in Ian Abrahams’ Hawkwind: Sonic Assassins, the revised edition of which has one of mine on the front; and last year’s Hawkwind: A Visual Biography, by Martin Popoff, has well over 200 of my pictures, including the front cover. “Again, there are other books and magazines and so on. None of which I could even have imagined as I sat dumbstruck in front of that rented black-and-white telly half a century ago.”
Oz Hardwick’s Hawkwind exhibition runs at City Screen, York, until February 19.
Oz Hardwick’s book cover for Martin Popoff’s Hawkwind: A Visual Biography
“We cannot wait to get back on the road and this time play Boyzlife original material,” say Brian McFadden and Keith Duffy
BOYZLIFE, the Irish superboyband formed by long-time pals Keith Duffy and Brian McFadden, will play York Barbican on October 14 on their 27-city Old School tour.
Boyzone’s Duffy and Westlife’s McFadden will be performing songs from their upcoming studio album of original material, Old School, alongside multiple hits from their Nineties and Noughties’ boybands.
Boyzone have chalked up six UK number one singles and worldwide sales of 25 million records; Westlife have notched 12 UK and Irish number one singles and four chart-topping albums.
Boyzlife’s debut album, Strings Attached, revisited nine Boyzone and Westlife number ones, performed by Duffy and McFadden with the Royal Philharmonic Orchestra at Angel Studios, London.
Released on July 17 2020, it topped both the UK and Irish iTunes and Amazon music charts and peaked at number 12 in the UK Official Album Chart.
Duffy, 47, and McFadden, 41, wrote and recorded Old School in studio sessions in between last year’s tour dates. Giving a glimpse into what fans can expect of the May 6 release, McFadden says: “Keith and I grew up in the ’80s and ’90s; the sound of that era is what made us want to be musicians in the first place.
The album cover artwork for Boyzlife’s Old School, out on May 6
“When we first started talking about making this record as Boyzlife’s first studio album, we naturally talked about those influences a lot and have loved bringing these familiar sounds into our studio sessions and onto this record and cannot wait to take those songs live.”
Boyzlife add: “Working with our producer Jackson has been an extremely creative process. We went into the studio with lyrics ideas, worked together to find a melodic sound to go with the lyrics and built the songs from there.
“Some things just fit into place and others get chopped and changed until we all agree we are on the right track. We are very excited about this album and can’t wait for people to hear it.”
The track listing will be: Burn For You; first single The One (co-written by McFadden with Guy Chambers); A Little Saving; All This Time; Glory Days; Because I Love Somebody; Coming Back To You; Her; If I Asked You To Love and Distant Sun.
Boyzlife, who made their York Barbican on October 17 2021, say: “We cannot wait to get back on the road and this time play Boyzlife original material alongside all of our music over the last 25 years. The show will be a Rolla-coaster through old and new songs and we cannot wait to take our fans on the ride.”
Boyzlife’s Old School tour will take in further Yorkshire shows at Sheffield City Hall on September 29 and St George’s Hall, Bradford, on October 15. Box office: York, yorkbarbican.co.uk; Sheffield, sheffieldcityhall.co.uk; Bradford, Bradford-theatres.co.uk.
Russell Kane: Pandemic pontifications in The Essex Variant! show
ON football’s January transfer deadline day, York Barbican made three big signings of its own: comedian Russell Kane, Barnsley heavy metal veterans Saxon and blues guitarist/singer-songwriter Joanne Shaw Taylor.
Enfield humorist Kane, 46, offers his “gut-punch funny, searing take on the two years we’ve just gone through” on December 14 in his new stand-up tour show, Russell Kane Live: The Essex Variant!.
Comic, writer, presenter and actor Kane presents two podcasts, Man Baggage and BBC Radio 4’s Evil Genius and is a regular on Channel 4, BBC and ITV. “I drink lots of coffee and I’m ‘like that in real life’,” he says.
He was the first comedian to bag the two most prestigious comedy awards on Earth in the same year, for the same show: The Dave’s Edinburgh Comedy Awards (formerly known as the Perrier) and the Melbourne International Comedy Festival Award, (formerly the Barry Award). “I’m also a raving bighead that likes listing my achievements,” he says.
Saxon invaders: Barnsley heavy metal veterans take over York Barbican in November
After 15 million album sales and four top ten albums in a career-spanning 44 years, heavy metal stalwarts Saxon visit York on November 23 on their Seize The Day tour.
