The Barber Shop Chronicles: Cheering on Chelsea in a Champions League match. Pictures: Arc Brenner
BARBER Shop Chronicles, the Leeds Playhouse co-production with the National Theatre, will be streamed on the National Theatre at Home’s YouTube channel from May 14.
Staged in the Courtyard at the Leeds theatre in July 2017 and filmed at the National Theatre’s Dorfman theatre in January 2018, Inua Ellams’ international hit play will be shown in a never-before-seen archive recording.
Barber Shop Chronicles tells the interwoven tales of black men from across the globe who, for generations, have gathered in barber shops, where the banter can be barbed and the truth is always cutting.
Co-produced with third partner Fuel, Bijan Sheibani’s production went on to play BAM in New York before a London return to the Roundhouse last summer and further performances at Leeds Playhouse last autumn.
The National Theatre at Home initiative takes NT Live into people’s homes during the Coronavirus shutdown of theatres and cinemas with free screenings, each production being shown on demand for seven days after the first 7pm show on Thursdays.
Patrice Naiambana as Tokunbo in Barber Shop Chronicles
Hull playwright Richard Bean’s comedy One Man, Two Guvnors kicked off the series, since when Jane Eyre, Treasure Island, Twelfth Night and Frankenstein have been streamed, drawing eight million viewers over the past month. Next up, from 7pm tonight, will be Antony & Cleopatra starring Ralph Fiennes and Sophie Okonedo as Shakespeare’s fated lovers.
Looking ahead, the Young Vic production of Tennessee Williams’s A Streetcar Named Desire, starring Gillian Anderson as Blanche DuBois, is in the diary for May 21 to 28; James Graham’s insight into the workings of 1970s’ Westminster politics, This House, May 28 to June 4, and the Donmar Warehouse production of Coriolanus, starring Tom Hiddleston in Shakespeare’s political revenge tragedy, June 4 to 11.
Given that theatres are predicted to be at the back of the queue for re-opening under the gradual relaxation of lockdown measures, the future of the industry for artists and organisations remains uncertain. Consequently, the National Theatre has, in agreement with the actors’ union Equity, committed to pay all artists and creatives involved with productions streamed as part of National Theatre at Home.
Robin Hawkes, executive director of Leeds Playhouse, says: “We’re really pleased that Barber Shop Chronicles, which we brought back to Leeds last year after it was a huge hit with audiences here at the Playhouse previously, is going to be one of the first partner theatre performances accessible to such a wide audience through NT at Home.”
Lisa Burger, the National Theatre’s executive director and joint chief executive, says: “I’m delighted that in this next collection of titles to be streamed as part of National Theatre at Home we are including productions from our NT Live partner theatres.
Cyril Nri as Emmanuel in Barber Shop Chronicles
“When we launched National Theatre at Home last month, we wanted to offer audiences the opportunity to engage with theatre during this time of isolation while we were unable to welcome them to the South Bank or into cinemas.”
Burger continues: “This initiative wouldn’t have been possible without the support of a great number of artists for which we are incredibly grateful. We have been absolutely thrilled by the response from viewers enjoying the productions from right across the globe, and we have also been surprised and delighted at the generous donations we’ve received since closure.
“While the National Theatre continues to face a precarious financial future, we now feel able to make a payment to all artists involved, as we recognise a great many are also experiencing a particularly challenging time at this moment.
“While theatres across the world remain closed, we’re pleased that we can continue to bring the best of British theatre directly into people’s homes every Thursday evening.”
National Theatre at Home is free of charge but should viewers wish to make a donation, money donated via YouTube will be shared with the co-producing theatre organisations of each stream, including Leeds Playhouse, to help support the Playhouse through this period of closure and uncertainty.
Charles Hutchinson’s review of Barber Shop Chronicles, Courtyard Theatre, West Yorkshire Playhouse, Leeds, July 2017. Copyright of The Press, York.
BARBER Shop Chronicles is the first West Yorkshire Playhouse collaboration with the National Theatre, and sure enough it is a cut above the norm.
Leeds is mentioned only in passing – one character has links with the city – but a Chapeltown barber (Stylistics, should you be wondering) was one of the principal inspirations that led Nigerian playwright and poet Inua Ellams to write his joyous, illuminating play.
Barbers have not had a great press on stage, what with Sweeney Todd’s cut-throat business practices in Fleet Street, but that all changes with Ellams’ drama, a series of conversations with the barber often in the position of counsellor.
David Webber (Sizwe) and Fisayo Akinade (Sam) in Barber Shop Chronicles
In Britain, traditionally such conversations would normally not extend beyond asking where you might be going on holiday this summer, sir, or if you needed something for the weekend, or if you had any preferences, to which the answer once came “To sit in silence”.
Not much scope for a play there, then, but it is a different story in the African community, now in London (and Leeds), as much as in Nigeria, South Africa, Zimbabwe, Kenya, Uganda and Ghana, all of which Ellams visited to collect stories for his Chronicles.
The Courtyard has been transformed by Rae Smith into a theatre in the round, well, square, to be precise, with seating on all four sides, and the sign boards of barber shops in London and the various African nations displayed all around the perimeter beneath a globe with a mirrorball that lights up for each change of location, heralded by an a cappella song name-checking each city. In turn, a spotlight picks out the sign for the next barber to be featured.
Patrice Naiambana as Paul in Barber Shop Chronicles
This allows Bijan Sheibani’s ensemble production to flow and fly through its two hours without an interval, the momentum too thrilling to break. We begin and end in Lagos, and the focus then switches back and forth from a London barber shop to one-to-one encounters in Accra, Kampala, Harare and Johannesburg.
A family of barbers is at war in the London shop, although united in supporting Chelsea (in a Champions League encounter with Barcelona), and all manner of subjects come up for discussion: black men and white girls; Patrice Evra versus Luis Suarez; the “N” word and rappers.
There is much humour at play, but serious points too, not least about what it means to be a strong black man, and the family clash cuts deeper than a soap opera.
What’s more, the African chronicles throw you off your guard, reappraising the worth of Nelson Mandela, Robert Mugabe and Fela Kuti. Take a seat….
Nothing happening full stop. Now, with time on your frequently washed hands, home is where the art is and plenty else besides
Exit 10 Things To See Next Week in York and beyond for the unforeseeable future in Lockdown hibernation. Enter home entertainment, wherever you may be, whether together or in self-isolation, in the shadow of the Covid-19 pandemic. From behind his closed door, CHARLES HUTCHINSON makes these suggestions.
Street protest: The Everything Is Possible: The York Suffragettes cast on the march from York Minster Plaza to York Theatre Royal in 2017. Picture: Anthony Robling
Streaming of Everything Is Possible: The York Suffragettes, York Theatre Royal Collective Arts programme
YORK Theatre Royal is streaming the 2017 community play Everything Is Possible: The York Suffragettes for free on its YouTube channel until May 31.
Co-produced with Pilot Theatre, this outdoor and indoor production was performed by a community cast of 150 and a choir of 80, taking the form of a protest play that recalled how women in York ran safe houses, organised meetings, smashed windows and fire-bombed pillar boxes as part of the early 20th century Suffragette movement.
