Alice Atang’s Fiddler and Steve Tearle’s Tevye in NE Theatre York’s Fiddler On The Roof
TEVYE will always be Steve Tearle’s most treasured role, his programme note reveals, as the North Easterner plays the Russian village milkman for the third time in celebration of Fiddler On The Roof’s 60th anniversary.
That enthusiasm is writ large in both his performance and his direction of the 1964 Broadway musical, less showy than usual in both cases, still with his familiar twinkle in the eye in his engagement with the audience but graver in disposition too, as demanded by the shadow of anti-Semitism that darkens Joseph Stein’s book for the nine-time Tony Award winner.
The result is his most rounded production for NE Theatre York, one that plays to his Busby Berkeley-style convention of using a big cast but does everything in the cause of the musical, rather than imposing on it mischievously or allowing himself to adlib.
Given what is unfolding in Gaza and Israel, this is a time of heightened division and global political tension to be staging a musical with a pogrom – an act of persecution against Russian Jews in 1905 – at its heart.
Fiddler is set in the Pale Of Settlement of Imperial Russia, where Tevye must cope not only with three daughters’ strong will to marry for love – each one’s choice of husband moving further away from the customs of his faith – but also with the Tsar’s edict to evict the Jewish community from their small village of Anatevka.
Rooted in Sholem Aleichem’s story Tevye And His Daughters (or Tevye The Dairyman) and other tales, Fiddler finds the traditionalist Tevye facing changes to his simple family life from all sides: from daughters rebelling against the convention of arranged marriages, as they take matters into their own hand, to the climactic decree to evacuate the village.
Stein’s book and the songs of Jerry Bock and lyricist Sheldon Harnick richly establish Tevye’s tormented, if humorous character and his role as narrator/commentator, swimming against the tide of change and female empowerment, and this is where Tearle excels, bringing such personality to If I Were A Rich Man and Tradition.
Not only Tearle impresses. Perri Ann Barley’s stoic wife Golde and the rebel treble of Maia Stroud’s Tzeitle, Rebecca Jackson’s Hodle and Elizabeth Farrell’s Chava give moving performances too, while Finlay Butler’s Motel, Kit Stroud’s Perchik and Callum Richardson’s Fyedka play their part resolutely.
Melissa Boyd’s choreography hits the mark in the show’s hot spots, Matchmaker, Matchmaker, To Life, Sunrise, Sunset and Tevye’s Dream, the production’s high point.
Praise too for Tearle’s costume design and musical director Joe Allen’s orchestra, so integral to the moods and changing tones of Fiddler On The Roof.
As for the Fiddler of the title, whether by Tevye’s side or perched on the roof, Alice Atang is a nimble symbol of both joy and melancholia.
NE Theatre York’s Fiddler On The Roof ran at Joseph Rowntree Theatre, York, from April 23 to 27.
Henry Madd’s Henry, left, and Marc Benga’s Jake in Land Of Lost Content. “This show demands that people pay attention to the darker side of life in a small town, while celebrating the beauty of it,” says Henry. Picture: Ali Wright
HENRY Madd’s Land Of Lost Content is a frustrated love letter to his rural hometown.
On tour at Theatre@41, Monkgate, York, tomorrow night (28/4/2024), it carries the trigger warning: References to domestic and sexual abuse, drug and alcohol use, suicide and self-harm.
“It’s about the messiness of old friendships that should probably end but won’t because they’re the only ones who know what it was really like to grow up where you did,” he says of his provocative autobiographical piece.
“This show champions rural voices, it demands that people pay attention to the darker side of life in a small town, while celebrating the beauty of it. Too often rural characters are neglected from mainstream media, but the characters in this show are real and relatable; they are based off the people I knew growing up and still know now.”
Directed originally by Nic Connaughton, the Pleasance’s head of theatre, and now co-directed by Lauren Lambert Moore for the tour, Madd’s insight into friendship, adolescence, forgiveness and life not going to plan is an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.
Henry (Madd) and Jake (Marc Benga) were bored friends who grew up in Ludlow, where friendships were forged in failed adventures, bad habits and damp raves as they stumbled through teenage days looking for something to do. Then Henry moved away.
Now he is back, and there will be no enjoying a welcome home pint without facing up to the memories – and the people – he left behind.
“Welcome to a town where worlds are turned upside down in an instant, yet nothing seems to change,” says Madd.
Drawing on themes of mental health and substance abuse in rural areas, Land Of Lost Content sheds light on the unique challenges small-town life poses to relationships, through a blend of theatre and spoken word in a “necessary analysis on underfunded mental health and youth services, and the stigma around reaching out”.
To sum up Land Of Lost Content: “Immersing audiences from all backgrounds in its microcosm, issues of youth mental health and addiction in rural areas are addressed through Henry and Jake’s complicated rekindling, as they navigate small town hardships – including unreliable buses – while life refuses to go to plan.”
Henry Ladd’s smalltown boy, Henry, in Land Of Lost Content. Picture: Ali Wright
Here son of Ludlow Henry Madd discusses life in a rural town with son of Ripon Charles Hutchinson
Why are rural lives and voices neglected by the mainstream media and culture?
“They’re wrongly seen as being less relevant. It’s the job of art to hold a mirror up to society, right? But people forget that the countryside is part of that. There’s an assumed belief in this country that what happens in the countryside is less important or newsworthy than events in the city.
“Therefore, characters in these rural areas are rarely explored in depth and fall into played-out stereotypes, namely: landed gentry, country bumpkins and murder victims.
“Stories often start with characters who have ‘finally broken free’ from small-town homes and are starting their new life in the big city. There’s a suggestion that everything that happened before this moment didn’t count.
“This show does the opposite. It goes back and sits with that time, appreciates it, confronts it and tries to forgive it where needed.”
What was good about growing up in Ludlow?
“No-one was paying attention to what we were doing.”
What was bad about growing up in Ludlow?
“No-one was paying attention to what we were doing.”
Henry Madd’s Henry and Marc Benga’s Jake in a scene from Land Of Lost Content. Picture: Ali Wright
What leads to mental health issues and substance abuse in adolescence in a rural town? Has that scenario worsened? How could it be improved?
“I think the popularity of substance abuse is rural areas is caused by a perfect storm. Boredom, lack of youth services, lack of services to spot problems, plenty of outdoor space for things to happen secretly and a population where different ages are more likely mingle.
“However, in many ways for me, this created a safe community to experiment in; people looked out for each other. We had a lot of fun at the time, but the repercussions later down the line have been undeniable.
“Whenever I return, I see the same things are happening. It’s a point we talk about in the show: ‘The faces change but never age’. In many ways it seems unchangeable, but so do all things before they…well…change.
