The Chemical Brothers: Block rockin’ beats at Castle Howard this summer
HEY boy, hey girl, electronic pioneers The Chemical Brothers will take to the grass at Castle Howard this summer.
Manchester big beat duo Tom Rowlands and Ed Simons, both 51, will galvanize rave diggers at a June 26 gig in the North Yorkshire stately home’s grounds, near Malton, where gates will open at 5pm.
Formed by the two university friends in 1989, The Chemical Brothers have chalked up 13 million record sales with such dancefloor nuggets as the chart-topping Setting Sun and Block Rockin’ Beats, Hey Boy, Hey Girl, Let Forever Be, It Began In Afrika, Star Guitar, Galvanize, Do It Again. Got To Keep On and Go en route to multiple Grammy awards.
In total, Rowlands and Simons have delivered nine studio, one live, five compilation, two remix, five mix, one soundtrack and two videos albums, six extended plays, 15 promotional singles and 32 music videos.
Their latest album, April 2019’s No Geography, secured two more Grammys. Last year, Rowlands and Simons released the single The Darkness That You Fear and produced new mixes for their Radio Chemical project for Sonos Radio and the multi-sensory centrepiece of Electronic – From Kraftwerk To The Chemical Brothers.
Made in tandem with live visual creators Smith & Lyall, Electronic became the most successful exhibition in the history of London’s Design Museum.
The Chemical Brothers will be Castle Howard’s second concert of Summer 2022, following New Romantics’ heartthrobs Duran Duran on June 17.
Camping at Castle Howard will be available for both events. To book tickets, go to: castlehoward.co.uk.
Francesca Chiejina as Mimi and Luciano Botelho as Rodolfo in English Touring Opera’s La Bohème
English Touring Opera, La Bohème, April 8; The Golden Cockerel, April 9, at York Theatre Royal
IT was good to have English Touring Opera back in town. Don’t take my word for it. The Theatre Royal had to open its upper reaches to accommodate the throngs gratefully gathered for professional opera for the first time since Covid struck.
York Opera had led the way in fine style last autumn; ETO followed suit, with a potboiler and an exotic rarity.
Puccini’s La Bohème inevitably relies for its success on the lovers at its heart. The company had cast its net wide before settling on Brazilian tenor Luciano Botelho for the lovelorn Bohemian Rodolfo, casting Nigerian-American soprano Francesca Chiejina as his Mimì.
On this occasion, both began diffidently: it was partly a reflection of the amatory sheepishness of their characters, but also a result of under-projection. Botelho’s tenor disappeared into his head the higher up the range he went, while Chiejina took a while to release the tension in her jaw, which diminished her projection. She left the difficult final note of Act 1 far too early, a sure sign of lacking confidence.
Thereafter both improved and their Act 3 duet by the customs barrier found them much more relaxed and thus less self-conscious.
James Conway’s thoughtful production, revived here by Christopher Moon-Little, was based around deliberately simplistic designs by Florence de Maré (revived by Neil Irish). A large reflective glass panel leaned in on the bohemians’ attic, with the regulation stove in one corner and unusual seating provided by the basket of a hot-air balloon whose sandbags were cushions. Set on tea-chests, these became pillows for Mimì’s deathbed.
These bourgeois boys were well-clothed, affirmation that they would be returning to provincial ways once their salad days were done. In this way, set and production were complementary.
Michel de Souza’s warm baritone made a sympathetic Marcello, who was never going to be fooled by the glamour of Jenny Stafford’s Musetta; she in turn was more hard-edged than flirtatious.
Trevor Eliot Bowes’ pensive Colline and Themba Mvula’s lively Schaunard rounded out the well-balanced bohemians. Chorus members filled the cameo roles very competently and children from the York Music Hub Choir sang pleasingly – rather than the usual shouting – as Parpignol’s acolytes (he was ‘Pa’Guignol’, a Punch-and-Judy man).
Iwan Davies – not the main conductor for the run – stood in with distinction, his clear beat shaping accompaniment that always put the singers’ needs first. His orchestra responded with keen rhythms.
The chorus was in good heart at Café Momus, maintaining discipline amongst the hi-jinks. Despite the lack of outstanding soloists, this was a good, solid Bohème, well worth catching at Gala Theatre, Durham, on May 9 if you missed it this time in York.
Paula Sides as the exotic Queen of Shemakha in English Touring Opera’s The Golden Cockerel
Rimsky-Korsakov was one of the all-time great orchestrators and The Golden Cockerel, his last opera and the only one staged regularly outside Russia, offers plenty of evidence of this. Touring has made a reduced adaptation necessary, which Iain Farrington has handily provided.
It lacked some of the exoticism that a larger orchestra might have offered but kept the vital woodwinds very busy and retained enough glockenspiel glitter for the astrologer’s motif. Gerry Cornelius conducted it lovingly while keeping a good balance between stage and pit.
James Conway’s new production was well-timed. The fairy-tale libretto, based on a Pushkin poem, was sung here in a neatly rhyming translation by Antal Dorati and James Gibson. It tells of half-witted King Dodon’s fear that his country is about to be invaded.
When the work was selected it can hardly have crossed the company’s mind that a terrible real-life sequel would actually ensue. The analogy cannot be pushed too hard, but the exotic Queen of Shemakha – ‘Mother Russia’ it was suggested to me in the interval – does all she can to seduce Dodon and his court, opposed only by the ineffectual General Polkan.
