Deluxe dancers: Ballet Boyz on tour with a new show in the spring
BALLETBOYZ are celebrating their 20th
anniversary with a spring tour of Deluxe, visiting the Grand Opera House, York,
on April 28.
This new show fuses beautiful dance
with original music, including collaborations from “some of the world’s most
inventive and thought-provoking choreographers and composers”, in a
co-production with Sadler’s Wells.
Shanghai
dancer and choreographer Xie Xin, artistic director of Xiexin Dance
Theatre, will make her British debut choreographing a new piece set to an
original electronic score by Jiang Shaofeng.
Punchdrunk
associate director Maxine Doyle will present work to live jazz music by
composer Cassie Kinoshi, of the Mercury Prize-nominated SEED Ensemble.
BalletBoyz artistic directors Michael
Nunn and William Trevitt say: “Deluxe is going to be a night of entertaining
and thought-provoking theatre that’s been 20 years in the making. The beauty of
our job has always been about finding and pursuing extraordinary talent and
sharing that with as many people as we can. It’s that simple.”
Over the past 20 years. BalletBoyz have
made 38 pieces of new work for the stage, won 13 international awards and
collaborated with 25 choreographers, Christopher Wheeldon, Akram Khan, Kristen
McNally, Matthew Bourne and Liv Lorent among them.
In the BalletBoyz line-up will be Joseph
Barton, Benjamin Knapper, Harry Price, Liam Riddick, Matthew Sandiford, Will
Thompson and apprentice Dan
Baines.
Looking ahead, in the autumn BalletBoyz
will undertake a new digital project in the wake of their award-winning dance
films Young Men and Romeo And Juliet.
Tickets for April 28’s 7.30pm show are on sale at £13 upwards on 0844 871 3024 or at atgtickets.com/york.
Gerry Grant making one of the pots for smashing at Fangfoss Pottery
IT sounds potty,
but Fangfoss potter Gerry Grant is making pots expressly to be broken.
“I’ve just landed
my most unusual job yet,” he says. “I’ve been commissioned by York company Pick
Me Up Theatre to make some props for next week’s production of The Goat, or Who
Is Sylvia?.
“What’s so unusual
about this request is that they’ve asked me to make a selection of very
large pots that will be smashed to pieces on the stage.”
These pots are made for breaking: Gerry Grant with the pottery that Pick Me Up Theatre’s cast will pick up to smash at next week’s performances
Presented by Pick Me
Up at the John Cooper Studio, Theatre @41 Monkgate, York, from February 25 to
29, Edward Albee’s American play centres around Martin Gray, a successful,
middle-aged architect who has just turned 50 and leads an ostensibly ideal life
with his loving wife, Stevie, and gay teenage son, Billy.
However, when he
confides to his best friend that he also is in love with a goat named Sylvia, he
sets in motion events that will destroy his family and leave his life in
tatters.
Albee’s domestic drama ponders the limits of an ostensibly
liberal society, showing a family in crisis to challenge audience members to question
their own moral judgment of social taboos.
The Goat cast members Bryan Bounds, Will Fealy and Susannah Baines
Director Mark Hird says: “The pottery plates, vases and bowls are an
integral part of the show. They represent wealth, prosperity and order in a
seemingly perfect household.
“They are expensive works of art collected by world-famous architect
Martin Gray to furnish the living room of the family’s New York home – and
they’re smashed when Stevie confronts Martin after discovering his affair with
Sylvia, the goat.”
Gerry has run Fangfoss Pottery for 43 years with wife Lyn Grant at The
Old School, Fangfoss, near York, and never before has he received such a destructive
commission.
“The pots have been specially made and fired to break easily,” says potter Gerry Grant. “I do hope they perform the task well”
“I’ve tried for more than 40 years to produce pots that are sturdy and
not easily broken. Now I’ve been asked to do the opposite! The pots have been
specially made and fired to break easily. I do hope they perform the task well.”
The Goat caused controversy but was a big hit – much like the pottery
breaking – with Broadway audiences when it opened in 2002. So much so, it won
the Tony Award for best play, 40 years after writer Albee won the same prize
for Who’s Afraid Of Virginia Woolf.
