Six of the best to star in York Stage’s comedy drama Steel Magnolias

“Strong women”: Joanne Theaker, front left, Louise Henry, back left, Sandy Nicholson, Julie-Anne Smith and Kathryn Addison starring in Nik Briggs’s production of Steel Magnolias for York Stage

YORK Stage kick off their 2020 season with Robert Harling’s comedy-drama Steel Magnolias at Theatre @41 Monkgate, York.

Running in the John Cooper Studio from February 19 to 22, this 1987 American play focuses on the camaraderie of six Southern women who talk, gossip, jest and harangue each other through the best of times and comfort and repair one another through the worst.

“Steel Magnolias is alternately hilarious and touching with six female characters that are all as delicate as magnolias yet as strong as steel,” says director Nik Briggs.

Joanne Theaker, Louise Henry, Sandy Nicholson and Julie-Anne Smith in York Stage’s Steel Magnolias

His cast comprises Joanne Theaker as M’Lynn; Louise Henry as Shelby; Julie-Anne Smith as Ousier; Sandy Nicholson as Clairee; Kathryn Addision as Truvy and Carly Morton as Annelle.

Yorkshire actress Joanne Theaker returns to the York Stage company, having led the cast as Maria in The Sound Of Music at the Grand Opera House last April.

Previously, Joanne has played Sister Mary Roberts in Sister Act; Diva in Priscilla Queen Of The Desert – The Musical; Judy in Dolly Parton’s 9 To 5 The Musical and Paulette in Legally Blonde. Elsewhere, she has performed at Hull Truck Theatre in the original casts of John Godber’s Thick As a Brick and Big Trouble In The Little Bedroom and at the Stephen Joseph Theatre, Scarborough, in Neil Simon’s They’re Playing Our Song.

Julie-Anne Smith and Sandy Nicholson have a laugh in the photo-shoot for Steel Magnolias

Louise Henry joins rehearsals after making her professional debut as Snow White in this winter’s Grand Opera House pantomime, Snow White And The Seven Dwarfs. Previously, for York Stage Musicals, she had performed in The Sound Of Music as Liesl last April and Twilight Robbery as Jayne in May. West End actress Julie-Anne Smith last appeared for York Stage Musicals as Violet in 9 To 5 in 2017.

Briggs says: “Bringing Steel Magnolias to the stage, and working with these six women especially, has been a joy. It’s no secret that I love working with strong women, especially in the rehearsal room and you don’t get much stronger than these six.

”Having previously directed many female-led shows – Sister Act, Legally Blonde, 9 To 5, The Sound Of Music, Be My Baby and Little Voice – Steel Magnolias has been on my ‘To Do’ list for a long time.”

Hair-larious: Louise Henry and Joanne Theaker

The women’s closeness drew Briggs to Harling’s piece. “It’s relatable, the salon is a world in itself and the six characters are an adopted family,” he says. “They laugh, cry, argue, support and challenge each other within this world and it really allows for the drama and comedy to flourish and soar.

“We’ve had tears of laughter and tears of sadness over the rehearsal period. This really is a show to see with your closest girl friends and family. Come, laugh and cry together, and if you want to wear pyjamas and bring a large carton of ice cream with you for the ultimate girly ‘night in-out’, we won’t judge!”

Harling was inspired to write Steel Magnolias, his first play, after his sister Susan died of complications from diabetes. Premiered off-Broadway at the WPA Theater in 1987, it quickly transferred to Broadway, where it became an instant sensation, running for three years and spawning the hit movie starring Dolly Parton, Julia Roberts, Sally Field, Daryl Hannah, Olympia Dukakis and Shirley MacLaine.

Hair piece: York Stage’s poster image for Steel Magnolias

York Stage in Steel Magnolias, John Cooper Studio, Theatre @41 Monkgate, York, February 19 to 22, 7:30pm plus 2.30pm Saturday matinee. Tickets: £15, concessions £13, at yorkstagemusicals.com, on 01904 623568 or in person from the York Theatre Royal box office. “We shall be supporting York and District Diabetes UK Group throughout the run,” says director Nik Briggs.

Pre-apocalyptic comedy alert!! But where will The Last Quiz Night On Earth be held?

Look at the pub name! Where else could The Last Quiz Night On Earth be held? Well, Pocklington Arts Centre, actually

QUICK question. Did you see Chip Shop Chips, Box Of Tricks Theatre Company’s show at Pocklington Arts Centre last year?

Yes? So, presumably you will want know when they will be returning to Pock and what in?

The answers are Friday, March 20 in The Last Quiz Night On Earth, an immersive, innovative new play by Alison Carr for theatre devotees and pub quiz enthusiasts alike, who are promised “a very different experience of live performance”.

PAC director Janet Farmer says: “The last time Box Of Tricks visited here, they wowed and wholly entertained us with Chip Shop Chips, an immersive theatre experience that our audiences still talk about. 

“So, we can’t wait to welcome them back to the venue with their brand new show. It looks set to be an absolute blast!”

In the Box Of Tricks locker already are the award-winning Manchester company’s shows SparkPlug, Narvik and Under Three Moons. Now they follow two sold-out tours of Chip Shop Chips with Carr’s pre-apocalyptic comedy, The Last Quiz Night On Earth. 

Next question. What happens? “It’s the final countdown. Landlady Kathy invites audiences to the last quiz night on earth with Quizmaster Rav. He is the host with the most,” say Box Of Tricks.

“But with time ticking, some unexpected guests turn up out of the blue. Bobby wants to settle old scores and Fran wants one last shot at love. Expect the unexpected to the bitter end and plenty of drama as the show gets quizzical.”

