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Mick and Jessa, Fields and Lanes, poems and songs, under an Easingwold willow tree

MIck and Jessa Liversidge in the Yorkshire open air during their Fields And Lanes lockdown project

JESSA and Mick Liversidge are to perform Fields And Lanes Under The Willow Tree, an uplifting hour of timeless songs and poetry, in the open air at Easingwold Community Library on Sunday afternoon.

“Fields And Lanes is a joint project for Mick and me, inspired by the wonderful reaction we’ve had to our outdoor poetry and songs in lockdown,” says Jessa, the song half of the creative Easingwold couple, whose performances can be viewed at https://www.facebook.com/fieldsandlanes/.

“It’s been a great structure for us through the weird and difficult times we’ve all been going through: a way of expressing ourselves creatively, choosing and learning the songs and poems, and we’ve had such warm responses from a wide range of people.

Mick Liversidge performing one of the 82 outdoor poems he recited online once lockdown began

“To begin with, when lockdown started, it was great for those who couldn’t get out – and a nice way to see the countryside as well.”

Actor Mick chalked up 82 outdoor poetry readings before calling a temporary halt to his regular routine on September 9 when learning dialogue for acting work demanded his attention.

“It all began at the beginning of lockdown,” he recalls. “I was due to appear in a play at the end of March: it was a two-hander, so lots of dialogue learned and lots of work put in by all involved, for nothing.

“We are delighted to have the opportunity to share a selection of our songs and poems with an actual live audience,” says Jessa Liversidge, looking forward to Sunday afternoon’s performance. Picture: Rebecca Rowan

“So, I was feeling a bit lost and down, but we saw Sir Patrick Stewart had decided to recite a Shakespeare sonnet a day to keep him active, which prompted Jessa to suggest I should do the same with passages of Dickens.”

Mick took that advice on board but decided that his love of poetry should lead him to recite his favourite poems instead. “So, what I did was find a poem, learn it and go out into the beautiful countryside around here the following day and recite it,” he says.

“That’s what I did during lockdown, one day looking for a suitable poem, making sure it wasn’t too long, learning it during the evening, ready for ‘outdoor poem’ recital the following day.

Mick Liversidge as Malvolio in York Shakespeare Project’s Sit-down Sonnets at Holy Trinity, Goodramgate, York, in September

“It became harder as the weeks progressed as I had to find new poems that I’d not heard before. The positive side of that is I’ve found some real gems. I’ve loved doing this and it really has kept my brain active and ready for the next job when it comes along.”

Mick wrote on Facebook on September 9: “After 8I ‘outdoor poems’, today’s No. 82 will be my last…for now. I’ve loved reciting them so much and many of the poems have genuinely moved me to tears, so I’ve decided I’m going to continue reciting one a week for the foreseeable future. I’m looking forward to getting out into the countryside as the seasons change and finding new poems.”

Meanwhile, Easingwold Community Library has been running socially distanced, Covid-secure events under its beautiful willow tree, the latest being Sunday’s all-seated show starring Jessa and Mick at 2pm.

“It’s a beautiful space, under an amazing willow tree, and the forecast looks promising,” says Jessa

“We are delighted to have the opportunity to share a selection of our songs and poems with an actual live audience, after months of performing to our phones and laptops,” says Jessa, whose diary is invariably busy with teaching and choir-leading sessions for Singing For All, the York Military Wives Choir, youth choirs and more singing groups besides.

“On Sunday, Mick will include some of the most well-known poems such as John Masefield’s Sea Fever and W H Davies’s Leisure and even some Spike Milligan.

“The songs, from pop classics by Carole King and The Beatles to gentle folk songs, and even my own take on a Harry Lauder classic, will all be sung unaccompanied, apart from my new performing friends, the real songbirds.” 

Back for more: Mick and Jessa hope to do more Fields And Lanes shows

Places for Fields And Lanes Under The Willow Tree must be booked in advance on 07526 107448 or via ecl.generalenquiries@gmail.com to ensure that everyone is aware of and agrees to the safety procedures. Tickets are free, with a pay-as-you-feel collection on the day.

“It’s a beautiful space, under an amazing willow tree, and the forecast looks promising,” says Jessa, who is keen to do further performances.

“With both of our busy schedules during normal times, it has been so lovely to work on this project together, and we hope to roll it out to other suitable venues in the next year. So, if anyone involved with an outdoor space would like us to bring Fields And Lanes to them, it can be arranged. You can send a message via https://www.facebook.com/fieldsandlanes/.”

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Dame Berwick’s Dick Turpin Rides Again held up until December 2021 by Covid-19

Highway robbery: The curse of Covid-19 strikes again as Berwick Kaler’s comeback pantomime, Dick Turpin Rides Again, will be held up until 2021. Here Dame Berwick is pictured with A J Powell, Suzy Cooper, David Leonard and Martin Barrass at the Valentine’s Day launch at the Grand Opera House

DAME Berwick Kaler’s pantomime, Dick Turpin, will NOT Ride Again at the Grand Opera House, York, this Christmas.