“Now the stage is dark and the streets are empty, but looking back to the way in which that show brought people together, inspiring them in so many ways, is a wonderful reminder of the power of theatre and community,” says playwright Bridget Foreman.
Whispers From The Museum: the new mystery adventure from Scarborough Museums Trust
Whispers From The Museum, online mystery adventures for children
ADVENTUROUS youngsters can solve a new online mystery, Whispers From The Museum, set at Scarborough Art Gallery and Rotunda Museum, from May 12. The buildings may be closed under the Covid-19 pandemic restrictions but strange messages have been appearing inside. Who or what is making them and what are they trying to tell us?
For six weeks, young people – and their grown-ups – can uncover stories about assorted Scarborough Museums Trust objects by completing online missions and challenges from their own home, set by Scarborough artist Kirsty Harris.
The stream team: Your Place Comedy double bill Simon Brodkin and Maisie Adam, performing from their living room to yours
Your Place Comedy, streamed from their living rooms to yours
AT the initiation of Selby Town Hall arts centre manager Chris Jones, here comes gig two of Your Place Comedy, a Sunday night when comedians stream a live show via YouTube and Twitch from their living room into yours from 8pm. There is no charge, but you can make donations to be split between the ten small, independent northern venues that have come together for this Lockdown fundraising scheme.
After Hull humorist Lucy Beaumont and a pyjama-clad Mark Watson in the inaugural online gig, this weekend’s stream team will be Theresa May’s Tory conference P45 prankster Simon Brodkin and Harrogate’s Maisie Adam, as seen from home previously on last Friday’s Have I Got News For You.
Grayson Perry with his teddy bear Alan Measles on a visit to York in May 2014 to open the Meet The Museums Bears event
Inspired by Grayson’s Art Club on Channel 4…
IF you have enjoyed Grayson Perry’s convivial call to art, Grayson’s Art Club, on Channel 4 on Monday nights, with portraits and animals as the two subjects so far, seek out the “Ultimate Artists’ Activity Pack”.
This downloadable artist activity pack is suitable for children and adults alike, with Grayson among the contributing artists. So too are Ampleforth College alumnus Antony Gormley, Mark Wallinger, Michael Landy, Gillian Wearing and Jeremy Deller.
The Art Is Where The Home Is pack is the creation of Sandy Shaw, director of the Firstsite Gallery in Colchester, who says the activities should be fun, done on A4 paper and ideally shared.
Drag diva Velma Celli’s poster for Large & Lit In Lockdown, her next online show
What next for Velma Celli, York’s drag diva?
AFTER last weekend’s concert streamed from a Bishopthorpe kitchen in aid of St Leonard’s Hospice, York’s international drag diva Velma Celli has confirmed another such online extravaganza.
Large & Lit In Lockdown will be large and live at 8pm on May 16. “All you need to do is get your tickets from the link below and a live link will arrive in your email inbox on the day of the show.
Activity of the week: Rearranging your bookshelves
THANKS to Zoom and all manner of online visual services, placing yourself in front of your bookshelves is becoming the new normal, as tracked by the Bookcase Credibility Twitter feed, @BCredibility.
You may not go as far as J K Rowling, who re-arranged her books in colour sequences, but this is the chance to both gut your book collection and to find new ways to categorise those shelves, more imaginatively than merely alphabetically. This is spring cleaning with a new purpose.
Romesh Ranganathan: Rearranged York Barbican date
Still keep trying to find good news
POCKLINGTON’S Platform Festival in July, off. More York Races meetings, a non-runner. Deadpan comedian Romesh Ranganathan on Sunday at York Barbican, off; Whitby Fish & Ships Festival next weekend; the chips are down, alas. The list of cancellations grows like the wisteria adorning York’s houses this month, but you should keep visiting websites for updates.
Platform Festival? Negotiations are underway to move as many acts as possible to next summer. Romesh? His show, The Cynics Mixtape, is in the 2021 diary for May 15, still without an apostrophe in its title. Fish & Ships? Sailing into harbour next May. York Races? Further updates awaited.
Woodland bluebells , Spring 2020
Venturing outdoors…
…FOR your daily exercise, be that a run, a cycle ride or a stroll near home, in a changing environment. If your route allows, check out the bluebells, now a glorious woodland haze, and the rhododendrons, bursting through too. In Rowntree Park, the ducklings are taking to the water, no need for armbands. Thank you, nature and the natural world, for keeping up our spirits.
Clap for Carers
STAND by your doors at 8pm every Thursday, no excuses. Theatre-goers, concert-goers, save your hand-clapping for our NHS doctors, hospital staff, carers, volunteers and key workers. How moving, too, to see familiar buildings bathed in blue light: a glowing tribute growing by the week.
Louis Theroux: New BBC radio series of interviews in lockdown
And what about…
NEW albums by The Strokes (the uncannily titled The New Abnormal); Lucinda Williams, Car Seat Headrest and Damien Jurado. Michael Henderson’s new state-of-the-nation book That Will Be England Gone, The Last Summer Of Cricket. The TV adaptation of Normal People, Sally Rooney’s story of complicated Millennial teenage love, directed by Room filmmaker Lenny Abrahamson on BBC Three, One and iPlayer. Louis Theroux’s lockdown interview series, Grounded, on BBC Radio 4 and BBC Sounds. Parsnips, however you cook them.
Louise Henry: From Liesl and Snow White to the musical theatre diploma at MTA in London
“FINALLYYYY the day has come that I can say this… I got into drama school!!!!!” So read Louise Henry’s ecstatic Facebook announcement that she has been accepted for the fast-track diploma course at the Musical Theatre Academy (MTA), in London, from October.
Louise, you may recall, made her professional debut in December as “York’s very own” Louise Henry – in reality from Knaresborough – playing Snow White in Snow White And The Seven Dwarfs at the Grand Opera House, York. From 30 auditionees, she had landed the part while working at the Hoxton North café bar in Royal Parade, Harrogate,
In the midst of the Covid-19 lockdown, she secured her MTA place through a Zoom audition – “how bizarre,” she says – and now comes the challenge of raising the finance for her two years of musical theatre studies in Tottenham Green.
“Some of the most vivid memories of my childhood are centred around shows and performing, the earliest being chosen to play Whoops A Daisy Angel in Year 1 – a role I played with absolute conviction, I’ll have you know.
Louise Henry as Shelby in York Stage’s Steel Magnolias at Theatre @41 Monkgate, York, her last role before securing her place at MTA
“If I were to ask you what your wildest dream was, beyond all imagination, what would you say? Genuinely, what would it be? Mine would be to perform for a living. My heart is so happy on stage.”
Now, the bad news. “To attend this phenomenal school and receive the training I have long yearned for, I must fund the £32,000 fees with no government funding,” she revealed on Facebook.
“The MTA is not linked with a university and therefore I cannot apply for a student loan in the same way other courses can. Yes. I know. BUT, and humour me here, if every one of my 1,481 Facebook Friends generously donated £20 (or £21.70 to be precise), I would make the amount in full.”
Louise understands that such a proposal is “wishful thinking on my part”, but her Facebook post added: “However, if, by chance of incredible generosity, half, a third, or even a quarter, of said friends donated anything possible, I would be in a much more promising position to be able to attend this school.