The Astrologer who frames the action reveals at its close that only he and the Queen are real characters, “all the rest were dream, delusion…”. In fact, the opera is better seen as parodying naive techniques in Russian opera and to that extent anticipates Stravinsky’s Petrushka.
Conway did well to stick to the score and not introduce an excess of up-to-date connotations, other than dressing the royal housekeeper Amelka and three of her minions in military khaki. In the designs by Neil Irish, the general wore a Kaiser-style helmet, which implied a pre-First World War setting. The cockerel of the title was mainly perched on a look-out tower, so as to warn of impending invasion. She was appealingly drawn by the nimble Alys Mererid Roberts.
Grant Doyle gave an amusingly doddery Dodon, struggling to hold on to power, with his sons – who accidentally bump each other off in battle – portrayed as Tweedledum and Tweedledee by Thomas Elwin and Jerome Knox.
Amy J Payne was a regular martinet as Amelka, Edward Hawkins made a nicely bumbling Polkan, and Robert Lewis coped valiantly with the ultra-high tenor role of Astrologer, more than faintly reminiscent of Rasputin.
That left the bulk of the serious singing, in Acts 2 and 3, to Paula Sides as the Queen. Her coloratura, deliberately parodistic, hit the spot, and her somewhat shrill tone suited the orientalism of Rimsky’s score.
It was just as well we had English side-titles, as diction was generally less than ideal. The chorus played a full part in keeping the comedy vital, crawling out from under the curtain for their finale.
It has been 37 years since this work was given in Yorkshire, by Opera North, so unless you are young you may want to head to Durham on May 10.
YORK vegetable string band King Courgette have a new recipe for “Good Friday electric reincarnation rock happenings on your doorstep” at The York Vaults, Nunnery Lane.
“It’s free, which, given the price of electricity, is pretty good value,” says band member String Bean Slim, alias York musician, writer and history tour guide Alfred Hickling.
“It’s been a while. We know all kinds of weird **** went down during the lockdown; not least that Poppa ‘King’ Courgette decided to have a bit of a clear-out at the Clifton Delta.
“Now, nobody has been in Poppa’s box room for years, excepting some really mean-looking spiders that hang out there paying no rent. But Poppa gave me a call to say he’d found a bunch of old boxes and was wondering what all the knobs were for.”
What happened next? “‘Well, those don’t look like boxes to me,’ I tells him. ‘Them is amplifiers. Mighty big ones too’,” String Bean recalls. “‘But I can’t hear no noise,’ Poppa says. ‘No, that’s ’cause you gotta plug summin’ into’em,’ I said.
“‘What, like my old banjer?’ Poppa asked. ‘No, not a banjo,’ I told him. ‘No-one in the right mind would want a banjo to be any louder. But what about that electric blue Stratocaster you devalued by putting on a ridiculous- locking whammy bar in the 1980s, when you were still in Spandex trousers?’ ‘What – that old thing?’ Poppa looked at me quizzically. ‘You mean go ‘lectric…?’.”
How did String Bean respond? “‘Sure,’ I told him. ‘Just as long as we can persuade Wild Zucchini Bill that it’s time to stop bashing bits of old luggage and get himself a real drumming kit’.”
Long story short, it turns out Wild Zucchini Bill had bought himself at least half a dozen real drumming kits already and was making lockdownmerry hell for everyone within earshot.
“And then Hot Chilli McGrath had an altercation with a woman at the council dump who was trying to throw a ‘lectrical guitar into the skip; so he jumped right in there after it and fished it out,” says String Bean.
“He was so pleased with this bargain that he went right out and bought a set of hot, custom-wound pick-ups. And some new tuning pegs. And a different scratch-plate.”
Hot Chilli then decided to replace the body and fit a new neck. “But since he’s now the proud owner of the world’s most expensive free guitar, he’s real keen to try it out,” says String Bean.
“That left only Bad Apple Two T’s Curtis, and there ain’t no way he wasn’t gonna join the fun, so he fished out this really funky ’lectronic keyboard that had been in the back of hisbox room.
“Then he went out and got a real flashy new one, which is bright red – a much cooler colour. And so, Two T’s was transformed into Two Keys.”
How did King Courgette put this electrification to good use? “Cuttin’ to the chase, we used the rest of the Plague to write a whole new album,” says String Bean.
“We recorded it on a boat: it’s called Amphetamine Stew and we think it’s about time people heard it. So, we arranged to go back to one of our oldest haunts, the Victoria Vaults, only to discover that it ain’t called that anymore, but at least it’s still in the same place.
“If you wanna come and hear what we’ve been up to, the place to be is The York Vaults on Friday from 7.30pm. Best news of all is – it’s free. Yep, no charge.”
King Courgette will be joined on the April 15 bill by the blues band Jonny And The Rizlas. “It ain’t gonna be a Good Friday; it’s gonna be a Great Friday,” vows String Bean. “See you down the Vaults for the post-lockdown Electric King Courgette, Mark II. Because what doesn’t kill you makes you louder.”
SCOTTISH indie legends Teenage Fanclub return to Leeds Beckett University tonight for gig number three on their 11-date tour in belated support of tenth studio album Endless Arcade.
Released last April on the Glaswegians’ own label PeMa as the follow-up to 2016’s Here, the songs “walk a beautifully poised line between melancholic and uplifting, infused with simple truths: the importance of home, community and hope, entwined with bittersweet, sometimes darker thoughts of insecurity, anxiety, loss.