Plugging new album Carpe Diem in 14 cities with Diamond Head as their special guests, Saxon frontman Biff Byford, 71, says: “Can’t wait to get out on a real tour again. It’s gonna be monumental. See you all out there. Seize the day!”
Produced by Judas Priest guitarist Andy Sneap at Backstage Recording Studios in Derbyshire, with Byford and Sneap mixing and mastering, Carpe Diem will be released on Friday (4/2/2022) on Silver Lining Music, in the wake of two singles, Remember The Fallen and Carpe Diem (Seize The Day).
Joanne Shaw Taylor has picked York for one of only five dates on her spring tour, performing songs from last September’s The Blues Album on April 24.
Joanne Shaw Taylor: Feeling the blues in York on April 24
Shaw Taylor, who will turn 37 on February 20, topped Billboard Magazine’s Official Blues Album Chart last year, when her covers record was voted #Number 1 Most Played Blues Album of 2021 by the Independent Blues Broadcasters Association.
The Blues Album comprises the Wednesbury musician’s personalised covers of 11 rare blues numbers recorded by Albert King, Fleetwood Mac’s Peter Green, Little Richard, Magic Sam and Aretha Franklin, complemented by some “not obvious choices” by Little Village, Little Milton, The Fabulous Thunderbirds and James Ray.
“I’d known from the beginning of my recording career that one day I wanted to record an album of blues covers; I just wasn’t sure when the right time to do that would be,” she says. “I’ve always found it far easier to write my own material than come up with creative ways to make other artists’ material my own.”
Tickets for all three shows go on sale on Friday from 10am at yorkbarbican.co.uk.
YORK’S Late Music concert season resumes with its first programmes of 2022 on Saturday at the Unitarian Chapel, St Saviourgate.
In the lunchtime concert at 1pm, pianist Jacob Fichert presents The Character Piece Throughout Music History, performing music from Bach to a new work by York composer Steve Crowther.
In the evening, at 7.30pm, soprano Jessica Summers and pianist Jelena Makarova’s Living Songs: Songs Of Love And Exile combines works byDowland and Rihm with new pieces by Patrick John Jones and Silvina Milstein.
Jelena Makarova
Opening with Bach’s serene and pastoral Prelude and Fugue in A major, Fichert explores character pieces throughout different styles. Three of Debussy’s iconic preludes are indeed the prelude to lesser known, yet exquisite pieces by Lili Boulanger (Trois Morceaux pour Piano) and Adolf Busch. The finale will be the premiere of Political Prayer, a powerful and thought-provoking piece by Late Music programmer Steve Crowther.
Summers and Makarova’s Living Songs showcases songs by living composers alongside more well-known classical song repertoire. The world premiere of Patrick John Jones’s Elsewhere 137 will be followed by John Dowland’s Flow, My Tears (from 1600) and the world premiere of Silvina Milstein’s Raise No Funeral Song…, composed this year.
Next come Wolfgang Rihm’s Zwei Gedichte von Marina Zwetajewa (2016); David Lancaster’s The Dark Gate (2016); Richard Causton’s Poems Almost Of This World (2005); Edmund Hunt’s There Is A Blue-Green Eye (2022) and Kurt Weil’s Intermezzo (1917).
Don Walls: late York poet
The penultimate composer will be Steve Crowther once more, who composed a setting of Emma And I, a poem written for his daughter Emma by the York poet Don Walls the year he died in 2017. “I admire the man and poet greatly and miss him,” says Steve.
Two Ivor Novello compositions from 1945, Love Is My Reason and We’ll Gather Lilacs, conclude the evening concert, where a collection will be made in aid of Safe Passage, an organisation that helps refugees access legal routes to safety.
Tickets for Fichert cost £5; for Summers and Makarova, £12, concessions £10, students £5, on the door or at latemusic.org/.
Echo & The Bunnymen’s Ian McCulloch and Will Sergeant: 44 years and counting…and still too cool to be called a heritage act
ECHO & The Bunnymen are heading out on their spring tour, opening with two Yorkshire gigs at Sheffield City Hall tomorrow (1/2/2022) and Leeds O2 Academy on Wednesday.
Billed as “celebrating 40 years of magical songs” – although the Liverpool band formed in 1978 – the 20 dates book-end the February 18 vinyl reissue of the Bunnymen’s first compilation, 1985’s Songs To Learn & Sing.