“If people kindly donated even £1, I’m £1 closer! If you could share it to reach your friends and family further afield, my chances are immediately increased.”
Louise Henry, back left, in her role as Liesl von Trapp in York Stage Musicals’ The Sound Of Music at the Grand Opera House, York, in 2019
CharlesHutchPress is delighted to spread the word, having enjoyed Louise’s performances in such York Stage Musicals roles as 16-year-old Liesl von Trapp in The Sound Of Music and 40-year-old Jane in Twilight Robbery, as well as a young Australian woman, Gabrielle York, in Rigmarole Theatre Company’s When The Rain Stops Falling last November.
Since then, there have been her dark-wigged Princess Snow White in pantoland and her latest York Stage outing as plucky, resolute but physically fragile Louisiana bride-to-be Shelby in Steel Magnolias in February.
“We are living in such strange, difficult times,” her Facebook open letter continued. “Everything is uncertain for everyone I know and the world is suffering every day. I’m hoping, by this point in the post, that you can appreciate that I simply have to continue as if we aren’t in the middle of a global pandemic.
“Please believe me, I wish I wasn’t asking for help at a time like this. I understand and agree that there are far more worthy and important causes but I feel I have to consider the potential of my future career.
“Of course, I have spent every minute since I received my offer considering how I could logistically, carefully and respectfully raise money under the current circumstances. But making sure I abide by the Government’s restrictions is leaving me with little I can offer by way of help in exchange.
Louise Henry after she learnt she had been picked to make her professional debut as Snow White in Snow White And The Seven Dwarfs, last winter’s Grand Opera House pantomime .Picture: David Harrison.
“Saying this, if there really is anything – walking dogs with my gloves on, helping in the garden, an online singalong or bedtime story for your children – I will help in any way I can! Equally, if you have any suggestions, please send them my way! Once these restrictions are lifted and we are all much less at risk I will, of course, help in any way possible.”
Summing up her situation, Louise says: “I have to be optimistic in that I don’t know who’s hands/Facebook timeline the post might fall into. I’m doing all I can to make this dream a reality, and that means, for me personally, asking kindly for any help I can get.”
To assist Louise, go to gofundme.com/f/mta-musical-theatre-training.
“My first love has always been musical theatre,” says MTA-bound Louise
Charles Hutchinson puts the questions to Louise Henry as she chases her acting dream and the means to secure that future
WHAT attracted you to MTA in particular? How long will you be studying there and what are your hopes and expectations with this course, Louise?
“MTA’s diploma is only a two-year course and so your training is intensified throughout this time.
“The school only accepts 22 students per year and, therefore, you’re in a very elite group of performers, and the contact time, as with many drama schools, is incredibly high at 40 hours per week.
“Equally, the course is split 50/50, 50 per cent focused on stage and 50 per cent on screen acting, which is always something I have wanted to study alongside musical theatre. Everything I read about MTA made me feel as though the course would fully prepare you to be a triple-threat musical theatre performer, but also be trained thoroughly as a screen actor.”
Louise Henry as a young Australian woman, Gabrielle York, in Rigmarole Theatre Company’s When The Rain Stops Falling at Theatre @41 Monkgate, York, last autumn
What steps did you have to go through to land a place at MTA?
“The audition process was obviously very different to that I’m used to: the lockdown implemented by the Government on the outbreak of Covid-19 meant that travelling to the audition would be impossible and potentially very dangerous.
“I soon received an email from Annemarie [Lewis Thomas], the school’s principal, who stated that the auditions would go ahead regardless and instead be held over Zoom, which I was actually very excited about as it would be a totally different experience!
“When the day came, I set up my laptop in my bedroom and had prepared the monologue and song I’d have taken to the audition anyway and from then on it was actually very simple!
“It felt much less daunting than actually being in the room, and I suppose if that translates through people’s auditions it would make the panel’s decision much easier in that it’s based off a very true and honest performance.
“We were even able to do some improv over Zoom with the other auditionees, which was such an interesting experience, led by their head of acting, Tilly Vosburgh, and a group vocal workshop with the head of voice, Josh Mathieson.
“They work very quickly there and so once I had sent in a dance audition – to a song of my choice – I heard back within about 24 hours actually! It was record timing and meant I didn’t spend two anxious weeks refreshing my emails – a feeling I’d grown used to over the past few years’ auditioning.”
Louise Henry playing Liesl von Trapp in York Stage Musicals’ The Sound Of Music
Over the past year, you have done a variety of roles on the York stage – musicals, a pantomime, an Aussie play, an American play – showing an all-round talent. Why pick a musical theatre course?
“My first love has always been musical theatre and was initially what I wanted to study straight out of A-Levels. However, it felt as though my dance ability was always letting me down and so I spent a few years going to dance classes with Lyndsay Wells in Harrogate and instead chose to audition for a few years for straight acting. “That being said, singing and acting have always been my strong point and so musical theatre was always my preference.
“Working with Nik Briggs’s York Stage has been invaluable and being able to perform in a few predominantly acting roles has been a great opportunity to exercise that skill without relying on song and dance.
“Equally, working in the Grand Opera House pantomime over Christmas only intensified my drive to pursue musical theatre and so, on being recommended the MTA, I felt led to audition.”
Louise Henry’s Princess Snow White lies prone after biting the poison-drugged apple in Snow White And The Seven Dwarfs at the Grand Opera House, as the distraught dwarfs and Martin Daniels’ Muddles, right, look on. Picture: David Harrison.
What did you learn from making your professional debut in the 2019-2020 Grand Opera House pantomime?
“Performing in the pantomime was such a brilliant insight to the kind of life I could be working towards. Every day I would try to remind myself that actually soon it would be over and everyday life would assume, and in actual fact you don’t go through every day singing and dancing and dressing up!
“I constantly allowed myself to feel grateful for each performance and despite the intense hard work put into every show, I never tired of performing it. In fact, I really wish we could’ve had more shows somehow crammed into that mad month!
“It taught me that performances can be put together under your very nose and all of a sudden your show is ready and you’re opening. It also taught me that the illusion of a show is one of the most magical and fulfilling experiences for both the performer and the audience member.
“There was no better feeling than getting to the end of the show and being able to see our audiences dancing in the aisles and singing along with us. I’m just really grateful I had that experience and insight to what my life could be like – with a lot of hard work and luck obviously!”
Louise Henry as Princess Snow White, before the dark wig was added, at the press day to launch Snow White And The Seven Dwarfs. Picture: David Harrison
How did it feel playing the title role in your professional debut in Snow White?
“Playing the title role was a little bit of a shellshock experience every day really; everyone else I was working with – even the incredible children playing the dwarves – had worked a panto run previously, so I was a total newbie.
“The cast and crew made me feel so welcome and I learnt so much from the friends I made. There was also something pretty lovely in that, because I wore the black wig, which was in total contrast to my hair at the time, very few people recognised me leaving the stage door. This was nice as it kind of protected the magic of the show for the kids who had come to watch.”
Louise Henry, right, front, with fellow Snow White And The Seven Dwarfs cast members Mark Little, left, Steve Wickenden, Martin Daniels, Jonny Muir and Vicki Michelle at the Grand Opera House, York. Picture by David Harrison.
