The art beat of YORKshire
MARK your calendars for September 12. From 10am to 1pm that day, the Joseph Rowntree Theatre, in Haxby Road, York, will be hosting a Table Top Sale in aid of the £90,000 #raisetheroof campaign.
On sale in the garden will be many items, including gifts, crafts, household goods, jewellery and many, many cakes, “so what’s not love?”, say the organisers.
CHRIS Hannon’s diary for 2020 had all the makings of being a dream year for the Lunch Monkeys and Topsy And Tim actor.
It promised a TV series, a summer of open-air theatre and a winter of writing the Theatre Royal, Wakefield pantomime and playing the dame there, as he has done for the past decade.
Then the world stopped, sent into lockdown by the Coronavirus pandemic. The TV job never happened, Chris’s pencil had to cross out the summer of theatre work, and the fate of the Wakefield panto, like so many across the country, hangs in the balance.
From today, however, Chris can be found sitting on a bench every evening in the Friends Garden at Rowntree Park in York and, glory be, he will be working – performing Samuel Beckett’s monologue First Love to a socially distanced audience as part of the Park Bench Theatre triple bill that runs until September 5.
Written in 1946 and published in French in 1970 and in English in 1973, the rarely performed First Love is a 45-minute short story of a man, a woman, a recollection, told with Irish playwright Beckett’s trademark balancing act of comedy and tragedy
The first time Chris encountered Beckett’s work was through a production of his more famous 1958 monologue Krapp’s Last Tape and he has also taken part too in a rehearsed reading of Beckett’s magnus opus, Waiting For Godot.
First Love, he suggests, feels like a young man’s version of Krapp’s Last Tape, whose elderly character is described as “slightly clownish with red nose and white cheeks”. “That’s a big part of the way Beckett writes characters: people looking back on their lives and realising that the life they lived had a comical absurdity, where they end up as sad clowns. It’s quite accessible for audiences,” says Chris.
He finds the prospect of holding the attention of an audience on his own both “exciting and absolutely terrifying”. “It’s just you on your own for an hour, which is quite daunting. On a technical level, there’s a lot of words to learn. I’ve never done a one-man show and am excited to do it.
“I found the text intimidating at first but as I started to pick it apart, I quickly realised that it’s a universal, relatable story. The story of a young man coming of age.”
Chris is delighted to be acting again after an enforced six-month absence and believes audiences share that feeling. “People are ready to see something live and have a shared experience,” he says.
First Love will be one of the three solo shows presented by Engine House Theatre, whose artistic director Matt Aston responded to his daily exercise around Rowntree Park by putting together the outdoor season, once the easing of Covid-19 restrictions enabled live performances in the open air.
Chris had first worked with First Love director Matt in his debut year in the Wakefield pantomime. Matt was directing, a task undertaken in recent years by Chris’s wife, Rhiannon, the head of learning and participation at the West Yorkshire theatre.
Chris had always wanted to play panto dame but imagined he was too young. “I thought you had to be a theatrical veteran to do it. I just loved it when I did it,” he says.
Now 39, the Runcorn actor does not recall seeing many pantomimes when growing up. “I have a memory of going to one panto as a child: Peter Pan. All I can remember is the spectacle. Then, as an actor in my 20s, I saw some of the panto greats. I thought ‘that looks so much fun’ – and it is.”
He had written the first draft for this winter’s Beauty And The Beast when the pandemic took up its unremitting residence. “I write the script for the Theatre Royal Bury St Edmunds as well as for Wakefield. I start writing the scripts in February. It’s first draft, second draft, the rehearsal process and sorting out the music. It’s the rhythm of my year,” says Chris.
“I love panto and playing the dame. It’s become a really big part of my life. Ours is a proper traditional family pantomime. We put so much care into it.”
If making his one-man show debut is a challenge, so too is working with children, as he did when playing Dad in the BAFTA-winning CBeebies series Topsy And Tim for 34 episodes from 2013 to 2015.
“They wanted to get very spontaneous performances from the kids, so you would never do take after take after take. The adults would work on set with crew, then the kids would come on set – and what happened, happened,” recalls Chris, who has a three-year-old son, Ben, by the way.
“If they dropped a line, the adults had to pick it up. You had to know their lines and your lines. Scenes were never played as written on the page. You just had to keep it going. A huge amount of improvisation was involved.”
That series still brings him recognition, with parents demanding he poses for a picture with their children. “The kids are mortified by this. They don’t want a picture taken with me, so there are lots of pictures of me with unhappy-looking kids,” says Chris.
No children will be present at First Love, however. Beckett’s monologue comes with a Very Strong Language warning!
Chris Hannon performs Samuel Beckett’s First Love, August 12 to 22, at 7pm, and August 15, 4pm, as part of Engine House Theatre’s Covid-secure Park Bench Theatre season in the Friends Garden, Rowntree Park, York. Tickets must be bought in advance at parkbenchtheatre.com.
WHO will be popping up at York Theatre Royal’s Pop-Up On The Patio festival from August 14 to 29?
Taking part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, will be “Yorkshire’s finest theatre and dance makers”.
Step forward York Dance Space; Mud Pie Arts; Crafty Tales; Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre; puppeteer Freddie Hayes; Cosmic Collective Theatre; performance poet Henry Raby; Say Owt, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson and singer Jess Gardham.
They will perform at one end of the patio, decorated with “Glastonbury-style bunting”, performing to audiences of a maximum of 35 in demarcated bubbles.
“We’re so excited to have been able to bring live theatre back to our city this summer,” says Theatre Royal producer Thom Freeth, who has co-ordinated the festival programme of theatre, dance, music, magic, puppetry, improvised comedy, storytelling and slam poetry.
“Our building may still be closed, but we didn’t want that to stand in the way of entertaining the people of York during this difficult time. Pop-Up On The Patio gives us the opportunity to showcase the work of brilliant home-grown performers, many of whom are part of our freelance family, who have been disproportionally affected by this pandemic.”
Looking forward to staging the first shows on the Theatre Royal premises since March 17, executive director Tom Bird says: “It’s been a short but intense preparation period: we wanted to go hyper-local with the festival, to give a platform to York artists, and we’re absolutely delighted at getting a very local, highly skilled bunch across so many genres.”