Next week marks its York premiere, when Gerry will witness his pots
being broken on the 41 Monkgate stage. “I’m looking forward to seeing the play,”
he says. “I’m sure it will be a smashing production”.
Tickets for the 7.30pm performances are on sale at pickmeuptheatre.com and on 01904 623568.
REVIEW: The Ballad Of Maria Marten, Eastern Angles/Matthew Linley Creative Projects, Stephen Joseph Theatre, Scarborough, today at 7.30pm. Box office: 01723 370541 or at sjt.uk.com
INCREASINGLY, touring theatre needs the support of partners to
sustain companies. Productions as extraordinary, brilliant and powerful as this
one are the vindication for encouraging more such partnerships.
Scarborough’s SJT has the “in association” role in The Ballad Of Maria Marten, and any company would be delighted to play in The Round, the 360-degree theatre experience that adds so much to each Alan Ayckbourn premiere every Scarborough summer season. Eastern Angles thrive.
Elizabeth Crarer emerges from the side as the lights are still up, cutting across the hum of audience chatter. She is holding a decayed, fraying umbrella, her clothes are worn and masculine; blood and bruises are on her face.. We take all this in slowly and are instantly riveted.
We learn she is Maria Marten, the besmirched murder victim at
the heart of Beth Flintoff’s play about the notorious Red Barn Murder. The
defence case of the murderer, disreputable squire, William Corder, has oft been
told, but not Maria’s.
How do you solve a problem like Maria’s void? By telling her story, and more particularly her back story from childhood, and as we all know there are two sides to every story, but not always in the courtrooms of a male-dominated society, such as the one that ruled Polstead in rural Suffolk in the summer of 1827, where a woman’s sole goal was to marry.
Elizabeth Crarer in rehearsal for The Ballad Of Maria Marten. Picture: Giorgis Media
The rest of Hal Chambers’ cast – Suzanne Ahmet, Emma Denly, Jessica Dives, Sarah Goddard and Susanna Jennings – descend from the auditorium stairways, one by one, all female (although two will go on to play men), and the ensemble nature of Flintoff’s storytelling is quickly established.
All the ingredients are outstanding: Flintoff’s prescient and engrossing writing; Luke Potter’s enveloping score; the cast’s compelling performing and beautiful singing, so individual yet collective; Zoe Spurr’s superb lighting; Verity Quinn’s minimalist set design, with the cast briskly moving whatever needs moving from scene to scene. In particular, Rebecca Randall’s movement direction is so key to the drama, using The Round to its maximum.
The title, changed from the original and too plain Polstead when this play premiered in 2018, is apt. The piece does indeed have the character of a ballad, being more of a folk play, even a Mummer’s Play, than the melodrama that usually prevails in Red Barn Murder re-tellings.
We know from the start that Maria is dead, and so The Ballad Of Maria Marten is a resurrection of sorts, like in Mummer’s Plays and in the depiction of fellow murder victim Sharon Tate in Quentin Tarantino’s Once Upon A Time In Hollywood last year. Note, too, how Maria now has her name in the title.
Rather than a manhunt detective story, piecing together the evidence
from Maria’s body being found a year after she went missing, Flintoff fills the
stage with the intricacies of her life story, with humour and darkness, joys
and sadness, hopes and dashed dreams, in equal measure, the childhood shaping
the adulthood that follows.
“I didn’t want her to be a victim any more. Maria emerged as
intelligent,
brave and wryly funny,” said Flintoff beforehand. “How are we going to let
women speak for themselves when there is so much history of being ignored?”
By writing such a ground-breaking play in changing times certainly helps. Maria is indeed no longer a victim, and Flintoff’s sense of optimism for the future is the closing emotion of a ballad play that truly sings.
Messy Eaters: on the menu at Taste Of SLAP at York Theatre Royal
TWO reasons lie behind the title of Taste Of SLAP, the “alternative Valentine’s Day treat” at York Theatre Royal tomorrow.
Organised by SLAP founders and co-directors Lydia Cottrell and Sophie Unwin, the last SLAP festival in 2019 ran for four days. This one, by contrast, is more concentrated: one day and evening’s tasty assortment of pay-what-you-can theatre and performance in different locations in the Theatre Royal.