Did you pick up any good tips from the old pros in the company such as Vicki Michelle, Martin Daniels and Mark Little?
“Working so closely with Vicki, Martin and Mark was incredibly insightful and I got so many opportunities to chat with them about their experiences with performing and acting.
“Mark and I were interviewed by BBC Radio York at the same time and so we had a good chat that morning about his career and I spoke to him about how different things are now, in terms of getting into performing.
“Everyone was so encouraging and supportive, they were always spurring me on to try and keep working for this career. It was incredible watching the show being put together and acting with them was a real joy.”
Louise Henry as Shelby in Steel Magnolias: “Probably my favourite show I’ve ever been involved with,” she says
How had your year gone before lockdown, on stage and off?
“Before lockdown, I was applying to any auditions I could find via the National Youth Theatre member’s board, having been a member since 2015 when I was lucky enough to be invited to attend their intensive summer-school course.
“I sent off applications for a film in which I was cast as an extra, so drove down to London to film for a couple of days in February. That was a fab experience and something I’d never done before.
“I auditioned to attend a workshop with Katie Greenall, a National Youth Theatre associate, and was asked to go down and work for three days on an idea of a performance she is devising.
“I had a couple of auditions and recalls for National Youth Theatre’s REP company, and throughout all the trips to and from London I was working on Steel Magnolias back in York with York Stage.
“This was probably my favourite show I’ve ever been involved with, from the incredible cast I was lucky enough to work with, to the direction and production of the play.
“I just feel so grateful that it came together and we could perform before this lockdown was implemented. So, actually, I had quite a busy few months!”
“I’ve been training my family in ‘bootcamp’ sessions three times a week, then one big workout on a Sunday morning,” says Louise of her lockdown routine
How are you coping with lockdown?
“Lockdown has been a little bizarre and definitely an adjustment. But I really do love a routine, so once I’d established my routine at home, I got comfortable very quickly! “I love exercise and training in different ways, so I’ve been training my family in ‘bootcamp’ sessions three times a week, then one big workout on a Sunday morning.
“I’ve been creating workouts for three friends separately and doing many Zoom dance classes and yoga sessions. It’s probably the most active I’ve ever been! “Alongside this, I’ve been trying to learn a new song each week, focusing on songs that I wouldn’t usually go for. I try and sing these when my family are out walking, so I don’t deafen them with a loud belt!
“Obviously, I had a lot of preparation for my audition and also was asked by Nik [Briggs] at York Stage to get involved with his Songs From The Settee, singing Doctor’s Orders from Catch Me If You Can.
“I’m really glad to have the offer from MTA, so it feels like I have something to work towards once this is all over.”
Louise Henry, top left, in a promotional picture for York Stage’s Steel Magnolias
What would going to MTA mean to you after all the work you have put in already to develop your skills?
“I’m not going to lie… it’s been a long few years, auditioning to train at drama school, and it has always felt really gutting to have not secured a place despite usually getting to final recalls.
“Every time you feel so close and then can’t help but wonder what it is you were lacking? Or if they already have ‘x’ amount of 5’6 females with brunette hair? You hear that it can be down to issues that small, and it becomes really frustrating trying to pinpoint what it was about you that they didn’t want.
“So, this year, to finally secure a place, in the middle of so much uncertainty, I really feel overwhelmed by it! I know it is so clichéd but this is really my one dream to try and achieve making a career of performing, so the place at MTA, I believe, is the first step towards that dream becoming reality.
“I can’t put into words what it was like finally seeing ‘we are delighted to inform you…’ on my acceptance email. I ran downstairs screaming; I feel bad for my neighbours!”
“Your whole chest is just full and you feel like you might just ‘Mary Poppins’ it at any second and take off,” says Louise Henry, describing her love of performing
It may be an obvious question, but what makes you want to be an actor?
“Not at all an obvious question as I have absolutely had moments over the years of ‘oh god, why am I doing this?’. ‘Why am I putting myself through this?’. But quite simply, there’s no better feeling to me than being on stage and performing.
“I don’t know how I can describe this concisely, but there’s a feeling I get when I’m taking my bow or at the end of a run or in the ‘big bit’ of a song and it’s just like you’ve won the marathon or the lottery or you’re reunited with someone, and your whole chest is just full and you feel like you might just ‘Mary Poppins’ it at any second and take off.
“And that feeling to me makes everything else worth it. It’s massive lows but MASSIVE highs and for some peculiar reason the highs make you forget all the lows.
“It’s all I could ever see myself doing, and I would regret it forever if I didn’t throw myself at it and give it everything I have.”
Grim question: If you can’t get the money together, what happens to your plans to go to MTA?
“Interesting. I suppose I can’t really answer this, as that simply isn’t an option for me. I will, and am, doing everything I possibly can, given the current circumstances, and I truly believe I will make this work.
“To me, there is really no alternative: this training is all I have longed for over the past four years. Obviously, so far, I have received some wonderful and incredibly generous help from friends and family, and alongside that I’m saving every penny and plan to work alongside my course.”
No turning back: Louise Henry, pictured in the promotional shots for Steel Magnolias, is determined to take up her place at the Musical Theatre Academy in London in October
“I plan on creating a series of videos, mini-performances of songs or spoken word to post online hopefully for the viewer’s enjoyment – which might encourage people to donate whatever they can.
“The payments are termly and so that breaks down the sum, and I’m incredibly lucky as the MTA are very keen on not letting money be an issue between you attending the course.
“As I said, they choose only 22 students per year and so they have spent a lot of time in selecting who they truly want to train. Not only is this a real honour to have been offered a place, but it also reassures me that the school wants me there. There’s no better feeling after working so hard over the years.”
The Blue Light Theatre Company pantomime costume maker Christine Friend turning her hand to sewing wash bags for NHS frontline workers
CHRISTINE Friend normally would be making costumes for The Blue Light Theatre Company’s pantomime in York. Now she is turning her skills instead to sewing for frontline workers in the ongoing Coronavirus crisis.
She is among a group of volunteers from York, Harrogate and Knaresborough that has come together via Facebook to make uniform wash bags out of anything from pillowcases to old duvet covers.
“They’re making the bags for all our Blue Light Theatre NHS friends and their colleagues,” says Christine’s husband, Mark, actor and publicist for Blue Light Theatre, a company made up of paramedics, ambulance dispatchers, York Hospital staff and members of York’s theatre scene.
“The idea is that after a shift, frontline workers can remove their uniform at work, put it straight into the bag, then close it tight and pop it into their washing machine when they get home to prevent cross-contamination.”
In the bag: Joanne Halliwell and her daughter Abbey, who set up the Bag The Bug group for York, Harrogate and Knaresborough
The Facebook group Bag The Bug – Covid 19 – York, Harrogate & Knaresborough was set up a couple of weeks ago by Joanne Halliwell and her daughter Abbey. “They were wanting something to do during lockdown and found a group called Bag The Bug, based in the north west, who were making the bags for NHS staff in Bolton.
“They decided to make some bags too and after talking to the group’s coordinator, they set up a group locally.”
They had an immediate response, from people asking for the bags, others offering to donate material, sew, help to coordinate Bag The Bug and to drive for the group.