Hannah Tyrrell-Pinder directs the play, with design by Katie Scott. Pub landlady Kathy will be played by Meriel Scholfield, who has appeared in Coronation Street, Last Tango In Halifax, Holby City and Doctors, while Shaban Dar will take the role of pre-apocalyptic Quizmaster Rav.

Playwright Alison Carr’s past works include Caterpillar and Iris; her latest play, Tuesday, has been commissioned for the National Theatre’s 2020 Connections programme.

Next question. Why did she write The Last Quiz Night On Earth? “I wanted to combine the known and the unknown, the safe and the downright terrifying,” she answers. 

“My vision was to create something that audiences don’t just sit and watch but are part of – but not in a scary way. 

“Personally, the thought of audience participation makes me feel sick, but a quiz is something we can all do, whether we’re a general knowledge expert or the neatest so we can do the writing.” 

The play was “so much fun to research and write,” she says. “I have to admit, I know a lot about asteroids now, and the answers to a fair amount of quiz questions. I’m so excited to have Box Of Tricks bring it to life and to share it with audiences.”

Director Hannah Tyrrell-Pinder adds: “I’m really excited to be working with Alison Carr on her first play for Box Of Tricks. 

“Alison is a writer of real talent, crafting plays of depth, wit and real emotional warmth. The Last Quiz Night On Earth is a unique piece: a pre-apocalyptic comedy bringing people together through the power of trivia for a great night out.

“Following our success touring Chip Shop Chips to the heart of communities, I’m really looking forward to revisiting some wonderful places and spaces as well as discovering new locations with this play.” 

Last questions. Pocklington show time? 7.30pm. Ticket price? £12.50, under 21s, £10, and Friends Rates. Box office number? 01759 301547. Online? pocklingtonartscentre.co.uk.

Cosmic Collective open Heaven’s Gate to imagine UFO worshippers’ final hour

 ‌

Cosmic Collective Theatre’s Anna Soden, Joe Feeney, Lewes Roberts and Kate Cresswell in Heaven’s Gate

FOUR‌ ‌cups‌ ‌of‌ ‌Apple‌ ‌Sauce.‌ ‌Four‌ ‌canvas‌ ‌camp‌ ‌beds.‌ ‌One‌ ‌Comet.‌ ‌Heaven’s‌ ‌Gate‌ ‌is‌ ‌closing‌ ‌and‌ ‌the‌ ‌Away‌ ‌Team‌ ‌are‌ ‌ready‌ ‌for‌ ‌Graduation, but whatever you do, don’t say the C-word. Cult.

Premiered by the new York company Cosmic Collective Theatre at last summer’s Great Yorkshire Fringe in York, ‌ ‌the 55-minute Heaven’s Gate opens its debut Yorkshire tour at Harrogate Theatre’s Studio Theatre tonight.

Written by company co-founder Joe Feeney, this ‌intergalactic‌ ‌pitch‌-black‌ comedy ‌imagines‌ ‌the‌ ‌final‌ ‌hour‌ ‌of‌ ‌four‌ ‌fictionalised‌ ‌members‌ ‌of‌ ‌the‌ ‌real-life ‌ ‌‌UFO-theistic‌ ‌group, Heaven’s Gate.‌ ‌

“As‌ ‌they‌ ‌prepare‌ ‌for‌ ‌their‌ ‘Graduation’‌ ‌to‌ ‌the‌ ‌‘Kingdom‌ ‌of Heaven’, initially the excitement is palpable, but soon the‌ ‌cracks‌ ‌start‌ ‌to‌ ‌appear,” says Joe, an alumnus of York Theatre Royal Youth, along with fellow cast member Anna Soden.‌

“Is‌ ‌Heavenly‌ ‌Father‌ ‌really‌ ‌waiting‌ ‌for‌ ‌them‌ ‌in‌ ‌a‌ ‌spaceship?‌ ‌Is‌ ‌the‌ ‌Earth‌ ‌actually‌ ‌about‌ ‌to‌ ‌be‌ ‌recycled?‌ ‌Was‌ ‌castration‌ ‌obligatory‌ ‌or‌ ‌not?‌ ‌Is‌ ‌Turkey‌ ‌Potpie‌ ‌an‌ ‌underwhelming‌ ‌last‌ ‌supper?‌” ‌ ‌

Cosmic‌ ‌Collective‌ ‌Theatre‌, who enjoyed a sold-out run at the‌ ‌Drayton‌ ‌Arms‌ ‌Theatre‌, ‌London, after the York premiere, will follow up today and tomorrow’s 8pm Harrogate performances with shows at The‌ ‌Carriageworks,‌ ‌Leeds, on February 5 and 6 at 7.30pm; York Theatre Royal Studio, February 7, 7.45pm; Hull Truck Theatre Studio, February 14,  8pm, and Slung Low at Holbeck Theatre, Leeds, February 16, 5pm.