“There are many ways it could be improved, certainly investing more heavily in the arts to provide young people with more outlets to express themselves. But also, creating a culture that doesn’t demonise these ‘anti-social’ behaviours as much, so that there is a better support system when people get into trouble.”
The underfunding of youth services is a perennial problem. Discuss…
“After a decade of Tory austerity, it’s hard to think of anything new to say on the matter. We all know that there are far reaching negative consequences of cutting youth services. That’s not to say that these services can fix everything, but they help; they offer an alternative and a safe space to come back to and that’s important.
“I think one of the issues is that we’re stuck in a culture of putting out fires, rather than preventing them happening. ‘Children are the future’ is a soundbite no-one seems to believe despite its undeniable truth.”
“Stumbling through adolescence looking for something to do”: Henry Madd’s Henry and Marc Benga’s Jake in Land Of Lost Content. Picture: Ali Wright
Are rural town teenage days “forged in failed adventures, bad habits and damp raves, stumbling through adolescence looking for something to do”, inexorably inevitable?
“Yeah, of course, to a certain extent. But work can be done to make sure that those who do it are the ones who want to do it, not because there was no other option.
“If you’ve grown up in that culture it’s hard to imagine an alternative, but I’ve definitely spoken to people who had much calmer times growing up and weren’t sniffing ketamine before school, so I think it must be possible.”
What was the writing process behind such a deeply autobiographical piece? Did itdiffer from how you usually write?
“It was the story I had in me that I needed to tell, and I couldn’t have written anything else at the time. Aside from the work I write for children, which is more fantastical, all my writing is autobiographical.
“The process was tough. It involved a lot of sitting with uncomfortable memories and questioning why I was doing it. I felt a huge responsibility to try and tell it honestly while still protecting people’s identities and making it work for the stage.”
“I think the popularity of substance abuse is rural areas is caused by a perfect storm,” says writer Henry Madd. Picture: Ali Wright
How did you come up with the title Land Of Lost Content?
“Stole it! It’s taken from a poem in A E Housman’s collections Shropshire Lad. I felt it captured the sense of a place that used to provide everything you needed but no longer does so. Unfortunately, everyone pronounces the words ‘content’ the wrong way and I regret choosing it.” [That sounds like ‘discontent’ with it, Henry – Editor].
Have you made any adjustments to the play since its initial performances at Edinburgh Fringe and in London in 2022?
“Absolutely. I’m constantly tweaking it. The longer we do the show, the more objective I am about the writing. I used to hate cutting lines but now I’m much less precious, and the script is leaner, more efficient, and clearer because of it.
“The show has been re-directed for the tour by the amazing Lauren Lambert Moore, and she’s really leant into the youthful, playful side of the show, which gives it a fresh new life.”
What three words would you use to summarise Land Of Lost Content?
“Heartfelt. Energetic. Nostalgic.”
What can the York audience expect to see in tomorrow’s performance?
“Plenty of laughter, wild stories, a bear who owns a pub, bad dancing (lots of bad dancing, blame Lauren) and hard-hitting conversations.”
“I am committed to sharing these stories with a wider audience,” says Henry Maddof Land Of Lost Content. Picture: Ali Wright
This tour has visited London, Tunbridge Wells, Canterbury, Norwich, Guildford, Oxford, Bristol, Leeds, Hereford, Birmingham and Bradford so far. What has been the response?
“One of the most gratifying things about this show has been the response of how many people have related to it, no matter where they are from. There is a tendency for rural theatre to only play to rural audiences. While it is important to bring this material to the audiences that may relate to it the most, I am committed to sharing these stories with a wider audience.”
Who are your biggest inspirations in the arts world?
“There’s too many to name (he says about to name some!). I feel like all I do is obsess over other artists and try to recreate what they do. That said, Jez Butterworth and Shane Meadows, if we’re talking big names in theatre and film.
“Ocean Vuong, who’s reminds me that it’s possible to be direct and poetic at the same time. The poet Helen Heckety, whose show To Helen Back, was the first time I’d ever seen spoken word/theatre/autobiography/surreal all done together, and I just remember watching it and going, ‘Yeah, that’s it, that’s what I want to do’.”
If you could collaborate with anyone, alive or dead, who would you choose?
“I mean if anyone’s got Jez’s number and wants to contact him for me, that’d be great. I also love working with different art forms and I love dance, despite being rubbish at it, so working with a choreographer like Pina Bausch would be a dream.”
And finally, Henry, can you outgrow your hometown?
“I think you just have to find different ways to wear it.”
Henry Madd: Ludlow-born Poet, educator, theatre maker. Picture: Raphael Klatzko
Henry Madd: the back story
Poet, educator and theatre maker born in the West Midlands, now operating in Margate.
His work, rooted in his rural upbringing, veers from the heart-warming to the heart- wrenching, always with a healthy dose of comedy woven in.
Performed across the UK and internationally, sharing stages with Rudy Francisco, Harry Baker and Lemn Sissay.
Committed to delivering community art projects, working with organisations from Public Library of San Diego to Philharmonia Orchestra.
Regularly hosts and produces music and poetry events around Kent.
Supported artist of The Marlowe Theatre, Canterbury.
Follow Henry and his tour at: www.henrymadd.com, Instagram @henrymaddpoet; X @Content_land
Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, tomorrow (28/4/2024), 7.30pm. Box office:
Vera Chok and Jay McGuiness in a scene from 2:22 – A Ghost Story, haunting the Grand Opera House, York, from Tuesday
JUST a normal week? No, paranormal, more like, as a ghost story pumps up the spooks. Fear not, a Led Zeppelin legend, country-town teen days, a hope-filled musical and dances of love, loss and legacy are Charles Hutchinson’s picks too.
New ghost to haunt “Europe’s most haunted city”: 2:22 – A Ghost Story, Grand Opera House, York, Tuesday to Saturday, 7.30pm fright-nightly; 2.30pm Wednesday and Saturday; 3.30pm, Friday
JENNY believes her new London home is haunted, hearing a disturbance every night at the same time, but husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben.
Belief and scepticism clash, but something feels strange and frightening, and that something is drawing closer, so they decide to stay up… until 2:22 in the morning… and then they’ll know in The Battersea Poltergeist podcaster Danny Robins’s paranormal thriller, wherein secrets emerge and ghosts may, or may not, appear. Fiona Wade, George Rainsford and Vera Chok join The Wanted singer Jay McGuiness in Matthew Dunster & Isabel Marr’s cast. Box office: atgtickets.com/york.
Robert Plant’s Saving Grace: Playing Harrogate Royal Hall on Tuesday
Gig of the week outside York: Robert Plant’s Saving Grace, Harrogate Royal Hall, Tuesday, 8pm
ERSTWHILE Led Zeppelin singer and lyricist Robert Plant, now 75, leads the folk, Americana and blues co-operative Saving Grace, featuring Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar, and Matt Worley (banjo, acoustic/baritone guitars, cuatro), on their 15-date Never Ending Spring itinerary. South Carolina singer-songwriter Taylor McCall supports. Box office: 01423 502116 or harrogatetheatre.co.uk.
