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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!”

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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.

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Made In Dagenham cast made up by meeting with Rachael Maskell MP and West End actor Scott Garnham

Councillor Robert Webb, Kayleigh Oliver (playing Barbara Castle), Rachael Maskell MP, Martyn Hunter (playing Harold Wilson) and Councillor Anna Perrett at Sunday’s rehearsal run of Made In Dagenham

YORK Central MP Rachael Maskell and West End musical theatre star Scott Garnham, from Malton, popped along to Sunday’s rehearsal run of Made In Dagenham.

The session was open to York Residents Festival visitors as the Joseph Rowntree Theatre Company prepared for their fundraising musical production in aid of the Joseph Rowntree Theatre.

Presented by the JoRo’s in-house company, Made In Dagenham tells the true story of the beginning of the equal pay for women movement, focusing on the Ford strike at Dagenham in the 1960s.

The choice of show could not be more relevant because the York performances coincide with the 50th anniversary of the passing of Barbara Castle’s Equal Pay Act of 1970.

The Cortina girls and Buddy Cortina, from the Joseph Rowntree Theatre Company show, with Malton actor Scott Garnham, from the original West End production. of Made In Dagenham. Left to right: Lucy Plimmer, Jenny Jones, Ben Huntley, Scott Garnham, Karen Brunyee and Ashley Ginter.

The subject of equal pay and discrimination is close to Rachael Maskell’s heart, as the Labour MP spent many years as a union rep campaigning for equal rights. Re-elected at the December 12 General Election, she has been appointed as Shadow Secretary of State for Employment Rights. 

Addressing the company on the Rowntree Theatre stage, Ms Maskell said: “This is an inspirational story you are telling, and it remains a story of women at work today. If we don’t speak out, how do we expect things to change?”

She described the women of Dagenham as “sparky women who would not take no for an answer”, and urged the JoRo company to “go out there and keep fighting”.

Scott Garnham, who has performed many times on the Rowntree Theatre stage, appeared  in the original London production of Made in Dagenham in the role of Buddy Cortina.

The Joseph Rowntree Theatre Company’s fabulous machinists of Dagenham meet York Central MP Rachael Maskell and York councillors Robert Webb and Anna Perrett

In York last week for Friday’s tribute show The Best Of Frankie Valli & The Four Seasons at the Grand Opera House, on Sunday Scott said: “To come and support this local community theatre is really important to me. I learned a lot of my stagecraft here in this building.

“The venue is a real hub for performers of all ages and backgrounds, and theatre is a very unifying experience. I’m so pleased that the Joseph Rowntree Theatre Company have chosen to do this show as their annual fundraiser.  It’s the story of a truly inspirational group of women, many of whom I had the great pleasure to meet.”

Despite its gritty subject matter, Made In Dagenham is described as a heart-warming story, full of humour, coupled with wonderful music. Although the show is not suitable for young children, on account of “some very strong language”, the company hopes to introduce a wide new audience to the sparky women of Dagenham.

Next week’s production runs from February 5 to 8 at 7.30pm nightly plus a 2.30pm Saturday matinee. Tickets are available on 01904 501935, at josephrowntreetheatre.co.uk or in person from the Haxby Road theatre’s box office.

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Viva La Divas is next step for Strictly stars Katya, Nadiya and Janette in York show

The tour poster for Viva La Divas starring Katya Jones, Nadiya Bychkova and Janette Manrara. Picture: Colin Thomas

STRICTLY Come Dancing professional trio Janette Manrara, Katya Jones and Nadiya Bychkova will be on tour this summer, making a song and dance of Viva La Divas at the Grand Opera House, York, on June 16.

Collaborating with the original producers of Viva La Diva, first performed in 2007 with dancer Darcey Bussell and singer Katherine Jenkins, this glamorous show will pay tribute to stars from the Golden Age of Hollywood, Broadway and West End musical theatre, modern pop divas and female icons with the greatest impact on the Strictly dancers.

In this all-singing, all-dancing musical extravaganza, Katya, Nadiya and Janette will star with a cast of dancers and singers as they celebrate Marilyn Monroe, Madonna, Beyonce, Judy Garland, Celine Dion, Jennifer Lopez and many more.