‌They‌ ‌will be‌ ‌playing ‌York‌ ‌Theatre‌ ‌Royal‌ ‌as‌ ‌part‌ ‌of‌ ‌the‌ ‌Visionari Studio Discoveries festival, a week of shows put together by the theatre’s community programming group.‌ ‌

Performing there ‌has‌ ‌particular‌ ‌resonance‌ ‌for‌ ‌‌Joe‌ and Anna. “This‌ ‌is‌ ‌incredibly‌ ‌special‌ ‌for‌ ‌us,” says Joe. “I’ve been ‌‌involved‌ ‌with‌ ‌York‌ ‌Theatre‌ ‌Royal‌ ‌for‌ ‌more than‌ ‌20‌ ‌years. I was a ‌Youth‌ ‌Theatre‌ ‌member‌ ‌for‌ ten-plus years and‌ ‌have worked‌ ‌as‌ ‌crew‌ ‌backstage‌ ‌on‌ ‌and‌ ‌off‌ ‌since‌ ‌2010.‌

Cosmic Collective Theatre in rehearsal for Heaven’s Gate

“‌As‌ ‌an‌ ‌actor, I’ve ‌ ‌performed‌ ‌across‌ ‌the‌ ‌country‌ ‌and‌ ‌internationally, but‌ ‌nothing‌ ‌will‌ ‌compare‌ ‌to‌ ‌performing‌ ‌at‌ ‌home‌ ‌in‌ ‌our‌ ‌wonderful‌ ‌theatre. It’s honestly‌ ‌a‌ ‌dream‌ ‌come‌ ‌true.”‌ ‌

Anna‌‌ ‌agrees: ‌‌“I‌ ‌wouldn’t‌ ‌be‌ ‌working‌ ‌in‌ ‌this‌ ‌industry‌ ‌if‌ ‌it‌ ‌wasn’t‌ ‌for‌ ‌York‌ ‌Theatre Royal Youth‌ ‌Theatre,‌ ‌which‌ ‌continues‌ ‌to‌ ‌be‌ ‌the‌ ‌greatest‌ ‌youth‌ ‌theatre‌ ‌in‌ ‌the‌ ‌country!” she says. “‌To‌ ‌return‌ ‌all‌ ‌these‌ ‌years‌ ‌later‌ ‌and‌ ‌perform‌ ‌here‌ ‌as‌ ‌a‌ ‌professional‌ ‌actor‌ ‌is‌ ‌beyond‌ ‌a‌ ‌pleasure‌ ‌and‌ ‌a‌ ‌privilege.”‌ ‌ ‌

Cast‌ ‌members‌ ‌Lewes‌ ‌Roberts‌ ‌and‌ ‌Kate‌ ‌Cresswell‌ ‌share‌ ‌this‌ ‌excitement‌.  “We‌ ‌met‌ ‌Joe‌ ‌and‌ ‌Anna‌ ‌when‌ ‌we‌ ‌trained‌ ‌together‌ ‌at‌ ‌Mountview and‌ ‌have‌ ‌been‌ ‌visiting‌ ‌York‌ ‌ever‌ ‌since.

“We ‌may‌ ‌not‌ ‌have‌ ‌been‌ ‌born‌ ‌here‌ ‌but‌ ‌we’re ‌honorary‌ ‌citizens; it’s our‌ ‌home‌ ‌from‌ home. Performing‌ ‌at York’s Great Yorkshire Fringe ‌last‌ ‌summer‌ ‌was‌ ‌brilliant,‌ ‌and‌ ‌to‌ ‌be‌ ‌at‌ ‌the‌ ‌Theatre‌ ‌Royal‌ ‌this‌ ‌year‌ ‌is‌ ‌just‌ ‌next‌ ‌level.” ‌

‌Cosmic‌ ‌Collective‌ ‌Theatre’s cast‌ ‌boast‌s ‌impressive‌ ‌credits. ‌Feeney‌ ‌has‌ ‌returned‌ ‌home from‌ ‌Belgium‌, ‌where‌ ‌he‌ ‌played‌ ‌Captain‌ ‌Stanhope‌ ‌in‌ ‌MESH‌ ‌Theatre’s‌‌ ‌revival‌ ‌of‌ ‌Journey’s‌ ‌End.‌ ‌ 

Soden played ‌Fairy‌ ‌Poppins in this winter’s‌ ‌Liverpool‌ ‌Everyman‌ ‌pantomime, Sleeping‌ ‌Beauty; Roberts‌ ‌can‌ ‌‌be‌ ‌seen in‌ ‌BBC One’s‌ ‌The‌ ‌Tuckers; ‌Cresswell‌ ‌has‌ ‌been‌ ‌treading‌ ‌the‌ London boards‌ ‌in‌ Hansel‌ ‌And‌ ‌Gretel‌ ‌at‌ ‌the‌ ‌Royal‌ ‌Opera‌ ‌House,‌ ‌Covent‌ ‌Garden.

‌Harrogate tickets are on sale on 01423 502116 or at harrogatetheatre.co.uk; Carriageworks, 0113 376 0318 or carriageworkstheatre.co.uk; York, 01904 623568 or yorktheatreroyal.co.uk; Hull, 01482 323638 or hulltruck.co.uk; The Holbeck, slunglow.org/event/heavens-gate/.  ‌

 Please note: Heaven’s Gate ‌contains‌ ‌references‌ ‌to‌ ‌abuse‌ ‌and‌ ‌suicide and has ‌mild swearing.‌ ‌Age recommendation: 15 plus.

Here come one baguette, one dodgy steed, Three Musketeers… and four bicycles

Re-cycling a familiar French adventure: Le Navet Bete in The Three Musketeers. Picture: Mark Dawson

AFTER Dracula: The Bloody Truth and Dick Tracy, travelling players Le Navet Bete come armed only with a baguette and a questionable steed on their latest adventure.

The award-winning Essex physical comedy troupe ride into York Theatre Royal on February 7 and 8 with The Three Musketeers: A Comedy Adventure.

The main-house stage transforms into the French countryside as hot-headed D’Artagnan travels to Paris full of childish excitement and misplaced bravado to become a Musketeer. Will things go to plan? Unlikely, but at least this chaotic caper will be in the hands of four actors wholly assured in taking on more than 30 character portrayals.