In a fortnight, more than 300 North Yorkshire members have sent 1,850 bags to care homes, NHS staff, GP surgeries, ambulance stations and hospitals.
Adrian Deligny: One of the frontline workers who has received a Bag The Bug wash bag
Co-organiser Joanne says: “I think it just shows how, in times of need, everyone can pull together and do their bit. The community spirit has most certainly come out, which is wonderful. Whether people have sewn ten pillowcases or 100, or have donated one duvet cover or ten, every little helps.”
As the demand for the bags continues to grow, Adrian Deligny is among the care workers who have received bags. “The uniform bag is an excellent idea in order to help stop the spread of the virus at home,” he says.
“Before this, I was putting everything in a bin bag, which wasn’t the best. It is important that during these difficult times everybody is united. This project has shown an unparalleled demonstration of solidarity and generosity. My wife and I are extremely grateful.”
If any organisation requires bags, or if anyone wishes to donate material (it must be able to be washed at over 60c), or can help in any other way, please contact Joanne Halliwell. Do this either via the group’s Facebook page http://www.facebook.com/groups/240401817107890/ or by email to bagthebugyhk@gmail.com.
THE Milton Rooms, Malton, are launching an urgent crowdfunding appeal to help the community centre through the Coronavirus-enforced shutdown. Otherwise, closure “for good” could be around the corner.
In a stark statement, chairman Paul Andrews forewarns: “We need to raise £10,000 by the end of September to safeguard the future of the venue. Should the Coronavirus crisis extend for a further three months, that figure will rise to £20,000.
“Without these funds, our wonderful arts and community facility may have to close for good.”
The Milton Rooms offer a wide variety of entertainment, play host to theatre companies and Malton groups and provide a central hub for the Malton Food Festival and monthly markets.
Over the past few months, the Milton Rooms team had been “working hard to put together a programme of events and activities for the whole community”. However, the Covid-19 emergency necessitated the building’s closure to the public for as long as required under the Government strictures to beat the virus.
Flashback: The Milton Rooms in concert mode before the Coronavirus shutdown
The Milton Rooms are registered as a charitable limited company, run mostly by volunteers. Now, with no revenue coming in, the need for financial support to pay outstanding bills, such as utilities and insurance, is urgent.
“It has been amazing to see how the community has pulled together to support one another during the crisis,” says Paul. “Many people have great memories of events at the Milton Rooms, whether it be watching family and friends at the pantomime or Ryedale Youth Theatre, attending dances or musical performances, or taking part in community activities such as yoga, Musical Memories or Vintage Dance.
“Please support us at this very difficult time, so that we can maintain the venue and then thrive as a centre when life returns to normal. If 300 people give £30 each, we will have £9,000 and have almost reached our appeal target.’’
Riana Duce as Avalon and Angus Imrie as Geraint in a scene from The Good Book, streaming online from tomorrow
PIONEERING Leeds theatre company Slung Low will premiere their new short film The Good Book from 12 noon tomorrow, streaming online for free.
Set in a future Leeds, James Phillips’s story depicts a society divided between loyalists of the powerful Queen Bear and radical followers of Galahad.
Avalon, played by Riana Duce, is a young woman desperate not to take sides, but as civil war begins, she must undertake a dangerous mission to rescue a precious relic from destruction.
Riana, from Bradford, is joined in the cast of invited actors by Angus Imrie, from Fleabag, Emma and The Archers, Katie Eldred and more than 100 members of the Holbeck community.
Directed by Sheffield filmmaker Brett Chapman, filming took place in late-January at Slung Low’s base, The Holbeck Social Club and at Holbeck Cemetery, Leeds Central Library and Leeds Town Hall.
Slung Low cast members Riana Duce and Angus Imrie in a scene from The Good Book in Holbeck Cemetery
The Good Book forms the first production for the newly formed Leeds People’s Theatre, created by producers Slung Low with support of Leeds 2023, the city’s upcoming international cultural festival, Leeds City Council and the Arts Council.
The film continues writer James Phillips’s future dystopia, a series that began with The White Whale at Leeds Dock in 2013, followed by Camelot, a Slung Low and Sheffield Theatres outdoor co-production in 2015.
Next came Flood, the epic centrepiece of Hull, UK City of Culture 2017’s performance programme that also featured on the BBC.
Project number four represents a departure for Slung Low: the film The Good Book, at once self-contained but also drawing on the world of Camelot.
“I think the plan was to launch it in Leeds and do a little festival run, but after the Coronavirus lockdown it seemed better and more useful to put it out there now online,” says James.
Katie Eldred , centre, as Vivian in The Good Book
“We were lucky that we got the filming done in the last two and a half weeks of January, and the penultimate day was ‘Brexit Day’. Not that long ago, but that now seems a world of somewhat different concerns.”
The Good Book finds Phillips working once more with Slung Low artistic director and executive producer Alan Lane. “The work Alan and I do together is different to the other work Slung Low does,” says James.
“For pieces like Flood, a full-blown epic for Hull’s City of Culture year, it’s a ‘future present’ that we create that allows us to play with big political ideas and look at things in a slightly different way.
“Camelot was done with a massive cast of 127 on Sheffield’s streets in 2015, and again it was a prescient piece where I became obsessed with the thought of a dangerous nostalgia, that need to look back to look forward, which has caused so many problems.
“That play was about a young girl who saw visions of the future of Arthurian Britain, and then ten years later, people come along who have taken those visions seriously but are utterly more dangerous. This re-birth of ‘purity’ becomes so destructive that a civil war starts.”
Angus Imrie as Geraint in Leeds Central Library in The Good Book
James continues: “This was just before Trump’s presidency, Brexit and the Corbyn revolution, so something was in the air. Like ISIS being a nostalgic organisation looking back to something that never existed…and I wondered about Christian fundamentalism too.”
The Good Book is set ten years into that new world, now in Holbeck, as a counter-revolution starts in Leeds, whereas Camelot was set and made in Sheffield.
The switch of location was a “very logical step”, says James: “When I wanted to make this film, it was good to tie it in with the idea that Leeds was the last place that Sheffield would want a counter-revolution to start, and whereas Camelot was about heroes, this story is about a small revolution.”
In The Good Book, an old man caught between two opposing factions gives a young girl a piece of paper with a reference number for a book at Leeds Library. “She has to decide whether to risk herself to save the book, and she wonders what meaning the book might have,” says James.
Is “The Good Book” the Bible? “No. It’s something more than anything to do with what’s going on in the world now,” says James.
Riana Duce as Avalon in The Good Book
A short film may suggest a more intimate work than Camelot, but “it is and it isn’t more intimate”, the writer says. “I made the decision to push the envelope, so it’s not a typical short film. It has a big cast of 100, so technically it’s too long for a ‘short film’.
“At the end, there’s a big riot involving 90 people, and we had lots of recruits wanting to do that scene!”
How does James expect viewers to react to The Good Book? “Hopefully they will be surprised. It’s different. I’ve done screen things before, like the Flood project having a short film and a piece for the BBC, but The Good Book was always, deliberately, conceived to be a short film,” he says.
“I think we’re on to a good thing with this film, so it would be great to do more of them.”
Slung Low’s The Good Book will be available to stream online for free from 12 noon tomorrow (May 1) at www.slunglow.org/TGB
Slung Low’s film poster for The Good Book
Did you know?
