More Things To Do in York and at home in what’s left of Lockdown 2020 and beyond. List No. 18, courtesy of The Press, York

We face the second wave…but somewhere on the horizon….

AFTER the tiers of a clown, now comes the even greater frustration of Lockdown 2 from today, knocking the growing revival of arts, culture and life in general back into hibernation.

Nevertheless, in one chink of light, Culture Secretary Oliver Dowden has decreed that theatre companies can continue rehearsing shows in Covid-secure workspaces, behind closed doors, with a view to lockdown being lifted in early December.

Whether that turns out to be a mere fairytale, only time will tell, so please forgive the unpredictability of what may or may not be happening.

Charles Hutchinson picks through the debris of Lockdown 2 to find signs of artistic life for now and the months ahead.

Films, films and yet more films: Aesthetica Short Film Festival has a feast of film to enjoy while being stuck at home in lockdown

It’s started and it won’t finish until November 30: Aesthetica Short Film Festival online

YORK’S tenth anniversary Aesthetica Short Film Festival opened on Tuesday, switching from a spread of historic and modern locations to a digital and live-streamed festival for home entertainment, enlightenment and education on phones, TV sets, tablets and computers.

Films in competition at ASFF 2020 will span animation, documentary, drama, dance, fashion and thriller. This year they will be released in six strands this week, with no fewer than ten programmes per day under the strand titles of Just Another Day On Earth; Humans And Their Environment; Connections: People, Places and Identity; Breaking Down Barriers; Reclaiming Space: Universal And Personal and Keep On The Sunny Side Of Life.

Masterclasses, guest speakers, panel discussions, guest film programmes and an industry market are further highlights of an online festival unimpeded by the new lockdown. Go to asff.co.uk for tickets and to download the full programme.

Kate Bramley’s latest podcast: “Some strange and wonderful goings on at the allotment”

Fighting off the new lockdown blues: Badapple Theatre’s Theatre On Your Desktop podcast

GREEN Hammerton’s Badapple Theatre Company has added a new Kate Bramley play to its Theatre On Your Desktop series as it extends its lockdown season of free podcasts. 

Click on https://badappletheatreonyourdesktop.podbean.com/ for The World Is Still Next Door, artistic director Bramley’s account of some strange and wonderful goings on at the allotment as Mo and her young son search for a place to fight off the lockdown blues.

Set during four sunny days in May in deep lockdown, Bramley’s play seeks to capture the power of soundscapes to inspire imagination. “I got really interested in the idea of creating a new short piece with many voices of varying ages and accents, as well as delving into sound montages that evoke settings from our local Yorkshire all the way to Watamu Beach in Kenya,” says Kate. “With a bit of Badapple signature magic-realism thrown in for good measure.”

All roads lead to…21 York wards for York magician and entertainer Josh Benson in York Theatre Royal’s Travelling Pantomime next month

Travelling Pantomime, not travailing pantomime, as the show must go on…hopefully: York Theatre Royal’s alternative neighbourhood watch

YORK Theatre Royal began rehearsals in the billiards room on Tuesday for associate director Juliet Forster’s Travelling Pantomime production.

It could still be pot luck whether the first collaboration between Evolution Pantomimes and the Theatre Royal will go ahead, everything hanging on Lockdown 2’s fate, but plans are taking rapid shape to cement the itinerary for a tour of 21 York wards from December 3, plus York Theatre Royal performances too.

Just Josh magician and entertainer Josh Benson, Robin Simpson’s Dame Dolly, Anna Soden’s Fairy/Singing Captain, Faye Campbell’s Jack/Dick and Reuben Johnson’s villainous Fleshcreep/Ratticus Flinch will rehearse three pantomimes, Jack And The Beanstalk, Dick Whittington and Snow White, all scripted by Evolution’s Paul Hendy, for each show’s audience to vote for which panto they want to see.  

Bean team: top row, from left, Jordan Fox, May Tether, Ian Stroughair and Livvy Evans; bottom row, Alex Weatherhill, Emily Taylor, Matthew Ives and Danielle Mullan

The other Jack And The Beanstalk in York this Christmas: York Stage at Theatre @41 Monkgate, York, December 11 to 30

YORK Stage are going full team ahead with their inaugural pantomime, to be staged in the Covid-secure John Cooper Studio, where Perspex screens will be in place for the first time for the traverse staging.

Writer-director Nik Briggs has added West End choreographer Gary Lloyd to his production team, proclaiming: We’re taking our West End-worthy panto to the next level with the addition of Gary to our company.”

Jordan Fox, May Tether, Livvy Evans, Alex Weatherhill, Ian Stroughair, Danielle Mullan, Emily Taylor and Matthew Ives will be the cast bringing life to Briggs’s debut panto script.

Yorkshire Pudding Song: Martin Barrass will lead the Song Sheet singing at Bev Jones Music Company’s Strictly Xmas In The Park concert

Barrass is back: Bev Jones Music Company in Strictly Xmas In The Park, Rowntree Park, Amphitheatre, York, December 13, 2pm

MARTIN Barrass will be starring in a York pantomime after all this winter. Dame Berwick’s perennial comic stooge may be missing out on the Covid-cancelled Kaler comeback in Dick Turpin Rides Again at the Grand Opera House, but now he will lead the pantomime section of Strictly Xmas Live In The Park.

As part of Bev Jones Music Company’s Covid-secure, socially distanced, open-air performance, Barrass will tell a few jokes and orchestrate the song-sheet rendition of You Can’t Put A Better Bit Of Batter On Your Platter Than A Good Old Yorkshire Pud.

Barrass will wear black and pink to honour the late Bev’s favourite colour combination.