Country matters: Henry Madd’s Henry and Marc Benga’s Jake in Land Of Lost Content at Theatre@41, Monkgate, York
Touring play of the week: Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, Sunday, 7.30pm
NIC Connaughton, the Pleasance’s head of theatre, directs Land Of Lost Content, Henry Madd’s autobiographical insight into friendship, adolescence, forgiveness and life not going to plan in an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.
Henry (Madd) and Jake (Marc Benga) were bored friends who grew up in Ludlow, where friendships were forged in failed adventures, bad habits and damp raves as they stumbled through teenage days looking for something to do. Then Henry moved away. Now he is back, needing to face up to the memories and the people he left behind. Box office: tickets.41monkgate.co.uk.
Come From Away: Award-winning musical of hope, humanity and unity on tour at Leeds Grand Theatre
Musical of the week: Come From Away, Leeds Grand Theatre, Tuesday to May 11, 7.30pm plus 2.30pm Thursday and Saturday matinees
IRENE Sankoff and David Hein’s four-time Olivier Award-winning musical tells the remarkable true story of 6,579 air passengers from around the world being grounded in Canada in the wake of 9/11. Whereupon the small Newfoundland community of Gander invites these ‘come from aways’ into their lives with open hearts.
As spirited locals and global passengers come together to forge friendships, we meet first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter in a celebration of hope, humanity and unity. Box office: 0113 243 0808 or leedsheritagetheatres.com.
Claire Morley: Directing York Shakespeare Project in Sunday’s rehearsed reading of John Fletcher’s The Tamer Tamed. Picture: S R Taylor Photography
Battle of the sexes, round two: York Shakespeare Project in The Tamer Tamed, Creative Arts Centre Auditorium, York St John University, tomorrow (28/4/2024), 5pm
YORK Shakespeare Project complements this week’s run of Shakespeare’s The Taming Of The Shrew at Theatre@41, Monkgate, with a rehearsed reading of John Fletcher’s Jacobean riposte to the Bard’s most controversial comedy, directed by Claire Morley.
In Fletcher’s sequel, the widowed Petruchio has a new wife and a new challenge as he discovers that he is not the only one who can do the taming. Fletcher borrows characters from Shakespeare and Ben Jonson and a key plot device from Ancient Greek dramatist Aristophanes’s Lysistrata for his exploration of marriage and relationships. Box office: parrabbola.co.uk or yorkshakes.co.uk.
The poster for Alexander O’Neal’s farewell tour, Time To Say Goodbye, bound for York Barbican on May 3
Farewell tour of the Week: Alexander O’Neal, Time To Say Goodbye, York Barbican, May 3, 7.30pm
AFTER nearly five decades, Mississippi soul singer Alexander O’Neal is hitting the road one final time at 70 on his Time to Say Goodbye: Farewell World Tour, accompanied by his nine-piece band.
O’Neal will be undertaking a journey through his career with the aid of never-before-seen-photos, testimonies and tributes, all set to the tune of such hits as Criticize, Fake and If You Were Here Tonight. Box office: yorkbarbican.co.uk
Phoenix Dance Theatre in Dane Hurst’s Requiem, part of the Belonging: Loss. Legacy. Love programme at York Theatre Royal. Picture: Drew Forsyth
Dance show of the week: Phoenix Dance Theatre in Belonging: Loss. Legacy. Love, York Theatre Royal, May 3, 7.30pm; May 4, 2.30pm and 7.30pm
YORK Theatre Royal is the final venue on Leeds company Phoenix Dance Theatre’s first British tour since 2022 with a visceral triple bill of works by international dance makers Dane Hurst, Miguel Altunaga and Phoenix artistic director Marcus Jarrell Willis.
Belonging: Loss. Legacy. Love opens with South African choreographer and former Phoenix artistic director Hurst’s reimagining of Mozart’s Requiem in response to pandemic-induced grief. Two world premieres follow: Afro-Cuban choreographer Altunaga’s first Phoenix commission, the daring Cloudburst, and Texas-born Jarrell Willis’s Terms Of Agreement.Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Cult: Marking 40th anniversary with the 8424 tour this autumn. Picture: Jackie Middleton
Gig announcement of the week: The Cult, The 8424 Tour, York Barbican, October 29
SINGER Ian Astbury and guitarist Billy Duffy mark the 40th anniversary of The Cult, the Bradford band noted for their pioneering mix of post-punk, hard rock and melodramatic experimentalism, by heading out on The 8424 Tour.
Once dubbed “shamanic Goths”, Astbury and Duffy will perform songs from The Cult’s 11-album discography, from 1984’s Dreamtime to 2022’s Under The Midnight Sun, in a set sure to feature She Sells Sanctuary, Rain, Love Removal Machine, Wild Flower and Lil’ Devil. Box office: yorkbarbican.co.uk.
Jay McGuiness’s Ben in a clinch with Vera Chok’s Lauren in 2:22 A Ghost Story
WHEN Jay McGuiness, boy band singer, songwriter, Strictly champion, musical theatre actor and fantasy novelist, saw 2:22 A Ghost Story, he knew what he wanted to do next.
“I turned to my manager [Damien Sanders] and said, ‘I’ve got to do that’,” recalls The Wanted vocalist, who is now touring in Danny Robins’s supernatural thriller. Next stop York, visiting the Grand Opera House from April 30 to May 4.
“Damien is a very convincing Cockney fella! He called up the casting agent, and after a successful reading, they said, ‘in you go’ – and then I had to wait five months for the new cast to start. It was like waiting for Christmas to come around!
“We had four weeks of rehearsals, which is more than enough for a play. We had time to get to know each other, whereas with musicals, you’re being whisked from one room to another, with lots of irons in the fire, dancing, doing your lines, trying on costumes.”
Newark-born Jay’s career in musicals had led indirectly to his participation in 2:22 A Ghost Story. “I saw the play because I did a musical with Girls Aloud’s Kimberley Walsh: BIG! The Musical, based on the Tom Hanks film. We went to see Cheryl [Cole, from Girls Aloud], who was in the show.”
Was it scary? “I jumped out of my skin!” says Jay, 33. Next week you can find out why when he plays Ben alongside Vera Chok as Lauren, Fiona Wadeas Jenny and George Rainsfordas Sam in the show’s seventh cast.
Written by the award-winning Danny Robins, creator of the BBC podcast The Battersea Poltergeist, and directed by Matthew Dunster and Isabel Marr, 2:22 is billed as “an adrenaline-filled night where secrets emerge and ghosts may, or may not, appear” as Robins asks: “What do you believe? And do you dare discover the truth?”