“Sorry, I’m tied up for February 7 and 8 already. I’ll be at York Theatre Royal”. Picture: Matt Austin

Billed as their biggest and most riotous show to date, The Three Musketeers: A Comedy Adventure is the sixth time Le Navet Bete have worked with comedy director John Nicholson, co-artistic director of Peepolykus and regular comedy writer for television and radio.

“This time we’ve collaborated on a comedy version of Alexander Dumas’s classic French tale, turning it on its head,” say Le Navet Bete, who have worked on the show with choreographer Lea Anderson and set designer Ti Green too. “Expect all the main characters from the book, but in ways you wouldn’t expect to see them,” they tease.

Le Navet Bete and Exeter Northcott Theatre present The Three Musketeers: A Comedy Adventure, York Theatre Royal, February 7 and 8, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Suitable for age seven upwards.

What’s in a name?

La Navet Bete means “the daft turnip”.

Broadsides founder Barrie Rutter diagnosed with throat cancer. Treatment to start shortly

Barrie Rutter after receiving his OBE on June 25 2015 at Buckingham Palace. Picture: Nobby Clark

BARRIE Rutter, award-winning Yorkshire actor, director and founder of Northern Broadsides, has been diagnosed with throat cancer.

In an official statement, 73-year-old Rutter is “in the good care of the mighty NHS and will begin his treatment very shortly”. 

Born in 1946, the son of a Hull fish worker, Rutter grew up in a two-up, two-down in the fish dock area of Hull.

Barrie Rutter as Lear in King Lear in 2015. Picture: Nobby Clark

At school, an English teacher frogmarched him into the school play because he had “the gob for it”, and feeling at home on stage, Rutter chose his future direction.

There followed many years in the National Youth Theatre, culminating in The Apprentices, with a role written specially for him by Peter Terson: a  practice to be repeated later in his career.

Seasons at the Royal Shakespeare Company in Stratford, London and Europe completed the 1970s. In 1980, he joined the National Theatre, a formative period when he met and worked closely with a poet who was to become his guru, Leeds writer Tony Harrison. 

Rutter performed in three of Harrison’s adaptations, all written for the Northern voice: The Mysteries, The Oresteia, and The Trackers Of Oxyrhynchus, wherein he played Silenus, a part penned for Rutter.

Barrie Rutter as flash banker Fuller in Northern Broadsides’ For Love Or Money in 2017. Picture: Nobby Clark

This experience was the spark for actor-manager Rutter setting up Northern Broadsides in 1992, the Halifax company noted for bringing the northern voice, song and clog dancing to Shakespeare, classical theatre and new works alike.

Frustrated by what he perceived to be inadequate Arts Council funding for Broadsides, he stepped  down from the artistic director’s post in April 2018. By then he had received the OBE for services to drama in 2015.

He last appeared on the York Theatre Royal stage in November 2017, when the quizzically eye-browed Rutter was at his most Rutter in his farewell Broadsides tour, For Love Or Money, a typically anarchic theatrical double act with Blake Morrison.

BERWICK’S BACK! York’s grand old dame to ride again but you won’t believe where!

Berwick’s back: dame for a laugh once more

YORK’S grand old dame, Berwick Kaler, is back in panto. Oh yes, he is.

At York Theatre Royal, his “beloved home” for 41 years? Oh, no he isn’t.

Dame Berwick is switching to the other side, the Grand Opera House, to become the Grand’s old dame. What’s more, he will be bringing the rest of the Not Famous But Famous In York Five along for the ride in Dick Turpin Rides Again: villain David Leonard; sidekick stooge Martin Barrass; ageless principal girl Suzy Cooper and luverly Brummie A J Powell.

Tickets for the December 12 to January 10 run will go on general sale on February 14, Valentine’s Day, when fans can have a love-in with Dame Berwick in the box office, when he sells the first tickets at 10am.

 A delighted Kaler says: “Qdos Entertainment have come to the rescue of the most lauded pantomime in the country, having found us a new home at the Grand Opera House in our beloved City of York.

“To make this a success we need you – the most articulate and loyal audience in the entire country. We can go forth with a management that believes we have enhanced the reputation of a local pantomime that has caught the imagination of young and old, from all walks of life.”

Qdos Entertainment’s managing director Michael Harrison enthuses: “We are absolutely delighted to be embarking on an all-new pantomime partnership with our colleagues at the Ambassador Theatre Group, Grand Opera House and, of course, Berwick and the gang.

“Berwick is an undeniable master in the world of pantomime, with his own inimitable style and approach and we are delighted to be working closely with him and the cast to bring back the magic for which they are best known.”

Kaler, 73, retired from playing the Theatre Royal’s dame after 40 years last February, but has signed a three-year contract with Qdos Entertainment, the pantomime powerhouse of British theatre, who are taking over the Grand Opera House panto from Three Bears Productions from Winter 2020.

Dame Berwick will write and direct the show, as well as pulling on his trademark big boots, unruly wig and spectacular frocks again, after regretting his decision to retire, breaking his run as Britain’s longest-running dame, from the moment he announced it.

Fully recovered from his double heart bypass in the summer of 2018, It was a sentiment he repeated regularly, not least on the last night of The Grand Old Dame Of York on February 2 last year, saying he “would be back like a shot” if asked.

Now the veteran dame does return, but across the city, where he has chosen Dick Turpin Rides Again for his first Grand Opera House pantomime, revisiting a show that brought him his highest ever audience figures at the Theatre Royal: 54,000 for Dick Turpin in 2008-2009.