Helen Charlston: Performing at the York Early Music Christmas Festival

Early notice: York Early Music Christmas Festival, National Centre for Early Music, York, December 4 to 13

AS the NCEM website states: “We are planning for these concerts to go ahead and are still selling tickets. If the situation changes, we will of course be in touch.”

Fingers crossed, then, for a socially distanced festival in St Margaret’s Church, Walmgate, featuring Palisander, The Marian Consort, Illyria Consort, Joglaresa, The York Waits and Bethany Seymour, Helen Charlston, Frederick Long and Peter Seymour.

Among the highlights, on December 9, festival favourites The York Waits will present The Waits’ Wassail: Music for Advent and Christmas: Carols, songs and dance from across medieval and renaissance England and Europe, played on shawms and sackbuts by York’s Renaissance town band.

Duran Duran: Making their Scarborough Open Air Theatre debut next summer

A hat-trick of new shows on the East Coast: Duran Duran, Lewis Capaldi and Snow Patrol at Scarborough Open Air Theatre

IN quick succession, Duran Duran, Lewis Capaldi and Snow Patrol have been confirmed for Cuffe and Taylor’s ever-expanding programme at Britain’s biggest purpose-built outdoor concert arena.

Booked in for July 7, Birmingham glam pop band Duran Duran will introduce their first new material since 2015, alongside such favourites as Save A Prayer, Rio, Girls On Film and The Reflex.

Lewis Capaldi: “Buzzing” to be back at Scarborough Open Air Theatre in 2021

Glaswegian singer-songwriter Lewis Capaldi sold out two nights at Scarborough OAT in 2019 and says he is “buzzing” to be returning on July 25 next summer. “It’s a great venue, the crowds there are always unreal and so here’s to another unforgettable night,” he says.

Snow Patrol’s sold-out 2020 Scarborough show had to be scrapped under Covid restrictions but Gary Lightbody’s band are now booked in for July 3 2021. Tickets for all three shows go on sale tomorrow morning at 9am via scarboroughopenairtheatre.com.

Kate Rusby at Christmas…now online

And what about?

THE Kate Rusby At Christmas tour will not be happening, ruling out her South Yorkshire pub carol concert at York Barbican on December 20.

However, in response to the Covid restrictions, the Barnsley folk nightingale has decided to go online instead, presenting Kate Rusby’s Happy Holly Days on December 12 at 7.30pm (GMT). Expect all the usual Rusby Christmas ingredients: sparkly dress, twinkling lights, her regular folk band, her “brass boys”, Ruby the reindeer and a fancy-dress finale.

Tickets go on sale on Friday (6/11/2020) via https://katerusby.com/happy-holly-day/

The SJT to close for Lockdown 2 but The Snow Queen rehearsals WILL go ahead

Rehearsals can go ahead in Lockdown 2 for The Snow Queen at the Stephen Joseph Theatre

SCARBOROUGH’S Stephen Joseph Theatre will close its doors to the public again from Thursday to December 2, re-opening on December 3, pending further Government Covid-19 pronouncements.

In the light of last night’s confirmation from Culture Secretary Oliver Dowden that rehearsals can continue behind closed doors, the SJT will be going ahead with its vibrant Christmas production of Nick Lane’s The Snow Queen throughout December.

The SJT had re-opened its McCarthy cinema in late-August and has been presenting live theatre from the start of October: one of the first theatres in the country to do so.

November’s live shows – My Favourite Summer and Orpheus & Eurydice, plus play readings of Canton, Worldly and With Bells On! – will move to next spring. New dates will be announced as soon as possible.

As much of the November cinema programme as possible will be switched to December. Again, new dates will be posted ASAP.

Haunting Julia, an audio version of Alan Ayckbourn’s 1994 play directed and performed by Sir Alan himself, is unaffected. Theatre-goers who prefer to stay at home can book to listen between December 1 and January 5 via the theatre’s website, sjt.uk.com. Raven’s sold-out Christmas concert on December 15 will go ahead as planned too.

The SJT’s box-office team is working hard to contact everyone with bookings affected by the changes. Ticket-bookers can choose whether they would like a refund, a credit to their account, or to donate the cost of their ticket to help secure the theatre’s future.

Those with bookings are asked not to contact the box office if possible. The team is making its way through November’s bookings in date order as fast as it can.

The SJT’s executive director, Caroline Routh, says: “Of course, it’s a huge disappointment to us all to have to close again. Our audiences have been so appreciative that we reopened our cinema in August and recommenced live theatre in October, and really generous in their support in so many ways.

“Most of our screenings and shows, includingJohn Godber’s Sunny Side Up! just last week, have sold out, although our capacities have been reduced because of social distancing.

“But the safety of our audience, our in-house team and our visiting companies is, of course, paramount. When we do re-open, we‘ll still be following the same stringent safety procedures that have made our audiences feel so safe recently.

“And we’re so thrilled that we’re still able to bring The Snow Queen to Scarborough for Christmas. It promises to be a really lively and memorable show, starring the fabulous Polly Lister and, on certain performances, her talented ‘alternate’ Jacoba Williams. We’re confident it’ll be a Christmas must-see for 2020!”

Please note, if you do need to contact the box office for any reason, you can do so on 01723 370541, between 10am and noon, Mondays to Fridays, until 2 December (phone queries only; the building will not be open for in-person visits.

Tickets for all December events can still be booked online through the lockdown period at sjt.uk.com.

Badapple Theatre posts allotment drama as finale to lockdown free podcast series

Kate Bramley: Podcast play “inspired by the power of soundscapes to inspire imagination”

GREEN Hammerton’s Badapple Theatre Company has added a new Kate Bramley play to its Theatre On Your Desktop series as it extends its lockdown season of free podcasts. 