Running from June 14 to July 16, the tour has further Yorkshire dates at Halifax Victoria Hall on June 23 and Bridlington Spa on the last night.

Miami-born Janette Manrara became a Strictly professional in 2013 after performing at the 2009 Academy Awards, appearing in season five of the American version of So You Think You Can Dance, being a principal dancer on Glee and starring in the stage show Burn The Floor for three years.


Among her Strictly highlights was lifting the Christmas Glitter Ball trophy twice with celebrity partners Aston Merrygold and Melvin Odoom.
Looking ahead to the summer tour, Janette says: “I’m so excited to be touring the UK with two of my best friends, Katya and Nadiya – and what a show it’s going to be.

“We’ll be celebrating the glitz, the glamour and style of the greatest divas in showbiz. We’re going to have so much fun bringing this show to audiences across the UK and I can’t wait. It’s going to be a blast.”

Before making her Strictly debut in 2016 , Russian dancer Katya Jones and her dance partner Neil Jones won the WDC World Show Dance Championships and three titles at the World Amateur Latin Championship.


After her Strictly partnership with politician Ed Balls in 2016, for her second series Katya was partnered with actor Joe McMadden, the pair duly lifting the  Glitterball Ball trophy as 2017 champions.


“To tour Viva La Divas across this beautiful country this summer with two incredible dancers, who happen to be my very close friends, is a dream come true,” says Katya.

“How the three of us managed to keep everything a secret for so long I’ll never know. Finally, we can shout it from the roof tops: girls on tour! It’s going to be epic.”

Ukrainian-born Nadiya Bychkova made her Strictly debut in 2017 as a two-time world champion and European champion in ballroom and Latin ‘10’ Dance, partnering former England goalkeeper David James in the 2019 series.

“I’m thrilled to be part of the Viva La Divas tour this summer,” she says. “We have an incredible team working on what will be a dazzling show that I can’t wait for audiences everywhere to see.

“It’s going to be a stunning spectacle full of the elegance, style and attitude, befitting of the greatest divas’ legacies. And to be touring with two incredible friends in Janette and Katya is simply the dream team.”

Tickets for the tour go on general sale at 10am on Friday at ticketmaster.co.uk and vivaladivasshow.com; York tickets on 0844 871 3024 or at atgtickets.com/york.

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“I don’t want to be political or anything,” says Dame Berwick as he takes to the stage again at York Theatre Royal. Who did he give the Bird last night?

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

IT ended, as it only could, with the dame’s return to the stage. In civvies, this final time, but not in civil mood as he wouldn’t let it rest on the final night of Sleeping Beauty.

More like civil war. Us and them. Pantomime’s version of Brexit, except with a different result, the majority, if not all, in the house, wanting them to remain, not leave, when “one man” and “the board” have decided it is time to move on. Get panto done, differently, with a new 2020 vision.

Dame Berwick didn’t name the “one man” who went to mow them down, but he was referring to York Theatre Royal executive director Tom Bird, newly cast as the panto villain. “I’ll give them three days” [to change their minds], the grand dame vowed in a tone harking back to the Scargill and Red Robbo days of union versus management.

“I don’t want to do him any harm…but he’s wrong”, said Mr Kaler, surrounded by “the family”, the rest of the Panto Five, Martin, Suzy, David and AJ, their fellow cast members and the crew, buoyed at each unscripted but barbed line by an adoring home crowd, who cheered and booed his rallying speech like they had throughout the show.

He even kissed the wall to express how much he loved this theatre, getting down on his knees at one point too, arms outstretched, in appreciation of his loyal subjects.

“A house does not make a home. A family does,” read one letter read out earlier by the panto Queen, Martin Barrass, in his Bile Beans can regalia in the shout-outs. “Please, Mr Bird, reconsider. Save our panto,” pleaded a second, and there were plenty more.

“Yah boo to York Theatre Royal. We won’t be back,” hissed one, read by the luverly Brummie AJ Powell.

Emotions were running high, as they had been for Martin Barrass, breaking down theatre’s fourth wall to speak from the heart at every performance since news broke a fortnight ago that Berwick Kaler, already retired from playing the dame, would not be asked to co-direct or write the 2020 show. “This cast and this band” would not be back either, said Barrass. “A decision that is nothing to do with us. If it was, we would be back each year until we drop.”