Tensions rising in the kitchen: Jay McGuinness’s Ben with Vera Chok’s Lauren, left, and Fiona Wade’s Jenny in Danny Robins’s 2:22 A Ghost Story
“I continue to be blown away by the success of this play,” says Danny. “It demonstrates a huge appetite and curiosity for all things paranormal. This fabulous seventh cast for the 2024 leg of the tour will bring their own energy to these characters, telling the story anew for audiences across the UK.
“It’s always exciting to see the play come to life again in this way. It’s such a fun night out, and if chills give you thrills, you’re in for a treat.”
In 2:22, Jenny believes her new home is haunted, claiming she hears something every night at the same time, but her husband Sam is not having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben.
Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is drawing closer, so they decide to stay up…until 2:22 in the morning… and then they will know. “I tend not to be awake at that time,” says Jay.
He met his fellow cast members at the start of rehearsals, “but I knew of them,” he says. “When you start, it’s like the first day of school, getting the jitters out of the way. It’s natural that after five years of being in a band, suddenly auditioning again was a big adjustment, thinking, ‘how have I got myself into this situation again?’! But once you try to make someone jump or laugh, it’s fun.”
Ben is Jay’s first role in a play rather than a musical, having appeared in Rip It Up, BIG! and Sleepless, a second show rooted in a Tom Hanks film. “I’ve absolutely loved it, especially being able to focus on the script, which facilitated us getting to know each other and find out everyone’s opinions on each character. It was like being back at drama school,” he says.
“Then getting out in front of an audience each night, when you have to make sure they’re laughing at the right moment, jumping at the right moment.”
No smoke without fire: Jay McGuiness lighting up in 2:22 – A Ghost Story. Picture: Johan Persson
Robins’s play is built around tensions brought on by class differences. “You can feel the different reactions in different theatres around the country!” says Jay, who wiull be on the road from January to June. “I’m playing a working-class man who feels out of place at this dinner party, somewhere fancy in London, where most of the houses are newly gentrified, so he puts his foot in it with ill-judged comments, and the way he talks to women is very old-school Cockney.
“It’s good that people in places like Norwich really connected with him, whereas it was a very different response in Cambridge.”
Jay is enjoying the collective thrill of a fright night at the theatre. “There’s something very exciting about it that’s different from something that’s introspective. It’s raw, and there’s plenty to chew on about class, ghosts and believing in the supernatural,” he says. “There’s fun to be had in hearing people around you screaming or laughing.”
Jay, who loves the ghost walks in Edinburgh, has plenty more to choose from on his return to York for the first time since The Wanted ambled down Shambles on their reunion two years ago. “I remember that shop with all the ‘ghosts’ in the window and the queue outside,” he says.
2:22 A Ghost Story spooks Grand Opera House, York, from April 30 to May 4, 7.30pm nightly plus 2.30pm Wednesday and Saturday; 3pm, Friday. Box office: atgtickets.com/york
The poster for 2:22 A Ghost Story, on tour at Grand Opera House, York
Ghostly goings-on at the Grand Opera House, York
IN “Europe’s most haunted city”, 2:22 A Ghost Story will be playing at the Grand Opera House, a theatre and former corn exchange with its own paranormal stories.
When asked about the ghostly goings-on in the Cumberland Street building, Paranormal Research York follows up its visit to the theatre by saying: “Our team encountered a variety of supernatural experiences. The Grand Opera House continues to intrigue and captivate with its haunting mysteries, each time we investigate.”
Laura McMillan, the Opera House’s theatre director, says: “With over 100 years of history, the Grand Opera House certainly has a few spooky tales to tell that make us the perfect host for 2:22 A Ghost Story.
“York is known worldwide for its ghost stories and I know that audiences are going to love being on the edge of their seats with 2:22 as they experience a night of adrenaline-filled entertainment.”
Jay McGuiness: the back story
Jay McGuiness: Singer, songwriter, actor, 2015 Strictly Come Dancing champion and fantasy novelist. Picture: Seamus Ryan
Born: Newark, Nottinghamshire, July 24 1990.
Training: Attended “normal Catholic secondary school” in Mansfield. Started Tuesday afternoon dance classes at Charlotte Hamilton’s Dance School at 13 when “voice had started squeaking at that point!” Later attended Midlands Academy of Dance and Drama in Nottingham.
Best known for: Member of boy band The Wanted. Debut single All Time Low topped UK charts in 2010, as did Glad You Came in 2011. Further Top Five singles with Heart Vacancy, Gold Forever, Lightning, Chasing The Sun, I Found You and Walk Like Rihanna and Top Ten hits with We Own The Night and Show Me Love (America).
Band re-formed in 2021, releasing greatest hits album Most Wanted and embarking on 12-date UK arena tour in Spring 202.
TV success: After taking break from The Wanted, he won Glitterball trophy with Russian-Kazakh professional dancer Aliona Vilani on 2015 series of BBC One’s Strictly Come Dancing. Jive routine to You Never Can Tell and Misirlou, from Pulp Fiction, amased eight million hits on YouTube. Voted Strictly’s Best Ever Dance by BBC viewers in December 2020
Musicals: Starred in lead role of Josh Baskin in musical version of Tom Hanks’s movie Big! in Dublin in 2016. Reprised role in West End at Dominion Theatre, London, in 2019. Took West End lead role of Sam in Sleepless, A Musical Romance at Troubadour theatre, London, based on Tom Hanks’s movie Sleepless In Seattle, in 2020.
More theatre work: Rip It Up, 1960s’ song-and-dance show at Garrick Theatre; London, lead role of Bob Wallace in touring production of Irving Berlin’s White Christmas in 2022.
Television work: Won celebrity version of Channel 4 show, Hunted, raising money for Stand Up To Cancer. Won weekly battle to take champion’s trophy in Richard Osman’s House Of Games. Presented regular features for BBC’s The One Show, fronting films on topics such as music education in schools and veganism.
Book: Debut fantasy novel for young adults, Blood Flowers, a story of love, witchcraft, betrayal and murder, published worldwide by Scholastic on January 8 2024.
The cover artwork for Jay McGuiness’s debut novel Blood Flowers
Nick Patrick Jones’s Hortensio, left, Stuart Green’s Grumio, Mark Simmonds’s Vincentio, Sam Jackson’s Lucentio, hidden, Mark Payton’s Gremio, back, Rosy Rowley’s Baptista Minola, front, Kirsty Farrow’s Bianca, Joy Warner’s Merchant/Widow and Flo Poskitt’s Katherine in York Shakespeare Project’s The Taming Of The Shrew. Picture: David Kessel
TWENTY one years have passed since York Shakespeare Project first staged The Taming Of The Shrew as its second ever production.
