Category: Theatre

AFTER the Summer Of Love, the Haunted Season and the pantomime revolution, York Theatre Royal has a Spring! in its step for 2022’s diary of new beginnings.

“Our strategy is not middle of the road with our programming,” says chief executive Tom Bird. “We are either being ambitious commercially or ambitious artistically.

“When we make new work, we want it to resonate with the times; we want it to be relevant to York audiences and we want it to be experimental. We used to do a lot of plays that were ‘in the middle’, but where we are now, even though we do them rather well, we can’t do Chekhov and Ibsen, because no-one came.

“But we’re going to do loads of new work over the year ahead and we have to balance it with commercial work, because we want to have a full theatre that is a community-engaged theatre.”

In a nutshell that means accommodating Pilot Theatre’s The Bone Sparrow, York Light Opera Company’s Evita, Northern Broadsides and New Vic Theatre’s As You Like It, Dancing On Ice winner Jake Quickenden and Darren Day in the 1980s’ musical Footloose and Mischief and Penn & Teller’s Magic Goes Wrong in one season.

“As a creative theatre, we’re co-producing – and hosting rehearsals for – York company Pilot Theatre’s tour of The Bone Sparrow; we’ll be doing a community play, yet to be named, probably indoors in the summer,” says Tom.

“We’ll also be doing something at Easter and something about Guy Fawkes in November, so there’s plenty of new work in the pipeline. We’ll also continue to make ‘micro-community’ shows, like the Love Bites nights that reopened the theatre [after Lockdown 3] in May.” Watch this space as more details emerge.

Directed by artistic director Esther Richardson, Pilot Theatre’s world premiere of award-winning Australian playwright S. Shakthidaran’s adaptation of Zana Fraillon’s novel The Bone Sparrow will open at York Theatre Royal from February 25 to March 5 before touring to fellow co-producing houses Belgrade Theatre, Coventry, Mercury Theatre, Colchester and Derby Playhouse.

Fraillon’s story of a Rohingya refugee boy who has spent his entire life living in a detention centre in Australia forms the third liaison between Pilot and the four theatres, who formed a new partnership to develop theatre for younger audiences. 

“The way this consortium has worked is that, over a four-year period, each theatre takes its turn to make a show with Pilot. Derby Playhouse made Noughts & Crosses, Coventry made Crongton Knights,” says Tom.

“This time, we’re producing The Bone Sparrow in York. It’s a brilliant time to be doing this play, as it’s set in a refugee camp, when sections of the media and certain politicians try to demonise refugees. This play pushes back against that really powerfully.

“It’s also super-exciting that Arun Ghosh is doing the music and sound. Arun is an incredible Indian musician who I worked with on a show called Lions And Tigers, by Tanika Gupta, at Shakespeare’s Globe.”

Just as York Theatre Royal and pantomime partners Evolution Productions were determined to draw a wider, younger audience to Cinderella – and did so with 65 per cent visiting the Theatre Royal for the first time – so Tom is passionate about attracting young audiences to other shows too.

“It’s great to do work for this [teenage] age group with Pilot. We were worried because Crongton Knights was a tough sell, as it did feel its experiences specifically spoke to South London, but this latest show has really taken off,” he says.

“It seems to be a story that everyone is relating to, even thought it’s set in Australia, but then Australia is a good place to set such a story because the way Australia handles refugees and asylum seekers is a bleak vision of how it could be in our country.” 

Politics lies at the heart of another centrepiece of the season: Nottingham Playhouse, Northern Stage (Newcastle) and Royal Lyceum Theatre Edinburgh’s co-production of Red Ellen, on tour in York from May 24 to 28.

Caroline Bird’s new play tells the inspiring and epic story of Labour MP Ellen Wilkinson “who was forever on the right side of history, forever on the wrong side of life”.