Martin Barrass in his role as Queen Ariadne in Sleeping Beauty at York Theatre Royal. Picture: Anthony Robling

Back to Dame Berwick, who found himself feeling “more emotional” now, in this house of York winter of discontent, than in his valedictory speech at The Grand Old Dame Of York last February. Not for himself, he said, but for all those on stage with him who had given so many years – “some for half their lives” – to the Theatre Royal.

“I’ve been told I can’t tell you the truth, so I can’t say the truth…but I want to because…I’m b****y furious,” he said. “I don’t want to be political or anything…but someone tell the management that this wonderful, wonderful theatre has been a repertory theatre for 275 years.

“It’s a repertory theatre and that means we put on our own shows for the local population. It’s York’s theatre.”

After reading a letter of support sent that morning to “Berwick Kaler, Acomb”, he resumed: “I just can’t understand that someone can do this to something that does not need fixing…

…We have made money for this theatre for years. How can one man do this to us? I don’t understand it.”

“Anyway, they’ve got three days,” he repeated, before leading company and audience through “We’ll meet again, don’t know where, don’t know when, but I know we’ll meet again some sunny day.”

The final curtain fell, as it always must, but where and when might that sunny day reunion take place? What will happen to Dame Berwick’s three-day deadline? Will he rise again on the third day, and if so, to say or do what amid this collateral dame-age? Watch this space, as newspapers are wont to say.

As for that “one man”, Tom Bird, he and the York Theatre Royal management will announce next winter’s show on February 3. The end and the new beginning all in one.

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How did the York Dungeon celebrate notching up five million visitors?

York Town Crier Ben Fry hails the York Dungeon’s five millionth visitor, Denise Pitts, and her mother, Jeanette

THE York Dungeon is celebrating its five millionth visitor since opening its doors in Clifford Street, York, in 1986.

Denise Pitts hit the jackpot as the landmark intrepid visitor when she took her mother, Jeanette, to York for her birthday celebrations and accusations of naked dancing!

Their trip to the theatrical dungeon attraction made that day extra special when they were given VIP treatment: coffee and cake while they waited for their tour to begin, free pictures and goody bags.

“The experience was great,” said Denise. “We loved that the show was informative with a dash of terror and a hint of humour; also some unexpected surprises along the way! Thoroughly enjoyable.

“My mum was put into a cage for pleading insanity when accused of naked dancing and she found this absolutely hilarious. The actors were great and really got into their characters.

“We would highly recommend this attraction when visiting York and would like to thank everyone for making us feel so special.”

Dungeon manager Stuart Jarman said: “The York Dungeon has been a must-see since opening in 1986 and over the past 34 years we have welcomed, scared and provided amazing immersive experiences to five million visitors.

“This is a significant milestone in the history of the York Dungeon and it was great to surprise Denise and Jeanette as the visitors that hit the milestone, particularly with the help of York Town Crier Ben Fry.”

Looking ahead to 2020’s attractions, Stuart said: “2020 is another exciting year for the York Dungeon with a new show for the February half-term, War Of The Roses: The Bloody Battle, Guy Fawkes in May and Séance in October for Halloween.”

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John Osborne’s dementia and music show You’re In A Bad Way heads to Pocklington

Storyteller John Osborne performing You’re In A Bad Way

STORYTELLER, poet and BBC Radio 4 regular John Osborne returns to Pocklington Arts Centre on February 13 to present his beautiful, funny and uplifting new show about music and dementia. 

Last March, he performed a double bill of John Peel’s Shed and Circled In The Radio Times in Pocklington. Now, inspired by seeing a friend’s father face a dementia diagnosis and the warmth, positivity and unexpected twists and turns the family went through, he has put together You’re In A Bad Way.

“This is the fifth theatre show I’ve made and it’s definitely my favourite,” says Osborne. “I loved performing it every day at the Edinburgh Fringe last summer, and I’m really excited to be taking it on tour. 

“For the past few years, I’ve made storytelling theatre shows that are funny, true stories of things that I feel are important to people. This one is a story about what happened to my friend’s dad when he was diagnosed with dementia a couple of years ago.” 