Bite sized, in other words, and bite is apposite for the second reason. Taste Of SLAP’s day of cabaret, theatre, dinner dating, tea drinking, canape art and more besides takes the theme of food. Even a participating company carries the name of Teastain Theatre.
“After last year’s festival, the idea
was to have a year off and then do the festival every two years,” says Lydia. “But
that’s not the case now, as we believe it’s better to have a presence each
year, so we’re doing a day of events at various locations, ending with the return
of the DryHump Queer Cabaret.”
Sophie says: “The idea is to have a taster menu of everything you would have in a four-day SLAP festival. Everything has the theme of food, what with it being held the day after Valentine’s Day and coinciding with the musical Oliver! [Food Glorious Food et al] in the main house!”
Levantes Dance Theatre’s Canape Art
Lydia rejoins: “It’s always a dream to
have something for everyone at our SLAP events but I really believe we have
this time: some that are family friendly and some that are very definitely not.”
Should you be wondering what the
acronym SLAP stands for, the answer is Social Live Art Performance. “As a
company our aim is to create a fun and supportive environment for audiences to
experience live performance,” says Lydia.
“It is part of the SLAP ethos that
everyone that comes to SLAP is treated equally in the belief that everyone has
the right to experience art, no matter their background.”
Sophie adds: “SLAP are passionate about supporting local talent, as well as bringing international artists to the city. This year, we’ve collaborated with Drama Soc at the University of York to commission a brand new play, the quirky, rhyming Messy Eaters, written by student Aisling Lally that will be performed by York company Teastain Theatre.
“It’s directed by Jesse Roberts, who is a past artistic director of the Theatre Royal’s TakeOverFestival, and I reckon that Aisling, who’s an English Literature student, is definitely the next big thing.
“We’re also programming York St John University graduate Siara Illing Ahmed with her work I Am Mixed, where she’ll be feeding you food from her British, Pakistani and Irish background, telling the story of her life through food and discussing her heritage as an empowered woman.
Binaural Dinner Date: finding the “perfect date”
“We also have York puppeteer Freddie
Does Puppets – Freddie Hayes – presenting her new show in her Mrs Potatohead
costume as part of the cabaret event Dry Hump, with Fred serving Buckfast as
everyone arrives.”
Access is at the heart of SLAP too, the organisers always using venues that have flat or ramped access from the street, elevators and accessible bathrooms. “We also believe income should not be a barrier to accessing performance and that’s why we’ve made all events as part of the festival either free or pay-what-you-can,” says Lydia.
“Being artist led, our main aims are to provide a supportive environment for artists to create new work. Our main aim for audiences is for them to experience new contemporary performance in an accessible and non-exclusionary way.
“A big part of the ethos is that art is
for everyone and we want everyone to feel welcome during all of our events. We’ve
worked very hard to ensure that SLAP provides a safe environment and is a great
opportunity to experience live art for the first time.”
Sophie says: “Taste of SLAP involves eclectic performances from
artists working all over the country and beyond. We’re really excited to have
the opportunity to programme such a variety of celebrated artists, most of whom
have never performed here in York.
“We continue to offer an alternative to
the City of York’s cultural offering while also ensuring there’s something in
the programme for everyone. From family-friendly performance, intimate
experiences to conversations and cabaret.”
Siara Illing Ahmed in I Am Mixed
Taste Of SLAP performance menu for Saturday, February 15
Tea &
Tolerance, Café, 3pm to 6pm;
free.
A roaming tea trolley delivers piping
hot topics, not tea, and dishes out dialogue rather than digestives, with a
board game involving the topics being rolled up inside the tea pots to facilitate
conversations.
This show by a Leeds company was inspired by the York Mosque inviting the English Defence League in for a cup of tea and a chat.
I Am Mixed,Keregan Room, 3pm and 5pm; booking required.
A ‘Cefil’, a mixture of Celtic Ceilidh and Indian Mafill, is presented by Siara Illing Ahmed in an intimate storytelling experience. This autobiographical performance details the experience of growing up “mixed race” in Bradford.
Levantes Dance Theatre’sCanape Art, Café, 4pm and 6pm; free.