Caught between revolutionary and parliamentary politics, Ellen’s fight for a better world took in encounters with Albert Einstein and Ernest Hemingway; battling to save Jewish refugees in Nazi Germany; campaigning for Britain to aid the struggle against Franco’s Fascists in Spain; leading 200 petitioning workers on the Jarrow Crusade from Newcastle to London and serving in Churchill’s Cabinet – and she had affairs with Communist spies and government ministers alike.

“Caroline Bird, no relation, is an amazing new playwright, and this play is an absolute corker. It’s great to do that new work here, just as we were delighted to stage The Young’uns’ show The Ballad Of Johnny Longstaff in the autumn,” says Tom.

“A new play by a female playwright, on a large theatrical scale, doesn’t happen that often and definitely not often enough.

“I just wanted to give it a stage in Yorkshire because it was already going to be performed in Scotland, the North East and the Midlands: places it should be seen in, but otherwise it wouldn’t be coming to Yorkshire.”

On March 17 and 18, Oladipo Agboluaje’s Here’s What She Said To Me follows three generations of proud African women, connecting with each other across two continents, across time and space.

First staged at Sheffield Crucible Theatre, the play was conceived and directed by Mojisola Elufowoju, who cut her theatrical teeth while studying at York St John University. “Moji did a lot of work at the Theatre Royal and has now put together this incredible company [Utopia Theatre] to tell the story of what happened to these Ugandan women,” says Tom.

“We have to keep going with tackling diversity in theatre; we’ve changed from being aware of the need to be diverse to reflect our community to a position of having to take a lead on this, going beyond reflecting diversity in our community to be always representing the contemporary world on our stage, because York is changing faster than we realise.”

In Michele Lee’s Rice, on April 13 and 14, two women form a powerful if unlikely bond:  Nisha is  a headstrong hotshot Indian executive working for Australia’s largest producer of rice and Yvette, an older Chinese migrant, is the cleaner with entrepreneurial ambitions of her own.

“Actors Touring Company are continuing our strand of Chinese and Asian theatre, which is becoming important to us because the largest community in York, aside from the white community, is Chinese,” says Tom.

“We’re trying to develop more work to reflect the city’s demographic, like when we did a production of Strindberg’s Miss Julie set in Hong Kong. Over seven percent of the audience was Chinese/Asian, compared with one per cent normally.

“Matthew Zia is a brilliant directing talent and we’re really excited to be bringing this European premiere to York.”

York Light Opera Company follow up Oliver! and Grease with Andrew Loyd Webber and Tim Rice’s Evita, the rags-to-riches story of Eva Person’s rise to First Lady of Argentina, from February 9 to 19.

“The last thing that would ever go from here would be shows like this, because work by York companies is so important to us,” says Tom. “It now fits in with Arts Council England’s new direction of travel, where it wants to encourage the chance for people to fulfil their creativity on our stage.”

Halifax company Northern Broadsides return to the Theatre Royal with their 30th anniversary production, Shakespeare’s sylvan comedy As You Like It, performed by a northern cast of 12 in the first visit to York under Laurence Sansom’s direction.

All the world’s a stage and all the men and women merely players as gender roles dissolve and assumptions are turned on their head in this celebration of the transformative power of love and the natural world.

“Laurie is a great appointment as artistic director, and As You Like It is really on the nose as a choice of play with all the focus on climate change right now,” says Tom.

Many more shows tumble out of the brochure: The HandleBards pedalling into York with their all-female, bicycle-powered, irreverent Macbeth on January 25 and 26; Ian Ashpitel and Jonty Stephens’ tribute to Eric & Ern on February 1 and 2, and Treasure Island, La Navet Bete’s follow-up to Dracula: The Bloody Truth, on March 10 to 12.

Among further returnees are York’s drag diva deluxe, Velma Celli, with Me And My Divas, a celebration of Mariah, Celine, Whitney, Aretha, Cher and Britney, on March 19; English Touring Opera on April 8 and 9 with Puccini’s La Boheme and Rimsky Korsakov’s The Golden Cockerel and Show Stopper, The Improvised Musical, on April 23.

For full Spring! season details and tickets, go to: yorktheatreroyal.co.uk. Box office: 01904 623568.

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