LEEDS People’s Theatre has been created by Slung Low as a dedicated division for large-scale professional arts projects with communities in Leeds at the heart of them.
This involves the community working in tandem with professional artists and creative teams, offering an opportunity to learn, gain more experience or simply be part of a community.
The Good Book will be the first of several projects Slung Low are planning for Leeds People’s Theatre. Watch this space.
Suffragette city: Women on the protest march in Everything Is Possible: The York Suffragettes on the York Minster Plaza in June 2017. Picture: Anthony Robling
YORK Theatre Royal will stream the 2017 community play Everything Is Possible: The York Suffragettes for free on YouTube from May 6.
Co-produced with Theatre Royal company-in-residence Pilot Theatre, this large-scale production was performed by a community cast of 150 and a choir of 80 from June 20 to July 1 that summer.
Set in early 20th century York, Juliet Forster and Katie Posner’s production began with Suffragette protest scenes and rallying calls on the plaza outside York Minster before moving indoors to the Theatre Royal’s main stage.
Leading professional actress Barbara Marten, who lives in York, played the lead role of Annie Seymour Pearson, a Heworth housewife who risked her life in 1913 to fight for women’s right to vote as women across the country, outraged by inequality and prejudice, began to rise up and demand change.
Barbara Marten as York Suffragette campaigner Annie Seymour Pearson at York Theatre Royal in June 2017. Picture: Anthony Robling
Annie began her involvement in the Suffragette movement as an ordinary, middle-class housewife in a church-going family with a middle-management husband and three children.
She also was part of the Primrose League, who went out canvassing among women like themselves to influence them into urging their husbands to vote for certain candidates for election.
Yet you would struggle to find outward acknowledgment in York of Annie Seymour Pearson’s place in the city’s social history. “The house in Heworth Green, where she ran a safe house, no longer stands and there’s no blue plaque,” said Barbara at the start of rehearsals in late-May 2017. “Even her obituary made no mention of her having been a Suffragette.
“It’s interesting to choose Annie as a central character because she was such a genteel, respectable woman who didn’t start out as a militant, but various events propelled her forward.”
Barbara Marten, the one professional in the community cast of 150, in rehearsal for Everything Is Possible: The York Suffragettes
Not least, Annie was arrested in January 1913 when a union deputation of York Suffragettes headed to London as thousands of women converged on the capital to protest at the poverty that many women were living through.
“Annie was arrested for obstruction, just for walking on the pavement, and the charge was ‘obstruction’ simply because there were so many women there,” said Barbara.
“She was charged 40 shillings for her offence or three weeks in prison and she wrote to her husband to say that she would not pay her fine, but she would serve her sentence and was prepared to be imprisoned again.
“She’s there in prison for two days, when her husband comes down to London and pays the fine – and you can imagine the scene when she got home.”
Barbara Marten as Annie Seymour Pearson: wife, mother, Suffragette. Picture: Anthony Robling
Everything Is Possible highlighted how the Suffragette movement was not solely a London movement. “Instead, it was made up of women from all over the country, like in Manchester and Leeds, where lots of women worked in factories, and in York as well,” said Barbara. “Scarborough was very militant too.”
The 2017 “protest play” recalled how women in York ran safe houses, organised meetings, smashed windows and fire-bombed pillar boxes, the production telling the story of their dangerous, exhilarating and ground-breaking actions for the first time.
York playwright Bridget Foreman, who wrote Everything Is Possible, says of the timing of next month’s streaming: “It’s really poignant, in the midst of isolation and social distancing, to think about the making of Everything Is Possible; the extraordinary coming together of hundreds of local people, and the staging of huge crowd scenes both on the York Theatre Royal stage and outside York Minster.
“And now the stage is dark and the streets are empty. But looking back to the way in which that show brought people together, inspiring them in so many ways, is a wonderful reminder of the power of theatre and community.”
Playwright Bridget Foreman at the read-through for Everything Is Possible: The York Suffragettes. Picture: John Saunders
Bridget continues: “We saw participants and audience members getting involved with theatre, politics, activism, local history, family research. Now, I really hope that people watching the production digitally will find their own inspiration, their own vision and energy for engaging with and changing the world when we come through this crisis.”
Directed by Theatre Royal associate director Juliet Forster and Pilot Theatre associate director Posner, now co-artistic director of Paines Plough in London, Everything Is Possiblewaspart of the Theatre Royal’s 2017 season Of Women Born, curated by a team of women to focus on work made and led by female artists, built around women’s stories.
Everything Is Possible can be streamed online on the Theatre Royal’s YouTube channel from 7pm on Wednesday, May 6 to Sunday, May 31. In the run-up to the streaming, the Theatre Royal will be sharing messages on social media from the volunteers who helped bring this production to the stage.
“These responses from the theatre’s community, promoted by the question ‘What does ‘everything is possible’ mean to you right now?’, aims to spread messages of hope and courage to the wider York community during the Coronavirus pandemic,” says marketing officer Olivia Potter.
The full cast and choir for Everything Is Possible: The York Suffragettes on the York Theatre Royal stage in June 2017. Picture: Anthony Robling
The Theatre Royal is asking viewers to support the stream by making an online or text donation, “so that York Theatre Royal can continue to engage and entertain the York community in the future”.
The Everything Is Possible online stream is part of the theatre’s Collective Acts programme of creative community engagement, taking place while the building is closed under the Coronavirus pandemic strictures.
Further details on the Everything Is Possible online stream and Collective Acts can be found at yorktheatreroyal.co.uk.
Deeds not words: Suffragette protesters leave the York Minster Plaza to make their way to York Theatre Royal in the 2017 community play Everything Is Possible: The York Suffragettes. Picture: Anthony Robling
REVIEW: Everything Is Possible: The York Suffragettes, York Theatre Royal/Pilot Theatre, at York Theatre Royal and York Minster Plaza, from The Press, York, June 23 2017.
DAMIAN Cruden has no hesitation in naming his greatest achievement in his 20 years as artistic director at York Theatre Royal: the rise and rise of the community play.
The city already had the York Mystery Plys, the street plays staged in myriad forms through the centuries, and when Cruden and Riding Lights’ Paul Burbridge directed the 2012 plays on their return to the Museum Gardens, a template was established for the series of community productions that has ensued.
Each has told a chapter of York’s history: the chocolate industry in the dark shadow of the First World War in Blood + Chocolate on the city streets; the rise and fall of the Railway King, George Hudson, in In Fog And Falling Snow at the National Railway Museum, and now the York Suffragettes in Everything Is Possible, outside the Minster and in the Theatre Royal’s main house.
Street protest: One of the modern-day protesters in the opening scenes from Everything Is Possible: The York Suffragettes. Picture: Anthony Robling
A rabble noise swells from the Minster Plaza, a canny way to make the city aware that a major production of political dimensions involving more than 300 people is taking place in their midst at a time when the political landscape is more divisive and more inflammatory than for years. The scene, a throng of rebel songs and impassioned speeches, replicates demonstrations of yore, suddenly suffused by placard-waving Suffragettes in 1913 attire, followed by policemen forcibly breaking up the crowd.