Explaining the decision to focus the festival on Friday evenings and Saturdays, Bird says: “We are easing our way back from a total stop, turning everything off in March, so we’re feeling our way in, and we want to make sure that everything is safe, for the audience, performers and staff.
“The world is changing all the time, so we wanted to give ourselves breathing space in what we’re doing by restricting ourselves to three weekends for the festival, but who’s to say we won’t do more patio shows.”
The Theatre Royal management has implemented extra safety measures to keep visitors and staff safe during the three festival weekends, reconfiguring the patio to allow for a socially distanced audience and stage. These measures will be under constant review and apply to all the performances.
Tickets are on sale at yorktheatreroyal.co.uk and must be bought in advance.
THE FESTIVAL PROGRAMME:
Dance // Shorts, August 14, 7pm
CURATED by York Dance Space, this evening of live contemporary dance theatre in an outdoor, intimate setting will be a compilation of bite-size solos and duets from “some of the most interesting and exciting young artists from across Yorkshire and the Humber”.
Performances include solo work from Alethia Antonia, from the James Wilton Dance Company; Coalesce Dance Theatre; Daisy Howell, from Brink Dance Company, and Namiuki Dance.
Look out too for a selection of Doorstep Dances from Hull artists Tamar and Jo, spanning contemporary, Northern Soul, jazz dance and physical theatre styles. Suitable for age 12 upwards.
Mud Pie Arts, August 15, 22 and 29, 11am, for age 4 to 11
“WHAT is easy to get into but hard to get out of?” askMud Pie Arts drama practitioners Jenna Drury and Nicolette Hobson. “The answer? Trouble, of course!
“So, join us for Saturday elevenses in our Silly Summer Stories show. There’ll be interactive storytelling, riddles, games and all kinds of family tomfoolery.”
Have you heard the one about the old woman who lived in a vinegar bottle, or the farmer who fished for sausages? Now is the chance to enjoy those stories. “Come and find us on the patio every Saturday this month to celebrate all things daft,” say Jenna and Nicolette.
Crafty Tales, August 15 and 22, 1pm, for two to six year olds
YORK Theatre Royal’s Story Craft Theatre return with an outdoor version of Crafty Tales, presented by Cassie Vallance and Janet Bruce.
“As always, there’ll be a story to tell plus songs, games and dancing, all designed around a brilliant picture book with interactive and imaginative play,” they say. “Although Crafty Tales is aimed at two to six year olds, all children are welcome.”
Fool(ish) Improv, August 15, 4pm
FOOL(ISH) Improv is a bite-sized comedy show with absolutely no plan or permission, created by York writer and director Paul Birch.
Strap in for 60 minutes of improvised mayhem where you, the audience, provide the suggestions for the actors to make stuff happen. Instantly.
“Taking nothing seriously – and everything for granted – our merry band of charlatans and misfits will bring music, comedy and appalling levels of acting to give you a delightful hour of spontaneous comedy,” says Paul.
“You bring the ideas, we’ll bring the performance, and together we’ll make a joyous family show that has no business being indoors. Now, you have to come. We couldn’t do it without you.”
Orpheus, The Flanagan Collective and Gobbledigook Theatre in Orpheus, August 21, 6pm
ALEXANDER Flanagan-Wright and Phil Grainger should have been heading up to the Edinburgh Fringe to present the British premiere of The Gods, The Gods, The Gods this month after its Antipodean premiere before Covid-19 intervened.
Instead, they have been presenting Orpheus in socially distanced performances in back gardens and a week of At The Mill shows in Alex’s own back garden at Stillington Mill, near York, last week.
Written by Alex, with incidental music and songs by Phil, the international award-winning Orpheus is a thoroughly modern, beautifully poetic re-telling of an ancient Greek myth.
Dave is single, stood at the bar; Eurydice is a tree nymph, and Bruce Springsteen is on the juke box in this tale of impossible, death-defying love told through hair-raising spoken word and soaring soul music, where Alex and Phil weave a world of dive bars, side streets and ancient gods.
Eurydice, The Flanagan Collective and Gobbledigook Theatre, August 21, 8pm
LENI is five years old, holding a Superman costume for her first day at school. Eurydice is five years into the rest of her life, sporting a bee tattoo on her wrist, in Alexander Flanagan-Wright’s story of someone defined by someone else’s myth.
This tale of making changes, taking leaps and being a daily superhero is billed as “a story about a woman told by women”.
That was the case when performed by Alex and Phil Grainger’s co-creators, Serena Manteghi and Casey Jane Andrews, to 2019 Adelaide Fringe Best Theatre award-winning success. Now, Alex and Phil take over to weave a world of day-to-day power and beauty and goddesses, told through heart-stopping spoken word and live electronica.
Freddie Does Puppets in Fred’s Microbrewery, August 22, 4pm
FRED’S Microbrewery is the world’s first Puppet-in-a-Pub theatrical experience, a modern-day Punch and Judy story courtesy of York puppeteer Freddie Hayes.
Grouchy Fred and his bitter and twisted wife Sharon are two very grumpy Yorkshire puppets cum pub landlord and landlady of the Fred’s Microbrewery, where the frank, fractious duo serve beer-infused banter to adult audiences in an afternoon of debauchery and puppet profanities.
Fred and Sharon have sparred at York’s Great Yorkshire Fringe and had plenty to say at the Edinburgh Fringe, Shambala Festival, Moving Parts Festival and Folkestone Puppet Festival too.
In lockdown and beyond, Fred and Sharon have been living inside a laundry bag in Freddie’s attic. Now, bag unzipped, she is ready to unleash them once more in a show with an age guide of 15-plus on account of the strong language and adult themes.
Heaven’s Gate, Cosmic Collective Theatre, August 28, 4pm
FOUR cups of apple sauce. Four canvas camp beds. One comet. Heaven’s Gate is closing and the Away Team are ready for graduation, but whatever you do, don’t say the C-word. ‘C’ for ‘cult’, that is.
Presented by the new York company Cosmic Collective Theatre – satirical writer Joe Feeney, Anna Soden, Lewes Roberts and Kate Cresswell – Heaven’s Gate imagines the final hour of four fictionalised members of the real-life UFO-theistic group.