Click on https://badappletheatreonyourdesktop.podbean.com/ for the first instalment of The World Is Still Next Door, artistic director Bramley’s account of some strange and wonderful goings on at the allotment as Mo and her young son search for a place to fight off the lockdown blues.

Set during four sunny days in May in deep lockdown, Bramley’s play was prompted by her discussion with a BBC Radio York colleague about the power of soundscapes to inspire imagination.

“I got really interested in the idea of creating a new short piece with many voices of varying ages and accents, as well as delving into sound montages that evoke settings from our local Yorkshire all the way to Watamu Beach in Kenya,” says Kate. “With a bit of Badapple signature magic-realism thrown in for good measure.”

Featuring the voices of Kathryn Hanke, Thomas Frere, Anastasia Benham, Danny Mellor, Pauline Babula and A.J. Lowe, The World Is Still Next Door is the final commissioned show of Badapple’s Arts Council England-funded Theatre On Your Desktop season. Once more, Sony Radio Academy Award winner Jez Lowe provides the music.

Still available at https://badappletheatreonyourdesktop.podbean.com/ is the extended radio version of Badapple’s hit comedy Eddie And The Gold Tops, set against the backdrop of the Swinging Sixties, with original songs and music by Lowe.

Bramley’s tale follows Eddie, a much-loved milkman from a family of great Italian milkmen, who finds himself becoming a chart-topping Beat group star wholly by accident. However, when things take a churn for the worse, will he return home in time for the morning milk?

Based at Green Hammerton, near York, Badapple Theatre Company is celebrating 21 years of touring this year, highlighted by the open-air performances of Danny Mellor’s Suffer Fools Gladly in September.  

Badapple specialises in inventive new comedy designed specifically for small community venues, taking theatre to the most unexpected of places.

Could this phone box be hosting Britain’s smallest performance on Halloween?

Phone…home: The red phone box outside Dr Christopher Newell’s house near York

A VILLAGE red phone box near York will house probably Britain’s smallest performance on Halloween night.

Dr Christopher Newell, from the digital media department at the University of Hull, sent an intriguing email to CharlesHutchPress out of the blue on Tuesday morning.

“You may remember me as a very short-lived artistic director of the Grand Opera House. What a fiasco that was!” it started, triggering memories of Chris tempting fate by opening the Cumberland Street theatre after its £4 million renovation with a Balinese version of Macbeth, theatre’s most unlucky play, on September 28 1989.

Sure enough, within two years, the theatre gods had played their accursed Macbeth hand, and the Grand Opera House closed so suddenly, crippled by mounting debts, that staff arrived to find the doors locked.  

Hold the line: Dr Christopher Newell in his phone box

“Anyway, here I am years later, bit of an academic, bit of a cancer patient, bit of a director – with a project to share,” the email continued.

“This Saturday, Halloween night, at 8:00 I will broadcast a 20-minute audio collage of very personal detritus, truth and lies from a telephone box outside my house near York, using a computer-generated version of my voice.

“The audience will probably be one, me.”

Explaining the audio collage content, Chris wrote: “I guess it’s something to do with ghosts, it’s certainly timed to be so. When I was diagnosed with incurable cancer, I thought I had had it.

“I wanted to make a show and as my academic specialism is computer-generated speech and how it relates to acting, I built myself a stage. I bought a phone box and set about equipping it with technology from 1937, the year it was built, and cutting-edge speech synthesis provide by colleagues in Edinburgh.

“An obsession was born that has kept me happy through several bouts of chemo and extended periods of lying in bed. I have been tinkering for five years and on Saturday it goes live. I think this is interesting, do you?” 

“My Guilt”: Dr Newell’s caption for this close-up of his apologetic notice in the phone box

CharlesHutchPress does indeed, and so a list of questions has been fired off to Chris – rather than taking a call in the aforementioned phone box – to discover more.

Where is the telephone box near York?

“Outside my house.” (Chris preferred not to reveal the location but here is a clue: think of a rosy autumn fruit and a deer).

On what medium will you broadcast…and how can people tune in?

“It’s on a web radio channel, GISS Global Internet Streaming Support: a platform for experimentation and research on free technologies in the era of internet media.” 

Go to: http://giss.tv/interface/new.php?mp=gravityisahat.mp3

Can people visit the phone box at other times? 

“Yes, but not while Covid persists.”

Mouth piece: A close-up of Dr Newell’s mouth, on display in his phone box

Is this the smallest arts space you could ever perform in?

“I can’t think of a smaller one but there is bound to be someone who has performed in a barrel or something.”

After Halloween, what happens to the recording?

“I will make it available from my website and then continue to add new performances of new material at Christmas, Easter, Midsummer. I dislike rituals and festivals, so this is my attempt at a subversive counter culture. Yo Ho Ho.”

What does Halloween mean to you?

“Not being dead yet but I thought I was about to be – phew! I am obsessed with Thomas Edison’s paper on The Realms Beyond: he thought he could make a machine to communicate with the dead – I reckon I have.”

On a technical level, how do you computer-generate your voice?  Does it change your voice?

“No. It uses parameters from your real voice to remap them to a computer-generated clone. It’s mega-clever, done by my colleagues at CereProc [a speech synthesis company based in Edinburgh], not by me.

From the outside: Dr Newell’s phone box lit up

“It means the voice can say all the things I can’t – of course, sometimes it can’t say the things I can – this is both a literal and metaphorical statement.”

What are you required to do to maintain the condition of the vintage phone box?