Faced by the Government’s decision not to remove social-distancing requirements for theatres amid the rise in Covid-19 infections, Ambassador Theatre Group and pantomime producers Qdos Entertainment are moving Dick Turpin Rides Again to December 2021/January 2022.

Dame Berwick and his regular team of villain David Leonard, comic stooge Martin Barrass, perennial principal gal Suzy Cooper and luverly Brummie A J Cooper were to have made their Grand Opera House pantomime debut this winter after their headline-making, bittersweet crosstown transfer from York Theatre Royal.

In an official statement today, Kaler said: “Having secured the backing of the world’s leading pantomime producer Qdos, and knowing their commitment to save our acclaimed panto, I’m devastated that our loyal audience is going to have to wait until next year to see what we had planned for them.

“Hence, I would like to extend my heartfelt thanks to Qdos and the wonderful staff of the York Grand Opera House who welcomed myself, Martin, Suzy, AJ and David with open arms. Dick Turpin will ride again for Christmas 2021. It’s a long time to wait for a laugh but I can assure you it will be worth it, and we’ll all be at the Grand Opera House to greet you all.” 

Rachel Lane, theatre director of the Cumberland Street theatre, added: “With the current Government guidance still unclear on when venues can open without social distancing in place, we have decided with our pantomime partner Qdos Entertainment to postpone the production of Dick Turpin Rides Again until Christmas 2021.

“We’re delighted that Berwick, Martin, Suzy, AJ and David are still able to join us next year.  We’ll contact customers directly in due course to move their bookings on a year; they don’t need to take any action at this stage.”

Dame Berwick, who will turn 74 on October 31, had played the Theatre Royal dame over a 40-year span before making his grand exit in The Grand Old Dame Of York, waving goodbye in February 2019, but Britain’s longest-serving dame regretted his decision, even more so when he wrote and co-directed last winter’s show, Sleeping Beauty, wherein Barrass played the nearest role to a dame, The Queen.

Dame Berwick made an impromptu, emotional speech to the last-night home crowd on January 25 in an atmosphere increasingly akin to a bear pit, in the wake of executive director Tom Bird and the board’s decision to break the chain after more than four decades of the distinctive Kaler brand of pantomime comic mayhem.

Only five days later, the switch to the Grand Opera House was announced, and the familiar five assembled on February 14 to launch ticket sales for Dick Turpin Rides Again, a new beginning for comeback-dame Kaler and the Grand Opera House alike, in tandem with Britain’s biggest pantomime producer, Qdos.

On February 3, York Theatre Royal announced a new partnership with Evolution Pantomimes, regular pantomime award winners who duly chalked up another success, taking home the Best Panto award [for750 to 1,500-seat theatres] for Cinderella at Sheffield Lyceum in the 2020 Great British Pantomime Awards.

Scripted by Evolution director and producer Paul Hendy, Cinderella would have been the new partners’ debut show at the Theatre Royal until Covid-19 enforced a change of plan. Hendy will now write scripts for three pantomimes, Aladdin, Dick Whittington and Jack And The Beanstalk, for the York Theatre Royal Travelling Pantomime.

The tour starring York actor, panto comic turn and magician Josh Benson, will take in all 21 York wards in December and January, when audience members at each show will vote for which show they want to see.

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York Mystery Plays head off streets and into homes for Strasz’s film/theatre project

Tom Straszewski’s cardboard waggon from his York Mysteries @ Home films

YORK theatre director and academic Tom Straszewski is seeking participants for York Mysteries @ Home, the chance to make a York Mystery Play in your abode.

“As part of my PhD on the York Mysteries and community theatre, I invite you and your household to create your own performances of one of the Mystery Plays at home,” he says.

“This approach is inspired by the medieval origins of the Mysteries, where Guild members worked from home on their crafts.”

Strasz has put together five DIY plays himself already that can be viewed on YouTube at https://tinyurl.com/homemysteries.

“Finding myself in a similar position, and limited to what was already in the house, I’ve been creating plays from whatever items I had lying around: often props and materials left over from old performances.”

Offering guidance, Strasz says: “You might have your own hobby or craft that provides inspiration. The main thing is to draw on what you already have, so that your play is personal to you and your home.

“This will then build up to a screening of the plays in the autumn next year, perhaps at a York venue, perhaps online.”

Anyone interested in taking on one of the plays is asked to e-mail Strasz at: Thomas.Straszewski@york.ac.uk. “If you have a particular play in mind, then include that, and any initial thoughts and ideas,” he advises.

“I’ll be running this in batches of five plays every month or so. If there’s a play later in the schedule you’re particularly interested in creating, let me know now and I’ll be in touch when we reach it – no commitment required.”

For more details, visit the website:
https://www.yorkmysteriesathome.co.uk/create-your-own.html


FROM this evening, additionally Strasz will be hosting a weekly read-through of the Mystery Plays every Tuesday on Zoom from 7.30pm to 9pm.