Dressed to impress, Levantes Dance
Theatre’s delightful duo serve up a glittery and unexpected twist on hors
d’oeuvres, creating beautiful, unique edible tattoos on the hands, arms and
faces with everyone they come across. Suitable for everyone from curious adults
to inquisitive tots.
Tea & Tolerance: board games leading to conversations
Binaural
Dinner Date,Café,
3pm, 5pm and 7.45pm. Booking required.
Co-ordinated by the Brazilian-London partnership
of ZU-UK, this is a post-Valentine’s Day alternative chance to find romance as a
voice in your ear – courtesy of headphones – guides you through the perfect
date. Come with your own date, or we can find one for you.
Messy Eaters, Studio, 7pm, sold out.
Everyone’s making a mess. Newlyweds Charles and Mabel spend Christmas with the in-laws, God, and a deadly secret. Shirley and Kevin reach boiling point, while stressed student Emma gains a keen tea guest who forgets his table manners.
Meanwhile, Ryan just doesn’t understand how girlfriend Abby likes her eggs in the morning. With five interlinking short plays on the menu, Messy Eaters is jam packed with current, juicy chaos.
DryHump,
De Grey Rooms, 8pm. Booking required.
A sumptuous feast of Queer Cabaret delights,
with small plates of performance, porky party games and delicious dancing.
Freddie Does Puppets, Rich Tea and Rocky Road and DJ Nik Nak all feature.
SLAP’s ticket policy: Taste Of Slap’s ticket brackets are £3, £6, £9 and £12. Choose the amount you would like to pay.
“We will never ask you to prove your
financial situation; just pick the amount that feels best for you. If you would
like to know more about any of the events, please email info@slapyork.co.uk,” say
the organisers.
DryHump Queer Cabaret: the finale to Taste Of SLAP
Tickets
are on sale at yorktheatreroyal.co.uk, on 01904 623568 or in person at the
Theatre Royal box office.
New home: AJ Powell, Berwick Kaler, Suzy Cooper, David Leonard and Martin Barrass settle into the Grand Opera House auditorium. PIcture: David Harrison
THIS morning was the official launch for Berwick Kaler’s comeback pantomime, Dick Turpin Rides Again, as the resurrected York dame handed over the first tickets to queueing fans at his new home, the Grand Opera House.
Joining him were villain David Leonard, stalwart stooge Martin Barrass, ageless principal girl Suzy Cooper and luverly Brummie A J Powell after their controversial exit and crosstown switch from the York Theatre Royal, signing on the dotted line for pantomime powerhouse producers Qdos Entertainment and the Cumberland Street theatre’s owners, the Ambassador Theatre Group.
Not joining them, however, was CharlesHutchPress, barred from the launch and the morning’s media interviews at the request of the Panto Five in a move from the Dominic Cummings rule book for Number 10 press briefings .
This has to stop.
It is time to re-build bridges, and Valentine’s Day would have been a good start, rather than continuing this Charles Hutchinson Derides Again contretemps .
Food Glorious Food: the Young People’s Ensemble give it plenty in Oliver!. All pictures: Tom Arber
REVIEW: Oliver!, York Light Opera Company, York Theatre Royal, until February 22. Box office: 01904 623568 or at yorktheatreroyal.co.uk
DAME Berwick Kaler’s 41 years at York Theatre Royal
have come to an end, but one company with an even longer run there is still
rolling out the productions after 60 years.
York Light have chosen to mark another 60th anniversary by staging Lionel Bart’s Oliver!, first performed in the West End in 1960.
This latest revival of a perennial favourite utilises David Merrick and Donald Albert’s Broadway stage version, here directed and choreographed by Martyn Knight on an expansive set with walkways, bustling London streets, the drab workhouse, smart townhouse and the underworld of Fagin’s dingy den.
The show opens with a death outside the workhouse,
and the dead woman being promptly stripped of her necklace by an older woman:
welcome to dark Dickensian London.
Rory Mulvihill’s Fagin and Jonny Holbek’s Bill Sikes in York Light’s Oliver!. Picture: Tom Arber
Once inside, Food Glorious Food bursts into life, the first of so many familiar Lionel Bart songs, choreography well drilled, the young people’s ensemble lapping up their first big moment (even if their bowls are empty already!).