“Not let if freeze – it’s amazingly resistant to extreme weather. It’s got some electronics in it that I have to fix from time to time; paint it every three years; polish the woodwork; chuck out the spiders.”

Is it locked or permanently open?

“Currently I can’t let people in – hence the broadcast – but up until Covid people could pop in any time and did.”

Looking back, did you ever regret your bravura decision to open the Grand Opera House, after 33 years without a play there, with the ever ill-fated Macbeth?

“Not as much as I regretted taking the job at all – I was not the right person. It wasn’t Macbeth that did for it; it was combo of me and the people who owned it.”

For a taster of what lies ahead on Halloween night at Dr Christopher Newell’s phone box, head to: https://k6.gravityisahat.com/wp/live-feeds/

You can read more about the project at https://k6.gravityisahat.com/wp/ and learn more about Dr Newell at http://gravityisahat.com/

Alison Carr’s new dark comedy Dogwalker to be given semi-staged reading at the SJT UPDATED

Deborah Tracey: Semi-performed reading of Alison Carr’s Dogwalker at the SJT

NEWSFLASH 3/11/2020

IN light of Lockdown 2 starting on Thursday, this week’s semi-staged readings of Alison Carr’s Dogwalker are moving from Friday and Saturday to tomorrow (4/11/2020) at 6.30pm and 8.30pm. “And we have some availability!,” says the SJT. “Your last chance to get your live theatre fix for a little while… http://sjt.uk.com/event/1066/dogwalker

QUESTION. Whose testing play, The Last Quiz Night On Earth, should have been performed at a sold-out Stephen Joseph Theatre in March before you know what struck?

Answer: Alison Carr, award-winning playwright from Bishop Auckland. Good news for Alison comes next week with the November 6 and 7 semi-staged debut reading of her new play, Dogwalker, at the reopened Scarborough theatre.

Performed by Deborah Tracey in The Round at 7.30pm each night, Carr’s dark comedy forms part of a season of pared-back work that permits the SJT to operate at social distance.

In Dogwalker, Helen’s main responsibility since losing her job has been to pick up her dog Harvey’s poo. When she finds a dead body in the neighbourhood dog park, suddenly everyone is paying attention to her. At least for a little while.

Now she has had a taste of the limelight, however, Helen refuses to fade into the shadows without a fight.  

Box Of Tricks Theatre Company’s promotional picture for Alison Carr’s The Last Quiz Night On Earth

Dogwalker’s dark hue of humour should appeal to devotees of Fleabag, I May Destroy You and I Hate Suzie, as well as those who encountered Carr’s play Caterpillar, either in the SJT’s 2017 season of play readings or a full visiting production there in 2018.

Dogwalker was submitted through the SJT Open Script Submissions window and was longlisted for the Women’s Prize for Playwriting. Now, the SJT is developing it for a potential run at the Edinburgh Fringe.  

Deborah Tracey has pursued a wide and varied career in television, film and on stage, last year performing in artistic director Robert Hastie’s production of Richard Hawley and former York student Chris Bush’s Standing At The Sky’s Edge at the Crucible, Sheffield.
Dogwalker is directed by the SJT’s Carne Trust associate director Chelsey Gillard. Tickets cost £10 on 01723 370541 or at sjt.uk.com. 

Oh, and if you had to miss Box Of Tricks Theatre Company’s production of The Last Quiz Night On Earth in March, Carr’s immersive, innovative pre-apocalyptic comedy was aimed at theatre and pub quiz enthusiasts alike, with its promise of “a very different experience of live performance”.

The Stephen Joseph Theatre artwork for Alison Carr’s Dogwalker

Martin Barrass WILL star in a York panto this Christmas, but what’s the show? UPDATED

Martin Barrass: Back in pantoland for Strictly Xmas Live In The Park

MARTIN Barrass will be starring in a York pantomime after all this winter.

Dame Berwick’s perennial comic stooge may be missing out on the Covid-cancelled Kaler comeback in Dick Turpin Rides Again at the Grand Opera House, but now he will lead the pantomime section of Strictly Xmas Live In The Park.

Presented by the Bev Jones Music Company in a Covid-secure, socially distanced, open-air performance at the Rowntree Park Amphitheatre, the show will be a one-off on Sunday, December 13 at 2pm.

Martin Barrass as Queen Ariadne in his last York Theatre Royal pantomime, Sleeping Beauty, last winter

“I met Lesley Jones, widow of the formidable York producer and director Bev Jones, five or six weeks ago about doing a Christmas show to get people out and about on a crisp winter’s day,” says Martin.

“I’m thrilled to be taking part, and if you’re wondering why I’m wearing black and pink in the publicity picture, they were Bev’s favourite colours.”

Producer Lesley says: “We are delighted to welcome Martin into our company for this special guest appearance and he fits in so well to the company personality. He will lead the audience in the Christmas song with a drop-down song sheet.”

Martin Barrass, right, with AJ Powell, Berwick Kaler, Suzy Cooper and David Leonard at the February 14 launch of their debut Grand Opera House pantomime, now put back to 2021. PIcture: David Harrison

“I’ve chosen the first song-sheet I ever did at the Theatre Royal…about Yorkshire Puddings!” reveals Martin, as he breaks into song from memory: “‘You can’t beat a better bit of batter on your platter than a good old Yorkshire Pud!’

“I did that with Berwick in Sinbad The Sailor in 1984, and I always remember thinking, ‘Are they going to respond?’, but of course they did!” Nobody does it batter, Martin!

Expect a few seasonal jokes too from Barrass, who will be joined in the festive concert’s panto sequence by Melissa Boyd’s Princess, Terry Ford’s villain and Charlotte Wood’s Silly Billy.