“These evenings are an opportunity to read each play out loud and discuss them with fellow friends of the York Mystery Plays,” he says.

“The ideas and connections made will hopefully lead to a full production of the Mystery Plays in the future, with these read-throughs as one way to form the performance right from the start.”

Strasz’s read-throughs will work through the 48 mediaeval plays in order. “We’ll be starting with The Creation Of The Heavens and The Fall Of Lucifer and we should be reaching The Nativity in December,” he says.

“As an informal group, you can drop in and out each week, depending on how often you’d like to attend.”

The Zoom details can be acquired by e-mailing Strasz at: thomas.straszewski@york.ac.uk. Scripts will be available via the YorkMysteries@Home website, under the Resources page.

“At a time when people are struggling to keep a sense of community at a distance, I think there’s a real need for the Mysteries – and for York’s community theatre more generally,” says Strasz

Here Charles Hutchinson puts questions to Tom Straszewski on his DIY community project, York Mysteries @ Home.

Which plays have you done?

“So far, I’ve performed the first seven plays, and five are available online to date, from The Creation Of The Heavens to Cain And Abel. As winter closes in, I’ll hopefully reach The Nativity and make it to The Last Supper in time for Easter.”

What is the most unusual prop you have used?

“I don’t know about unusual, but I’ve enjoyed the matchsticks for Lucifer. Originally matches were made with sulphur and called ‘lucifers’ – light-bringers – which is the sort of bad pun I relish.

“I’ve got my eye on my son’s toy watering can for The Flood and lots of old props and costumes from my past plays will appear. It’s like seeing familiar actors in plays; I always enjoy spotting old props and costumes being reused.”

How have you filmed the Plays?  On your phone or with a camera?

“All on my phone – you don’t need anything fancy. And it’s theatre, not film, playing in the moment, not editing the best shots together.

“Having said that, the first one I did was disastrous! I dropped the phone halfway through, just as I ate my last prop – a strawberry from the garden – so I did edit that one a bit. I’ve switched to using a tripod to avoid a repeat.”

In the ruff: Tom Straszewski in rehearsal with York actor Jess Murray. Picture: JTU Photography

What skills might you like Mystery Play home-play creators to display in the Plays they do?

“It could be anything: I’ve had suggestions of baking for The Last Supper and wood-working for The Crucifixion, which is fitting. If anybody out there paints stained glass, I’d love to see their take on any of the Plays with angels.

“But it could be as simple as finger-painting, sock puppets or Lego. The main thing is to find out how to tell these amazing stories in your own home with what’s available to you. Be bold and imaginative. And be willing to be surprised at how your idea of your home changes.”

Do you have anywhere in mind for showing the Mystery Plays films in York?

“Further lockdown permitting, it would be wonderful to hold it in somewhere linked to the Plays, one of the guild halls, perhaps, or in Museum Gardens. I’ll be looking for some collaborators to help put this on, assuming we’re allowed out of the house again by then. If not, we’ll hold a socially distanced celebration of everybody’s work online instead.”

Are the Plays being done in a particular order or in thematic clusters?

“I’m dependent on who volunteers to take on each play, but I’m hoping to work through them roughly in linear order, starting with The Creation and finishing with The Last Judgement. But if anybody has a burning need to do one of the later plays right now, there’s no need to wait.”

Is there previous history of the York Mystery Plays being performed in homes?

“Yes. It was wonderful to hear York Theatre Royal take on the plays as radio drama, recorded remotely in each actor’s own home during lockdown [for broadcast on Jonathan Cowap’s Sunday morning show on BBC Radio York]. But I missed the visuals!

“I was talking to a group of previous actors in the Plays and they all said the sense of spectacle was essential to the Mystery Plays. So, this project hopefully brings that back, on a tiny scale.

A Zoom rehearsal, led by director Juliet Forster, second from right, top row, for The Flood, part of this summer’s York Radio Mystery Plays recorded by York Theatre Royal

 “And the medieval guilds who put on the plays often had their workshops in their homes, open to the public. So, making the plays at home draws on that sense of craftwork as a performance.”

Why are you so drawn to the Mystery Plays: what makes them resonate with you?

“Within the Plays themselves, it’s the marriage of the epic sweep with intimate moments: one minute creating the whole world, the next moment seeing Adam and Eve arguing over who should take the blame for messing up.

“On that domestic scale, the story of Mary takes her from a teenager in an impossible situation, to mourning her son, to acting as a matriarch for a whole host of disciples. I’d love to really focus on her story one day.

“And that gives a sense of how endless the possibilities are. In 2018 alone, for the Waggon Plays that summer, people based their Mystery Plays on children’s pop-up books, Russian art, street graffiti, Greek choruses, medieval tapestries, modern atrocities, climate change, to mention just a few. Shakespeare is probably the only other drama that sees that breadth of staging possibilities.