As they prepare for their “graduation” to the “Kingdom of Heaven”, the excitement is palpable, but all too soon the cracks appear. Is the Heavenly Father really waiting for them on a Spaceship? Is Planet Earth soon to be recycled? Is castration compulsory? Isn’t Turkey Potpie an underwhelming last supper?
Cosmic Collective Theatre’s intergalactic pitch-black comedy comes with adult themes and strong language – but no C-word, of course – to give it a 15-plus age guide
Henry Raby: Apps & Austerity, August 28, 6.30pm
“2010-2019. What was going on?” asks York-grown punk performance poet, activist and Say Owt artistic director Henry Raby as puts the word into sword to slice up the past decade.
From the memes and scenes, from riots to Royal Weddings to Referendums, Henry sums up a decade of technology and austerity with attitude, humour and insight.
Slam champ and Deer Shed resident poet Henry has performed across the UK, from festivals front rooms. “This is my fifth solo show, so I must have got something right by now,” he says.
Say Owt Showcase, August 28, 8pm
YORK’S lovable and raucous poetry gang proudly present an assortment of noisy slam-winning performance poets, word-weavers, and gobheads. “Spice up your Friday night with a glass-raising toast to the spoken word,” says host Henry Raby.
Say Owt word-warriors have delighted in ripping up stages at the Great Yorkshire Fringe and the Arts Barge in York, the Edinburgh Fringe and the Ilkley Literature Festival.
Josh Benson in Just Josh’s Ultimate Family Show, August 29, 1pm
CALLING all families! Just Josh is “hugely excited” to be back performing live with his family magic, juggling and balloon show!
If you have encountered Josh Benson previously, you will know that he is one of Yorkshire and indeed the UK’s “biggest kids”, noted for his boundless energy and shameless attempts to do absolutely anything in pursuit of a laugh from a crowd.
Josh, Corntroller of Entertainments at York Maze and regular pantomime silly billy, has taken his magic all over the UK and beyond, returning home from his P&O Cruises stint in February.
“My show is suitable for kids from four to 104, with laughs and, all being well, amazement for the whole family” says Josh.
Jess Gardham, August 29, 4pm
YORK pop, soul, blues and acoustic singer-songwriter, musical actress and 2018 MasterChef quarter finalist Jess Gardham closes Pop-Up On The Patio with an afternoon set.
Jess has performed all over Britain, the United States, Europe and Canada and supported the likes of Paul Carrack, KT Tunstall, The Shires, Wilko Johnson and Martin Simpson.
Her songs have been played regularly on BBC Introducing and her debut album, Beyond Belief, was picked up by BBC Radio 2.
Jess has taken lead roles in theatre productions such as Hairspray, Ghost The Musical and Rock Of Ages. “I hope to perform in theatre again when they’re open again,” she says.
SAFETY MEASURES
Arriving
YORK Theatre Royal will open the entrance to the Pop-Up patio a quarter of an hour before every performance starts.
“There will likely be some queueing, but we will do everything we can to keep this to a minimum,” says the festival website. “Please arrive in good time for any performance.”
All tickets will be digital and checked without contact at a social distance at the entrance to the patio area, where refreshments will be available.
Departing
STAFF will be managing the departure from the performance area “so that we don’t have large crowds all leaving at the same time”.
Loos
THE loos in De Grey House next to the patio will be open throughout. All loos will be stocked with anti-bacterial hand soap and stringent hand-washing guidelines are in place.
Social distancing
EACH household or social bubble will be seated at a safe distance from other households or social bubbles, in line with Government guidance at the time of the performance.
“You will be directed to a designated ‘social bubble spot’ by our staff,” says the website. “Please be patient with them and sit where they direct – they know best!”
Food and refreshments
A LIMITED range of soft and alcoholic drinks will be on sale, alongside ice creams and chocolate.
Ticketing policy
IF you have any symptoms of COVID-19, have been diagnosed with the virus or have been in direct contact with a diagnosed individual in the past 14 days, you must not attend the event.
If you are unable to attend as a result of illness, please email boxoffice@yorktheatreroyal.co.uk and a ticket transfer can be arranged. Tickets can only be refunded if the booked performance has sold out.
Additional cleaning
THE patio area will be thoroughly cleaned between each performance. “Our already high cleaning standards have been enhanced by a cleaning programme designed to clean and sanitise the high touch points,” assures the website.
More information can be found at: yorktheatreroyal.co.uk/be-part-of-it/collective-acts/pop-up-on-the-patio/.
LISA Howard will be spending the weeks ahead performing in the Friends Garden in Rowntree Park, York, but she has been no stranger to the world of gardens in lockdown.
“I went ‘allotmenting’, growing stuff and trying to feed the world from my allotment,” says Lisa, who will be playing Cathy in the Park Bench Theatre premiere of Matt Aston’s Every Time A Bell Rings from August 26 to September 5.
“I was imagining the worst, that there would be no fresh food in the shops. I wanted to provide my own food. I had already started hoarding last year because of the fear of Brexit. I’d already gathered toilet rolls. I got a bit paranoid.
“I didn’t do what a lot of actors did and make a sound studio or practise getting on to Zoom. I thought I’d never work again. I did get a bit down about it, so I buried myself with getting mucky hands in the allotment. Something that felt real and connected to the earth.”
In The Park Bench Theatre season that begins with Wakefield Theatre Royal pantomime dame Chris Hannon performing Irish playwright Samuel Beckett’s short story First Love from Wednesday, Lisa will play a woman seeking solace as she emerges from isolation in lockdown on Easter Sunday 2020.
As Cathy sits on her favourite park bench in her favourite park, she reflects on her situation: a scenario that chimes with our Covid times in a play prompted by writer – and Park Bench Theatre artistic director – Matt Aston doing likewise on his regular exercise routine in Rowntree Park during lockdown.
Not that Lisa was aware of the script – a 45-minute monologue that takes a touching, humorous and poignant look at how the world is changing through the extraordinary circumstances of 2020 – before taking on the part. Asked to play the role by director Tom Bellerby, she agreed to do so without reading the script first. “Later that afternoon I did read it and was glad I’d said ‘yes’,” she says.