Osborne continues: “It was a really interesting thing to observe, because although it was horrific and terrifying and sad, there was so much warmth and positivity and unexpected twists and turns. 

“As soon as I started writing the show, it came together so beautifully and audience members who have had their own personal experiences of caring for people with dementia have been incredibly positive about the show having been to see it.”

The poster for John Osborne’s show You’re In A Bad Way

Osborne spent time at a dementia care centre in Edinburgh to ensure he was fully informed about the experience of caring for someone with dementia.

 “I never planned to write about something as personal as dementia, and have never written about a big topic before, but this felt like such a beautiful story that I wanted to tell,” he explains. “Just because you’ve been diagnosed with something, it doesn’t mean it’s the end. 

“The things we know about dementia are so sad, but within that there are some special moments. Every time I perform the show, I feel like I learn new things about dementia.”

Describing the tone of You’re In A Bad Way, Osborne says: “As it’s such a big topic, I’ve tried to make the show funny and life affirming and relatable. 

“I don’t want it to be sad or serious; I think it’s important for it to be a good story to someone who has no association with dementia, as well as being sensitive to those who live surrounded by the illness.”

Pocklington Arts Centre director Janet Farmer says: “I was fortunate to see this show at the Edinburgh Fringe last August and thought it was just so beautifully written and truly uplifting, I knew we had to bring it to Pocklington. It tackles a tough topic with such humour and warmth, it really is a must-see.”

Tickets cost £10 on 01759 301547 or at pocklingtonartscentre.co.uk or £12 on the door, with a special price of £9 for a carer of someone with dementia. 

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Mamma Mia! Look which show is returning to Leeds Grand Theatre this autumn

Mamma Mia! is on its way to Leeds Grand Theatre on its 20th anniversary tour

MAMMA Mia! will return to Leeds Grand Theatre from November 24 to December 5 on the tour to mark 20 years since the Abba musical’s London premiere.

Tickets will go on general sale on January 29 on 0844 848 2700 or at leedsgrandtheatre.com.

Built around the music and lyrics of Benny Andersson and Björn Ulvaeus,Mamma Mia!revels in Judy Craymer’s vision of staging the story-telling magic of Abba’s songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll. 

To date, Mamma Mia! has been seen by more than 65 million people in 50 productions in 16 languages.  In 2011, it became the first Western musical to be staged in Mandarin in China.  

Mamma Mia!became the eighth longest-running show on Broadway, where it played a record-breaking run for 14 years and it continues to play in London’s West End at the Novello Theatre, where the 20th anniversary fell on April 6 2019.

The first British tour of Mamma Mia! visited Leeds Grand Theatre from May 30 to July 8 in 2017. 

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Visionari pick six of the best for Studio Discoveries week at York Theatre Royal

Pepper & Honey: opening Visionari’s Studio Discoveries season on February 4

WHAT happens if the audience selects the shows? Find out when York Theatre Royal presents a week of theatre in the Studio chosen by the Visionari community programming group. 

This will be Visionari’s second such season of Studio Discoveries, this one featuring six shows from February 4 to 8.

“What if the story was retold by the woman at its heart? ” asks Debbie Cannon in her version of Sir Gawain And The Green Knight

Pepper & Honey, on February 4 at 11am and 2pm, is a new play from Not Now Collective, told through the baking of Croatian pepper biscuits – known as paprenjaci – that will be baked live in front of the Studio audience as the story of Ana’s preparations to start a new life in the UK unfolds. Babes-in-arms are welcome and biscuits are included.

Debbie Cannon is both writer and performer of Green Knight, on February 5 at 6.30pm, a one-woman version of the medieval poem Sir Gawain And The Green Knight. “It’s Christmas at Camelot and a monstrous green warrior issues an unwinnable challenge to Arthur’s finest knight. But what if the story was retold by the woman at its heart?” asks Debbie.

One of Picasso’s women in Picasso’s Women on February 5

Picasso’s Women, on February 5 at 8.30pm, looks at Spanish artist Pablo Picasso’s life through the voices of his wives, mistresses and muses. The three monologues feature French model Fernande, Russian ballerina Olga and 17-year-old mistress Marie-Therese.