“The other thing that always stands out for me are the moments outside the Plays themselves – seeing somebody conquer their shyness, or find a new talent, or make new friends backstage. And they bring people together all across York.

“At a time when people are struggling to keep a sense of community at a distance, I think there’s a real need for the Mysteries – and for York’s community theatre more generally.”

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REVIEW: York Stage Musicals, Jukebox Divas, Rowntree Park, York, until Sunday

El-ectric: Eleanor Leaper relishing the solo spotlight in Jukebox Divas. All pictures: Charlie Kirkpatrick

York Stage Musicals, Jukebox Divas, Rowntree Park Amphitheatre, York, tonight and tomorrow, 7pm. Box office: yorkstagemusicals.com

BLOWN away by the reaction to York Stage Musicals’ first ever open-air shows last month, artistic director Nik Briggs was quick to replicate the format for a second set of three shows.

Last time, the concert theme was a celebration of musical theatre’s favourite hits, performed by six professional performers with YSM history, accompanied by musical director Jessica Douglas’s crack band at Rowntree Park.

Now, Briggs assembles another quintet of professionals, whose ambitions took hold in their YSM days; cruise-ship crooner Conor Mellor returning from the first show, joined by Sophie Hammond, back home in old York after musical theatre training in New York; Grace Lancaster, Best Leading Female winner in the 2020 Great British Pantomime Awards, here with added sax appeal too; BBC Pitch Battle finalist Eleanor Leaper and Kinky Boots principal Dan Conway.

Conor Mellor: Ain’t no mountain high enough that he won’t conquer in Meat Loaf’s I’d Do Anything For Love

Party dresses have made way for leather jackets and fishnets for the girls, suits for sharp informality for the boys, while Jessica Douglas, celebrating her birthday at the keyboard last night, has put together another band line-up of all the talents: Neil Morgan, on guitar, Christian Topham, on bass, Clark Howard, on drums, and Sam Johnson, on keyboards.

Under Tech247’s ever-changing lighting of the igloo stage on the amphitheatre bandstand, YSM’s 85-minute show is performed to a socially-distanced audience, divided into ‘Bubble Blanket’ spaces on the embankment, everything running smoothly, from the exhilarating singing to the stewarding on a night for woollens, not rainwear. Hopefully, the occasional sound glitch can be ironed out for tonight.

Jukebox Divas turns the spotlight on the ever-extending branch of musical theatre that builds shows around a collection of pop hits, as opposed to songs written expressly for a show. Briggs and Douglas’s programme is up to the minute, accommodating current hit shows Beautiful, + Juliet and Moulin Rouge, as well as the well-established Queen and Abba vehicles We Will Rock You and Mamma Mia! and Eighties’ rockathon Rock Of Ages.

Grace and fervour: Grace Lancaster singing with feeling at Rowntree Park

The Jukebox format means the show can find room for an Elvis chart topper (Sophie’s all-action A Little Less Conversation) and close with a couple of Katy Perry belters (the ensemble Firework and Sophie-fronted Roar).

Dan, so smooth and sweet of tone, leads the way with Can’t Stop The Feeling; Conor’s I Want To Break Free and Eleanor’s Somebody To Love are early highlights; and Dan and Grace’s Under Pressure is a stupendous duet, stamping their own character on a Mercury and Bowie rock landmark.

You want the perfect balance of solo showcases, duets and ensemble set-pieces, and Jukebox Divas delivers. Step forward Eleanor’s The Winner Takes It All, Sophie’s No One But You, Dan’s My Eyes Adored You, Grace’s Natural Woman and Conor’s I’d Do Anything For Love, climbing every mountainous peak of Meat Loaf’s rock-opera showstopper.

Best support act in Jukebox Divas? It just has to be Sophie Hammond’s chair

You will hugely enjoy the interplay of Sophie, Grace and Eleanor in The Weather Girls’ It’s Raining Men, Harden My Heart and Girls Just Wanna Have Fun and even more so in Lady Marmalade, as they grow ever more assured in performing together, and when the five unite, you know why Briggs was so keen to stage this show.

Can’t Help Falling In Love suits its boy-meets-girl arrangement, Every Rose is full of drama and if one song encapsulates what we have missed in not being allowed to fill theatres with song and joy in these ever-more gruelling Covid times, it is Don’t Stop Believin’, a high point for singers, band and audience alike.

How apt the night should end with a mighty Roar. Theatre and music will continue to find their voice, whatever this pandemic throws our way. Do keep believin’.

The closed eyes have it: Dan Conway in an expressive moment in Jukebox Divas
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Leeds Heritage Theatres receives £119,900 grant from National Lottery Heritage Fund

The logo for Leeds Heritage Theatres: a name drawing on the past for the future of Leeds Grand Theatre, City Varieties Music Hall and the Hyde Park Picture House cinema

LEEDS Heritage Theatres has received £119,900 from the National Lottery Heritage Fund to help address the impact of COVID-19 on its three venues. 