Staging Shakespeare’s “most controversial” comedy has become even more awkward in that time. The term “Gaslighting” is in common parlance; the #MeToo movement has found its voice; misogyny and sexism are a minefield of social media debate, Andrew Tate et al.
In 2003, Paul Toy, YSP’s director for Shrew, talked of the “welcome gains of feminism leaving it as less of a comedy, more of a problem play”. In 2009, Mooted Theatre’s Mark France saw the 1592 play’s sexual politics as “a gradual meeting of minds” in a war of words between Kate and Petruchio where both subvert the roles that society has determined for them. He coined the term “casual cruelty” to encapsulate the ploys of deception conducted by Tranio, Lucentio and Hortensio.
In 2003, Toy reversed the usual gender casting of the lovers and their servants, with Alice Borthwick, a tall Scot with a pageboy haircut, playing Petruchio in strapping manner opposite John Sharpe’s Katherina with his/her pale commedia dell’arte face and rouge lips. “There is now no pretence that what you see is `real’,” he said. “Hopefully, the play can be seen as less of a treatise and more of a game”.
Now, Maggie Smales, whose all-female version of Henry V in 2015 lingers in the memory, returns to the YSP director’s chair for ‘Shrew’, assisted by Claire Morley [her Henry , from that production].
Smales had played a serving wench in a South Yorkshire For Youth production of ‘Shrew’ in the mid-Sixties in Rotherham and Bianca in 1972 on her Bretton Hall drama course, now recalling them as “exemplifying the hypocrisy of a time that seemed to be offering the opportunity of gender equality without any real shift in attitudes”.
“We thought we were shaping a new world order with altered values,” she laments. “But there’s still quite a lot to be done about gender equality”.
Florence Poskitt’s Katherine in York Shakespeare Project’s The Taming Of The Shrew
No better time to start than now with this bracing production of ‘Shrew’, astutely edited by Smales and Morley. In their hands, ‘Shrew’ remains a combustible, hot and bothered drama that does not shy away from the “inherent misogyny” and gaslighting abuse in Petruchio’s regime of sleep deprivation and starvation rations for Katherine.
Crucially, however, Florence Poskitt’s feminist Katherine has the last say, not so much a shrewish shrew as shrewd in determining her path, rather than “melting” to Petruchio’s taming techniques after their calamitous nuptials.
Smales has set Shakespeare’s battle of the sexes/war of words in 1970, when the sun was setting on the Summer of Love and Germaine Greer published The Female Eunuch, a landmark statement in the feminist movement.
More precisely, Smales’s ‘Shrew’ opens in 1960 with a reimagined induction/prologue (replacing the Christopher Sly one), the cast exchanging presents beside the Christmas tree. The players then find themselves transported into a 1970 world wherein they experience and perform the play.
Judith Ireland’s costumes, from her own collection apparently, evoke that psychedelic age of flares, scarves, long hair, dark glasses and headbands, matched with the hits of Hendrix, The Who and Credence Clearwater Revival.
Ah, the whiff of nostalgia, the look, the sounds, setting up the boisterous fun and games that play out in the hands of Lara Stafford’s Tranio and Sam Jackson’s Lucentio, swapping clothes, genders and roles, and the deluded sparring of Nick Patrick Jones’s Hortensio and Mark Payton’s Gremio (in professional actor turned Shakespeare teacher Payton’s ‘first proper acting experience for almost 20 years’ – and what a joyful return he makes).
Stuart Green’s Grumio, with his guitar and shades, adds to the rock concert vibe, along with Joy Warner in her roadie cameo, while Rosy Rowley and Poskitt both perform a song, Rowley in the rowdy spirit of a Janis Joplin; Poskitt, in white, in a quiet solo spotlight in Fred Neil’s Everybody’s Talkin’.
Jim Paterson’s Petruchio. Picture: David Kessel
Rowley is playing Baptista Minola, traditionally Katherine and Bianca’s father, but here turned into their mother: a significant change that alters the male-dominated dynamic. A decision typical of Smales’s good judgement that always marks out her direction.
The “Taming” remains a battle waged between the needs of individual freedom and the demands of social conformity that decree that Katherine should be wed and that Petruchio seeks to apply in his unconventional way.
Poskitt, who took on her role with only a week to learn her lines and another to join the last week of rehearsals, is known for her wide-eyed comedy chops and singing, but there is much more lurking inside that comes out here (as it did in Agatha Christie’s And Then There Were None). Wild, scolding-tongued, as those around her decry, her subversive Katherine is ultimately more than a match to Petruchio’s prodding. Not so much a woman ‘tamed’ at the end as one establishing her own rights.
Paterson’s Petruchio pulls off the balancing act of being a rock music-loving, preening popinjay but humorous too for all his outrageous behaviour. Rik Mayall, Rupert Everett, that brand of English humour.
Maggie Smales has conquered Shakespeare’s problem play, no problem. This ‘Shrew’ is funny, furious, feminist, with an eye to the future too, as peace, love and equality are secured at last.
Performances at 7.30pm tonight; 2.30pm and 7.30pm tomorrow, as part of York International Shakespeare Festival. Box office: tickets.41monkgate.co.uk.
York Shakespeare Project’s poster for Sunday’s rehearsed reading of John Fletcher’s The Tamer Tamed
YORK Shakespeare Project is complementing this week’s run of Shakespeare’s The Taming Of The Shrew with a one-off performance of John Fletcher’s sequel, The Tamer Tamed, at the Creative Arts Centre Auditorium, York St John University, on Sunday at 5pm.
Fletcher’s rarely staged Jacobean riposte to William Shakespeare’s most controversial “problem play” will be presented in a rehearsed reading on the closing day of the 2024 York International Shakespeare Festival.
YSP chair Tony Froud explains: “We are very happy to borrow an idea from Gregory Doran, who staged both plays in tandem, using the same cast, in his productions for the Royal Shakespeare Company in 2003. Fletcher’s play is a deliberate and very entertaining response to Shakespeare’s original.”
Director Claire Morley in rehearsals. Picture: S R Taylor Photography
Written in 1611, 20 years after Shakespeare’s battle of the sexes, The Tamer Tamed (or The Woman’s Prize) gives an insight into changing attitudes to women and marriage in the Jacobean period.
YSP’s rehearsed reading is being directed by Claire Morley, assistant director to Maggie Smales on The Taming Of The Shrew, whose run at Theatre@41, Monkgate, ends tomorrow night. Many of the same cast will undertake Sunday’s reading, joined by familiar YSP faces Andrew Isherwood, Effie Warboys and Sally Mitcham.
“We’re enormously grateful to members of our very talented cast for committing to perform a second play, but the actors couldn’t resist the challenge of exploring Fletcher’s fascinating take on Shakespeare,” says Claire. “Luckily they don’t have to learn any more lines, as this will be a script-in-hand reading.”