“In addition, we’ll have the Dame, the Fairy Godmother, Prince Charming, Jack Ass and other characters,” says Lesley.

Charlotte Wood as Silly Billy for Strictly Xmas In The Park

“The concert will include all the favourite Christmas songs, such as Santa Baby, Jingle Bell Rock and Band Aid’s Do They Know It’s Christmas?, as well as the fun panto section for all the family.

“There’ll be a visit from Santa Claus for all the children, followed by a moving Carols By Candlelight finale, encouraging a sing-along for everyone.”

Rowntree Park Amphitheatre will play host to a non-alcoholic Festive Mulled Wine Van, selling hot drinks for all the family, whether tea, coffee, hot apple juice or children’s drinks, served with light complimentary snacks. 

Melissa Boyd’s Princess and Terry Ford’s villain for the Bev Jones Music Company’s Strictly Xmas In The Park

Rehearsals will be held at Rufforth Institute Hall , socially distanced and under a full Covid risk assessment. 

All audience members will be temperature tested on arrival and placed into family private bubble areas.

Tickets cost £5 for children and £10 for adults in bubbles for two to six people, on sale  on 01904 501935 or online at josephrowntreetheatre.co.uk/whats-on/concert/strictly-xmas-live-in-the-park/1342/#schedules

John Godber keeps it in the family for Sunny Side Up’s journey to the Yorkshire coast

Family bubble for Sunny Side Up!: John Godber with his wife Jane Thornton and daughters Martha and Elizabeth

“BUMPING” into Britain’s second most performed living playwright as paths crossed while stretching a lockdown leg at Pocklington Canal Head in early July, one question had to be asked.

“Must be plenty of material for a play about Covid-19, John?”. “No comedy there,” replied John Godber.

Nevertheless, the waiting for Godber’s new play is over. Presented by the John Godber Company and Stephen Joseph Theatre, Scarborough, the humorous and moving Sunny Side Up! will open in The Round at the SJT tonight (October 28).

Depicting a struggling Yorkshire coast B&B and the people who run it, the world premiere of the former Hull Truck artistic director’s holiday drama will be a family affair, starring the Godber lockdown bubble of writer-director John, wife Jane Thornton and daughter Martha. Elder daughter Elizabeth – who has just enrolled for a PhD at Hull University, studying the poetry of Emily Dickinson, by the way – is participating too as the company stage manager.

“What a strange time it’s been,” says John. “Shortly after I saw you at Pocklington Canal Head, I got a phone-call from Paul Robinson [the SJT artistic director] saying, ‘We want to open in October; I know you’re in a social bubble with Jane, Liz and Martha; would you like to do a new play together this autumn?

“It was like winning the Oscar, to have the opportunity to do your trade again – we’ve not received any Arts Council funding – and just to be clear, we could only do it in these circumstances as a family bubble.”

Reflecting on life in lockdown and beyond in Covid-19 2020, John says: “If we are following the science, which science is it? Watching all the news coverage on TV ends up making you feel ill,” says John.

Stephen Joseph Theatre artistic director Paul Robinson: Invited John Godber to write a play for the autumn season. Picture: Tony Bartholomew

“We live in a significant property with a lot of space but we’re still going mad, climbing up the walls. What’s it like for those living in a cramped apartment with no garden in lockdown? It must be like [Jean-Paul] Sartre. Do politicians understand that?”

John, the son of an Upton miner, has “always voted Labour for lots of reasons”. “We know Covid has been a challenge, but the Government can find all this money for Test and Trace and to pay nine million people’s wages in furlough, yet what an own goal to refuse to support free meals for schoolchildren in the holidays,” he says.

Sunny Side Up! is not a political comment on Covid times, but more so on how we have reacted to lockdown. “When Paul asked me to write a play, we’d been doing lots of family walks, going to the coast, walking on bridal paths, by canals,” says John.

“I thought there might be something in thinking about what our seaside towns might look like to people going there for the first time or going back after a long time.

“You have to take Scarborough and Filey out of the equation, but I wondered what the function of our seaside towns and villages is. I think they remind us of where we’ve come from, in terms of families enjoying simpler times.”

Fraisthorpe Beach, four miles south of Bridlington, has been one such coastal haven for John. “Have you been there? Mile after mile after mile of unbroken sand, which is just amazing,” he says.

“We’ve started to look at places locally through Covid eyes. I’m certainly looking at simplicity in our lives now. In the early part of lockdown, going on walks from the house, you’d look at a field for the first time that we must have walked past for 30 years and you suddenly think how beautiful it is.

The poster for John Godber’s new play Sunny Side Up!

“Or through walking along the Pocklington Canal, you start looking at the Industrial Revolution and the growth of Pocklington at that time.”

Summing up his philosophy brought on by Covid restrictions, John says: “It’s not about regression; it’s about simplicity.”

This set him on the path of writing Sunny Side Up!, wherein struggling Yorkshire coast B&B proprietors Barney, Tina and daughter Cath share their stories of awkward clients, snooty relatives and eggs over easy in a “seaside rollercoaster that digs into what our ‘staycations’ are all about”.

“This is not a play about Covid, though it has references. It’s more about social mobility,” says John.

“Sunny Side is a fictitious East Coast Yorkshire resort that is so small, you wouldn’t find it on the map, where B&B owner Barney is very much a Brexiteer, a little Englander.

“Graham, a retired university pro-vice chancellor who’s done very nicely through education is invited there by his sister, Tina, and coming up 70 he’s going back to where he came from – a very ordinary background – but he’s never gone back since…until now.