The likes of Sophie Walmsley on her acoustic guitar need to placed higher above the crowd, but where Barbara Marten’s Annie Seymour Pearson takes her place on the Plaza steps is a better sight line.
“Deeds Not Words” say the placards: a mantra that wholly applies to how these community plays are mounted, volunteers to the fore on and off stage, this time under the guidance of a professional production team led by the Theatre Royal associate director Juliet Forster and Pilot Theatre associate director Katie Posner
Juliet Forster: York Theatre Royal associate director, co-director of Everything Is Possible: The York Suffragettes
Once we are ushered by the coppers to the theatre, there is a little lull for chatter and drinks refuelling before Bridget Foreman’s account of the previously untold story of York’s involvement in the Suffragette movement circa 1913 has its day and has its say.
Marten and Suffragettes historian Professor Krista Cowman have played significant parts in bringing the story to the stage, so too have Foreman and a research team, and now at last the role of Annie Seymour Pearson and her Suffragette safe house at 14, Heworth Green, next to the home of anti-Suffragette campaigner Edith Milner, has its rightful place in the city’s history.
Barbara Marten might strike some in the audience as being a little old for her role as a mother of four young children, but Foreman places her as much in the role of a narrator looking back on the events of a century ago as that of protagonist in the drama, and all of Marten’s passion for the story, as well as her celebrated acting skills come to the fore.
A scene from Everything Is Possible: The York Suffragettes. Picture: Anthony Robling
York, it must be said, played rather less of a central role in the Suffragette drive for votes for women than it did in this year’s General Election with its visits by Theresa May and Jeremy Corbyn.
Yes, it played not even second fiddle to London and Leeds, but Emmeline Pankhurst (Liz Elsworth), leader of the British suffragette movement, made a speech here that forms the climax of the first half; leading Leeds campaigner Leonora Cohen (Loretta Smith) visited too, as did Lilian Lenton, the wild-card London arsonist, played by the breakthrough new talent of this show, University of York student Annabel Lee. A firecracker indeed, a professional career surely awaits.
Annie’s arrest in London for obstructing a policeman – when he had been the one to inflict a bloody nose – and the militant activities of the Women’s Social and Political Union in York, led by Jo Smith’s Violet Key Jones, are prominent in the play, A silent movie-style film sequence linked to live action shows the full horror of the prison practice of force-feeding hunger-strikers, showing off Sara Perks’s set to best effect too.
Rallying call: Two protesters on the York Minster Plaza at the outset of Everything Is Possible: The York Suffragettes. Picture: Anthony Robling
Men have their place in the piece in the form of Mark France’s Arthur Seymour Pearson (rather reminiscent of the husband figure in Brief Encounter) and Rory Mulvihill’s stentorian Home Secretary.
A choir of 100 is tucked away out of sight in the gods, assembled by Madeleine Hudson to perform Ivan Stott’s folk-rooted campaigning compositions, but rightly they have their moment in the spotlight on stage at the finale.
Forster and Posner’s very lively, highly committed, educational and resolute production, peppered with anarchic humour as much as political zeal, forms the pinnacle of York Theatre Royal’s Of Woman Born season of women’s words and deeds. In straitened times for funding for the arts, Everything Is Possible affirms that anything is possible when a community comes together and turns York into Suffragette City.
Review by Charles Hutchinson. Copyright of The Press, York.
Nothing happening full stop. Now, with time on your frequently washed hands, home is where the art is and plenty else besides
EXIT 10 Things To See Next Week in York and beyond for the unforeseeable future in our now extended Lockdown hibernation. Enter home entertainment, wherever you may be, whether together or in self-isolation, in the shadow of the Covid-19 pandemic. From behind his closed door, CHARLES HUTCHINSON makes these suggestions.
Celebrating Shakespeare’s 456th birthday: Tamsin Greig as loyal servant Malvolia in the National Theatre’s Twelfth Night, screening on YouTube from tonight
Shakespeare’s birthday
WILLIAM Shakespeare’s 456th birthday falls today. The Bard, by the way, was no stranger to writing under debilitating duress, working in London amid the bubonic plagues of 1592 and 1603, when more than 30,000 Londoners died, and a third plague in 1606.
That year alone, Bill quilled three of his mightiest works, King Lear, Macbeth and Antony & Cleopatra. Tonight is a chance to celebrate on a lighter note, watching the National Theatre in the NT At Home YouTube streaming of Twelfth Night, starring Tamsin Greig as loyal servant Malvolia, at 7pm for free. Twelfth Night will be available for seven nights and days on demand.
No Morris dancing in York on St George’s Day under lockdown rules
St George’s Day
TODAY is not only the Bard’s birthday but also St George’s Day, in principle another cause for English celebration, given the dragon-slaying, princess-saving Roman soldier’s status as this nation’s patron saint. However, if outbreaks of Morris Dancing and Punch & Judy shows are the best we can throw at it in usual circumstances, maybe Lockdown is a chance for some home schooling instead.
Today’s task: Find out in more detail who St George was; why he is England’s patron saint and why the English flag is a red cross on white. Oh, and come up with your own way of celebrating at home; surely it must be better than dancing with bells on.
York Shut Studios…but artists embrace the virtual to compensate for Coronavirus-enforced cancellation
York Open Studios going virtual
THIS should have been weekend number two for York Open Studios, the chance to see work by 144 artists and craft makers in 100 locations in and around York, whether in their homes or studios.
Instead, as with last weekend, it will be York Shut Studios but that does not mean York’s artists have put their brushes into lockdown. Creativity demands improvisation, and so you can head to yorkopenstudios.co.uk for the “Virtual Open Studio”, where you can still bring their home work into your home.
Stream team: Compere Tim FitzHigham, left, and comedian Mark Watson in their living rooms for the first Your Place Comedy online show
Your Place Comedy, streamed from their living room to yours
AT the initiation of Selby Town Hall arts centre manager Chris Jones, here comes Your Place Comedy, a Sunday night when comedians stream a live show via YouTube and Facebook from their living room into yours. There is no charge, but you can make donations to be split between the ten small, independent northern venues that have come together for this Lockdown scheme.
The first one, featuring Hull humorist Lucy Beaumont and a pyjama-clad Mark Watson, drew 3,500 viewers last Sunday. Chris is planning the second 8pm online gig for May 3 at yourplacecomedy.co.uk; acts to be confirmed.
Puppet Theatre: the third Lockdown Legends Challenge set by York Theatre Royal
Lockdown Legends Challenge, set by York Theatre Royal
EACH Monday morning, York Theatre Royal will post a theatrical #LockdownLegendsChallenge on its Twitter and Facebook pages for the whole family to take part in, just for fun. Even the participation of pets is “actively encouraged”.
After One-Minute Plays in week one and Costume Creation in week two, this week’s challenge is Puppet Theatre, or pup-pet theatre if your pooch partakes. “Re-create a scene from Shakespeare with household objects,” comes the invitation. “Then send your responses to lockdownlegends@yorktheatreroyal.co.uk and we’ll share these on our social media pages throughout the week.”
It’s time for Bingo in the street
Vintage game of the week: Bingo…in your street
BINGO is all about houses, and Lockdown Limbo is the chance to shout “House” in a game conducted with neighbours in our sunny springtime streets at Bruce Forsyth’s favourite social distance: “Nice two metres, two metres nice”.