Claire Morley, front row, second from right , in the role of Henry V in York Shakespeare Project’s Heny V in 2015
Claire is no stranger to York Shakespeare Project, having appeared in several of its productions, most notably playing the title role in Maggie Smales’s all-female Henry V in 2015. “It’s a joy to be working with Maggie again and we’re very lucky to have such a fabulous cast,” she adds.
In Fletcher’s sequel, the widowed Petruchio has a new wife and a new challenge as he discovers that he is not the only one who can do the taming. Fletcher borrows characters from Shakespeare and Ben Jonson and a key plot device from Ancient Greek dramatist Aristophanes’s Lysistrata. “The result is a richly entertaining exploration of marriage and relationships in another battle of the sexes,” says Tony.
The cast comprises: Rosy Rowley as Maria; Effie Warboys, Livia; Kirsty Farrow, Bianca; Andrew Isherwood, Petruchio; Mark Simmonds, Petronius; Mark Payton, Gremio and Peter; Sam Jackson, Rowland; Nick Patrick Jones, Hortensio; Sally Mitcham, Tranio, and Stuart Green, Grumio.
Tickets are on sale at parrabbola.co.uk or yorkshakes.co.uk.
Alex Phelps’s Joseph Surface, left, and Joseph Marcell’s Sir Peter Teazle in Tilted Wig’s The School For Scandal. Picture: Anthony Robling
WHEN The School For Scandal premiered at Drury Lane in 1777, the audience laughed so loudly that a passer-by thought the building was collapsing.
Roll forward to 2024, when Sean Aydon’s 1950 setting of Richard Brinsley Sheridan’s comedy of manners fails to bring down the house. “They’re finding themselves funnier than we are,” came one barb of Dorothy Parker bite over the interval drinks.
It had looked so promising, from the stellar casting of The Fresh Prince Of Bel-Air butler Joseph Marcell as the lordly Sir Peter Teazle to the programme design in the style of the Town & Country high society fashion magazine. Anthony Tittle, editor in chief, Henry Tattle, editor at large, Ted Talk, production director; you get the picture. Never judge a play by its programme cover, however.
“We felt that what our audiences needed more than anything was an evening of pure fun,” reckoned Aydon in the wake of the pandemic gloom. “An evening of aural and visual pleasure without a moment of darkness…”
Darkness is indeed absent from Sarah Beaton’s set and costume designs. A plethora of peach drapes, three peach ceiling lamps, and blue-and-white checkerboard floor tiles rather than regulation black and white, set the tone, but that mood board is muted. Peach is not peachy but pallid.
Out go 18th century wigs and ruffles that “can feel like a barrier”, reasons Aydon, but equally “it didn’t feel right to set it in the modern day as the world of the play has very different rules to our own, particularly with regards to marriage as a financial agreement”.
Wanting to retain a sense of Sheridan’s gossip-driven milieu being one of wealth, style and the height of fashion, Aydon settled on the mid-20th century as a “great place aesthetically”, whose vibrant colours and evocative textures could be appreciated “while knowing we are not in our 21st century world”.
For all the witty detail, such as the three phones on a row of plinths that emphasise the ever-bubbling babble of society chit-chat, the new setting remains a barrier to the highly mannered 18th century comedy being funny.
No feeling is more deflating on a night at the theatre than a comedy failing to spark, when laughs are as muted as those peach drapes. Audiences have to connect, to bond, to care, to warm to characters, but The School For Scandal is all surface – and not only in having three characters by that surname – and surface is not enough.
Snappy dialogue matters more than a snappy dress sense. Compare and contrast with Richard Bean’s revitalisation of Carlo Goldoni’s 1746 Italian comedy The Servant Of Two Masters, relocated to 1963 Brighton as One Man, Two Guvnors with a scabrous new script.
It did everything that Aydon craves for Tilted Wig’s The School For Scandal: “Theatre is important for many reasons: it can challenge us, provoke us, shock us, teach us to question the world around us. But it can also provide deep and unadulterated joy.” True for that Bean feast of comic chaos, but not here.
Sheridan’s names for his “outrageous characters”, from Snake to Weasel, Backbite to Careless, Lady Sneerwell to Mrs Candour, promise more than they deliver in this slow-moving account of Sir Peter Teazle (Marcell) believing that his young wife, the country maid Lady Teazle (Lydea Perkins), is playing away from home, as Lady Sneerwell’s scandalmongers spread the word. Not true, but if he thinks she is, why not give it a go, she decides.
Characters come and go, come and go again, the words pile up, the laughs don’t, as Aydon’s wish for us to “celebrate the joy of being alive” is unfulfilled, for all the striving of Marcell’s Sir Peter, Garmon Rhys’s Charles Surface/Benjamin Backbite and Emily Jane McNeill’s Lady Sneerwell.
There is one exception to this frustrating experience. Having delighted York audiences previously in Shakespeare’s Rose Theatre’s Twelfth Night and York Theatre Royal & Tilted Wig’s Around The World In 80 Days, Alex Phelps parades his comic craft once more with delicious timing, peacock elegance and physical comedy chops worthy of a Chaplin, Wisdom or Wall, both as the manipulative, hypocritical Joseph Surface and in a tipsy, scene-stealing cameo as Bumper.
An Act Two scene with Phelps’s Joseph, Sir Peter and Lady Teazle, involving a chaise longue, a screen and a cupboard, is the one moment of “unadulterated joy”. Elsewhere, alas, Sheridan’s top of the fops comedy feels dated, and it hasn’t dated well.
Tilted Wig in tandem with Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, until Saturday; 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Barrie Rutter: Going face to face with Shakespeare’s Royals at York Theatre Royal Studio
IN his X profile, veteran Yorkshire actor Barrie Rutter OBE introduces himself as: “Lover of language. Awobopaloobopalopbamboom – everything else is Shakespeare”.
Barrie and the Bard have had a long, long relationship, one that is the subject of his new show, Shakespeare’s Royals, whose 11-date tour sends him to the York Theatre Royal Studio tomorrow (26/4/2024) as part of the York International Shakespeare Festival.
Barrie, founder and former artistic director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.
Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, took the revolutionary step of creating his own theatre company in 1992 at Dean Clough in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools.
It has been said that the Yorkshire dialect most readily matches the Elizabethan language of Shakespeare’s time. “I can’t say that would be the case,” says Barrie. “I never claimed that, but all those short vowels and granite-heavy consonants are great lanes for language to travel down, and the northern voices of our country suit that language, that sound – as we know from all the work I did for Tony Harrison, echoing Ancient Greek dramas [The Mysteries, The Oresteia and The Trackers Of Oxyrhynchus].”
Shakespeare’s Royals was first staged as a one-off in Halifax last April. “The evening was such a success that I’m now touring it,” says Barrie. “The first one was at The Viaduct, the cellar theatre space I created at Dean Clough, which I have a real fondness for, and it worked really well.