“He sees it’s a place where they have turned the oxygen off. No jobs; no trains; two buses to get there; the nearest dual carriageway 15 miles away.

“But these are fantastic places, almost mythical, where the colouring and the sweep are incredible, so it’s a play about this guy coming to terms with ‘why haven’t I been back here, because it’s amazing?’. He realises his separation from his small-town roots doesn’t match with his reading of the world.”

On a bicycle made for two views: John Godber and Jane Thornton’s clashing cyclists in The Scary Bikers, Godber’s 2019 play about Brexit, bikes and bereavement.. Picture: Anthony Robling

A fast-moving one-act play, 64 minutes straight through, Sunny Side Up! is a “funny, fish-out-of-water story, but it has pathos and there’s magic realism too”, says John. “It’s not rubbing anyone’s nose in it, but those who get it will know what it’s about.

“You can go anywhere in the country and see places that are suffering, places that have been left behind, places that need water…but many of us wouldn’t spot a real person if we passed them in the street, like Graham wouldn’t.

“But here he’s confronted by people he thinks he’s been addressing [in his academic work], only to find he’s not been able to change that world. Just as the Westminster bubble dilutes the politicians from the reality.

“But having said that, this play is also a very humane, very touching, very funny story of a relationship between a brother and a sister.”

Against the backdrop of Covid-19 and renewed talk of a widening North-South divide, John says: “I think we are becoming divisive. There’s a line in the play that says, ‘we have to start again’. We’ve reached that point where we do have to re-start. I’m 64 now and you would have thought this would have been sorted out when we were younger men. Has it ossified, with social mobility no longer being a thing, but why?”

Rehearsed at home, Sunny Side Up! is the second John Godber work in lockdown. “The first one was in May, when I decided to write a 15-part radio drama for BBC Radio Humberside called Essentials, about a family needing to talk to each other,” says John.

“We recorded it in Liz’s walk-in wardrobe, with Martha’s boyfriend, Henry, doing the technical stuff, and we were all in each eight-minute episode.

“It was like The Archers, set around the family breakfast, with the father being a delivery driver for Tesco, delivering essentials.”

“It had a lot of politics in the early version, with them all saying ‘I think you’ll have a legal problem with that,” says John Godber of the writing process for Sunny Side Up!

When the invitation came to write a play for the SJT, John initially saw it as a chance to “draw anything on the canvas” in the prevailing Covid circumstances. “It had a lot of politics in the early version, with them all saying ‘I think you’ll have a legal problem with that’, and I decided, ‘I don’t think people want to sit there in a mask with me ranting about Boris Johnson.”

Under social-distancing measures, the audience capacity is heavily reduced: a new experience for Godber. “It’s fascinating because I’ve had a career of trying to fill theatres, but now you don’t have to ‘fill’ theatres,” says John, whose seven SJT performances have sold out.

“So it’s a bit like the early stuff: Happy Jack, September In The Rain, which I was going back to with The Scary Bikers last year. It’s that meta thing: taking in politics, self-analysis, class, all neatly told with four chairs and a suitcase.”

Those four chairs and a suitcase will next travel to Hull, after Hull Truck artistic director Mark Babych asked Godber to bring Sunny Side Up! to his former stomping ground. “It’s like Back To The Future; all the props in a suitcase and all our stuff in the back of my car,” says John.

As for working in a family bubble: “Martha’s all over me like a rash about the play! She and Liz don’t let me get away with anything. I can take it from Jane, but now it’s from my  kids too!”

John Godber Company in Sunny Side Up!, in The Round, Stephen Joseph Theatre, Scarborough, October 28 to 31: 7.30pm, Wednesday; 1.30pm, 7.30pm, Thursday and Friday; 2.30pm, 7.30pm, Saturday. All sold out. Hull Truck Theatre, November 17 to 22: 7.30pm, Tuesday; 2pm and 7.30pm, Wednesday; 7.30pm, Thursday and Friday; 2pm, 7.30pm, Saturday. Box office: 01482 323638 or at hulltruck.co.uk/whats-on/drama/sunny-side-up/

Creative talents invited to join Scarborough network run by SJT and Arcade from Nov 11

“We’re hoping to engage with anyone in the borough who is creative in their everyday lives,” says Arcade’s Rach Drew, who will host the Scarborough Creatives sessions. Picture: Stewart Baxter

SCARBOROUGH Creatives, a networking group for creative people in the Scarborough borough, will launch next month.

Leading the forum will be led by the Stephen Joseph Theatre and its new associate company, community producers Arcade, in collaboration with COAST, Scarborough’s Local Cultural, Education and Community Partnership.

The group will provide a network for creative talents to talk, share information and collaborate, meeting monthly, initially by Zoom.

Open to all art forms, artistic practices, abilities and levels of experience, professional or otherwise, it will be hosted by Rach Drew, from Arcade, and co-led by Ceri Smith, although it is envisaged this role eventually will be passed onto a freelance artist.

Rach says: “We’re hoping to engage with anyone in the borough who is creative in their everyday lives. That could be a professional actor or artist looking for people to develop projects with, or someone who knits and is unsure how to sell their work.

“We’ll be aiming to promote and support people along their creative journey and help create opportunities to develop funding bids together,” says Stephen Joseph Theatre artistic director Paul Robinson. Picture: Tony Bartholomew

“We’ll be providing creative and practical help and, eventually, we aim to introduce a programme of inspiring speakers, based on what members need.”

Paul Robinson, the SJT’s artistic director, says: “We recognise there aren’t currently as many opportunities for professional development, training, funding or paid work in our area as there are in cities and other regions of the country.

“We’ll be aiming to promote and support people along their creative journey and help create opportunities to develop funding bids together.”