Leeds Grand Theatre, Leeds City Varieties Music Hall and the Hyde Park Picture House cinema now operate under the collective Leeds Heritage Theatres umbrella, a re-branding announced amid the ongoing Coronavirus crisis.

Since the doors to all three closed on March 17, the company has lost 99 per cent of its income, earned through ticket, bar and merchandise sales, and furloughed 96 per cent of staff; with a small team being kept on to manage customer refunds, reschedule performances and maintain necessary administrative functions.

Chief executive officer Chris Blythe said: “Since our venues ceased trading due to the pandemic, we have been doing everything we can to ensure our survival throughout this period, as well as prepare for the economic uncertainty that will follow, including drawing on our reserves which we had planned to invest back into our three heritage buildings.

“This grant is a lifeline, and while it won’t quite see us out of the woods – we are waiting to hear if we have been successful in our bid for emergency funding from the Government – we’re hugely grateful to the National Lottery Heritage Fund for supporting us at this crucial time. It’s invaluable to us and others who are passionate about sustaining heritage for the benefit of all.” 

The UK-wide funding, made possible by National Lottery players, was awarded through the National Lottery Heritage Fund’s Heritage Emergency Fund. In all, £50million was made available to provide emergency funding for those most in need across the heritage sector and to help organisations to start thinking about recovery. The money awarded to Leeds Heritage Theatres will be used to fund re-opening costs across the Grand and City Varieties, including signage and PPE. 

Ros Kerslake, chief executive of the National Lottery Heritage Fund, said: “Heritage has an essential role to play in making communities better places to live, supporting economic regeneration and benefiting our personal wellbeing. All these things are going to be even more important as we emerge from this current crisis. 

“Thanks to money raised by National Lottery players we are pleased to be able to lend our support to organisations such as Leeds Heritage Theatres during this uncertain time.”

Like Leeds Heritage Theatres, other charities and organisations across Britain affected by the pandemic are being given access to a comprehensive package of support of up to £600 million of repurposed money from The National Lottery. “This money is supporting some of the most vulnerable people in our communities and span the arts, community, charity, heritage, education, environment and sports sectors,” said Kerslake.

Thanks to National Lottery players, £30 million is raised every week for good causes, including heritage of local and national importance. By playing the National Lottery, people up and down the country are contributing to the nationwide response to combatting the impact of Covid-19 on communities across Britain.

Explaining the Heritage re-branding that came into effect on August 26, Blythe said: “The planned name change, and brand launch were originally scheduled for April 2020, when we were hoping, and had plans, to announce the exciting news in a manner more fitting of our industry.

“Unfortunately, due to the current pandemic, we had to postpone the announcement while we attended to more urgent matters, namely closing our three buildings and furloughing 96 per cent of our staff, while maintaining some business continuity. Now, after considerable work behind the scenes, we are ready to put the new name, brand and website into the public domain.”

Blythe continued: “While we have been trading for more than 30 years as Leeds Grand Theatre and Opera House Ltd, we have long known that the name was not befitting of our company, and the role our venues and people play within the Leeds arts scene.

“We knew we must choose a name that encapsulates our people, our venues, our heritage and our future, and will raise awareness, both regionally and nationally, of the breadth and quality of our shows/screenings and educational function.

“Now, more than ever, as our venues stand empty, it is important that we make people aware what Leeds and Yorkshire stand to lose if our venues close due to COVID-19.” 

Leeds Heritage Theatres does not receive funding from Arts Council England and the company has been massively hit financially by the pandemic crisis. 

“As we put forward our bid to receive funding from the Government’s arts rescue package, we know that competition is fierce, and we need the support of our loyal customers more than ever,” said Blythe.

“We’re asking that people, if financially viable, buy tickets, memberships and vouchers, or donate what money they can. In such dark times, theatre is a positive force: it provides an opportunity for people from all backgrounds to come together to share a common bond – a love of performance. Just when our future was looking so bright, we cannot let our theatres fade into the darkness.” 

Donations can be made at https://donate.leedsgrandtheatre.com/.

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REVIEW: Suffer Fools Gladly, Badapple Theatre Company, on tour to September 23

Anastasia Benham’s Queen Avril and Danny Mellor’s Geordie jester Jagger in Badapple Theatre Company’s Suffer Fools Gladly

WANTED urgently, the plea went out. Open-air venues to host Badapple Theatre Company’s new short play. Apply promptly, help Badapple hit their required target in their 21st anniversary year and Arts Council England would back it.

Sure enough, such is the fond support for Green Hammerton’s “Theatre on your Doorstep” exponents that a list of North and East Yorkshire private gardens, campsites and hall car parks was full as quick as a finger click.

ACE has provided a £14,998 grant that will cover not only the doorstep tour of Yorkshire actor and writer Danny Mellor’s Suffer Fools Gladly, but also the “creative filming” of artistic director Kate Bramley’s smash-hit play Eddie And The Gold Tops for a November to February itinerary of film performances at familiar Badapple indoor venues under Covid-secure, socially-distanced guidelines.