“Sarah and Jamie Horsley, who run the True North restaurant at Dean Clough and now The Viaduct, suggested putting things on there and taking things out on tour as Sarah sits on the touring board of Arts Council North, so that’s what I’m doing.”
Barrie stepped down from the artistic director’s post at Northern Broadsides in April 2018 in frustration at what he saw as inadequate Arts Council funding for the company. Since then he has worked as a freelance actor, such as performing with Clive Anderson in the world premiere of Daniel Taub’s Winner’s Curse at the Park Theatre, London, in February last year, as well as coming through treatment for throat cancer in 2020.
A show such as Shakespeare’s Royals gives him a chance to keep squeezing his artistic juices. “You need your ego, the one that doesn’t get in the way, but keeps you going, keeps you being imaginative, keeps the brain working,” says Barrie. “This is a way to say I still have something to offer, something entertaining, something informative…and always pleasurable. This show is a bit of all that…and it’s political too.
Barrie Rutter as Lear in Shakespeare’s King Lear in 2015. Picture: Nobby Clark
“I make no secret of choosing Titania’s climate change speech from A Midsummer Night’s Dream [Act II, Scene 1] and the ‘basic anti-Brexit edit’ of John of Gaunt’s This England monologue [from Richard II, Act II, Scene 1].
His favourite speech from Henry VI, Part Three, others from Henry V and King Lear, feature too, bookended by Macbeth, his first show as a “winsome 18-year-old at school” in 1964.
Shakespeare’s Royals combines Rutter’s guide to Shakespeare’s royalty, from Richard III to Henry IV, V and VI and the fairy king and queen of A Midsummer Night’s Dream, with humorous anecdotes from his life in the theatre, whether founding Northern Broadsides, directing Lenny Henry in his Shakespeare debut as Othello, portraying assorted royals or encountering Dizzy Gillespie and Rudolf Nureyev.
As he reflects on a career that has taken him from Hamburg to Helsinki, Brazil to Beijing, Shakespeare’s Globe to the amphitheatre of Epidaurus in Greece, he says: “Some stories are very personal, some are instructive of what makes me tick, what I enjoy; hopefully they will be relatable and fun.
“In the case of the Calypso that accompanies Richard II, I was just going along my shelves, seeing what was there, and I remembered this Calypso that I sang in 1966 and didn’t sing again until last year – and yet I could recall every line.”
Barrie will be joined by Emily Butterfield from Northern Broadsides. “I didn’t want there to be no female voice in the show,” he says. “So I have Emily for Titania, Cleopatra and Elizabeth from Richard III, and there’ll be more music: a dirty limerick with Henry V and 12-bar blues with Cleopatra. Emily also plays the flute, and she’ll close the show with the last song from Twelfth Night.”
At school, an English teacher had frogmarched Rutter into the school play because he had “the gob for it”, and feeling at home on stage, he chose his future direction and has never looked back. Now he returns to York Theatre Royal, where he last appeared in November 2017 in his farewell Broadsides tour, For Love Or Money, a typically anarchic theatrical double act with Blake Morrison.
Time for Barrie Rutter to shake up Shakespeare once more.
Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, tomorrow (26/4/2024), 7.45pm;. Also Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.
Footsbarn Theatre in Twelfth Night: First British performances in 15 years in world premiere at York International Shakespeare Festival
A FEAST of Shakespeare, a musical’s 60th anniversary, Motown magic, smalltown teenage troubles and a Yorkshire rock band’s birthday bash hit the mark for Charles Hutchinson.
Festival of the week: York International Shakespeare Festival, until Sunday
SHAKESPEAREAN Identity is the theme of the sixth York International Shakespeare Festival, now an annual event, run by director Philip Parr. Sponsored by York St John University, it features shows, lectures by internationally recognised academics, exhibitions and workshops presented by Shakespeare enthusiasts from all over the world.
Among the highlights will be Footsbarn Theatre’s first British visit in 15 years with Twelfth Night on Saturday and Sunday and York Explore’s exhibition of 300 years of representations of Othello. Tickets and full programme details are available at yorkshakes.co.uk/programme-2024.
Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof
Musical of the week: NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, York, running until Saturday, 7.30pm and 2.30pm Saturday matinee
STEVE Tearle directs NE Theatre York in Jerry Bock, Sheldon Harnick and Joseph Stein’s musical, taking the role of Tevye, the humble village milkman, for the third time too in this 60th anniversary production.
When three of Tevye’s five daughters rebel against the traditions of arranged marriages by taking matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds, against the backdrop of the Tsar’s pogrom edict to evict all Jews from his Russian village in 1905. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
The poster for 1812 Theatre Company’s double bill at Helmsley Arts Centre
Double bill of the week: 1812 Theatre Company in Baby Dolls and Contractions, Helmsley Arts Centre, Thursday to Saturday, 7.30pm
HELMSLEY Arts Centre’s Young Arts Leaders Charlotte Mintoft and Amelia Featherstone direct the 1812 Theatre Company in Tamara von Werthern’s Baby Dolls and Mike Bartlett’s Contractions respectively. The first is a futuristic comedy about conception, state control and rebellion, wherein three women meet at a baby shower but darker things than cupcakes and babygrows are on their mind.
The second, an ink-black comedy, focuses on the boundaries between work and play. Whereas Emma thinks she’s in love with Darren, her boss thinks she’s in breach of contract. The situation needs to be resolved. Box office: 01439 771700 or helmsleyarts.co.uk.
Barrie Rutter: Reflecting on shaking up Shakespeare at Northern Broadsides and beyond
Breaking down the Bard barrier in the north: Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, Friday, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm
BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.
Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, created his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.
Soul Satisfaction: Four Tops and Motown hits here they come at Milton Rooms, Malton
Ryedale tribute show of the week: Soul Satisfaction, The American Four Tops Motown Show, Milton Rooms, Malton, Friday, 8pm
DIRECT from the United States, Soul Satisfaction combine powerful vocals, sweet harmonies and high-stepping dance routines in the American Four Tops Motown Show.
This celebration of Motown’s golden era revels in Reach Out (I’ll Be There), Walk Away Renee, It’s The Same Old Song, Loco In Acapulco, I Can’t Help Myself and Bernadette, complemented by The Temptations, Smokey Robinson and The Miracles, Marvin Gaye and Ben E King hits. Box office: 01653 696240 or themiltonrooms.com.
The trials of growing up in a small country town: Henry Madd’s Henry and Marc Benga’s Jake in Land Of The Lost Content at Theatre@41, Monkgate, York. Picture: Ali Wright
Touring play of the week: Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, Sunday, 7.30pm
NIC Connaughton, the Pleasance’s head of theatre, directs Land Of Lost Content, Henry Madd’s autobiographical insight into friendship, adolescence, forgiveness and life not going to plan in an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.