The first meeting of Scarborough Creatives will take place via Zoom on Wednesday, November 11 at 6pm. To join the session, book your ticket at: eventbrite.com/o/rach-drew-arcade-31519674997

For more information on the network, go to Arcade’s website, at hello-arcade.com/scarboroughcreatives or the Facebook group.

Scarborough Creatives is an inclusive and anti-racist group, open to people from all backgrounds. “The aim is that sessions will be as accessible as possible,” says Rach. “Please let us know if you have any access requirements when you express interest.”

REVIEW: Simon Slater serves up the chills, thrills and skills in Bloodshot at the SJT

Bottled up: Simon Slater as heavy-drinking, voyeuristic photographer Derek Eveleigh in Douglas Post’s Bloodshot

REVIEW: Simon Slater in Bloodshot, in The Round, Stephen Joseph Theatre, Scarborough, 7.30pm tonight; 2.30pm, 7.30pm tomorrow. Box office: sjt.uk.com/whatson or 01723 370541

SIMON Slater in Bloodshot? Make that a quartet of Simon Slaters in Bloodshot, a one-man, four-part noir tale of murder, vaudeville, magic and jazz, wherein he plays a booze-addled London photographer, a ukulele-strumming Irish comedian, an American saxophonist and a Russian magician.

In this Covid-restricted new theatre age of small casts and bubbles, Scarborough-born Slater’s Swiss Army Knife of skills makes him perfect for the Stephen Joseph Theatre’s return to live performances when even the Christmas show, The Snow Queen, will be a solo piece for Polly Lister.

Save for a quick look-around the Pavilion Theatre on the Cromer Pier while on holiday in Norfolk earlier this month, Wednesday night marked the first time CharlesHutchPress had set foot in a theatre auditorium since Pick Me Up Theatre’s Tom’s Midnight Garden at Theatre @41 Monkgate, York, on March 13.

Rather than the clock striking 13, time came to a devastating stop for theatres only three days later, but the SJT has come out of hibernation this autumn, first for films upstairs in the McCarthy and now for theatre shows too.

A one-way system is in operation at the former Odeon Art Deco building, where you still enter through the familiar glass doors, but exit by the usually unseen back stairs. You take a temperature test, screen the NHS test and trace app, apply hand sanitiser and make your way to your seat, rather than to the bar, although drinks can be ordered from the ushers, ever busy on the stairways with trays in hand and sanitiser at hand.

No exhibition is in place on the corridor, no programmes are available, but the shop is still open.

The camera never lies…or does it in Bloodshot?

The 569 capacity in The Round is reduced to 80 for this show, with the audience on three sides only, each available socially distanced seat marked with a tick that makes you feel positive about being back in a theatre at last.

Yet how strange it feels. Normally 80 in the house would represent a flop; now it is a full house and a cause for celebration. Wearing a mask throughout your time in the building is the new norm. We must adjust, and so must the performer, as Slater observes. “You know that theatre expression, ‘you can’t hear a smile’. Well, now you can’t see one either,” he says, comparing his experience to playing to 70 Lone Rangers.

It feels good to break the ice with the first laugh and to burst into applause when Slater sings a song like an Irish variation on George Formby, or plays the jazz sax from behind dark glasses or munches his way through razor blades before regurgitating them on a piece of string in a magic routine rooted in his childhood love of Dinsdale’s, the Famous Joke & Trick Shop on the Scarborough sea front.

Now an associate artist at the SJT, Slater knows the theatre well, just as he knows Bloodshot well. He has chalked up 300 performances in the nine years since asking American playwright and good friend Douglas Post to write him a solo thriller over a late-night drink in a Chicago bar.

He last performed Bloodshot four years ago in Chicago before returning to the “only one-man thriller I’ve ever heard of”, but now attuning to the loneliness of the socially-distanced solo performer at the Watermill Theatre, Newbury, for four weeks this autumn under the fluent direction of Patrick Sandford.

Now comes the Scarborough finale, preceded by a Monday night rehearsed reading with Jemma Redgrave of Simon Woods’s brutally honest political satire, Hansard.

On a knife edge: Simon Slater as the Russian magician in Bloodshot

Slater’s Derek Eveleigh, enervated and broken, is standing on a bridge, contemplating suicide as the play starts at the end. Aided by back-projected photographic slides, music and video, Slater is at once narrator, protagonist and character actor, to go with his aforementioned deft skills of magic and music and his ear for an accent.

The setting is London, 1957, and Eveleigh reveals he is a former policeman whose photography of murder scenes brought on the alcoholism and Post-Traumatic Stress Disorder that led to his dismissal.

He has since made a career of filming women in public, but has fallen on hard times, and when  a mysterious envelope arrives from a stranger asking him to take secret pictures of an elegant young Caribbean-born woman, Cassandra, in Holland Park, the reward is too handsome to refuse.

Eveleigh is sucked into a seedy Soho nightlife suffused with dubious underground characters: the ageing Irish comic, New York sax player and club-owning Russian magician. Witnessing a bloody event, he vows to learn the truth, in particular how the three shady men, with their differing, contradictory stories, were connected to Cassandra.

Making light of a damaged shoulder, Slater says the show is “absolutely knackering”, but he throws himself into the murky maelstrom, combining his set-piece skills with a potent psychological portrait of the increasingly troubled, infatuated, sensitive Eveleigh, who is no angel among villains in a convoluted but increasingly rewarding murder mystery with surprises to the last.

A thrilling night in every way as theatre makes its SJT comeback.