Endless Arcade was almost finished by the time the first Covid lockdown was imposed with its stay-at-home orders. How apt that Norman Blake’s seven-minute Home should open Endless Arcade, albeit that its sentiments were shaped by his experiences stretching back pre-pandemic in his search for what ‘home’ means.
Blake has been living in Canada for the past ten years. “My wife is Canadian, so we moved over there, but we’re now in the process of coming back to Glasgow,” he says.
“We live in Kitchener, about an hour’s drive west of Toronto, but it makes more sense to be over here with the band.
“Over the ten years, I’ve had a nice time over there, making friends travelling around Canada and the USA.”
That said, his sentiments in Home are etched in loss and yearning. “Without going into too much detail, the last 18 months have been challenging for me on an emotional level, but it’s been cathartic channelling some of these feelings and emotions into song,” says Blake.
The poster artwork for Teenage Fanclub’s tour and album, by Huw Evans, aka musician H. Hawkline
Has living in Canada influenced his song-writing. “I don’t think so directly, but I guess you will always be influenced by your surroundings, and every songwriter would say you’re influenced by the songs you hear and the gigs you go to, but thematically it’s the same subjects as always.”
During his time in Canada, Blake has worked with Joe Pernice, frontman of Scud Mountain Boys, Chappaquiddick Skyline and the Pernice Brothers, the duo being joined in The New Mendicants supergroup by The Sadies’ drummer, Mike Belitsky, to release the album Into The Lime in 2014.
“We first met when our bands played a show together in London in 2000. Joe lives in Toronto, so we started working together when I moved there,” says Blake. “It was great doing that because you always pick up bits of technique and he’s a real lyrics guy.”
Blake has contributed Sun Won’t Shine On Me, Warm Embrace, I’m More Inclined, Back In The Day and Living With You alongside Home to Endless Arcade, an album recorded in Clouds Hill Recordings in Hamburg with fellow founder Raymond McGinley, drummer Francis McDonald, bassist Dave McGowan and Welsh musician Euros Childs, featuring on keyboards across an entire Teenage Fanclub album for the first time.
“We were very comfortable with each other in the studio,” says Blake. “I think some of the playing is a bit freer and looser than on recent albums. Dave and Euros’ playing is amazing, and Francis on drums is really swinging. The whole process of making this album was very invigorating. Everyone in the band contributed a lot and the song arrangements came together really quickly. Everything felt fresh.”
A new album is in the making already. “We’ve been in the studio; we’ve come to the realisation that the thing to do before we’re all too knackered is to crack on!”
Norman Blake is 56.
Teenage Fanclub play Leeds Beckett University tonight, supported by Norwegian musicians Frøkedal & Familien; doors, 7pm.
Farewell: Departing director Janet Farmer in the Pocklington Arts Centre auditorium
DIRECTOR Janet Farmer hosts her leaving party at Pocklington Arts Centre tonight as she ends her 25-year association with the East Yorkshire venue.
Earlier this week, on Tuesday, she oversaw her last concert: a strikingly strong double bill of Devonian folk musician John Smith and Eastern Pennsylvanian husband-and-wife duo Native Harrow, who reviewer Paul Rhodes observed “would have been worthy headliners in their own right”.
Janet will retire in mid-April after 22 years in post, preceded by three years of fundraising to transform the market town’s former cinema into a theatre, concert venue, cinema and studio gallery. The recruitment process to appoint her successor is under way.
From a standing start in 2000, Janet has led Pocklington Arts Centre (PAC) into becoming a leading small-scale arts venue, recognised nationally as a beacon of good practice with a significant cultural reputation.
Janet has drawn more than £1million in public funding to support the venue’s presentation of 3,500 film screenings and staging of 900 live events, numerous festivals, from Pocktoberfest to the Platform Festival at the Old Station, plus hundreds of community events, workshops, exhibitions and private hires.
“When I started here, we borrowed an artists’ contact file; there were no agents online!” recalls Janet. “You had to buy a book with agents’ contact details and then contact them by fax.
“All the deals were down over the phone or by fax, whereas now it’s mostly by email, which can be seen as sad progress as you don’t always have that verbal contact any more.”
Over the past 22 years, Janet has programmed a diverse range of acts, naming her personal favourites as Joan Armatrading and Shed Seven, who both rehearsed at PAC for upcoming tours, Lesley Garrett, John Bishop, The Shires, Rhod Gilbert, Sarah Millican, Lucinda Williams, Baroness Shirley Williams, KT Tunstall, The Unthanks, Mary Chapin Carpenter, David Ford and Josh Ritter.
When informing PAC staff and volunteers of her decision in January, Janet said: “I am sure this will be said on many occasions over the next few months, but I want to thank all of the staff and volunteers for their tireless support, hard work, dedication and friendship. This has been vital to making PAC the success it is today.
“It has been an absolute pleasure and honour to lead PAC over two decades and it fills me with immense pride knowing what has been achieved during this time. I look forward to returning as a customer and perhaps a volunteer in years to come.”
Twenty-five years, Janet, can you believe it? “People keep saying they’re surprised, but, yes, it really has been that long. I did think I would finish in 2020, and but for the pandemic, I would have done, but I felt I had to see out the time when we were closed,” she says.
“A big part of that was to apply for the Government’s Culture Recovery Funding, and only one application was necessary, what with the support we received from East Riding of Yorkshire Council, and the furlough scheme, which meant we could continue to pay even part-time staff.”