Henry (Madd) and Jake (Marc Benga) were bored friends who grew up in Ludlow, where friendships were forged in failed adventures, bad habits and damp raves as they stumbled through teenage days looking for something to do. Then Henry moved away. Now he is back, needing to face up to the memories and the people he left behind, as Madd draws on themes of mental health and substance abuse in rural areas in his blend of theatre and spoken word. Box office: tickets.41monkgate.co.uk.
Joe Martin: Troubadour tales at the Milton Rooms, Malton
Troubadour of the week: Joe Martin, Milton Rooms, Malton, Sunday, 8pm
INDEPENDENT singer-songwriter and modern-day troubadour Joe Martin captures stories of people and encounters picked up on the road in his tales of friends, strangers and his own experiences.
Before his solo venture, Lancashire-born Martin fronted a country band while studying at university in Leeds, opening for The Shires and appearing at the Country to Country festival. Now he performs in Europe and the United States, such as at the Bluebird Cafe in Nashville, Tennessee. Box office: 01653 696240 or themiltonrooms.com.
The Cult: 40th anniversary tour heads to York Barbican in October. Picture: Jackie Middleton
Gig announcement of the week: The Cult, The 8424 Tour, York Barbican, October 29
SINGER Ian Astbury and guitarist Billy Duffy mark the 40th anniversary of The Cult, the Bradford band noted for their pioneering mix of post-punk, hard rock and melodramatic experimentalism, by heading out on The 8424 Tour.
Once dubbed “shamanic Goths”, Astbury and Duffy will perform songs from The Cult’s 11-album discography, from 1984’s Dreamtime to 2022’s Under The Midnight Sun, in a set sure to feature She Sells Sanctuary, Rain, Love Removal Machine, Wild Flower and Lil’ Devil. This year they have begun a vinyl reissue series. Box office: yorkbarbican.co.uk.
Grappling brothers: Benedict Shaw’s Stuart, left, and Oliver Anthony’s Jamie in Kay Mellor’s The Syndicate at Leeds Grand Theatre
THE celebs were out in force on the first night of this stage conversion of Kay Mellor’s BBC drama series The Syndicate, in memory of the late Leeds playwright, screenwriter, actress and producer.
From Bradford pantomime stalwart Billy Pearce to Jodie Prenger and a coterie of Emmerdale soap stars, they gathered in celebration of Kay, who died on May 15 2022 at the age of 71.
Originally Kay was to have directed this premiere with actress daughter Gaynor Faye, who said beforehand: “It is extremely special to be a part of this new theatrical version of The Syndicate and one which my mum was excited to stage.
“Having acted in the last series on TV, when she asked me to assist her in directing the show, I jumped at the chance. Now, it has become my first solo directing role and whilst I am so sad not to be doing it with her, I am also very proud and excited to bring mum’s vision to the fore in her hometown of Leeds.”
The Syndicate cast with Kay Mellor’s grandson, Oliver Anthony, outside Leeds Grand Theatrre. Picture: Aaron Cawood
Playing to a home crowd, so appreciative of council estate-raised Kay’s work on stage and screen, from A Passionate Woman to Fat Friends, Band Of Gold to In The Club, found the Leeds Grand bathing in a mood of nostalgia and reflection but of anticipation too.
The Syndicate ran for four series on the Beeb from 2012 to 2021, each with a different ensemble of six lottery winners, tracing what happened next, the good and the bad.
In the wake of stage adaptations of Band Of Gold and Fat Friends, Kay’s final stage play reprises the comedy drama format from the TV series, this time with a syndicate of five supermarket workers, whose lottery syndicate numbers come in, just as their jobs and livelihoods are under threat from a prospective new superdupermarket next door.
We meet them before Gaynor Faye’s bubby lottery company rep Kay delivers their £24 million jackpot. In the store team are phlegmatic check-out stalwart Denise (Samantha Giles, from Emmerdale); reserved, is-she-hiding-something Leanne (Rosa Coduri-Fulford); old-school, kindly manager Bob (William Ilkley, a familiar face from so many John Godber plays and beyond), and two brothers, struggling Stuart (Benedict Shaw) and jack-flash Jamie (Oliver Anthony, in his highly impressive stage debut, having played Theo in season four of the TV series).
The cast for Kay Mellor’s The Syndicate on Bretta Gerecke’s set design
In trademark Kay Mellor style, the characterisation is both intriguing and fully realised, and the dialogue fizzes with northern truth, observational humour and the warmth of familiarity in its patterns of behaviour. As ever, she draws in her audience to the point of complete connection with what ensues.
Stuart’s girlfriend Amy (Brooke Vincent, from Coronation Street) is pregnant and expectant of a lifestyle he can’t fund. Find a place for them to live, or that’s it, she demands. Cue Jamie suggesting the brothers should make off with the day’s takings from the safe, but the robbery goes wrong when Bob turns up and is hospitalised by a blow from Jamie.
Jerome Ngonadi’s offbeat copper, Newall, starts his investigations just as the syndicate strikes lucky as two storylines then overlap. Will the truth emerge and how will each winner react to sudden wealth, especially as one was not up to date with weekly payments.
Faye’s Kay drives the publicity drive but both brothers have something to keep hidden and so does Leanne, from her past. Giles’s Denise embraces cosmetic surgery; Jamie laps up the sharp suits and the even smarter car; Bob faces crucial surgery; Amy spends, spends, spends like Viv Nicholson, new house, new décor, new clothes. In the best performance of all, and Mellor’s best writing to boot, Shaw’s Stuart is troubled by his conscience.
Life’s a lottery for Brooke Vincent’s Amy in The Syndicate
For all the humour, Mellor is ultimately questioning the cost, the price, of craving money and fame. On the one hand, the self-destructive Jamie flies too close to the sun, but on the other, love will out for Bob, blossoming with new partner Annie (Jade Golding), and the burgeoning feelings of Stuart and Leanne.
Snippets of pecuniary pop songs, from Pink Floyd to Money’s Too Tight To Mention, pop up throughout, like a Greek chorus: one more canny detail in Faye’s well-judged, strikingly uncomplicated direction.
The glitter is to be found in Bretta Gerecke’s set and costume designs for Vincent’s Amy, but all that glisters is not gold, as a lonely, empty Amy discovers in Mellor’s cautionary finale.
Kay, how we miss your wit, your humanity, your Yorkshire nous, but how glad we are that your plays live on.
Kay Mellor’s The Syndicate, Leeds Grand Theatre, 7.30pm tonight, tomorrow and Friday; 2.30pm and 7.30pm, Thursday and Saturday; 4pm, Sunday. Box office: 0113 243 0808 or leedsheritagetheatres.com.