This “Hybrid-Live” season opens with Suffer Fools Gladly’s September 15 to 23 run. Such was the ticket demand that doorstep destination number two presented three sold-out performances in one day – in the pantomime tradition of bygone days – under an awning on the terracing of a Stockton-on-the-Forest garden.

Danny Mellor as the “Mad Dad” in the premiere of his play Suffer Fools Gladly

In one side, out the other, hand sanitiser stations at the garden entry and exit, socially scattered garden chairs, this was theatre-going for the Covid age, and Arts Council England should be thanked for making it possible.

You may have rather different feelings towards the Government’s flowery response to the plight of an arts world still largely stymied since lockdown, but we are where we are, sitting in a Yorkshire country garden watching two actors, Mellor and Anastasia Benham, working for the first time since lockdown. Indeed for the first time since they performed Badapple’s winter warmer, The Snow Dancer.

Mellor has created Suffer Fools Gladly in that time: a quick-moving, quick-witted hour-long comedy that delights in testing and tracing the merits of always having to tell the truth: a compulsion from which our parliamentarians seem to be socially distanced, alas.

Mellor is playing Ozzy, a Brummie-voiced jester, exiled by Queen Avril from the magical kingdom of Marillion, where he is replaced by the lying Jagger. Ozzy, Marillion, Jagger…are you spotting all the rock references? Plenty more are on their way, punk henchmen Sid and Nancy making their day too.

One of three performances of Suffer Fools Gladly in one day in a Stockton-on-the-Forest garden

Through portal travel, Ozzy and his truth-dispensing marotte (the French word for a fool’s bauble) end up on Earth, where he strikes up an unlikely – but very likely in this upbeat, daft play – friendship with Earth girl Stevie (Benham).

She is 17, wont to be sceptical, even cynical, and expected to make the grades to study science at Oxford, with no time for fun, she complains.

Her rock-obsessed Yorkshireman father, the “mad dad” who named her after Fleetwood Mac’s Stevie Nicks, has his mind on other things, forever reliving the 1980s. Queen to be precise, irresponsibly and misguidedly resolving to give up his job to be Freddie Mercury in a tribute band, although his singing voice is more lead than mercury. No wonder, her mum left him, says an exasperated Stevie.

Here we have two Queens in one show. The ubiquitous band and the autocratic ruler of Marillion (Benham’s second role), with a penchant for a bustle that “makes her bottom look big”, but Jagger won’t say that, whereas, stick in hand, Ozzy would.

Sticking to the truth: Danny Mellor’s jester, Ozzy, with his marotte in Suffer Fools Gladly

Mellor and Benham have comedy-and-pathos chemistry aplenty from The Snow Dancer, and even with the requirement for two metres of separation at all times, they bond so well again as they move to and fro between multiple roles.

Under Mellor and Bramley’s brisk co-direction, they are a joy to watch, full of fun and invention, whether sending up teenage proclivities, regal divas or rock gods or spoofing Boris Johnson, so glad to be playing to an audience once more too.

From topical Covid references and a Cummings dig to Ozzy’s observation that butterflies are “just moths with make-up on”, Mellor’s script has lip and zip, quirky observation and home truths…and even a Sex Pistols lyric. “No future, no future, no future for you”? Wrong, Mellor definitely has a future as a writer as much as an actor with an ear for so many accents.

Whoever holds the marotte, truth will out in a fearless play where protagonists are caught between rock (music) and a hard place. Stick to the truth is the message here. Truth be bold, truth be told. Politicians, take note.

Kate Bramley: Badapple Theatre Company founder and artistic director and co-director of Suffer Fools Gladly

Suffer Fools Gladly’s September tour itinerary continues at:

19: Colton Farm, near Tadcaster, 2pm, sold out.
20: St. Alban’s Church, Hull, car park, 2pm, sold out.
20: Skipsea, 7pm, tickets available.

21: Private garden, Driffield, 2pm, sold out.
22: Private garden, Gilberdyke, Goole, 5pm, tickets available.
23: Moor Monkton, 5pm, tickets available.

For tickets, go to: badappletheatre.co.uk/show/suffer-fools-gladly/

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Bev Jones Music Company to stage Strictly Christmas Live show at Rowntree Park

The Bev Jones Music Company in a socially distanced rehearsal for last Sunday’s Strictly Live In The Park at Rowntree Park, York

THE Bev Jones Music Company will return to the Rowntree Park Amphitheatre, in York, for shows at Christmas and next Easter.

“Further to the overwhelming success of our musical theatre show there last Sunday afternoon, we’ve booked a Christmas date and Easter date for the park,” says producer Lesley Jones.

September 13’s Strictly Live In The Park concert featured more than 20 socially distanced singers and a five-piece band in a “spectacular show for all the family, with popular show music, pop music, dance and comedy”. 