Signal Fires Festival lights torch for Pilot and Arcade’s female stories from the coast

Pilot Theatre artistic director Esther Richardson. Picture: Robert Day

TELLING stories around a fire is an early form of theatre, one that is to be celebrated in the nationwide Signal Fires Festival this autumn.

Among those taking part are York company Pilot Theatre and new Scarborough community producing company Arcade, who are collaborating on Northern Girls, an hour-long, socially distanced, fire-lit outdoor performance on October 27 and 28 in the YMCA Theatre Car Park, St Thomas Street, Scarborough YO11 1DY.

At 7pm each night, Pilot and Arcade will set free the stories of girls and women who live along the North East coastline and were encouraged to write and present tales that matter to them most in 2020.

Next week’s performances will feature short commissioned pieces from Asma Elbadawi, Zoe Cooper, Maureen Lennon and Charley Miles, complemented by work created with York spoken-word artist and tutor Hannah Davies and a group of young women from Scarborough, .

A signal fire is defined as “a fire or light set up in a prominent position as a warning, signal, or celebration”, now re-purposed amid the Coronavirus crisis for the arts to “signal the vibrancy of touring theatre and the threat our industry continues to face”.

“This whole Covid situation has made it important to create theatre support networks across the country, with the issues faced by smaller companies, mid-scale companies and larger companies,” says Pilot artistic director Esther Richardson.

“If there has been any upside, it is that the theatre network across the country is far stronger now.”

The idea for the Signal Fires Festival came from English Touring Theatre and Headlong Theatre, building on the original desire to highlight the work of companies who do not have their own theatre base. “We were also thinking about ‘what can we do for freelancers in theatre’ and, most important of all, ‘how can we send out a fire signal that we want to bring back theatre stronger than ever?’,” says Esther.

Hannah Davies: York writer, spoken-word performer, tutor and actress

Pilot’s link-up with Arcade is rooted in Rach Drew and Sophie Drury-Bradey running the Scarborough company. “We knew Rach from her work at York Mediale and I’ve known Sophie for a long time from when she was at the Albany, when she asked me to develop some work with new writers, 15 years ago,” says Esther.

“It was then a coincidence that Sophie had come to Scarborough, but when this project came about, to amplify northern women as leaders as well as writers, it was just a natural progression to say, ‘What do you think, guys, about doing this project together?’.”

The theme of Northern Girls resonated with Esther not only because “Pilot has always been about helping those who are disadvantaged in the community”, but also because of her childhood on the North East coast.

“I lived in Redcar from the age of three to 11, so I’d always had this tug to do something on the coast. I’m someone who left there and has had a career in theatre but I keep in touch with people who live there,” she says.

“I’m aware of the lack of investment in those places, and the direct effect that has on young people and women in particular. So, this project was about creating an opportunity to unlock what people can do when they set their hearts and minds to it.”

Esther was keen to achieve a geographical spread of four female writers, all still in the process of establishing themselves. “Maureen Lennon is from Hull and I was aware of her work for Middle Child Theatre that is full of insight into working-class lives,” she says.

“Asma Elbadawi is a spoken-word artist and professional basketball player Bradford, and she’s someone we’ve been excited about for a while but we hadn’t found a project for her.

“Northern Girls was perfect for her to bring her perspective of growing up as a hijab-wearing girl in West Yorkshire.”

High Kilburn playwright Charley Miles

Zoe Cooper is an award-winning playwright from Newcastle. “Again, I’d been aware of her for a while, but if you think about women playwrights from the North, there’s Middle Child’s work in Hull, Charley Miles at Leeds Playhouse, but in the North East, there seems to be a dearth of female writers, so we’re delighted to be featuring Zoe’s work,” says Esther.

Charley Miles, from the Hambleton village of High Kilburn, first came to attention with her lyrical moorland village drama Blackthorn at the West Yorkshire Playhouse in 2016, and her all-female Yorkshire Ripper play, There Are No Beginnings, was the first to be staged when the Leeds Playhouse re-opened last October.

“We wanted writers from different places because we want to continue this process, to explore how we might take this writing project to other communities to develop new works,” says Esther.

She is pleased too by the impact of York writer Hannah Davies on the four women she has been working with in Scarborough: Amy-Kay Pell, Shannon Barker, Ariel Hebditch and Claire Edwards.

“Hannah is not just a wonderful writer but also she’s wonderful at working with young writers,” says Esther. “She has a really special gift for inspiring new writers, nurturing them and getting them to nurture themselves, in this case Amy, Shannon, Ariel and Claire.”

Asma Elbadawi will present her own work, while Laura Boughen, Laura Elsworthy, Siu-See Hung and Holly Surtees-Smith will perform the others, working with directors Esther Richardson, Gitika Buttoo, Oliver O’Shea and Maria Crocker.

All the short pieces address the barriers that women face, with each story being “in some sense an act of liberation”.  “With everyone writing to the same theme, straight from the heart, some plays are more political, but they all make you think about things you might not have thought about otherwise,” says Esther.

The “fire” setting will be fire pits in the car park. “At first we wanted to do it by the sea, but there are loads of problems doing a show with a fire on the beach, not least the tides!” says Esther.

Pilot Theatre and Arcade present Northern Girls for the Signal Fires Festival, at YMCA Theatre Car Park, St Thomas Street, Scarborough YO11 1DY, on October 27 and 28, 7pm to 8pm.

The recommended age is 14 plus. Please bring headphones. Each £10 ticket is sold for a clearly marked bubble that can seat one or two people. Audience members must wear a mask on arrival and throughout the performance.

For tickets, go to: eventbrite.co.uk/e/northern-girls-signal-fires-festival-tickets-124268972843

Sophie Drury-Bradey and Rach Drew of Arcade, the new Scarborough community producing company