Amid the ebb and flow of three pandemic lockdowns from March 2020, PAC continued to function by mounting 50-plus online events and workshops, staging a series of outdoor exhibitions by Sue Clayton and Karen Winship and launching Primrose Wood Acoustics concerts in June 2021 before reopening with two socially distanced performances by comedian Sarah Millican last July.
“We took Sue and Karen’s exhibitions into Askham Bar Vaccination Centre’s Tent of Hope in York and we took part in the online Your Place Comedy double bills, streamed from comedians’ living rooms and organised by Chris Jones of Selby Town Hall, with a host of independent Yorkshire venues involved,” says Janet.
“We did online shows with our beloved Lip Service too, and online has proved a really good way for people to discover acts like [York singer-songwriter] Rachel Croft and (Leeds band] The Dunwells, who were doing nightly streams at one point in lockdown.”
Janet wanted PAC to regain momentum before leaving this spring. “We’re doing all we can to make people feel safe as they return to coming here, such as having medical-grade air purifiers,” she says.
“I wanted us to get back into the swing of what we do, so we could show we could still do concerts, films, theatre, comedy and exhibitions well with good attendances again, and we have.”
She will continue to live in Pocklington while undertaking plenty of travel too. “This summer I can start the gap year I never had, going round the festivals, such as Cambridge Folk Festival; Kilkenny Arts Festival in August; Telluride Bluegrass Festival, in the Colorado mountains, where it’s a ski resort in the winter. Sitting in the mountains, watching a bluegrass festival, I’ll be in my element.”
Born and bred in York, trained in theatre, film and social sciences at York St John and later in theatre programming and policy through Leeds Playhouse, Janet first became the focal point of fundraising to establish Pocklington Arts Centre.
She then took on the role of running PAC once it opened. “I had to learn very quickly on the job, but I always had a handle on what people liked, like booking Johnny Vegas before he was well known,” recalls Janet.
“There were financial constraints, so I couldn’t be too adventurous at the start, and then there was always a bit of a problem of people not knowing where Pocklington was. But once we started getting bigger names, we could quote that to agents, and we became the little place that big acts wanted to play.”
That will be Janet’s legacy. “I’ve done my bit and it’s time to retire from here, though no doubt I’ll do some volunteering,” she says.
Janet Farmer: On stage at a Platform Festival, run by Pocklington Arts Centre at the Old Station, Pocklington
Janet Farmer’s Pocklington Arts Centre timeline
2000: First live event, French-Algerian guitarist Pierre Bensusan, February 2.
2000: First film, The Last September, directed by Deborah Warner, February 24.
2000: First outdoor festival, staged in April.
2001: First arts festival to be staged across the market town by PAC, continuing for four more years.
2001: James Duffy employed as box office assistant in October. Now general manager.
2002: Janet directs Fiddler On The Roof for Pocklington Dramatic Society.
2003: First film festival, including An Audience With Barry Norman.
2004: Second film festival, including Q&A with BAFTA chair Duncan Kenworthy and film journalist Quentin Falk.
2010: Forgotten Voices Community Choir launched.
2011: First full-colour A5 live events brochure launched.
2011: PAC cinema projection converted from 35mm to digital.
2011: PAC joins forces with Pocklington’s Roundtable to launch large-scale festival of beer and music
2016: Platform Festival of music and comedy launched.
2016: £600,000 refurbishment.
2018: Arts Council England National Portfolio Organisation status awarded with annual funding.
2018: Sara Morton appointed as PAC’s first marketing and administrative officer.
2019: Dementia Choir launched.
2020: PAC closes under Covid pandemic restrictions in March.
2020/2021: PAC stages 50-plus online events and workshops during lockdown.
2021: PAC stages series of outdoor exhibitions by Sue Clayton and Karen Winship during lockdown.
2021: Primrose Wood Acoustics launched in June.
2021: PAC reopens in July with two socially distanced performances by comedian Sarah Millican after 17 months of closure.
2022: Director Janet Farmer to leave in April after 25 years’ involvement.
Pocklington Arts Centre’s statistics under Janet Farmer
£1 million raised in public funding for PAC.
3,500 film screenings programmed since 2000.
900 live events programmed.
100s of community events, workshops, exhibitions and private hires staged.
20-plus arts, music and film festivals mounted.
Joan Armatrading: Rehearsed at Pocklington Arts Centre in preparation for a national tour
Music acts brought to Pocklington by Janet Farmer since 2000:
Joan Armatrading; Richard Hawley; Lucinda Williams; Mary Chapin Carpenter; Rosanne Cash; The Unthanks; Edwyn Collins; The Staves; Josh Ritter; Hothouse Flowers; Kate Rusby; The Shires; Adam Cohen; Amy Macdonald; KT Tunstall; Lesley Garrett.
The Searchers; Barbara Dickson; Beth Orton; Eric Bibb; Nick Mulvey; Roger McGuinn; Elkie Brooks; Eddi Reader; The Magic Numbers; Gretchen Peters; Levellers; Ron Sexsmith; Ruby Turner; Kathryn Williams; Ukulele Orchestra of Great Britain.
Echo & The Bunnymen; Fairport Convention; Teddy Thompson; Mary Coughlan; David Ford; Clare Teal; Ward Thomas; The Blockheads; Raul Malo; Lissie; Dr Feelgood; Newton Faulkner; Georgie Fame; Lau; Fishermen’s Friends; Seth Lakeman; Alvin Stardust.
Ralph McTell; Bellowhead; Benjamin Francis Leftwich; The Coal Porters; Martyn Joseph; Irish Mythen; Courtney Marie Andrews; The Manfreds; Otis Gibbs; London Community Gospel Choir; Hugh Cornwell; Thea Gilmore.