He last appeared on the Opera House stage as fey drag artist Captain Terri Dennis in Peter Nichols’ Privates On Parade in 1996.

Kaler made an emotional, provocative speech at the finale to last Saturday’s final night of Sleeping Beauty, the troubled Theatre Royal pantomime he had written and co-directed this winter, but whose progress was jolted by executive director Tom Bird’s confirmation, with a fortnight still to run, that Dame Berwick would not be back, as writer or director, let alone as dame.

BERWICKXIT: Berwick Kaler playing the dame in his last York Theatre Royal pantomime, The Grand Old Dame Of York, last winter. Picture: Anthony Robling

Suzy Cooper and Kaler in The Press splash had called for the dame to return, David Leonard later backed that campaign, while Martin Barrass addressed the audience at each show post-announcement to say “this cast and this band” would not be returning. A public petition was launched too.

“I’m b****y furious,” said the dame, back on his old stamping ground, in a highly charged Saturday atmosphere, full of cheers for Kaler and boos for new panto villain Bird.

Kaler could not reveal “the truth”, but said Bird – or “one man” as he called him throughout without naming him once – was “wrong” in his decision to move on to a new creative team when the Theatre Royal pantomime “didn’t need fixing”.

“I’ll give them three days,” he said in a cryptic ultimatum that set tongues wagging that Kaler must have something up his sleeve, while Barrass rubbed his hands when reading out  a letter in the shout-outs that suggested the Panto Five should move to “the Grand”.

Those three days passed, but now Dame Berwick rises again, linking up with Qdos Entertainment, whose production  facilities are based in Scarborough and Beverley, 100,000 costumes et al. Billed as “the world’s biggest pantomime producer”, with 37 years behind them, they present such big-hitting pantos as the London Palladium and Newcastle Theatre Royal shows, as well as, closer to York, Hull New Theatre.

Welcoming the new partnership of Qdos and the Kaler crew, Grand Opera House theatre director Rachel Crocombe-Lane says: “Qdos bring both world-class expertise and also a Yorkshire heart, being based in Scarborough; the perfect combination together with this talented cast.

“As a venue team, pantomime is our favourite time of year because of the friendship with the company and also the joy and devotion of our audience. We are proud of these new partnerships, excited for the future of our pantomime and will be ready altogether to really blow your Christmas socks off!’

Qdos Entertainment chairman, Nick Thomas, from Scarborough, is excited too. “I am thrilled to welcome Berwick, a true Yorkshire theatre legend, to the Qdos family. Qdos Entertainment has had a long association with Yorkshire, it is my home county, and with our production and wardrobe teams based in Scarborough and Beverley, forming this new relationship with Berwick and the Grand Opera House is especially exciting.”

Meanwhile, York Theatre Royal will be launching its 2020-2021 pantomime on Monday at high noon. Rather than declaring a pantomime civil war in York, executive director Bird says: “We wish the Grand Opera House the very best of luck. As we’ve always said, we’ll be announcing our new pantomime on Monday”.

On Tuesday this week, Bird told a City of York Council meeting that no performance of Sleeping Beauty had sold out, save for the traditional last night pandemonium, compounding a decline in attendances that had started 11 years ago.

He said the Theatre Royal would “build a new pantomime for the city that to some extent doesn’t rely on you having been to the pantomime for 30 years in order to get it”.

“I know how much affection there is for our pantomime in the city. What’s prompted us to make this change is that that affection isn’t necessarily translating into popularity,” he added. “It’s with a very heavy heart that we make changes but it’s not something we can leave.”

Tickets for Dick Turpin Rides Again will be on general sale from February 14 on 0844 871 3024, at atgtickets.com/york and in person from the Cumberland Street theatre’s box office. ATG Theatre Card holders can buy from February 11.

Simon Armitage, Poet Laureate, Yorkshireman, sherry drinker and York Theatre Royal performer

Lips’ ink: Poet Laureate Simon Armitage with a pen for his thoughts

SIMON Armitage is the fourth Yorkshireman to be appointed Poet Laureate, in the wake of Laurence Eusden, Alfred Austin and the rather better-known Ted Hughes.

“I know bits and pieces of the other two,” says the 56-year-old Huddersfield poet, who succeeded Carol Ann Duffy as the 21st incumbent of the prestigious ten-year post last May.

Next Tuesday and Wednesday (February 4 and 5), he will be performing in York for the first time since his appointment, presenting Seeing Stars: An Evening With Simon Armitage at York Theatre Royal in two fundraising shows to support the theatre’s community work.

“But I don’t see myself as someone who speaks for the county,” says Simon, “Though I’m obviously from here and speak with the voice I grew up with, the noises and dialect I grew up with, and I certainly use Yorkshire in my poetry.”

Historically, the payment for the laureateship was a gift of wine until Henry Pye chanced his arm by asking for a salary in 1790 in the reign of George III. That all changed again when Ted Hughes became Poet Laureate, whereupon Graham Hines, director of the Sherry Institute of Spain, invited him to Jerez in 1986, and the traditional gift was re-constituted.

“They invited me over to Spain last year, and I did my tasting, educating my palate and getting to choose my sherry, and then effectively they send over a barrel every year.”

Do you like sherry, Simon? “I do now!” he says.

Meanwhile, let’s raise a glass to his shows in York next week when Simon will be joined by “well-known actors” for the Seeing Stars poetry readings. “The performance is devised around the shows we did at the Sam Wanamaker Playhouse [at Shakespeare’s Globe in London], maybe four years ago, when Tom Bird [now York Theatre Royal’s executive director] was at the Glob,” says Simon.