The directorial polish in Hunter’s show is established immediately; likewise, the playing of John Atkin’s orchestra is rich and in turn warm and dramatic. These will be the cornerstones throughout in a show so heavy on songs, with bursts of dialogue in between that sometimes do not catch fire by comparison with the fantastic singing.
This review was of the first night, leaving time
aplenty for the acting to raise to the level of the songs, but there really does
need to be more drama, for example, from all the adults in Oliver and Dodger’s
pickpocketing scene. Likewise, spoiler alert, Nancy’s death scene fails to
shock, although Jonny Holbek elsewhere has the menace in voice and demeanour
for Bill Sikes. Even his dog Bullseye looks scared of him.
Playing the nefarious Fagin for a second time, with a stoop, straggly hair and wispy beard, stalwart Rory Mulvihill has both the twinkle in his eye and the awareness of the fading of the light, characteristics he brings to the contrasting ensemble numbers You’ve Got To Pick A Pocket Or Two and Be Back Soon and the reflective, sombre solo Reviewing The Situation.
Jonathan Wells’s Mr Sowerberry and Annabel Van Griethuysen’s Mrs Sowerberry with Matthew Warry’s Oliver (alternating the role with Alex Edmondson)
Overall, the company could take a lead from Neil
Wood’s Mr Bumble and Pascha Turnbull’s Widow Twankey in their hanky-panky I
Shall Scream scene, full of humour, sauce and pleasing characterisation.
Alex Edmondson’s truculent Oliver and Jack Hambleton’s chipper Dodger bond well, especially in Consider Yourself; Jonathan Wells’s Mr Sowerberry and Annabel Van Griethuysen’s Mrs Sowerberry are in fine voice. Her singing is even better, creamier you might say, for the Milkmaid, when joined by Sarah Craggs’s Rose Seller, Helen Eckersall’s Strawberry Seller, Richard Bayton’s Knife Grinder and Edmondson’s Oliver for Who Will Buy?, always beautiful and deeply so here.
Emma Louise Dickinson’s Nancy gives Act Two opener
Oom-Pah-Pah plenty of oomph, and although As Long As He Needs Me sits uncomfortably
on modern ears with its seeming tolerance of domestic abuse, she gives that
bruised ballad everything twice over.
Reviewing the present situation, the singing is
strong, moving and fun when it should be, but, please sir, your reviewer wants
some more from the non-singing scenes, and then he might be back soon.
Binaural Dinner Date: the alternative Valentine’s Day date, so alternative that the date will be on the day after Valentine’s Day
PAY attention hopeful singletons and curious couples seeking an alternative Valentine’s Day date with a difference.
York’s Taste of SLAP Saturday curators and directors Lydia Cottrell and Sophie Unwin are bringing immersive and digital performance innovators ZU-UK to York Theatre Royal this weekend to set up the post-Valentine Binaural Dinner Date.
On the traditional
sporting match day of the week, matches of a different kind will be taking
place in the Theatre Royal café at 3pm, 5pm and 7.45pm, when ZU-UK will
be asking “audiences
to swipe right and join them for an experiential dating experience”.
“Come with your own date, or we can find one for you,” they
say, emphasising that booking is required as soon as possible on 01904 623568,
at yorktheatreroyal.co.uk or in person at the Theatre Royal box office.
What will happen on Saturday? “Using binaural sound, participants will be guided by a voice in their ears to ask each other questions, offer answers, and consider the dos and don’ts of what we say, and what we would like to say, to each other on a date,” say ZU-UK, a company with its art and its heart in both London and Brazil.
“What are we really thinking when we meet for the first time? How much are we prepared to confess? And are the questions we ask each other the questions that will help us find love?”
Binaural Dinner Date is “part interactive performance, part dating agency” for individuals looking for love, or existing couples who simply want a “very different” dating encounter
It will take place at nine tables simultaneously, where the aforementioned voice in the ear of every participant will steer them through a “perfect” date. Wearing headphones, two participants per table will be hosted by a waiter/facilitator/DJ, complemented by “interactively mixed binaural audio” with suggestions and comments on dating “rules”, as well as games pushing social expectations and “acceptable” table-talk topics.