Shed Seven; Benjamin Francis Leftwich; Curtis Stigers; Graham Coxon; Greg Lake; Glenn Tilbrook; Badly Drawn Boy; Courtney Pine; Joe Brown; Grace Petrie; Martin Simpson; Marty Wilde; Vonda Shepherd; Martha Wainwright and The Young’Uns.
Regional music:
The Howl & The Hum; Beth McCarthy; Dan Webster; Gina Dootson; Boss Caine; Amy May Ellis; Joshua Bunell; Edwina Hayes; The Dunwells; Rachel Croft; Charlie Daykin; Katie Spencer; Jessica Simpson; Gary Stewart; Josh Savage; The Grand Old Uke Of York; Mambo Jambo; Miles Salter; Nick Hall.
Spoken word:
Kae Tempest; Simon Armitage; Bob Harris; Pam Ayres; John Cooper Clarke; Sandi Toksvig; Keith Floyd; Jay Rayner; Baroness Shirley Williams; Michael Portillo; John Hegley; Tony Benn; Simon Callow; Jeremy Vine.
Robert Powell; Michael Dobbs; Andrew Motion; Paddy Ashdown; Ian McMillan; Barry Norman; Chris Packham; Amanda Owen; Clive James; Matt Abbott; George Melly; John Sergeant; Martin Bell; Gyles Brandreth and Julian Norton.
Theatre:
Trestle Theatre; Opera North; Northern Broadsides; Red Ladder Theatre Company; Reduced Shakespeare Company; Idle Motion; Reform Theatre; Talegate Theatre; Magic Carpet Theatre; North Country Theatre; Hull Truck Theatre; BlackEyed Theatre; Lempen Puppet Theatre; MultiStory Theatre; NTC; Vamos Theatre; ShowStoppers! and Badapple Theatre Company.
Comedy:
John Bishop; Sarah Millican; Dylan Moran; Jenny Éclair; Al Murray; Ross Noble; Fascinating Aida; Andrew Maxwell; Chris Ramsey; Jason Manford; Omid Djalili; Sue Perkins; Rob Beckett; Lucy Beaumont; Jon Richardson; Stewart Lee; John Shuttleworth; Rhod Gilbert.
Arthur Smith; Luisa Omielan; Phill Jupitus; David Baddiel; Greg Davies; Paul Merton’s Impro Chums; Henning Wehn; Stephen K Amos; Patrick Monahan; Dave Gorman; Russell Kane; Jeremy Hardy; Mark Steel; Rich Hall; Gary Delaney and Barry Cryer.
Luci Briginshaw: “Laudably managed to infuse musicality into her arias despite the speedy tempos”
WHEN Bach’s St John Passion is given during Lent, one expects an evening of concentration on Christianity’s central event, enhanced by the composer’s incomparable music.
Gratitude that English Touring Opera had scheduled this music at all during its spring tour – the first Bach passion here since the pandemic – quickly dissolved in the reality of what was involved in this ‘semi-staging’, directed by James Conway.
The theatre’s stage had been cleared to the back wall, which allowed York Theatre Royal Choir, augmented by the Chapter House Youth Choir, to fill the bleachers at the back, with 15 members of the Old Street Band spread across the stage in front of them, leaving soloists and conductor nearest the audience.
It did not matter that this was a hybrid performance, with choruses and arias sung in German and the chorales sung in English, in new translations specially commissioned from such as the former Archbishop of York, Dr John Sentamu, the former Archbishop of Canterbury, Dr Rowan Williams, and the former Dean of Exeter, Dr Jonathan Draper. Some of their paraphrases were colourful.
What disfigured this performance were the antics of the conductor, Jonathan Peter Kenny. His flamboyant, grandiose gestures might be generously described as bordering on the balletic but were rarely less than manic. He was clearly determined that the evening was about him and him only.
Unwilling to be patronised by such histrionics, choir and orchestra paid him scant attention. The audience did not have that choice and the evening was best experienced with eyes closed. Even then, Kenny’s adrenaline regularly ran out of control so that tempos were mostly on the dangerous side of rapid.
When the ‘Kreuzige’ (Crucify) chorus, for example, is delivered prestissimo, it loses most of its impact, the singers given no time to crunch the ‘Kr’ or hiss the ‘z’ in the word ‘Kreuzige’ as Bach intended. Under this assault, the choirs survived remarkably well, with the Chapter House Youth providing an occasional semi-chorus in chorales. Any raggedness was inflicted from outside.
The Evangelist duties were mainly shared between Richard Dowling and Thomas Elwin, both highly competent, although cantering through their narratives with little regard to nuance. Peter’s weeping, for example, was cursory rather than deeply felt.
Occasionally the soprano Luci Briginshaw took on some of the recitative but whenever Jesus was in focus – at his death, for example – his character was entrusted to countertenor Tim Morgan. It was a directorial fancy and not altogether persuasive, but pardonable. Briginshaw laudably managed to infuse some musicality into her arias despite the speedy tempos.
Christus himself was sung rather matter-of-factly by Edward Hawkins, although he was not given much space to develop gravitas and he sang one aria with aplomb. By far the best German, and hence also the best characterisation, came from Bradley Travis, who gave a suitably weak-kneed Peter as well as a forthright Pilate.
There was a good deal of wandering around from the soloists, all of whom were dressed in everyday rig, accompanied by a fair amount of hugging and even hand-holding. None of it amounted to much dramatically.