“In fact, the first performance was just when Dominic Dromgoole was leaving the artistic director’s post, and we did Sir Gawain And The Green Knight and The Death Of King Arthur poems, and it will be something along those lines with four actors in York.”

As the show’s title indicates, Seeing Stars will feature selections from Armitage’s book of dramatic monologues, allegories and absurdist tall tales of that title. “That book is ten years old this year: it’s very dramatic, very theatrical,” he says.

The York show is being curated by Scarborough-born theatre director Nick Bagnall, with the actors involved yet to be confirmed at the time of going to press.

“I first met Nick when he was playing a monkey trapped in a bathroom in Huddersfield!” Simon reveals. What? “It was a promenade event in a house in Huddersfield in an area called The Yards that was being knocked down,” he explains.

“I’ve since done a couple of my plays with him directing them: first my dramatisation of Homer’s The Iliad, The Last Days Of Troy, at Manchester’s Royal Exchange and Shakespeare’s Globe.

“There are no rules really, no written spec, so it’s a question for each incumbent to decide how they will interpret it,” says Simon Armitage of his post as Poet Laureate

“Then the Liverpool Everyman did The Odyssey: Missing Presumed Dead, which ended up at the Globe.”

Looking beyond next week to Simon’s decade-long tenure as Poet Laureate, what does the role entail?

“There are no rules really, no written spec, so it’s a question for each incumbent to decide how they will interpret it,” he says.

“I’ve decided to do several projects: one of them will be The Laurel Prize: a prize for poems on the theme of the environment and nature and all that goes with that.

“It’s very prevalent in poetry now, and I’m delighted that the Yorkshire Sculpture Park [near Wakefield] will host the prize ceremony in May.

“I’m also making tours of public libraries this year,[The Laureate’s Library Tour], doing a week of eight readings from March 16 to 21 of A and B places: Aberdeen, Belfast, the British Library, Bacup, and several others.” A tour of C and D locations will follow in the autumn.

“This is to give some support to the pretty beleaguered library service because I believe it to be a really important institution,” says Simon.

His greatest wish is to introduce a National Centre of Poetry. “Not in London,” he says. “Poetry is one of our proudest traditions, and hopefully a national centre can be a place of writing, reading, research and residencies.

“It’s a huge capital funding project, a kind of legacy idea, not a one-year pop-up space but something that becomes part of the landscape.”

You may not know, but “there is no writing obligation associated with the role of Poet Laureate,” says Simon. “Wordsworth never wrote one poem in the post!”

The ever-prolific Simon, however, will be writing as prolifically as ever, having been appointed Poet Laureate by Her Majesty The Queen and the Prime Minister.

“The call came from Theresa May a week before she resigned,” recalls Simon. What did that involve? “It was a private call.”

What did the Prime Minister say? “It was a private call!” Simon says again.

Seeing Stars: An Evening With Simon Armitage, York Theatre Royal, February 4 and 5, 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

Copyright of The Press, York

Grand Opera House donates £8,765 in bucket collections to York Hospital charity

Customer experience manager Lauren Atkins, left, deputy customer experience manager Laura Castle, ticketing and sales manager Beth Scott and York Teaching Hospital Charity community fundraiser Joe Fenton with the Grand Opera House bucket collection cheque in the York theatre’s auditorium.  Picture: David Harrison

THE Grand Opera House, York, is to donate £8,765 to the York Teaching Hospital Charity from bucket collections held at performances in 2019.

The donation will go towards “helping to fund the extras to improve healthcare facilities above and beyond the NHS making patients feel better”. 

Joe Fenton, the hospital charity’s community fundraiser, said: “We’d like to say a huge thank-you to the Grand Opera House and to everyone who generously donated at the bucket collections held across 2019.

“The incredible amount that has been raised is truly inspiring and will go a long way in improving the staff and patient experience across our hospitals. 

“The money will be used benefit a number of wards, including the Children’s Ward, Dementia, the Renal Unit and our Maternity Bereavement Suite, so thank you for your fantastic support.”

Clare O’Connor, theatre manager at the Cumberland Street theatre, said: “We’re absolutely delighted to have contributed nearly £9,000 (£8765.17) to numerous departments – Renal  Unit, Children’s Ward, Dementia Appeal and Butterfly Appeal – in the hospital over the past 12 months, in conjunction with the wonderful York Teaching Hospital Charity.

“Without the very generous donations of our audience members, and the time kindly given by volunteers for collections, we wouldn’t have achieved so great a figure, which means so much to all the staff at the Grand Opera House.”

Clare continued: “The patients and relatives who use these departments at York Hospital will benefit greatly from these funds, which will improve their experience during a difficult time, and we look forward to more successful fundraising over the next 12 months. Thank you.”

Helen Wilson completes her Chekhov big four with The Seagull, but what next?

York Settlement Community Players director Helen Wilson bonding with Cliff, the seagull from Dotty’s Vintage Tearoom in Staithes, ahead of her production pf The Seagull

CHEKHOV devotee Helen Wilson set herself the challenge of directing the 19th century Russian’s four greatest plays for York Settlement Community Players in ten years.

Next month, the project will be completed with his 1895 tragicomedy The Seagull, his most famous work, as Settlement celebrate their centenary by returning to the York Theatre Royal Studio.

First, however, Helen will give a library talk tomorrow (January 29) from 6pm to 8pm at York Explore to mark Anton Chekhov’s 160th birthday, under the title of Adventures In The Cherry Orchard: Chekhov And Me. 