Jorge Lopes Ramos, ZU-UK’s co-artistic director, says: “ZU-UK’s artistic work has never shied away from engaging with urgent, problematic and at times depressing aspects of the contemporary human condition.
“This is a time to
question mainstream narratives and to consider our role in shaping communities
and relationships between strangers. Dating seemed like a contemporary human
ritual worth exploring.”
Formerly known as Zecora Ura and Para Active, ZU-UK is an independent theatre and digital arts company based in East London and Rio de Janeiro, Brazil, since 2001. Driven by an artistic partnership between Ramos and Persis Jadé Maravala, ZU-UK creates interactive experiences, using games, performance and technology, that can happen anywhere, whether on the phone, in the house, on a stage, in a shopping mall or a field.
Binaural Dinner Date is the first instalment in ZU-UK’s ten-part series Decalogy of Loneliness. After ZU’s Hotel Medea in 2009 to 2012 and the interactive technology exhibition Humble Market in 2012 to 2014, they have been developing ten artworks as part of this project.
Since 2015, they have
worked with Canadian research institute TAG (Technoculture, Arts and Games), using
game-design to deepen ZU’s work with immersive, participatory and interactive
performance.
Over the next three
years, ZU will develop the remaining parts of the Decalogy, focusing on the
relationship between strangers in public and private spaces. The company also
will present two digital artworks using
public phones, #RioFoneHackand How Mad Are You? , and a binaural
prototype, Small Data Mining.
Suitable for age 16 plus, Binaural Dinner Date is part of SLAP organisers Lydia Cottrell and Sophie Unwin’s Taste Of SLAP, a day of food-themed shows under their Social Live Art Performance banner (although, if memory serves right, SLAP initially stood for Salacious Live Alternative Performance when the festival was first set up!).
Full details of Taste of SLAP can be found at slapyork.co.uk and a further preview will appear online at charleshutchpress.co.uk. Tickets for this weekend’s taster carry a “Pay What You Can” price tag.
The Magnificent Six in Crongton Knights at York Theatre Royal from February 25 to 29. Pictures: Robert Day
YORK Theatre Royal resident company Pilot Theatre are following up last year’s powerful adaptation of Malorie Blackman’s Noughts & Crosses with another topical collaboration.
Pilot have teamed up with Coventry’s Belgrade Theatre to present Emteaz Hussain’s new staging of Alex Wheatle’s award-winning young adult novel Crongton Knights.
Co-directed by Corey Campbell, artistic director of Strictly Arts Theatre Company, and Pilot artistic director Esther Richardson, the touring world premiere will play the Theatre Royal from February 25 to 29.
Wheatle’s story depicts how life is not easy on the Crongton Estate and for McKay and his mates what matters is keeping their heads down. When a friend finds herself in trouble, however, they set out on a mission that goes further than any of them imagined.
Crongton Knights will “take you on a night of madcap adventure as McKay and his friends, The Magnificent Six, encounter the dangers and triumphs of a mission gone awry”.
Esther Richardson: Crongton Knights co-director and Pilot Theatre artistic director
In this story of how lessons learned the hard way can bring you closer together, the pulse of the city will be brought to life on stage with a Conrad Murray soundscape of beatboxing and vocals laid down by the cast of Kate Donnachie; Zak Douglas; Simi Egbejumi-David; Nigar Yeva; Olisa Odele; Aimee Powell; Khai Shaw and Marcel White.
Wheatle, a writer born in London to Jamaican parents, says: “I’m very proud that Pilot Theatre are adapting my novel, Crongton Knights, for the stage. It’s a modern quest story where, on their journey, the young diverse lead characters have to confront debt, poverty, blackmail, loss, fear, the trauma of a flight from a foreign land and the omnipresent threat of gangland violence.
“The dialogue I created for this award-winning novel deserves a platform and I, for one, can’t wait to see the characters that have lived in my head for a number of years leap out of my mind and on to a stage near you.”
Co-director Esther Richardson says of the teen quest story: “For us, this play is a lens through which to explore the complexity of young people’s lives, open a platform for those concerns and show what they have to try to navigate fairly invisibly to other members of society. It’s the context in which they live that creates the problem, and these kids go under the radar.