What is bingo, should you never have ventured to Mecca Bingo or Clifton Bingo Club? Bingo is “a game in which players mark off numbers on cards as the numbers are drawn randomly by a caller, the winner being the first person to mark off all their numbers and exclaim ‘House’.” Repeat. Bingo.
The Boomtown Rats: Re-arranged York Barbican gig
Still keep trying to find good news
DEER Shed Festival, off. Courtney Marie Andrews at Pocklington Arts Centre in June, off. The Boomtown Rats at York Barbican, off. Jack Dee, Off The Telly, Barbican too, off. The list of cancellations grows like the spring grass, but do keep visiting websites for updates.
Deer Shed, at Baldersby Park, Thirsk? Definitely returning in summer 2021. Boomtown Rats? October 26. Jack Dee, October 1. No news on Courtney, yet, alas.
Venturing outdoors…
…FOR your daily exercise, be that a run, a cycle ride or a stroll near home, in a changing environment. Amid these disconnected, alien, strange days, your senses heightened, there is the chance to appreciate the previously unexperienced: the bird song in excelsis, a chorus no longer impeded by traffic; the bluer, bigger skies; the fresher air, the pollution levels so noticeably dropping.
York actor Mick Liversidge has taken to reciting Shakespeare’s sonnets in the fields, exercising mind and body alike. Why not Shake up your routine too?
York’s city walls lit up in blue for the NHS
Clap for Carers
STAND by your doors at 8pm every Thursday, no excuses. Theatre-goers, concert-goers, save your hand-clapping for our NHS doctors, hospital staff, carers, volunteers and key workers. How moving, too, to see familiar buildings and landmarks bathed in blue light: a tribute growing and glowing by the week.
Play at home: York country singer Twinnie’s new album, Hollywood Gypsy, released on April 17
And what about…
NEW albums by Laura Marling, Ron Sexsmith, Cornershop and York country singer Twinnie. Interior design books. Cerys Matthews and Guy Garvey on Sundays on BBC 6Music. The return of BBC One’s Killing Eve on Sunday nights and iPlayer. A themed new recipe of the week, whatever reason and seasoning grabs you.
Catching Rick Witter’s improvised home version of Shed Seven’s Chasing Rainbows on social media:. “I’m just staying home all the time”. Well, you are, aren’t you.
Hull Truck Theatre: Lights still out until the end of July
HULL Truck
Theatre will remain closed until July 31, putting paid to this summer’s big Dream
of a community show…for now.
Today’s board and management decision “continues to follow Government guidelines about Coronavirus”, enforcing the postponement of all spring/summer season shows, most prominently Tom Saunders’ community production of Shakespeare’s A Midsummer Night’s Dream from July 4.
The statement says: “We
are working with partners and visiting companies to re-schedule all shows, so
that audiences who have missed performances during the closure period still get
to enjoy the great programme of entertainment that had been planned.
“The box- office team are working hard to contact all audiences who have tickets booked for shows affected by the closure and bookers do not need to do anything at this time. Details of individuals shows and information about rescheduled dates can be found on the Hull Truck website, hulltruck.co.uk.
“The theatre is looking to the future, developing flexible plans for when we can reopen, including a programme of inspiring and joyful entertainment that will celebrate the very best of theatre, bringing people together in a safe and positive environment to enjoy and share a unique collective experience.”
In the meantime,
Hull Truck at Home offers a programme of drama and creative
activities to keep audiences and communities entertained and inspired while at
home in lockdown.
On April 8, more than 700 people watched a screening of Paragon Dreams on Hull Truck’s YouTube channel. Written and performed by Hester Ullyart and directed by Mark Babych, the show was presented last April and May as part of the theatre’s Ten Years On Ferensway anniversary celebrations. Further announcements for the Hull Truck at Home programme will follow next week.
Mark Babych: Hull Truck Theatre artistic director
Hull Truck’s joint chief executive
officers, executive director Janthi Mills-Ward and artistic director Mark
Babych, say: “Protecting our team, audiences and communities is our upmost
priority during this period. The theatre building may be closed except for a
security team, but a small core team continue to work from home to ensure that when
it is safe for us to reopen, we are able to bring you the very best
theatre.
“We miss the wider team who have been furloughed as part of the Government’s Coronavirus Job Retention Scheme, but we look forward to welcoming them and you back. We want to take this opportunity to thank everybody, from staff and audiences, to artists, partners and donors, for their continued and invaluable support during this time.”
What happens next to A Midsummer Night’s Dream? “We are deeply disappointed to have postponed our community production, which would have seen up to 100 members of our local community come together to create, perform and have fun,” they say. “But we are determined that this project will happen in the future, celebrating our fantastic community and the collaborative art of theatre.”
As for Hull Truck’s financial wellbeing: “We can reassure everyone that we have a sustainable financial plan in place for the closure period,” say Mills-Ward and Babych. “We are now looking to the future and how we can continue to play a vital role in the cultural landscape of our city and the lives of our communities, as we all emerge from this challenge.
“We are exploring all financial and funding options open to us to ensure we continue to present great theatre, to work with and support talented artists – writers and performers – at all stages of their career and offer creative opportunities to local communities, for generations to come.
“We are hugely grateful to those Hull Truck heroes who have either
donated the cost of their tickets or made independent donations to support the
work we want to continue to do when we reopen, via the Hull Truck Theatre
Future Fund.”
Imitating The Dog and Leeds Playhouse in their shot-for-shot remix of Night Of The Living Dead
“THEY’RE coming to get you, Barbara”…
from tomorrow morning at 10am when Imitating The Dog and Leeds Playhouse launch
the online premiere of their hit 2020 co-production of Night Of The Living Dead
– Remix.
In 1968, Night Of The Living Dead started
out as a low-budget George A Romero indie horror movie telling the story of
seven strangers taking refuge from flesh-eating ghouls in an isolated
farmhouse.
Fifty years on, seven performers enter
the stage armed with cameras, a box of props and a rail of costumes. Can they
recreate the ground-breaking film, shot for shot before our eyes, using
whatever they can lay their hands on?
Set
the task of re-enacting 1,076 camera edits in 95 minutes, they face an heroic
struggle. Knowing success demands wit, skill and ingenuity, what could possibly
go wrong?
Imitating The Dog’s poster for their Leeds Playhouse co-production of Night Of The Living Dead – Remix
In their 2020 stage production, Leeds masters of digital theatre Imitating The Dog create a love-song to the cult Sixties’ film in a re-making and re-mixing with a new subtext that attempts to understand the past – the assassinations of JFK, MLK and Robert Kennedy – in order not to have to repeat it.
Staged in the Courtyard at Leeds Playhouse
from January 24 to February 1, their version is in turns humorous, terrifying,
thrilling, thought-provoking and joyous. Above all, in the re-telling, Night Of
The Living Dead – Remix becomes a searing parable for our own complex
times.
Presented by courtesy of Image Ten, Inc, Night Of The Living Dead– Remix can be watched online at imitatingthedog.co.uk/watch from 10am tomorrow (April 17). For a behind-the-scenes video, go https://vimeo.com/386234875.