Originally produced for the National Theatre and BBC Radio 3, the women’s stories provide an insight into the influence these women had on Picasso’s life and art.

Nathaniel Hall in First Time: humorous but heart-breaking

After last summer’s Edinburgh Fringe debut, HIV+ theatre-maker and activist Nathaniel Hall is on tour, presenting a humorous but heart-breaking show about growing up with HIV in First Time on February 6 at 7.45pm.

The show is based on Nathaniel’s personal experience of living with HIV after contracting the virus from his first sexual encounter aged only 16. First Time accompanies Hall’s on-going activism to break down the stigma associated with the disease through talks, participatory projects, education and outreach.

York company Cosmic Collective Theatre in Heaven’s Gate

Inspired by true events, Heaven’s Gate, on February 7 at 7.45pm, is an intergalactic new show from Cosmic Collective Theatre that imagines the final hour of four members of a real-life religious UFO group.

The excitement is palpable as they prepare for their graduation into the Kingdom of Heaven but soon the cracks begin to appear. “Whatever you do, don’t say the C-word – ‘Cult’,” says writer, director and performer Joe Feeney, a York Theatre Royal Youth Theatre alumnus, along with fellow cast member Anna Soden.

Preacherman in One Foot In The Rave, the closing show of Visionari’s Studio Discoveries programme

Visionari’s final choice is One Foot In The Rave, on February 8 at 7.45pm. Written and performed by Alexander Rhodes, it follows a disillusioned Jehovah’s Witness as he breaks free from the cult and lands on the ecstasy-fuelled floors of 1990s’ clubland. Shunned by everyone he knows, he is not prepared for what lies ahead.

Looking forward to the season ahead, York Theatre Royal producer Thom Freeth says: “It’s been amazing working with Visionari over the past few months to select and bring together a really impressive line-up of unique Studio shows. The group have chosen shows that will undoubtedly appeal to regular theatregoers and new audiences alike. 

Cyberdog in One Foot In The Rave

“We’re pleased to be showing award-winning work as part of the week, alongside work by an exciting new York company, Cosmic Collective Theatre. Whether you’re out to sample the intensity of Nineties’ clubland, gain an insight into the life of Picasso or just enjoy a complimentary Croatian biscuit, we think you’ll have a fantastic experience in our intimate Studio theatre.”

Tickets for Studio Discoveries shows are on sale on 01904 623568, at yorktheatreroyal.co.uk or in person from the box office. The price is £10 per show or £8 each if booking for two or more shows.

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Why Once The Musical is a not Once but twice in a lifetime opportunity for Daniel Healy and Emma Lucia

Emma Lucia’s Girl and Daniel Healy’s Guy performing Falling Slowly in Once The Musical. Pictures: Mark Senior

DANIEL Healy and Emma Lucia are playing the lead roles together in Once The Musical not once, but twice.

They first did so in the regional premiere in Autumn 2018 at the New Wolsey Theatre, Ipswich, and Queen’s Theatre, Hornchurch.

Now, that production’s director and musical director, the regular team of Peter Rowe and Ben Goddard, have reunited the duo for the first British tour that opened this month (January) and will play the Grand Opera House, York, from February 3 to 8.

First a cult, micro-budget Irish film written and directed by John Carney in 2007, then a Broadway, West End and Dublin show, Once The Musical tells the uplifting yet yearning story of the hopes and dreams of two lost souls, a jilted Dublin street busker and a more positive Czech musician, who unexpectedly fall in love across five short days in the Southern Irish capital city.

“I’ve managed to fool a few people with my Irish accent, thinking I really must be from Dublin,” says Scotsman Daniel Healy:

The touring cast of 16 will be led by Scotsman Healy as Guy and Lucia, from Durham, as Girl, whose chemistry was apparent immediately when press and media were invited to meet the company three weeks into rehearsal at Toynbee Hall in London’s East End: a question-and-answer session introduced with rousing renditions of Irish pub and ceilidh songs and the show’s opening scene.

This peaked with Healy and Lucia’s performance of Glen Hansard and Markéta Irglová’s Oscar-winning signature song Falling Slowly, with all the actor-musician cast playing their part around them, “leaning into the story” in the pub setting.