“Alex is writing about how the world is stacked against teenagers; how young people have been thrown to the dogs; how they to negotiate this No Man’s Land they live in, when their places have been closed down; their spaces to express themselves.
On the wall: The Crongton Knights cast
“They have been victims of austerity – as have disabled people – so it’s no surprise that there’s been a rise in knife crime, with kids on the streets and no youth workers to go to, to talk about their feelings.”
Esther notes how they have no access to the arts either. “That’s why our job becomes very important, especially the work we do with theatres around the country, such as the Young and Talented theatre workshops, working with kids in inner-city London who otherwise would have no involvement in the arts,” she says.
“It’s a very heavily subsidised actor-training scheme for children aged five or six upwards, and cast members for plays like Crongton Knights can come through the scheme.”
Esther is concerned, however, by the cuts in arts funding and the potential negative impact of Brexit too. “Theatre is not seen as an opportunity to thrive in, especially in this post-Brexit landscape where it’s going to get worse before it gets better,” she predicts.
“That’s why we will further shift into co-creating pieces, Pilot creating work with communities, Pilot co-creating with teens, which we do already do, but we can do it better and do it more.”
On yer bike: A tense scene in Crongton Knights
Significantly, Crongton Knights is the second of four co-productions between Pilot Theatre, Derby Theatre, the Belgrade Theatre, Coventry, and York Theatre Royal, who last year formed – together with the Mercury Theatre in Colchester – a new new partnership to develop theatre for younger audiences.
From 2019-2022, the consortium will commission and co-produce an original mid-scale touring production each year that will play in all the consortium venues as well as touring nationally. The consortium’s debut production, Noughts & Crosses, was seen by more than 30,000 people on tour with 40 per cent of the audience being aged under 20.
To reflect the diversity of the consortium partners and the universality of Crongton Knights’ theme, Esther says: “Although there’s an estate in London called Notre Dame, which features in the book and the play, we have very much created a fictionalised inner city in the play, as Corey and I felt we wanted regional as well as London voices in the cast.
“So, our inner-city world is neither London, nor Birmingham, nor Coventry; it’s everywhere from the perspective of teenagers.”
Pilot Theatre and partners present Crongton Knights, York Theatre Royal, February 25 to 29, 7.30pm nightly plus 2pm, Thursday and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Age guidance: 11 plus; show contains strong language.
PHOENIX Dance Theatre are
exploring the long-lasting effects of British colonial forces in the world premiere
of Black Waters at Leeds Playhouse this week.
Drawing inspiration from history,
this emotionally evocative new production by the Leeds company combines two events.
Black Waters: Phoenix Dance Theatre’s exploration of place, worth and belonging
In the first, in the late-18th century,
130 slaves were thrown overboard from the Zong as the ship owners attempted to
profit from their life insurance.
More than 100 years later, Indian
freedom fighters were incarcerated in the Kala Pani prison for speaking out
against the regime.
Co-choreographer Sharon Watson during rehearsals for Phoenix Dance Theatre’s Black Waters
Black Waters reflects on these two colonial landmarks, showing
how people can find value, inspiration and hope even in the bleakest of times.
The co-choreographers, Phoenix
artistic director Sharon Watson and Shambik Ghose and Dr
Mitul Sengupta, artistic directors of Rhythmosaic, from Kolkata, combine
contemporary dance with Kathak dance: one of the eight major forms of Indian
classical dance, traditionally attributed to ancient travelling storytellers.
Black Waters co-choreographer Shambik Ghose
Sharon says: “Black Waters is not about recreating these two events through
contemporary dance, but is an exploration of place, worth and belonging, which
can often be conflicting for people of colour.”
Black Waters can be seen in the Quarry Theatre at 7.30pm tonight, tomorrow and Saturday. Box office: 0113 213 7700 or at leedsplayhouse.org.uk.
Robert Daws’ committee chairman Ray, left, and Mark Curry’s pedantic Councillor Donald Evans in Ten Times Table. Pictures: Pamela Raith
REVIEW: Alan Ayckbourn’s Ten Times Table, The Classic Comedy Theatre Company, Grand Opera House, York, until Saturday. Box office: 0844 871 3024 or atgtickets.com/york
IMPRESARIO and
prolific producer Bill Kenwright has his name on multiple shows that frequent
the Grand Opera House, from musicals to the Agatha Christie, Classic Thriller
and Classic Screen To Stage companies.