“Sunday was hot and sunny, whereas December will be scarves and hats, fairy lights and hot mulled wine (non-alcoholic),” says Lesley.

Strictly Christmas Live In The Park will take place on Sunday, December 13 at 2pm. “Our Christmas programme will be a mix of modern popular festive music in a spectacular song and dance show, then will culminate in an audience-led Carols By Candlelight at 5pm. Two shows in one,” says Lesley.

“Our production will be staged and directed by Nathan Lodge and Jordan Langford, two former York stage performers with Bev’s company, who turned professional and have been performing and choreographing all over the world. 

“We’re delighted we’ll be welcoming back other familiar names from our company past, plus our current company, resulting in our most talented cast ever.” 

Looking ahead to next spring too, Lesley says: “Easter’s show will have a different musical focus, culminating in our own Jesus Christ Superstar tribute in the park in traditional style.” 

Tickets for Strictly Christmas Live In The Park will go on sale for social bubbles on October 1 at josephrowntreetheatre.co.uk or on 01904 501935. 

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Red light for Blue Light Theatre Company’s 2021 pantomime after Covid call-off

The Blue Light Theatre Company cast for Oh! What A Circus at Acomb Working Men’s Club in January 2021

THE Blue Light Theatre Company are now the ‘red light’ company after stopping their upcoming winter pantomime in response to the Coronavirus crisis.

In an official statement, the York performers explain: “Due to the ongoing situation with Covid-19, we regret that we are unable to bring you our annual pantomime in January 2021. We have not taken this decision lightly but the safety of our cast and audience must be our main concern.

“However, we do plan to return later in 2021/2022 with more great performances while raising money for our chosen charities. We would like to thank you all for your continued support. Stay safe and well and we look forward to seeing you next year.”

Regular writer and co-producer Perri Ann Barley is keeping the show’s title under wraps until Blue Light resume pantomime business, hopeful of being given the green light for performances at Acomb Working Men’s Club in January 2022.

Company member Mark Friend adds: “We’re also hoping to perform a play in Summer 2021, but no decision has been made yet as to what due to the uncertainty that lies before us.”

Blue Light Theatre Company are so named on account of being made up of paramedics, ambulance dispatchers and York Hospital staff, as well as members of York’s theatre scene.

Last January, they presented Oh! What A Circus, a show replete with fairy-tale characters such as Pinocchio, Geppetto, Rapunzel, Red Riding Hood, Tinkerbell and Hansel and Gretel, in aid of York Against Cancer and Motor Neurone Disease (York).

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Joseph Rowntree Theatre sets £10,000 target for #SaveOurTheatres crowdfunding

Red alert: The Joseph Rowntree Theatre on the night of #LightItInRed, highlighting the plight of theatres, forced to shut down in March under Covid-19 restrictions

THE Joseph Rowntree Theatre, in York, is joining the national #SaveOurTheatres crowdfunding campaign with a fundraising target of £10,000.

The Haxby Road community theatre is one of the first to sign up for the national scheme launched by the Theatres Trust to support theatres throughout the country. 

The scheme is backed by high- profile names such as actor Jude Law, who is a Theatres Trust ambassador. “Coronavirus has simply devastated our theatre sector,” he says. “Communities across the UK are in real danger of losing their theatres forever and we risk losing a precious part of our culture and heritage.

“Theatres are a vital community hub that bring joy to millions of people each year and we must try to save these theatres for generations to come.”

The JoRo prides itself on being “a strong community hub, a venue run for the community, by the community”. Although unable to play host to live shows since March, trustees and volunteers have been working hard behind the scenes on fundraising, for the £90,000 Raise The Roof appeal, and events planning. 

However, the ongoing closure has necessitated spending savings to keep the theatre going, when these monies originally were earmarked to carry out essential repairs.

Dan Shrimpton, chair of the board of trustees, says: “We are in a stronger position than many theatres. However, our income has been affected significantly by the Covid-19 crisis and we are having to divert funds intended for essential repairs to cover the lost income.

“The crowdfunder campaign is to help support the theatre’s finances until it can reopen fully.”

The crowdfunding page is live at https://www.crowdfunder.co.uk/josephrowntreetheatre, where various levels of donation are outlined with specified rewards at each level, ranging from a certificate of thanks to a champagne afternoon tea. Tote bags, theatre teddy bears and seat sponsorship are on offer too.

“The comments by supporters already on the page show the high level of esteem in which the community gem is held,” says Dan.

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Gedge pledge launched by York director to fund The Wedding Present musical UPDATED

David Gedge: Creative consultant for a new musical based around his songs for The Wedding Present

DO you have a gift for a Wedding Present project?

To explain, a crowdfunder campaign is being launched to support the creation of a musical based on the songs of David Gedge’s “semi-legendary“ Leeds group and John Peel favourites, The Wedding Present…with “some brand new material” from Gedge too.