“Why is Anton Chekhov so beloved and called ‘the father of the modern theatre’,” Helen will ask herself. “I’ll seek to explain why through anecdotes and a little biography; casting a light on why he called his plays ‘comedies’.

“So, come and toast Chekhov’s 160th birthday with a glass of vodka or wine and be entertained by extracts of his work from The Seagull cast. As I direct the fourth of his major plays, I’ll share my enthusiasm for a great Russian dramatist.”

Chekhov And Me: Helen Wilson’s talk at York Explore

This will be York tutor, theatre director and actor Helen’s final Chekhov production as Settlement tackle the late 19th century work that heralded the birth of modern theatre with its story of unrequited love, the generation gap and how life can turn on a kopek: a raw tragicomedy of poignancy yet sometimes absurd playfulness.

She had not envisaged doing all the Chekhov quartet when she set out in March 2010. “I did Three Sisters in the Theatre Royal Studio, and I thought that would be that, as it was my ambition to do that play,” recalls Helen.

“But then I did The Cherry Orchard at Riding Lights’ Friargate Theatre in September 2015, and I was on a roll, so we did Uncle Vanya in the Theatre Royal Studio in March 2018 and now The Seagull in the Studio again. Two actors have been in all of them: Maurice Crichton and Ben Sawyer. They just keep auditioning!”

Helen can see patterns in Chekhov’s work when putting the four side by side. “Chekhov has both ensemble text and ‘duo-logue’, where there’s so much going on and so much subtext too,” she says.

“So for The Seagull, I’m having to hold both ensemble rehearsals and separate rehearsals for the main characters.

Helen Wilson and seagull Cliff in Staithes

“And having done the three other plays, I can point to the pattern where Act One is always a souffle, with plenty of laughing at these slightly inept characters thinking they are something they’re not, and the audience having that delicious moment of thinking, ‘well, actually that’s not going to happen’. Then Chekhov likes to lob a bomb into the room in Act Three.”

Helen has “always felt that The Seagull has never fully made sense on stage” when she has seen past productions. “Like Irina Arkadina has always been seen as a monster, when she’s not,” she says.

“It’s important to show what’s beneath that, and Chekhov always gives you the opportunity to see the other side of the character. That’s what I want to explore and exploit.

“They’re all vulnerable, every one of them…but when I went to see Vanessa Redgrave in the play when I was nine, I wasn’t very impressed! Her speech at the end wasn’t very good!

“In this production, I want there to be vulnerability, but also warmth, in every character, for the audience to be able to laugh and cry with them.”

Settlement regular Maurice Crichton (Vanya) and Amanda Dales (Yelena) in rehearsal for York Settlement Community Players’ Uncle Vanya in 2018

Helen sees a difference between The Seagull and the other three plays. “It isn’t like the others in that the ending is very abrupt,” she says. “Chekhov was very influenced by Ibsen, and this is more of an Ibsen ending than elegiac, but the play is also a great deal funnier than people realise, especially in Act One.

“As with Ibsen and Shakespeare, you can be too reverent in how you present it, but I want people to find the characters recognisable types that they know.

“All life is there; you don’t have to hit people over the head with it. All the resonance is there. It’s all going at someone’s home and that’s how it should feel.”

What has Helen learned from her earlier productions? “Not to have so much on stage, like having a chaise longue previously! The costumes will be period, there’ll be a soundscape and lighting, but what matters is to make it absorbing to watch, so it’s going to be very intimate.”

Settlement’s production, by the way, will be carrying the best wishes of writer/translator Michael Frayn, who has sent the York company a message of gratitude. “It’s a wonderful achievement for YSCP to have performed all of Chekhov’s four last great plays – and I can’t help being pleased, of course, that they have chosen to use my translations,” he wrote.

Helen Wilson standing by cherry blossom when directing The Cherry Orchard in 2015

“Most productions of the plays these days seem to be ‘versions,’ with the period, location, genders, and politics changed to make them more relevant to audiences who might otherwise not be up to understanding them.  

“People in York, though, are evidently made of tougher stuff, because the simple intention of my translations is to get as close to the original Russian as I can.  Just occasionally, perhaps, it’s worth trying to catch the sense and feel of what Chekhov actually intended. So, thank you, YSCP!”

Helen has stated this will be her last Chekhov, but out of the blue she says: “Having done the other three, in some ways I’d like to do Three Sisters again. Having learned things since I did it, I’d do it differently but more or less with the same cast.

“You get into a rhythm of what these plays are like, and they still move me every time. It’s like a labour of love doing them.

“But when I finish this one, I’d love to do an Arthur Miller one next. The thing about Chekhov and Miller is that they’re universal. You don’t have to modernise them for resonance. They will always resonate in their own period.”

A word in your shell like by the sea at Staithes: Cliff and The Seagull director Helen Wilson

York Settlement Community Players in Chekhov’s The Seagull, York Theatre Royal Studio, February 26 to March 7, 7.45pm plus 2pm matinee on February 29; no Sunday or Monday performances. Box office: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.

Tickets for Helen Wilson’s Chekhov talk at 6pm tomorrow (January 29) at York Explore, Library Square, Museum Street, York, cost £5 at yorkexplore.org.

Quick question:

What’s the story behind seagull Cliff, Helen?

“He’s called Cliff and he lives in the window of the much frequented Dotty’s Vintage Tearoom in Staithes, collecting coins for the RNLI. He was allowed to commune with me for an hour or two and seemed to enjoy it!”