The orchestra kept its cool remarkably, and duets from flutes and oboes were eloquent, with some lovely theorbo during the evening serenade in the garden and a cellist who doubled adeptly on gamba.
The musical benefits seemed to have been achieved despite, rather than because of, the conductor. If he is to be used again by this company, he must be firmly tethered in the pit where he is largely out of sight of the paying public. What he did at this performance was outrageous and totally out of keeping with the seriousness of the setting.
Whimsical automata maker Philip Wilkinson: Making his York Open Studios debut at 241 Burton Stone Lane, York
THE sun is out for weekend two of the biggest ever York Open Studios but Staithes Festival of Arts and Heritage “can’t continue”.
Dormant in the Covid years of 2020 and 2021, now a shortage of locations and manpower has brought down the festival curtain, perhaps permanently, after the scrapping of the 2022 event in the North Yorkshire fishing village.
Blame the “staycation effect” that fills the cottages all year round, squeezing out artists, say the organisers of this volunteer-run event. “We feel that the model we based the SFAH on is no longer workable and that if the festival were to come back in any form it would need a radical re-think,” reads the official announcement. “We regret we must cancel SFAH 2022 and for the foreseeable future.”
Two Bigs Egos In A Small Car arts podcasters Graham Chalmers and Charles Hutchinson discuss the contrasting fortunes of these two long-running celebrations of northern art and crafts in Episode 85.
What else is bothering the chatty art duo? Under discussion are: Oscars 2022, the fallout; Sheffield Leadmill’s future; Michael Bay’s hyper-action movie Ambulance; writer Harry Sword versus Public Service Broadcasting; Magritte, the back story. Oh, and what is Clifford’s Tower?
The Roman bust, key handle, plumb bob and horse and rider from the Ryedale Hoard at the Yorkshire Museum, York
FROM Roman remnants to re-discovered early Pink Floyd gems, Charles Hutchinson reveals highlights of the week ahead.
Exhibition of the week: The Ryedale Hoard, Yorkshire Museum, Museum Gardens, York, open daily during half-term, then Tuesday to Saturday from April 25
THE Yorkshire Museum has re-opened with the new exhibition The Ryedale Hoard: A Roman Mystery. For the first time, visitors can see some of Yorkshire’s most significant Roman objects, while exploring an intriguing archaeological mystery: who buried them 1,800 years ago?
Discovered by metal detectorists, on permanent show are a rare bust, made to adorn the top of a sceptre and thought to show Marcus Aurelius, Roman Emperor from AD 161 to 180. An intricate figurine of a horse and rider, probably made in Britain, represents the god Mars.
A horse-shaped handle for a key, for magical purposes, may have been deliberately broken before burial. A plumb bob, large and finely created, would have been a weight for establishing a “plumb” vertical line. To book tickets: yorkshiremuseum.org.
Living for today: Bite My Thumb Theatre Company in Rent The Musical at the Joseph Rowntree Theatre
York musical of the week: Bite My Thumb Theatre Company in Rent The Musical, Joseph Rowntree Theatre, York, Thursday to Saturday, 7.30pm
ARTISTIC director Neil Knipe directs Bite My Thumb in a spring tour of Jonathan Larson’s ground-breaking 1994 American musical about falling in love, finding your voice and living for today.
Set in the East Village of New York City, Rent follows a year in the life of a bohemian group of impoverished young artists, struggling to survive as they negotiate their dreams, loves and conflicts. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Forever thinking up new rules for Crunchem Hall Primary School: Joshua Lewis’s headmistress Miss Trunchbull in Ryedale Youth Theatre’s Matilda Jr The Musical
Ryedale musical of the week: Ryedale Youth Theatre in Matilda Jr The Musical, Tuesday to Saturday, 7pm; 3pm matinees, Thursday, Friday, Saturday
BORN with astonishing wit, intelligence, a vivid imagination and special powers, school pupil Matilda rebels against the mean, monstrous, rule-ridden regime of headteacher Miss Trunchbull.
Scripted by Dennis Kelly with music and lyrics by Tim Minchin, Matilda Jr is packed with multiple featured roles. Given the profusion of young Ryedale talent, director Chloe Shipley has decided on double casting to give everyone who auditioned the opportunity to perform in the principal parts. Box office: yourboxoffice.co.uk.
BalletBoyz: Deluxe dance delight at Grand Opera House, York, on Monday
Dance return of the week: BalletBoyz Deluxe, Grand Opera House, York, Monday, 7.30pm
MICHAEL Nunn and William Trevitt’s BalletBoyz return to York with what began as the boisterous, bold company’s 20th anniversary show but is now running into a 23rd year.
Eight young dancers interweave in two mesmeric dances, fused with the BalletBoyz’ trademark witty use of film and behind-the-scenes content.
Deluxe features a commission from choreographer Xie Xin and composer Jiang Shaofeng, followed by a collaboration between Punchdrunk’s Maxine Doyle with jazz musician and composer Cassie Kinoshi, from SEED Ensemble. Box office: 0844 871 7615 or atgtickets.com/York.
Dance, dance, wherever they may be, they are the Lord Of The Dance dancers, arriving for a four-night run at York Barbican
Anniversary show of the week: Michael Flatley’s Lord Of The Dance, York Barbican, Monday to Thursday, 8pm
MICHAEL Flatley’s Lord Of The Dance show is “going to the next level” in 2022 for its 25th anniversary travels, wherein high-energy Irish dancing combines with original music, storytelling and sensuality.