Available on heavyweight black vinyl and a special-edition splatter vinyl, complete with an exclusive seven-inch pressing of debut single Pictures On My Wall/Read It In Books, the resurrected compilation follows last October’s vinyl re-issue of their first four studio albums, Crocodiles, Heaven Up Here, Porcupine and Ocean Rain, also on black or limited-edition coloured vinyl.
“It’s about making the albums look good,” says guitarist Will Sergeant, who remains at the core of the Liverpool post-punk legends with singer Ian McCulloch. “There’ve been versions out there, like the ones with hard cardboard sleeves a couple of years, that I did some liner notes for. I just got a few copies…with a bit of scrounging!
“There’s loads of Bunnymen records I haven’t got. I never get sent anything! People come up to you and ask you to sign records, and you think, ‘I’ve never seen that one before’.”
Echo & The Bunnymen at Gullfloss, southern Iceland, on the cover of third album Porcupine
Sergeant notes the resurgence in buying vinyl, but says: “I’ve never given up on vinyl. You wouldn’t throw out old photo albums, so why throw out your vinyl? I’d never sell them.
“There was this bloke with all the original Beatles albums on mono, selling them for nothing at a car-boot sale, and I said to him, ‘what are you doing, selling them for that’, and he ended up putting them back in his car!“
He is delighted by the Bunnymen’s ongoing reissue programme, “I’m made up that they’re being brought out on vinyl, as I love it, though all I know is that they’re being re-released. I’ve not really been consulted, though I’m sure they’ll have been tarted up a bit!”
The album sleeves, revelling in their return to the 12-inch canvas, bring back memories for Sergeant, now 63. Like the freezing-cold day in 1982 they shot the cover for 1983’s Porcupine at Gullfoss, the ‘Golden Falls’ waterfall in southwest Iceland.
“It was 30 degrees below! I think Bill Drummond had been there as a kid, going to Iceland on a fishing boat. We just went there to do the album cover. It was the middle of winter, and we had to get up at two in the morning, setting off across the tundra in these four-wheelers. It took all of three hours to get to the end of this glacier.
Echo & The Bunnymen at Carnglaze Caverns, Liskeard, Cornwall, in Brian Griffin’s artwork for Ocean Rain, billed as “the greatest album ever made”
“I was wearing a parka and some boots, and Ian had some ‘ladies’ slippers from with little knots on them and fur inside. He used to call them his banana boots ’cos they went yellow.”
The sleeve image looks spectacular, but doing the shoot was “mental”, says Sergeant. “There was a 200ft drop just two feet away on this ice cap. If we’d slipped, we’d have been down in this chasm,” he recalls. “But I’m glad we did it. The great thing is that it’s real. It’s not photoshopped. We really had to go to these places.”
Next came Ocean Rain, the 1984 masterpiece trailered by McCulloch’s advert boast proclaiming it to be “the greatest album ever made”. “We shot the cover in an old slate mine in Cornwall. Jake Riviera, the big cheese on Stiff Records, had this cave on his land at the bottom of his garden, and the photographer, Brian Griffin, had worked with Jake and knew this place,” says Sergeant.
“We were always looking for natural settings. We’d done the sea, we’d done the woods, we’d done the glacier, so we said, ‘let’s do a cave.”
Once in the cave, at Carnglaze Caverns, Liskeard, they decided to use the rowing boat in there. “It’s naturalistic, but the way Brian lit it makes it look likes the water curves round the tunnel. Beautiful.”
“It’ll be pretty much the greatest hits and maybe a couple of new ones,” says Will Sergeant of Echo & The Bunnymen’s set list for their spring tour
Sergeant has always loved the look of vinyl, the size of the album sleeve, that all contributes to the iconic status of classic albums. “The good thing about records, if you have a collector’s spirit, is that you want all of it: all of The Doors, The Rolling Stones, Roxy Music, so it’s great that vinyl’s coming back. Not just for the old collectors, but the young hipsters.”
Looking ahead to the tour, Sergeant says: “It’ll be pretty much the greatest hits and maybe a couple of new ones. We’ll decide the day before.
“We did start recording new stuff, but the pandemic put the kybosh on that, so the momentum was lost. We’ll see.”
He did use lockdown, however, to bring his book, Bunnyman: A Memoir, to the finishing line for publication last July (and subsequently in the United States in November on Fairman Books, musician Jack White’s publishing house).
Sergeant’s memoir recounts how he grew up in Liverpool in the 1960s and ’70s, “when skinheads, football violence and fear of just about everything was the natural order of things, but a young Will Sergeant found the emerging punk scene provided a shimmer of hope amongst a crumbling city still reeling from the destruction of the Second World War”.