She has worked with Tom previously, firstly when he was a member of York Theatre Royal Youth Theatre. He was in the cast of artistic director Damian Cruden’s 2005 production of Macbeth, wherein Lisa played one of the three Witches, and later he was associate director for the Pilot Theatre/Slung Low/York Theatre Royal promenade production of Blood + Chocolate in York in 2013.
“Every Time A Bell Rings is an inner monologue about a woman who is out of isolation after 14 days of not going anywhere or seeing anybody. Basically, it’s the story of her life. She’s a woman in her fifties who’s had a life full of ups and downs,” says Lisa.
“I’ve done my fair share of new writing. I enjoy creating characters and working through stuff that’s fresh and people haven’t seen before. It’s good to be working on something that’s so ground-breaking about a situation that none of us have experienced before.”
She is no newcomer to outdoor theatre or site-specific productions, especially for Alan Lane’s Leeds company Slung Low whose “sense of adventure” she so admires, typified by the epic promenade production of Blood + Chocolate, where the audience listened on headsets as they followed the cast around the centre of York and out to Clifford’s Tower. Blood and Chocolate was an epic promenade production around the city
Last year, Lisa appeared in Twelfth Night, The Borrowers and Henry V in Grosvenor Park Open Air Theatre, in Chester, but she is new to Rowntree Park, despite having worked and stayed in York many times.
She has only one worry. “I hope I don’t fidget too much sitting in one place on a park bench for a long time. I might have a cushion sewn into my trousers,” she says.
Her most recent appearances in York came at the Theatre Royal in Sabrina Mahfouz’s stage adaptation of Malorie Blackman’s novel Noughts And Crosses for Pilot Theatre in the main house in April 2019 and Joyce Branagh’s comedy bus-trip Ladies That Bus in the Studio in February this year before the world as we knew it was stopped in its tracks.
“Luckily we finished the tour of Ladies That Bus before lockdown happened. We were in our own little bubble on a rural tour with no concept of what was happening,” says Lisa.
“We mentioned it once when we were washing our hands and singing Happy Birthday. The tour ended and lockdown happened.”
As well as more acting, she would love to see the return of Lula And The BeBops, dormant for far too long. “It feels like we’ve been scuppered at every turn,” says Lisa, the band’s lead singer. “The last gig we did was a couple of years ago. We’ve haven’t done anything recently mainly because I’ve been working away a lot with different tours.
“I’m desperate for us to get back together again. It’s wanting to perform with other people in groups. It’s great to be part of a band.”
Engine House Theatre present Matt Aston’s Every Time A Bell Rings, at Park Bench Theatre, Friends Garden, Rowntree Park, York, August 26 to September 5, 7pm; August 29 and September 5, 4pm matinees. Running time: 45 minutes. Please note: contains very strong language.
Full details, including tickets and the audience use of headphones, can be found at: parkbenchtheatre.com. Box office: yorktheatreroyal.co.uk/show/every-time-a-bell-rings-park-bench-theatre/.
PERFORMANCE AREA
The Friends Gardenis an enclosed lawn at Rowntree Park that will have socially distanced seating in an outdoor Covid-secure setting with clearly delineated areas/boxes marked on the grass – three metres square – for audience members to sit in.
Up to three or four people from the same household can sit in each box. Further individual seats will be spaced around the side of the lawn.
You are encouraged to bring blankets if booking for the first few rows or chairs for the back few rows.
The capacity is 75 tickets for each performance.
BUMPING into Martin Barrass last night beneath At The Mill’s magical open-air theatre tent at Stillington Mill set the mind to pondering the fate of his winter pantomime in York.
Will comic stooge Martin bounce back with Suzy Cooper, David Leonard and A J Powell in veteran Dame Berwick Kaler’s panto debut at the Grand Opera House this Christmas after their shock transfer to Qdos Entertainment from York Theatre Royal?
Here is the latest statement from Qdos, the pantomime powerhouse across the land, amid the continuing blight of Covid-19’s social-distancing requirements leaving theatres in the dark.
“We had been very clear that we required clarity from the Government regarding the re-opening of theatres by Monday, 3 August, in order for our pantomime season as we know it to take place,” the statement read.
“Based on the Secretary of State for Digital, Culture, Media and Sport’s reiteration last week that the Government won’t be providing further guidance on theatres operating without social distancing until November at the earliest, we are left with no choice but to begin the consultation process with our partner theatres about the viability of each show. This is a complex process and will take several weeks to complete.
“We are not immediately announcing the postponement of all shows, however plans will be announced by individual theatres and communicated to ticket holders in due course.”
Watch this space for Qdos’s decision on whether Dame Berwick’s pantomime comeback, Dick Turpin Rides Again, will or will not ride again. What will it be: pantomime or pandemime?
NEWSFLASH
QDOS Entertainment today cancelled their biggest pantomime outside London: the Birmingham Hippodrome production of Goldilocks And The Three Bears starring Jason Donovan.
Scuppered by the Covid-19 pandemic, the show is now re-scheduled for Christmas 2021, Donovan, co-star Matt Slack and all.
Qdos’s pantomime at the King’s Theatre, Edinburgh, Sleeping Beauty, has been put to sleep too until 2021.
NINE British poets are teaming up with Scarborough’s Stephen Joseph Theatre to present three short films showcasing their work.
Taking part are Toby Campion, Martin Daws, Hayley Green, Ray Hearne, Zara Jayne, Suhaiymah Manzoor-Khan, Otis Mensah, Nima Taleghani and Beverley Ward.
The three films will be online for a month from 5pm on August 11, 13 and 15, each marking the end of a day of Summer School classes from the SJT. Each one will feature three poets discussing their work and reading at least one of their poems.
Curator Nadia Emam says: “These films feature some fantastic poets from all over the UK, performing a couple of their poems but also including a short interview about them and their work.
“Viewers will get to watch a poetry performance, but also hear a little more about the journey of each poet, which I hope will be an inspiration to anyone curious about writing poetry and making a living from it themselves.”
The nine poetry videos and interviews have been shot individually under lockdown conditions and then edited and tied together into three films by Sheffield filmmaker Brett Chapman.
Curator Nadia Emam also will lead an hour-long performance poetry workshop at 3pm each day at the Summer School. She was a member of the SJT’s Youth Theatre and is now an actor, poet and director in Sheffield, where she is a Crucible Theatre supported artist.