Expect new staging, costumes and choreography plus cutting-edge technology, special effects and lighting, in a production featuring 40 young performers directed by Flatley, dancing to new compositions by Gerard Fahy as tradition meets the excitement of the innovative. Box office: yorkbarbican.co.uk.
News headliners: Harry Gration and Christine Talbot fronting A Grand Yorkshire Night Out at York Theatre Royal
Yorkshire event of the week: A Grand Yorkshire Night Out with Harry Gration & Christine Talbot, York Theatre Royal, Monday, 7.30pm
YORKSHIRE broadcasting legends Harry Gration and Christine Talbot, formerly of the BBC’s Look North and ITV’s rival Calendar respectively, join forces to host a journey down memory lane on a rare occasion these friends will have presented together.
The duo look back at memorable stories, plus a smattering of their crazier fundraising exploits, from tandem rides and a sofa push to Harry being tied to weather presenter Paul Hudson for days on end.
Special guests will be production team members from the original All Creatures Great And Small series, Leeds band The Dunwells and Harry’s musical son, Harrison, singing songs from the shows. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Barry Humphries: Revealing The Man Behind The Mask in first performance for three years
Confessions of the week: Barry Humphries, The Man Behind The Mask, Grand Opera House, York, Wednesday, 7.30pm
BARRY Humphries takes to the stage for the first time in three years on Wednesday to reveal The Man Behind The Mask, playing the Grand Opera House in the only Yorkshire show of his 2022 tour
The Australian actor, comedian, satirist, artist, author and national treasure, aged 88, conducts a revelatory trip through his colourful life and theatrical career in an intimate, confessional evening, seasoned with highly personal, sometimes startling and occasionally outrageous stories of Dame Edna Everage, Sir Les Patterson, four marriages et al. Box office: 0844 871 7615 or atgtickets.com/York.
Nick Mason’s Saucerful Of Secrets: Re-visiting Pink Floyd’s early days
Pink Floyd show of the week: Nick Mason’s Saucerful Of Secrets, York Barbican, August 16, 7.30pm
PINK Floyd drummer Nick Mason teams up with Spandau Ballet guitarist Gary Kemp, Guy Pratt, Lee Harris and Dom Beken for this re-arranged show with original tickets still valid.
The 2022 tour finds Mason and co further expanding their repertoire on a journey of Pink Floyd re-discovery, playing songs from their early catalogue up to the 1972 album Obscured By Clouds. Box office: yorkbarbican.co.uk.
Oh, and another thing
THIS is the second weekend of York Open Studios, 10am to 5pm today and tomorrow. Go discover at yorkopenstudios.co.uk.
Thinking up yet another punishment: Joshua Lewis as Miss Trunchbull in Ryedale Youth Theatre’s Matilda Jr The Musical
ATTENTION, maggots! Join the revolt in Roald Dahl’s Matilda Jr The Musical when Ryedale Youth Theatre take over the Milton Rooms, Malton, from April 12 to 16.
Full of rousing songs, witty lyrics and fun ensemble roles, this Broadway Junior adaptation of the Tony-winning musical is ready to bring the smell of rebellion to Malton with director/choreographer Chloe Shipley and musical director Rachael Clarke in charge.
In Dahl’s story, Matilda is born with astonishing wit, intelligence, a vivid imagination and special powers! Unloved by her parents, unfortunately her less-than-brilliant family fails to value the qualities that make Matilda so special.
Sent to the abysmal Crunchem Hall Primary School, she impresses loveable, kind teacher Miss Honey, but monstrous, mean headmistress Miss Trunchbull hates children and just loves thinking up new punishments for those who flout her rules.
Ryedale Youth Theatre’s poster for Matilda Jr The Musical , featuring the two extra performances
Buoyed by the help of her friends and Miss Honey, Matilda has the courage and cleverness to start a revolution. Could she be the pupils’ saving grace, the one to prove that everyone has the power to change their own story?
“Matilda Jr The Musical is a tribute to those who think outside of the box and feel misunderstood,” says Chloe. “The show will teach actors and audience alike that you ‘mustn’t let a little thing like ‘little’ stop you and that sometimes you have to be a little bit naughty’.”
Matilda Jr will be Ryedale Youth Theatre’s 30th annual show, a milestone that should have been marked by their production of Oliver!, until Covid-19 forced its cancellation.
Scripted by Dennis Kelly with music and lyrics by Tim Minchin, Matilda Jr is packed with multiple featured roles. “Blessed with so many talented and enthusiastic young people within the company, we decided to double cast the show to give everyone who auditioned the opportunity to perform in the principal roles,” says publicist Barbara Wood.
Miss Honey, Matilda, Miss Trunchbull and the school pupils at Crunchem Hall Primary School in Ryedale Youth Theatre’s Matilda Jr The Musical
Consequently, two extra performances have been added to allow both teams four performances each of a show that runs to just over one hour with no interval.
Chloe and Rachael have been joined once again in the production team by former Ryedale Youth Theatre leading light, professional West End actress and singer Lauren Hood as assistant director/choreographer.
Lauren, who is living in Spain at present, flew over for the February half-term rehearsals, held at Malton School.
Yesterday was the get-in day for tech preparations for next Tuesday’s opening at the refurbished Milton Rooms. “The refurbishment work and upgrade to the sound and lighting systems is complete and the decorators are due to finish in time for our production,” says Barbara.