Wig, beard, green coat, Rory Mulvihill is ready to steal the show again as Fagin

Rory Mulvihill, donning beard, wig and iconic green coat, to play Fagin for a second time. Pictures: Anthony Robling

YORK Light Opera Company mark 60 consecutive years of performing at York Theatre Royal by presenting Lionel Bart’s Oliver!, 60 years after the musical’s West End debut.

Running from February 12 to 22 in a revival directed by Martyn Knight, with musical direction by John Atkin, the show is based on Charles Dickens’s novel Oliver Twist and revels in such songs as Food, Glorious Food, Oom-Pah-Pah, Consider Yourself and You’ve Got To Pick A Pocket Or Two.

Leading the cast of 40 will be Rory Mulvihill, a veteran of the York theatre scene, who will be playing Fagin after a career with York Light that does not quite stretch back 60 years but does run to 35. “I started in 1985 with the summer show Songs From The Shows, which was a cabaret-style show, where I remember I was part of Three Wheels On My Wagon as a cowboy,” he says.

Reflecting on his subsequent myriad York Light roles, he says: “I’ve enjoyed all of them, but the one I’m most proud of is Barnum. It was a tremendous show. Every member of the cast had to learn a circus skill and perform it to full houses. I spent four months going to a circus school three days a week learning how to tight rope walk.”

Rory Mulvihill in the rehearsal room for York Light Opera Company’s production of Oliver!

Rory is playing Fagin for the second time, so he is well qualified to analyse the musical’s portrait of the trickster who runs a den of nimble young thieves in Victorian London’s murky underworld.

“The character is written very differently in the musical from the novel, in a way that makes you feel for him. You know fundamentally he’s a bad person but there’s always something that redeems him,” he says. 

“If I had to describe him in three words, I remember there was an advert for creme cakes about 40 years ago and the slogan was ‘naughty but nice’, so I’m going to go with that one. 

“I don’t do anything specific to get into character. Someone once said their character builds as they dress up as them and that certainly applies to Fagin as I’ll be having a beard, wig and the iconic long green coat. It certainly helps wearing the costumes to get into character.”  

Rory Mulvihille’s Fagin with his two Artful Dodgers, Jack Hambleton and Sam Piercy

Picking out the differences between the first and second times he has portrayed Fagin, Rory says: “The children involved give Oliver! its dynamic. It’s a different set of kids and crew of course.

“We only have one set of kids this time instead of two. Having done it once, I’m not starting again, I’m building on what I’ve done before. Hopefully I’ll not stumble over the lines and give a better performance.”

A key part of his role is leading the young cast around him. “Whenever you work with kids, it’s difficult to begin with because they’re scoping you out to see what they can/can’t get away with, but once you get over that, it’s a joy.

Jonny Holbek as Bill Sikes with Roy as Bullseye in York Light Opera Company’s Oliver!

“They’re now quite relaxed in the company of the adult cast and I’m getting to know them – maybe a bit too cheeky at times. Theatre is the best gift you can give a kid to carry through their life.”

That sentiment takes him back to Leeds-born Rory’s first steps in theatre. “Funnily enough Oliver! was the very first show I was ever in. I played the Artful Dodger in a school production at St Michael’s in Leeds in 1968. It was just by accident really. I was just asked to do the part by the director. That was my introduction to theatre and I’ve been doing it ever since. Now I’ve come full circle with Oliver!”

Rory, who has lived in York since the mid-1980s, worked as a lawyer for more than 30 years, at Spencer Ewin Mulvihill and latterly Richardson Mulvihill in Harrogate, before retraining as a teacher of English as a Foreign Language, but he has always found time for a parallel stage career.

In doing so, he has been not only a leading man in multiple musicals but also has played both Jesus and Satan in the York Mystery Plays; York lawyer and railway protagonist George Leeman in In Fog And Falling Snow at the National Railway Museum, and lately Sergeant Wilson in Dad’s Army and the outrageous Captain Terri Dennis in Peter Nichols’s Privates On Parade for Pick Me Up Theatre.

Rory Mulvihill, centre, as the flamboyant Captain Terri Dennis in Privates On Parade

Last summer, he set up a new York company, Stephenson & Leema Productions, with fellow actor and tutor Ian Giles, making their June debut with Harold Pinter’s ticklishly difficult 1975 play No Man’s Land.

Now his focus is on Oliver!, performing alongside Alex Edmondson and Matthew Warry as Oliver; Jack Hambleton and Sam Piercy as the Artful Dodger; Emma-Louise Dickinson as Nancy and Jonny Holbeck as the villainous Bill Sikes.

Rory looks forward particularly to singing the climactic Reviewing The Situation. “It’s a tour de force,” he reasons. “You can’t really go wrong with it. It’s a fantastically written song with a beautiful tune, comedy and pathos.

“Please sir, I want some more…and more”: Matthew Warry and Alex Edmondson, sharing the role of Oliver in York Light Opera Company’s Oliver!

“Lionel Bart clearly thought ‘I’m just going to take the audience’s emotions and put them through the ringer’. So, at the end, they don’t know whether to laugh or cry. A wonderful piece of work.”

As the first night looms on the horizon, will Rory experience first-night nerves, even after all these years? “For me, rehearsals can be more worrisome than being on stage,” he says.

“Performing in front of your peers, certainly for the first time, can be very nerve racking, and it’s getting over that that prepares you for being on stage. By the time you get on stage, you have butterflies of course, but you know you can do it.”

York Light Opera Company present Lionel Bart’s Oliver!, York Theatre Royal, February 12 to 22, 7.30pm plus 2.30pm matinee on both Saturdays. Box office: 01904 623568 or at yorktheatreroyal.co.uk.