In addition to Nadia’s poetry workshop and the films, the SJT Summer School includes:
Tuesday, August 11: Movement and street dance with Marcquelle Ward and puppetry with Andrew Kim, for nine to 13 year olds;
Thursday, August 13: Musical theatre with Alex Weatherhill and HowTo Do Accents with Alix Dunmore, for 14 to 18 year olds;
Saturday, August 15: Conducting an orchestra (a beginner’s guide) with Shaun Matthew and public speaking with York-born SJT actress Frances Marshall.
Access to the poetry films is free. To watch, visit the SJT’s YouTube channel from August 11 at: youtube.com/channel/UCUChChdq-MZrUIqOAhEIB7w.
The SJT’s online Summer School costs £18 per day for all three sessions. Individual sessions can be booked at £7 each. To book, go to: sjt.uk.com/event/1050/online_summer_school_
The poets in profile:
Toby Campion: Poet, playwright, former UK Poetry Slam Champion and World Poetry Slam finalist. His debut collection, Through Your Blood, was longlisted for the Polari First Book Prize.
Recipient of the 2019 Aurora Prize for Poetry, he has performed around the world, at Glastonbury Festival and on The Arts Show with Jonathan Ross. He will read Oyster and Nits.
Martin Daws: Active as a spoken-word poet for more than 20 years, performing in the UK, USA and Eire, delivering commissions and residencies and publishing two collections. He was Young People’s Laureate for Wales, 2013 to 2016, and will read Under The Slates, Weekend: Saturday Afternoon and Together.
Hayley Green: Originally from Nottingham, now based in Scarborough, she performs across the UK and Europe. She teaches poetry and creative writing in schools, colleges and communities, using poetry and creative writing to explore self-harm, mental health, sexuality, gender and identity, often the focus of her own poetry and performance. She will read Changing Rooms and Playtime.
Ray Hearne: His poem A Sing Song For Stainless Steel was cut into 14 benches in Sheffield city centre. Now he is working with a stonecutter in Barnsley to devise words for a Grimethorpe Trail.
His songs have been performed and recorded by the late Roy Bailey, Kate Rusby and Coope Boyes and Simpson. The Ballad Of Wentworth and Elsecar awaits publication in autumn 2020. He will read Werewolves Of Rotherham and Living On Broad Yorkshire Street.
Zara Jayne: Started writing at the age of ten when she had her first poem published in Cosmic. Her poems have appeared in the charity magazine Sense and in the book A Blind Bit Of Difference; a short play was put on at a London theatre.
She performed in Martha, Josie And The Chinese Elvis at the SJT in 2019 and will read Ghostlight and A Dirty World.
Suhaiymah Manzoor-Khan: Educator, writer and poet from West Yorkshire. Her work disrupts narratives of history, race, knowledge and power, interrogating the political purpose of conversations about Muslims, migrants, gender and violence.
She works to provide herself and others with “the tools to resist systemic oppression by unlearning what society and the education system have instilled in us”. She will read British Values.
Otis Mensah: Self-proclaimed mum’s house philosopher and rap psalmist, offering an alternative take on contemporary hip hop and spoken word.
Shedding light on “existential commonalities through vulnerable expression”, he uses aesthetic language to paint worlds of thought. Appointed the first poet laureate of Sheffield by former Lord Mayor and MEP Magid Magid, he will read Ode To Black Thought and Shifting Sands.
Nima Taleghani: Actor, writer and workshop facilitator. Theatre and screen credits include Romeo And Juliet and The Merry Wives Of Windsor(RSC), Hatton Garden (ITV) and Casualty (BBC).
A selector and London Ambassador for the National Student Drama Festival, Nima will read King Arthur and This City.
Beverley Ward: Writer, facilitator and coach who writes poetry, fiction and non-fiction and is passionately in love with the creative process of writing.
She has run writing workshops for adults and children for more than 20 years and has her own writers’ workshop in Sheffield and a retreat in Bridlington.
She has published poems, stories and two books: Archie Nolan: Family Detective, for children, and the memoir Dear Blacksmith. She will read What If, The Swing In An Empty Playground and Poem For Kids Leaving Primary School.
The curator: Nadia Emam was awarded a placement last year with the Regional Theatre Young Director Scheme at the SJT, where she curated the poetry evening Still I Rise, celebrating female poets. Her debut poetry film won the WEX Short Film Competition and was part of BFI’s Northern
YORK Stage are bringing musical theatre back to life this summer with their first ever outdoor show, taking over the Rowntree Park Amphitheatre for three nights from August 23 to 25.
“Combining a live band with a team of sensational professional singers, this socially distanced outdoor event will provide you with the musical theatre fix you’ve been craving,” promises producer and director Nik Briggs.
“Presenting a programme filled with all of your favourite movie-musical songs, be prepared to be amazed as our vocalists perform songs from Grease, Hairspray, Cats, Cabaret, The Greatest Showman, West Side Story and many more.”
Explaining the choice of programme, Nik says: “We decided to stay away from anything ‘niche’, although we’re renowned for bringing new pieces, as well as ‘blockbusters’, to the York stage.
“We wanted to keep it light, with singers of great quality singing songs of great quality, and a band of great quality, performing songs we all know so well, presented as a concert rather than as a staged performance, so it’s very much about the music. With lovely lighting, it’s going to look beautiful too, with Adam Moore, Lisa Cameron and Daniel Stephenson handling the technical side of the show.”
Looking forward to restoring the sound of live music to Rowntree Park, Nik says: “We’re so excited to be creating the city’s first musical theatre event post-lockdown. We have built up a reputation of leading the way with our programming and bringing the latest show titles to the city in spectacular fashion, and so when the go ahead for outdoor performances was given, we knew we had to make theatre somehow and somewhere!”
The Rowntree Park Amphitheatre, with its bandstand and grass bank, is a long-standing presence in York’s outdoor performance portfolio, but really should be utilised more often.
Nik holds up his hands. “I’ve never lived in that part of York, so I’ve not used Rowntree Park a lot, and because the amphitheatre is tucked away in the far corner, it’s almost a hidden gem,” he says.
“During lockdown, I thought, ‘‘I’m sick of all the bad news, I need to create some good news, and find a good way of working outdoors this summer’, and it was my partner who suggested this beautiful space.