The driving force behind Reception, The Wedding Present Musical, is York writer, theatre director and Engine House Theatre artistic director Matt Aston, fresh from mounting this summer’s season of Park Bench Theatre monologues in the Friends Garden at Rowntree Park.

“Reception will be a story of love…loss…break-ups…and breakdowns,” says Matt. “Everything you’d expect, really, from a musical based on the songs of David Gedge.”

Gedge, who turned 60 in April, will be the creative consultant for a show that will incorporate his songs for both The Wedding Present and Cinerama, plus the aforementioned new material, targeting 2022 for a Leeds premiere.

The Gedge pledge crowdfunder campaign “gives fans the opportunity to get involved at the very beginning of an exciting journey – and pick up a bunch of specially commissioned artwork and merchandise, only available here, in doing so”.

Reception is the story of a group of friends from Leeds University who keep in touch over two decades of trials, tribulations, and receptions. Their stories are rooted in Gedge’s songs and the title is inspired by the name of The Wedding Present’s original record label, Reception Records.

Matt Aston: Artistic director of this summer’s Park Bench Theatre season at Rowntree Park, York, now working on a musical play inspired by his favourite band The Wedding Present. Picture: Livy Potter

The idea of doing such a musical has been brewing for writer/director Aston for several years. When he met Tony Ereira, director of the Come Play With Me and Clue Records record labels – where else but at a Wedding Present gig, in Leeds in early 2019 – the concept was batted around still further.

The concept of the play started to take shape, with the documentary nature of Gedge’s candid, darkly humorous song-writing in the never-ending minefield of love and loss, lovers and losers, longing and lost opportunity suited to transferring those anguished stories and their quotidian protagonists onto the stage.

As Gedge himself said in Gigslutz on August 24 2015: “I’m interested in the minutiae of relationships. I like to write about what actually happens, rather than some imaginary situation cloaked in metaphor, hence the references to the everyday, though I have been known to decorate the songs with science fiction or comic book references!”

Aston first saw The Wedding Present at Confettis nightclub in Derby in 1988. “So, you could say this musical is over 30 years in the making,” he says. “I’ll always be grateful to my older brother and his mates for taking his little 15-year-old brother to his first ever gig. I got a T-shirt, a set of badges and a nosebleed. Not to mention a new favourite band.”

How come Aston suffered a nosebleed? “I remember standing there, when the support band were on, and everyone was being very polite…and then…The Wedding Present came on and there was this huge surge. That’s when I got the nosebleed!” he recalls.

Gedge’s songs “really struck a chord” in Aston’s teenage days. “They are those difficult 15 to 19 years, and his lyrics really connected with me; his songs have stuck with me ever since. They’re just good songs – they’ve never got the recognition they deserve. They’re down-to-earth stories of love gone wrong and they’ve been there for me in both good times and dark times.”

Writer-director Matt Aston in a Wedding Present T-shirt – not the one from 32 years ago! – in rehearsals with actor Chris Hannon for Park Bench Theatre’s production of Samuel Beckett’s First Love. Picture: Northedge Photography

Aston elaborates on their suitability for a musical play: “I’ve always felt there was something very theatrical about David’s songs. The storytelling, the arrangements, the anguish,” he says. “And, as proven with Cinerama’s 2012 re-recording of The Wedding Present’s Valentina album, they have the flexibility to be arranged in a number of different, epic and dramatic ways. Although the show will, of course, still have plenty of fast guitars too!”

Attending a Cinerama concert five years ago affirmed that conviction. “They did this gig with a 15-piece orchestra and I thought, ‘these are musical theatre songs’; that’s what will work on stage,” says Matt. “‘The show will connect with fans, but people who are not Wedding Present fans will connect with the songs too, making for a good show, a new musical story rather than a typical jukebox musical’.”

Aston and Ereira put the idea to Gedge, along with an early synopsis for the story, and never one to shy away from a new medium to present his work, Gedge was equally excited to explore the idea further.

“With this crowdfunder campaign, we are looking to raise initial funding to get a first draft of the script written, some artwork and branding in place, and to start preparing for a period of research and development in early 2021 to road test our ideas – Covid-19 permitting – with a group of actors/musicians and some brand new material from David,” says Matt.

“Once I get down to writing the script in full, it will become clear whether and where new songs may be required. When we met up, David he said he’d be happy to get writing for the show, and it will be exciting to have new David Gedge work in there.”

Aston anticipates working on the script over the next six months. “There’s just huge potential for this show,” he enthuses. “The intention is to be in a position to premiere the musical in Leeds in 2022 and then do a small tour after that, hopefully taking it to Brighton, where David now lives.

“This crowdfunding campaign is a chance for fans to get involved from the beginning with a bunch of rewards that are all exclusive to this production, including specially commissioned artwork from Lee Thacker,  illustrator of David’s autobiography, Tales From The Wedding Present.”

To support the project, go to: https://www.crowdfunder.co.uk/reception-the-musical