Daniel’s relationship with Once goes back to “a long time ago”. “My first run-in with the show was when I was doing a show in LA [Los Angeles] called Backbeat and I had an audition for the Broadway version of Once but couldn’t do it because of various reasons,” he recalls.

“But then I understudied the lead and played one of the main characters, Eamon [the music studio manager where Guy and Girl record their album] in the London production, when I understudied Ronan Keating.”

Daniel Healy’s Guy, Emma Lucia’s Girl and Samuel Martin’s Bank Manager in Once The Musical

Daniel is a singer-songwriter in his own right, and friendship with the Boyzone singer turned into a co-writing partnership that elicited Keating’s single Breathe. “After he heard one of my songs, Ronan said, ‘I’d really like to write with you’, so I ended up writing six songs with him and touring with him in his band,” he says.

Emma saw Daniel in Once in the London production. “I was still at Mountview drama school, and doing Beautiful, the Carole King musical, on tour at the time [making her professional debut as Marilyn and understudying the lead role],” she says.

“Then I heard there was going to be a production of Once in Ipswich, and I know the musical director, Ben Goddard, from doing a couple of classes led by him at Mountview.

“You’d do all the songs you’d thought of doing for auditions and he’d give you tips and advice.”

Emma landed the role of Girl after two auditions, and it was only then that she met Daniel for the first time for rehearsals.

” I’ve always loved theatre,” says Emma Lucia. “My dad used to do a lot of am-dram and I knew it was something in my life I always wanted to do”

“Peter and Ben auditioned us separately and they must have felt we would have chemistry once we were put together,” she says. The partnership worked a treat – “we get on really well” – and there was immediate talk of a tour.

“But we needed a producer,” says Emma. “I didn’t think it was going to happen, so it was a quite a surprise when it did, but we’re so pleased,” says Daniel.

“The producers have given Peter and Ben complete control as they loved the show as it was in Ipswich.”

Hearing Emma’s Czech accent on stage in the rehearsal room and then her North Eastern one in the interview reveals how much work she put into preparing for the role. “I’d only met one person from the Czech Republic in my life, and briefly at that, so I contacted the Czech Embassy and they put me in touch with two Czech girls who were here for six months and loved the show!” she says.

It’s not like I’m playing Titus Andronicus, but I do empathise more with the human struggle than the musical one,” says Daniel Healy

“So, we met for a cup of coffee and talked about the show, and I recorded their voices and asked any questions that I felt I needed answering.”

Likewise, Daniel’s Dublin accent sounds spot on. “I think, without being big-headed, I’ve got an ear for accents,” he says. “I’d ask Irish friends too, and it’s all about not being afraid to ask.

“Though being Scottish doesn’t make it easier to learn because, when accents are close to each other, like these two, they’re actually more difficult to separate…but I’ve managed to fool a few people with my Irish accent, thinking I really must be from Dublin!”

Daniel and Emma’s instrumental skills are as important to their roles as their singing and acting. “My dad’s a guitarist, and I did musical theatre from the age of five, and TV dramas and films too, and I’ve now got a parallel career as a singer-songwriter,” says Daniel.

Emma Lucia as Girl in Once The Musical, playing the Grand Opera House, York, in early February

“I could never call myself a busker, but I have busked in the past, but I sympathise more with Guy’s struggle with not having the courage to follow through with his dreams when you hope you can make it as a singer-songwriter.

“It’s not like I’m playing Titus Andronicus, but I do empathise more with the human struggle than the musical one.”

Emma’s path to Once began with an itch to dance from the age of three. “I just couldn’t stand still,” she recalls. “Then I picked up on playing the piano [the instrument she plays in Once] at five years old.

“I’ve always loved theatre. My dad used to do a lot of am-dram [amateur dramatics] and I knew it was something in my life I always wanted to do.”

Exuding an air of positivity, she feels a strong connection with her role as Girl. “She sees it as her mission to help other people, and I empathise with that as I love to do that myself,” says Emma.

Once The Musical runs at Grand Opera House, York, from February 3 to 8. Box office: 0844 871 3024, at atgtickets.com/York or in person from the Cumberland Street theatre.