“When we came upon it, my reaction was, ‘why are we not using this space already?’. It’s perfect, surrounded by trees. It’s crazy that it’s not used more often when other performance spaces are over-subscribed.
“So, we set about creating a concert of songs that will be the tonic we all need right now: family favourites from across the generations”.
Under the guidance of York Stage’s regular musical director, Jessica Douglas, York Stage are assembling “some very special performers” who have all trained and worked professionally in musical theatre and have a wealth of British and international credits to their names.
All five have performed in York Stage Musicals shows too. Step forward Emily Ramsden, Ashley Standland, May Tether, Joanne Theaker and Richard Upton.
“We saw this show as an opportunity to support actors left out of work by the Coronavirus shutdown of theatres, who would previously have been making their money from performing,” says Nik.
Musical director and pianist Jessica Douglas will be complemented by keyboards, guitar, bass and drums in the band of five. She is leading rehearsals too. “We’re doing a mix of outdoor rehearsals, along with some things pre-recorded they’ve all been sent online to rehearse,” says Nik.
“When they get together, it will be for the least time possible, with two of three rehearsals per person, with the joint rehearsals being socially distant, singing at least three metres apart.”
Be assured, the safety of performers, staff and audience is “paramount” in York Stage’s planning of this three-day event.
“We’re remaining up to date and working to ensure everything we do is guided and informed by City of York Council and the current Government guidance as the event approaches,” says Nik.
“We want to ensure we can provide audiences with a brilliant night of musical theatre, while keeping them safe and comfortable.
“Under Government guidelines for public performances, for this venture, we’re only able to work with performers who have trained and work professionally, so although the total number of performers may be reduced from our usual blockbuster shows, we can still guarantee a host of powerhouse vocals.”
In order to make sure they can seat everyone and maintain suitable social distancing of two metres between groups, York Stage have taken the decision to sell spaces for a “Bubble Blanket” for families or support bubbles to sit in, rather than sell individual tickets.
“These spaces have been positioned to ensure there’s a minimum gap of two metres between the spaces in every direction, while keeping the audience three metres away from the performers,” says Nik.
York Stage are creating two sizes of “Bubble Blanket” spaces: one will hold up to three people; a larger one will accommodate four to six people. Please note, no actual blankets will be provided, so bring your own or a camping chair. “You can bring a picnic too, as long as you take away your rubbish,” requests Nik.
A one-way system will be in operation and the show will be 90 minutes straight through. “With no interval, we avoid any possibility of congestion,” reasons Nik.
The ticket price is £40 for the smaller Bubble Blanket; £65 for the bigger one, available online only at yorkstagemusicals.com and they MUST be bought in advance of the 7.30pm shows.
York Stage have been anything but dormant through lockdown and beyond. “We’ve been doing Songs From The Settee online,” says Nik. “We thought there’d be four or five, but there were 11 in the end – we made a rod for our own back, but it was lovely to work with professional singers and musicians, and now we’re thanking them, and the technicians too, by doing the live shows.”
Meanwhile, York Stage School has continued to run through lockdown and beyond with online sessions. “We’re doing a summer school too, with sessions last week and this week,” says Nik.
“We’ve even had one student calling in from Estonia! Normally she stays with her grandma in York in the summer, but not this year, so she’s joining in from Estonia. We have just short of 30 students taking part, and we’re creating a ‘Zoomsical’, an online performance under licence, to show to family and friends in a premiere on YouTube on Saturday.
“The show’s called The Big One-Oh!, composed by Doug Besterman with lyrics by Dean Pitchford, and it’s an American high school piece that the licencees have managed to adapt to do on Zoom.”
Looking ahead, Nik says: “Hopefully, we can return to York Stage School lessons as normal in September, pending Government guidance.”
HARROGATE Theatre will remain closed until 2021. No pantomime this Christmas and no safety net for up to 60 per cent of permanent staff, facing redundancy after an upcoming consultation period.
This hammer blow/”sensible action” comes despite Harrogate Theatre receiving £395,000 last month from the Arts Council England Emergency Fund, on top of Harrogate Borough Council funding, to cover losses incurred from March through to September.
And there’s the rub. Only until September, point out chief executive David Bown and chair of the board Deborah Larwood in this afternoon’s joint statement, despite being “extremely grateful” for the financial aid so far.
“Whilst we welcome the Government’s new Cultural Recovery Fund [£1.57 billion across Britain in grants and loans promised by Culture Secretary Oliver Dowden and Chancellor Rishi Sunak on July 5], we still require clarity as to what specifically we can access from the fund, having already been in receipt of Emergency Funding, and there is no certainty of success.”
The emergency press release carried an upbeat headline – “Our Safety Curtain is down for now, but we are still lighting the way for culture in Harrogate” – but behind that curtain, the unbroken reign of Coronavirus continues to stop play.
“Today we are announcing that the Safety Curtain will remain down at Harrogate Theatre until 2021,” the statement forewarns. “This has been an extremely difficult and very sad decision to make, but we feel it is the most sensible action under the current circumstances; not only to protect the safety of our audiences, volunteers and staff but to safeguard the future of Harrogate Theatre.”
In the wake of the Government postponing the re-opening of indoor performance spaces by a fortnight until August 15 at the earliest, and the even Grimmer Reaper blow of the Culture Secretary now saying that any possibility of a Government thumbs-up to theatres being allowed to return to full capacity will not be forthcoming until November…at the earliest, Bown and Larwood have declared their hand.
The still necessary curse of social distancing leaves them as glum as Cassandra. “Our business model relies on at least half of our auditorium being occupied to break even,” they say. “To produce our much-loved pantomime, we need to sell close to 90 per cent of our seats over two months of shows. With social distancing in place across this beautiful Victorian building, we can only fill 20 per cent of the auditorium. This is not financially viable.”
The heavy cloud of a possible second, wintry wave of Covid-19 hangs heavy over Harrogate Theatre, as indeed it does over all indoor theatre, serving as a killjoy to any planning. “Neither can we take the financial risk of paying for and then cancelling shows if the theatre is bouncing in and out of closure, due to possible quarantines or lockdowns,” warn Bown and Larwood. “Therefore, we are suspending or moving all planned activity for this year at Harrogate Theatre into 2021.