Now add The
Classic Comedy Theatre Company to that list, making their debut tour either
side of Christmas with Ten Times Table, Alan Ayckbourn’s “calamitous comedy by
committee” from 1977, the year when committees popped up everywhere to mark HM
The Queen’s Silver Jubilee.
Those stellar
names of British theatre, Kenwright and Ayckbourn, are complemented by a third:
Robin Herford, perennial director of The Woman In Black and much else, not
least past productions of Ayckbourn’s Just Between Ourselves at the Stephen
Joseph Theatre, Scarborough, and Relatively Speaking, Confusions, Bedroom Farce and Season’s
Greetings elsewhere.
What’s
more, Ayckbourn cast him as pedantic, punctilious, punctuation and procedure-obsessed
Councillor Donald Evans in his SJT premiere of Ten Times Table in January 1977.
Everything
sounded so promising for Herford’s touring production, not least a cast
starring Robert Daws, Robert Duncan, Mark Curry and Deborah Grant. Certainly,
more promising than the gloomy forecast that the River Ouse floodwaters could
be seeping beneath the Grand Opera House doors by 6am, prompting senior
management to stay on watchful guard through the night.
Thankfully, such concerns turned out to be a false dawn. Alas, Ten Times Table proved to be a damp squib too: that rare occasion when an Ayckbourn play just isn’t very funny any more.
Maybe we are spoilt by Sir Alan’s revivals of his classics at the Stephen Joseph Theatre each summer season; maybe they better suit the bear-pit setting of the SJT’s theatre in the round: more intimate, more inclusive, more apt for the combative nature of his vintage comedies. Maybe it is significant that Ten Times Table has never been among those revivals.
Misfiring: Alan Ayckbourn’s comedy Ten Times Table fires blanks in Robin Herford’s touring production
Here in
York, on a proscenium-arch stage, as with the body of a giraffe, Ten Times
Table feels like the work of a committee. Or the work of a committee like the
one we are watching as they assemble maybe ten times around the table (although
your reviewer lost count).
Welcome to the “miscellaneous assemblage” of the Pendon Folk Festival committee, gathering beneath the erratic lights of the faded grand ballroom of the Swan Hotel, as Seventies as hotel grey gravy and over-boiled veg and as tired as the comedy in Michael Holt’s design.
The
pathway to the Pendon Pageant will be a bumpy one, all the more so for the
irascible, over-excitable disposition of chairman Ray (Robert Daws), who bores
everyone, audience included unfortunately, as he recounts Pendon’s most dramatic
news story of the past.
Now the 18th
century army massacre of the radical Pendon Twelve agricultural agitators is to
be re-enacted on pageant day. Ayckbourn duly sets up matching class warfare:
middle-class conservatism on one side, represented by smug Ray; his constantly
peeved, overbearing wife Helen (Deborah Grant); a mad, revolver-toting military
dog-breeder, Tim (Harry Gostelow), and ineffectual dullard Councillor Evans
(Mark Curry).
Always accompanying
Evans is his octogenarian mum Audrey (Elizabeth Power), the minute-taking but
pretty much deaf committee secretary who never delivers the minutes, dithering dottily
except when a drink or the chance to play the piano comes her way.
On the
other side, representing the agitators, is the truculent Marxist martyr, comprehensive
schoolteacher Eric (Craig Gazey), and his acolytes, the ever-underwhelming
Sophie (Gemma Oaten), even a disappointment to herself, and the almost impossibly
quietly spoken costume maker Philippa (Rhiannon Handy).
No idea
where he is, the sozzled Laurence (Robert Duncan) stumbles from marital crisis
to the next marital crisis.
Ayckbourn
depicts the minutiae of committee conduct with trademark mischief making but
somehow this Ten Times Table does not add up amid the personality and
ideological clashes. The power-driven Ray is as irritating as the banging on
the floor above; plenty of others follow suit, and, especially in the long
first half, the comedy feels too slow, too forced, the timing……..off.