Tickets for the 7pm evening shows and 3pm Thursday, Friday and Saturday matinees cost £12, concessions £10, at yourboxoffice.co.uk.
Niki Evans, as Mrs Johnstone, and Sean Jones, as her son Mickey, as the Blood Brothers principals reunite at the Grand Opera House, where they previously performed together in May 2011
OUT of nowhere in The Rocky Horror Show’s March return to the Grand Opera House, narrator Philip Franks suddenly mischievously mimicked Blood Brothers. Oh, how everyone chortled.
That’s rich, CharlesHutchPress thought, given that Willy Russell’s tragi-comic Liverpool musical is a vastly better structured show without the fall-away in song quality and story in Richard O’Brien’s stupendously silly second act that seemingly all and sundry chooses to ignore.
The chance to compare the two hit shows with the Jacobean tragedy finales comes quickly with the return of Blood Brothers to the Cumberland Street theatre, and if there is any rivalry, it can only be in the number of visits being stacked up.
Rocky Horror? Lost count, but it must be heading for two full sets of fingers. Blood Brothers? Bill Kenwright and Bob Tomson’s perennial production keeps on giving blood, sweat and tears, having chalked up eight runs since 1996.
The ninth is better than ever, bolstered by the return of Niki Evans to the role of Mrs Johnstone after a decade and the chance to see Sean Jones, so synonymous with Mrs J’s son Mickey, on his “last ever tour” after 23 years on the road on and off.
More on, than off, with only eight of them in total spent away from Blood Brothers, his latest break coming since 2019 to tend to his poorly parents. When impresario Kenwright invited him back for the 2022 tour, Jones accepted, and here he is at 51 “running around as a seven-year-old in a baggy green jumper and short trousers”, promising to keep going for as long as Kenwright wants him. Like Bob Dylan’s never-ending tour.
More on Jones’s performance later, but first, what a delight to see Niki Evans reviving her Mrs Johnstone, the mother with the fateful family secret, in a devastatingly moving performance of pathos and pain, jagged-edged Scouse humour, love and desperate resilience.
For Mrs Johnstone, struggling with too many children on an impoverished Liverpool estate and deserted by her waster of a husband, the discovery she is pregnant again, this time with twins, is too much for her budget on the never-never.
She can only “afford” one more child, not two, she tells Mrs Lyons (Paula Tappenden), the barren wife of a travelling businessman from up the posh hill for whom she cleans.
All too rashly, a pact is agreed, one where she gives away one of the baby boys to the cold-hearted Mrs Lyons, setting in motion the superstition that if twins separated at birth ever discover each other’s existence they will die instantly.
Brothers in arms: Sean Jones, as Mickey, left, and Joel Benedict, as Eddie, in Blood Brothers
Clodagh Rodgers, Stephanie Lawrence, Bernie Nolan, Sharon Byatt, Marti Webb, Maureen Nolan and Lyn Paul have all played Mrs J in York; Evans is the first to do so twice, in her case divided by 11 years.
First time around, in May 2011, your reviewer observed: “Above all others, Evans will stick in the mind, for being the most real. What makes her performance all the remarkable is that the Birmingham mother of two had never seen a theatre show, except for pantomimes, nor heard of Blood Brothers or impresario Bill Kenwright when she was offered the role on the West End stage after making the semi-finals of The X Factor in 2007”.
Eleven years on, benefiting from more rings on the tree of theatre life, Evans remains a natural for musical theatre, more than she was for a burst of X Factor-fuelled pop stardom.
At 49, her voice is even more powerful, her broad face an expressive canvas for so many emotions, played out in a Scouse accent that accentuates light and dark alike. Evans’s council-house upbringing and her experiences as a working mum both bring authenticity to the performance too, not least in her renditions of the show’s supreme numbers, Tell Me It’s Not True, Marilyn Monroe and Easy Terms.
The harshest songs aptly go to Robbie Scotcher’s ever-present Narrator, a Faustian debt collector full of social truths and spooked folklore, as he steers the path of Russell’s 1983 cautionary tale.
In football parlance, Blood Brothers is a game of two halves, as one face of theatre, comedy, is ultimately overwhelmed by the other, tragedy, as it befalls the split-up brothers, scally Mickey (Jones) and scholarly Eddie (Joel Benedict).
Divided by class, their paths nevertheless keep crossing through fate, and once more Jones plays it with all the conviction of a man who believes there is no role in musical theatre to rival Mickey on his journey from cheeky, blissfully innocent child’s play, through tongue-tied teenage love pangs for Linda (Carly Burns), to the forlorn broken adult reliant on mind-numbing pills.
More than ever, you note the changes in his movement, his voice, from skip to slouch and slump, from up to down. Sean, whatever you do next, thank you for making this reviewer laugh and cry down the years.
Benedict more than holds his own as Eddie, the charmer in the making with a rebellious streak that then turns to steely political activism as a councillor. The role is more emotionally contained, to emphasise the contrast in nurturing, but nature permeates the brotherly bond in Jones and Benedict’s performances. Burns burns brightly too as lovely Linda.
Andy Walmsley’s familiar street scenery, Nick Richings’ lighting, Matt Malone’s musical direction and Dan Samson’s sound design all add to the hard-hitting impact of Russell’s unsentimental yet heart-rending doomed drama. Evans and Jones, reunited from 2011 to even more telling effect, make Blood Brothers a Must See once more.
Blood Brothers, Grand Opera House, York, 7.30pm tonight (7/4/2022) and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: 0844 871 7615.