“As a direct result of the pandemic, and the dramatic loss of income associated with it, we have no other choice than to scale back the organisation and reduce our overheads in order to survive.”
What does that mean for the staff? “This means that we have been forced to make the incredibly hard decision to enter a period of redundancy consultation with our staff. At the end of this period, we may have to make up to 60 per cent of permanent roles redundant,” say Bown and Larwood.
“To make it through to next year, we will still need to continue our emergency fundraising campaign. Our audiences and the wider community have been incredibly supportive during these extraordinary times [raising more than £100,00 so far]. From the kindness of donations to the publicly led fundraisers, we have been overwhelmed by the outpouring of love and generosity shown towards the theatre.
“We accept our responsibility in this special town and must continue doing all we can to secure the future of the theatre. Thank you all for your help and commitment so far.”
Bown and Larwood are not down and out, however, and are looking to bounce back in 2021. “The majority of shows in our autumn season are moving to next year and Cinderella will be dancing at the ball in 2021. If you have tickets for a show during this time, we will contact you to let you know the rescheduled dates of performances.
“As you can imagine, this is a huge task for our small team, so please bear with us and where we haven’t been able to find a new date for you, please consider donating your tickets to the theatre.”
Harrogate Theatre is usually run in tandem with Harrogate Royal Hall and the Harrogate Convention Centre [formerly known as the Harrogate International Centre until a 2017 revamp], but the other two have been commandeered for the Corona war effort as a Nightingale hospital.
“We are working closely with the Harrogate Convention Centre and Royal Hall regarding the use of those venues as a Nightingale Hospital,” say Bown and Larwood. “The action at the theatre does not, as yet, affect these venues. However, we will contact bookers if and when shows are rescheduled or cancelled.
“Harrogate Theatre will also closely monitor what is an ever-changing global situation and will remain flexible to any changes in national policy or guidelines.”
Is there any sign of a silver lining or even autumn fruits? “While the Safety Curtain is down, we remain committed to making and sharing innovative theatre with audiences and participants and in autumn will launch an exciting socially distanced season of special performances and events, both in person and online.”
No details are being released to the media as yet, however. “Our White Rose Members will be the first to find out about these and will also get exclusive access to one-off events,” reveal Bown and Larwood. “Harrogate Youth Theatre and our Associate Artists will continue to be supported throughout the year. Although the doors might be closed, we will endeavour to light the way for the arts in Harrogate alongside our fellow cultural partners.”
To finish on a positive note: “We look forward to the day we raise our Safety Curtain and once again share the magic that live performance in our building brings,” say Bown and Larwood.
“While we understand the impact of this decision, as custodians of our organisation we will do everything in our power to safeguard the company to be able to entertain, educate and inspire for the next 120 years.”
Why did you take on the role of chair for Theatre @41, Joe?
“As we were approaching last year’s annual general meeting, our incumbent chair, Jim Welsman, decided to step down and I agreed to take on the chair as a temporary role. Very quickly it became clear that there was a big job to do with the charity from an operational and developmental point of view.
“Theatre has always been my passion and I realised that I had an opportunity to lead a team and make a difference to this incredible building and charity.”
What does Monkgate mean to you?
“Creativity. Every experience I’ve had with Monkgate has been a creative one, from the very first moment I stepped foot in there with the University of York St John, to all the rehearsals I’ve been part of and then finally as part of the board of trustees. Creativity has been the one constant that remains.”
York theatre-goers will know you from major roles in myriad productions but do you have any experience of theatre behind the scenes too?
“Surprisingly, I have lots of experience behind the scenes. I’ve stage-managed productions and directed many musicals and plays. My favourite musical was The Phantom Of The Opera, which I staged in 2014 – my favourite show and a great success.
“I’ve also worked professionally at York Theatre Royal and Square Chapel Centre for the Arts, in Halifax, in marketing and administration, so I have lots of experience and knowledge working for charitable organisations.
“Most notably, I worked at the Theatre Royal during their capital renovation project and some of their other major events, such as The Railway Children at the National Railway Museum, The York Mystery Plays in the Museum Gardens and their season in the round – I helped with the production of shows and front of house.
“For a long time, theatre was my whole life, having studied performance theatre at York St John, concentrating on live art and acting/directing.”
What challenges have you faced since taking on the role of chair?
“The biggest challenge is running the charity with a full-time job too. The charity in itself has a heavy workload which impacts on people’s time. This is why it’s really important that we build our volunteer community so they can be part of the developments and to ensure that the charity is running effectively.”
How did the board of trustees come together and how is it working?
“With a lot of hard work. Three of us were existing members of the previous board and everyone else was a new recruit.
“Because the profile of Theatre@41 is not as big as we would like, there was a challenge getting people to, firstly, know who we are and, secondly, understand why or how they could make a difference. Through a lot of networking, we have finally found a cohort of people who, day after day, make a difference to this charity.”
Who is serving on the board?
“Myself as chair, looking after all the governance of the charity and leading the board to achieve their short and long-term goals.
“Joanna Hird and Susannah Baines are joint secretaries; Joanna is responsible for administration and Susannah is responsible for our membership, though they do cross over a lot!
“Philip Barton is our treasurer, Jack Hooper is our marketing, branding and communications trustee; Alan Park is responsible for fundraising and business development; Kaeli Wishart is a new addition, responsible for our volunteer strategy, and Emma Godivala, of York Gin, is a trustee too.”
What has the new board achieved already to fill you with pride?
“When you’re part of a project, it’s really hard to see the developments that you’ve made. So, when we wrote the annual report this year, I was astounded by how much we’ve achieved in such a short time. I’m proud of everything that we do as a board.
“Most of all, I’m proud of the team we have become and how we continue to operate. Achieving something of this magnitude is impossible with just one person. It can’t be done. You have to have an effective and engaged team… which we do.”
Game Of Thrones star David Bradley, comedian Rosie Jones, actors Karen Henthorn and John McArdle, former chairman Jim Welsman and founder John Cooper’s daughter, Felicity, became patrons in May. What do you hope they will bring to Theatre @41?
“I think the primary purpose of high-profile patrons is about raising our own profile. Part of our five-year strategy is to build the awareness of our charity and building. We face a disadvantage as we’re physically hidden from passers-by and then, secondly, we aren’t at the top of people’s minds when it comes to theatre spaces in York.