From Read It In Books to writing books: Echo & The Bunnymen’s Will Sergeant pens his memoir, Bunnyman
“I’d already started writing it, in 2019, I think, but the first lockdown helped me to concentrate on it, doing it every day for nine months, then it took time to find the photos – there aren’t a lot, as the book focuses on my time as a kid, growing up, and the first year of the band before Pete [drummer Pete de Freitas] joined, when we had a drum machine. The next book will be about what happened after that,” says Sergeant.
Reflecting on his back story, he says: “I remember a lot of things from when I was a kid, because we had a bit of a tumultuous childhood, with a lot of violence and heaviness in the house because my parents didn’t get on.
“I didn’t keep a diary, but with the Bunnymen, every day is a diary day because people keep details and lots of it has stayed in the memory – and it’s the bits that you remember that are important.
“My big thing is truth. I don’t like people who lie. That’s why there are lots of truths in the first book that some people would have left out.”
Echo & The Bunnymen play Sheffield City Hall tomorrow (February 1) and Leeds O2 Academy on Wednesday. Box office: gigsandtours.com/tour/echo-and-the-bunnymen.
TWO Big Egos In A Small Car arts podcasters Graham Chalmers and Charles Hutchinson interview Heath Common, poet, publisher, journalist, presenter and musician, about his Kerouac Lives project.
As part of Independent Venues Week, this cabaret night will celebrate the life, work and impact of legendary Beat writer Jack Kerouac at Wadsworth Community Centre on February 4 at 7.45pm (doors, 6.45pm).
Heath Common will be joined by Simon Warner and John Hardie for an evening of conversation, key readings and a specially composed soundtrack to mark the centenary of the Massachusetts writer’s birth.
Kerouac Lives contends that Jack Kerouac is a voice like no other, transcending his era. “His works become a symbol of change in an increasingly conformist system, leading the iconic Beat movement,” the event blurb states.
“It also inspired the next generation of rebels for decades to come. He was a champion of freedom, individuality, and authenticity.” Tickets are selling fast on 07731 661053 and 07890 205890.
Episode 75 of Two Big Egos In A Small Car concludes with Chalmers & Hutch’s discussion onthe impact of the freezing – and potential easing out – of the BBC licence fee.
Neil Wood (Juan Peron), Emma-Louise Dickinson (Eva Peron) and Jonny Holbek (Che): principal trio from one of York Light’s casts for Evita
YORK Light Opera Company is using double casting for the main roles in Martyn Knight’s production of Evita in response to the pandemic’s abiding impact.
“We are on our 18th cast list, with casting and rehearsals affected by Covid, long Covid and physical injuries,” says Martyn. “We’ve kept the principal casts separate, which has required us to double the number of rehearsals.”
Running at York Theatre Royal from February 9 to 19, Evita tells the story of Eva Peron’s rags-to-riches life as she goes from poor provincial child to First Lady of Argentina on her “Rainbow Tour”. A champion of working-class descamisados (otherwise known as “the shirtless”), she uses popularity and politics to serve her people and herself.
For Andrew Lloyd Webber and Tim Rice’s musical of people, power and politics, Alexa Chaplin and Emma-Louise Dickinson will share the lead role of Eva Peron; Dale Vaughan and Jonny Holbek will play Che; John Hall and Neil Wood, Juan Peron; Dave Copley-Martin and Richard Weatherill, Agustin Maglidi, and Fiona Phillips and Hannah Witcomb, Peron’s Mistress.
John Hall (Juan Peron), Alexa Chaplin (Eva Peron) and Dale Vaughan (Che): the other principal trio for York Light’s Evitaat York Theatre Royal
“It’s a fully sung show and double casting provides each team with sufficient rest,” says Martyn. “The main character parts are huge and it would be a colossal ‘ask’ of any understudy to learn and have to perform those roles without significant rehearsal.
“Double casting provides the best possible cover, which is needed more than ever when putting on the production during a pandemic.”
Knight is joined in the production team by musical director Mike Thompson for a Tony Award-winning musical that features the pop chart hits Don’t Cry For Me Argentina, Oh! What A Circus and Another Suitcase In Another Hall.
Tickets for the 7.30pm evening performances (no show on February 13) and 2.30pm matinees on February 12 and 19 are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Jonny Holbek as Che in rehearsal for York Light Opera Company’s Evita