“We don’t want to be number one; this isn’t about stealing the audience from other venues, but we do want to be in people’s consideration when they’re thinking about theatre experiences, either as an audience member or as a hirer.
“We’re hoping that having patrons who are not only high profile but actively involved in our theatre will help raise our profile and attract people into our building.”
What do you want to achieve in the next year?
“Most importantly, we hope to re-open successfully and start to build our hires again to ensure the financial stability of the charity. That is our first goal.
“After that, we’re focusing on creating a comprehensive pack of governing policies to ensure that we’re operationally effective; building a bank of volunteers to help us with the day-to-day running of the charity and venue; building a brand identity to make sure our name lasts long into the future; looking at our artistic offer and raising funds for our roof. These are just a few of the many tasks we have to achieve.”
What would you like the brand identity of Theatre @41 Monkgate to be?
“We want our identity to exhibit creativity. Our tagline is ‘Just Add Imagination’ and our identity should reflect that. However, we also want it to incorporate our history. We shouldn’t forget where we have come from and we have a great story to tell.”
How has the Covid-19 lockdown affected your plans?
“Aside from our theatre being closed, lockdown has, in a strange way, let us to concentrate on a lot of activities that we were struggling to complete when our building was open. So, actually, in one way it has positively affected our plans and given us the breathing space we needed to carry on with building the foundations of this incredible charity.”
What are the practical questions facing Theatre @41 in relation to re-opening?
“I think that the lack of direction from the Government on re-opening is slightly frustrating as it isn’t allowing for any future planning. Though we completely understand these are unprecedented times and I’m sure there is a lot the Government are working through.
“Operationally, there is probably less impact for our building due to the flexibility of seating and the fact it has a natural one-way system we can implement very quickly.
“I think our biggest challenge will be having hirers back in the building. At the moment, as we understand, amateur performance is still not advised to go ahead, which means that for the foreseeable future we will have no income. Like other businesses and charities though, we must have a think about how we adapt to this in the new world.”
Once the Government says “Yes” to indoor performances, is there any viable possibility of re-opening with reduced-capacity social distancing?
“We haven’t done the calculations as yet. However, working on an average audience size, I don’t foresee there being any issue with seating arrangements.”
But is it more practical to stay closed until Theatre @41 can re-open at full capacity?
“Not really. We really need to be open to continue bringing in money to our charity. We don’t receive any regular funding from bodies to help with our operating costs, so being open would help with our cash flow.”
Given the need to address the upkeep of the building, what makes Theatre @41 worth fighting for?
“No other theatre in York offers what we offer. When a hirer enters our building, they’re allowed to take over the whole space and have full creative control, from rehearsal rooms to the black box studio.
“Back in 2016 and 2018 we had The Guild Of Misrule bring Alexander Flanagan-Wright’s immersive production of The Great Gatsby to us. They took over the entire building and every room was transformed into a 1920s’ setting so that the audience stepped back in time as soon as they came through the front door.
“We’re also the perfect size for local companies to stage new or daring shows and not take too much of a financial risk. Our space allows companies to produce well-known pieces in new and exciting ways and, finally, we’re exactly what York is lacking: a Fringe venue.
“Possibilities are endless in our building, whereas in other theatres there may be a lot more restriction.”
What does the board see as the priority with the building’s maintenance?
“The biggest priority is to fix the roof. There are other tasks to undertake but our biggest priority is the roof, for which we have already started fundraising.”
How is the proposal to mark the legacy of 41 Monkgate founder John Cooper progressing?
“We obviously unveiled a plaque a few years ago and had a brown sign erected outside our building for the John Cooper Studio. The next step is to include the memory of John and immortalise him in the fabric of our brand identity and story-telling.”
Amid the uncertainty brought about by the Coronavirus pandemic, why is the arts scene so important in York?
“In a city so small it absolutely amazes me that we can house five major theatres and one large concert venue, plus support all of the many different groups that produce in York.
“We are so lucky that we have such a diverse group of arts-makers and they are all, in the majority, successful. From large-scale musicals to Shakespeare and everything in between, you’d be hard pushed to find another place like this outside of London.
“However, there are a few things that aren’t catered for that I would like to experiment with and expand the horizons in York. Watch this space!”
THE deadline for performers to upload video entries for the Joseph Rowntree Theatre’s online contest, Yorkshire’s Got Talent, is being extended by a week.
Organiser Hannah Wakelam and the judges, Wicked star Laura Pick, cruise-ship vocal captain Nathan Lodge and vocal coach Amelia Urukalo, have set a new cut-off point of midnight on August 8.
Hannah has set up the virtual competition as a fundraiser for the JoRo’s £90,000 Raise The Roof appeal.
“We still have lots of entries coming in, as word of the contest reaches further afield,” says the 19-year-old York performer. “We don’t want anyone to miss out on the chance of becoming a finalist in Yorkshire’s Got Talent, and so the judges and I are extending the entry deadline to next weekend.
“All types of performers are encouraged to enter and to show off what they can do, whether it’s singing, dancing, playing a musical instrument, performing a circus act, the list is endless.”
The cost of entry is a minimum donation of £5 to the Raise the Roof appeal for the Art Deco building, in Haxby Road, and no age restrictions apply.
To comply with lockdown rules, entrants are asked to submit a short video of themselves performing their acts. The contest winner will receive £100.
Full rules and details of how to enter can be found at:
Facebook: facebook.com/groups/687590815139642/about
Instagram: instagram.com/yorkshiresgottalent/
Graham Mitchell, the JoRo’s events and fundraising director, says: “There’s a real buzz around this contest now. Having a West End star [Laura Pick] among our judging panel has certainly got people talking and we are seeing a rush of last-minute entries. By extending the deadline, we’ll be able to accommodate more acts at the same time as raising more money for our fundraising appeal.”
The online contest is the latest in a string of fundraisers for the Rowntree Theatre’s roof appeal, following on from a virtual video, a Zoom fitness class and the ongoing sale of jazzy face masks made by theatre volunteer Barbara Boyce.
To launch the Raise the Roof campaign, the JoRo has set up a Just Giving page and is encouraging donations of “even just the amount of a takeaway coffee” at justgiving.com/campaign/Raise-the-Roof.