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Covid curse strikes again as Doctor Dorian Deathly is forced to postpone A Night Of Face Melting Horror until next January UPDATED 1/11/2022

Doctor Dorian Deathly’s nights of face melting horror must wait until January 2023

YORK spookologist and ghost botherer Doctor Dorian Deathly was to have swapped walking the (ghost) walk for talking the (ghost) talk for Halloween season, but Covid has “done a right number on him”, in the words of Deathly Dark Tours operations manager Dede Deathly.

Moving indoors from the city streets, Visit York’s New Tourism Business Award Winner for 2022 would have been presenting six fright nights of scary tales, spooks caught on film and ghost stories of England’s “most haunted city”, to be experienced from the relative safety of a seat at Theatre@41, Monkgate, from tonight until October 31. The performances will take place from January 24 to 28 2023 instead.

When the show does go ahead, the deadpan Doctor Deathly will present The Complete History Of Ghosts in A Night Of Face Melting Horror through a combination of stories, paranormal sciences, horror, theatrical trickery, original music and perhaps the odd unexpected guest at 8.30pm each night.

“Together we will huddle around the stage and explore spine-chilling tales of hauntings, both local and further afield, dissemble horrors captured on film and follow the ghost story through from its origins to the Victorian classics and modern-day frights,” says Doctor Deathly, whose face-melting macabre amusements are suitable to age 13 plus as he considers what makes spines shiver and examines our obsession with tales of death, murder and hauntings.

Doctor Deathly was struck by the idea of doing a show at Theatre@41 after seeing Pick Me Up Theatre in The Secret Diary Of Adrian Mole Aged 13¾ The Musical last December. “It sparked the bit of the brain that causes trouble!” he says. “Rather than just having our ghost walks for Halloween, which we know will sell out, I thought, ‘let’s do something here’.

“During the last couple of years, we were doing lots of online events, streamed on Facebook during lockdown to thousands of people around the world. There are only a certain number of ghost stories for York on a prescribed route, when people want to see Shambles and the Minster, and we thought, ‘how can we show different things?’.

“We came up with the online show Tales From The Fireplace, where people would send in ghost stories and pictures and videos of encounters with ghosts.  It was essentially like a TV show, where we got a few funny ones sent in; we were coming at it from that angle, analysing them and breaking them down. Some were brilliantly well written.”

The now defunct poster for Doctor Dorian Deathly’s postponed Halloween event at Theatre@41

This prompted Doctor Deathly to construct A Night Of Face Melting Horror. “First and foremost, it’s entertainment. People love ghost stories and we thought, what if we flip it on its head and people have to come out to the theatre to celebrate ghost stories from the wild?” he says.

“The thread through the show is the history of the ghost story, talking about the origins of those stories, what they come from, their place in both texts and the imagination. Then we look at how it exploded in Victorian times with huge interest in these stories.”

Born in Scarborough, Deathly’s inventor, actor Jamie McKeller, moved to York in 2004/2005, first performing in A Christmas Carol at the Castle Museum and with Lee Harris and The Dreaming in Terry Pratchett’s Rincewind.

“I’d been to York on fleeting visits, then I was getting on the train here to rehearse. One day I was walking through York, and it was snowing, and I popped into a coffee shop.  Looking out at the Minster, I remember thinking, ‘how can I not move here?’.”

For 15 years, he was a professional actor. “It’s exhausting, a grind,” he says, delighted to now have a constant, stable income as a ghost walker. “It’s my company too, so I can do these crazy things.“

Part of York’s Guild of Spookologists , alongside Mad Alice, Shadows Of York (Mackenzie Crompton) and Damian Freddi’s Dark Chronicles, Doctor Dorian Deathly’s Deathly Dark Tours has taken on a second York tour guide to meet demand, Dorian being joined by Dafydd Deathly, from Wales.

“He ran virtual tours for us in Edinburgh and now he’s come back to York, I asked him if he would join me because the tour is so busy. We run six nights a week,” says Doctor Deathly.

“Why are you here, for this show full of ghosts, in a world of such niceties?” asks Doctor Dorian Deathly

“We did two shows a night in Summer 2021, but it’s a very non-traditional ghost tour, very theatrical, very big, with magic tricks. It’s very tiring! 30-year-old Jamie doing that each night, fine; 42-year-old Jamie, maybe not!”

Why, Dorian, are we drawn to the horror, the horror, of ghost stories, especially in York? “It’s that obsession with fear, but why do we do that to ourselves?” he asks himself. “Why do we like putting ourselves in that situation?

“The opening song in A Night Of Face Melting Horror poses a question: I directly ask, ‘what’s wrong with you, with all of us, in a world of The Great British Bake Off and The Great Pottery Throw Down, why are you here, for this show full of ghosts, in a world of such niceties? That’s the answer we’re looking for; the answer to that!”

Why does York suit ghost storytelling, Dorian? “I have friends who are tour guides around the country and sometimes I feel sorry for them because they have to talk about things that are no longer there in their city. But in York you can see a piece of wood dating from the 12th century, and you watch Americans blink as they take that in,” he says.

Once back to full health, his acting side will flourish once more as Jamie takes on the role of the baddie, the Sheriff of Nottingham, in Rowntree Players’ pantomime, Babes In The Wood, at the Joseph Rowntree Theatre, York, on December 3, 4 and 6 to 10. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Doctor Dorian Deathly’s A Night Of Face Melting Horror (or The Complete History Of Ghosts), Theatre@41, Monkgate, York, will not run from October 26 to31, 8.30pm nightly, after all as a result of illness. The new dates will be January 24 to 28 2023. Box office: tickets.41monkgate.co.uk.

For more information on Doctor Dorian Deathly’s walking tours, visit www.deathlydarktours.com or call 07851 032041.

Forestry commission: Jamie McKeller ventures into the dark side as the Sheriff of Nottingham in Rowntree Players’ 2022 pantomime, Babes In The Wood
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Did you ever think you might not direct Guy Fawkes because of your pregnancy? ‘Absolutely not!’, says Gemma Fairlie

Gemma Fairlie directing a rehearsal for York Theatre Royal’s stage premiere of David Reed’s Guy Fawkes

DIRECTOR Gemma Fairlie is directing two productions this season, all while pregnant with a Christmas delivery on the way.

A driving force behind bringing York writer-performer David Reed’s play Guy Fawkes to the stage ever since Reed’s sketch comedy company The Penny Dreadfuls’ radio play more than a decade ago,  Gemma is overseeing rehearsals at the Central Methodist Church, St Saviourgate, for the stage world premiere at York Theatre Royal from October 28 to November 12.

Next, this director of Shakespeare’s Rose Theatre’s Henry V at the Castle car park in York in Summer 2019 will return to the Stephen Joseph Theatre Christmas show in Scarborough. After Jack And The Beanstalk last winter, she will be at the helm of Nick Lane’s Cinderella from December 2 to 31.

Here she discusses Guy Fawkes, Reed’s explosive comedy about York’s traitorous trigger man with its devilishly dangerous mix of Blackadder and Upstart Crow.

How did you become involved with the Guy Fawkes project, Gemma?

“The Penny Dreadfuls wrote the radio play about Guy Fawkes in 2009, which I heard and thought would work brilliantly as a theatre piece. So, in 2010, I approached the guys and we started to have conversations.

“It always takes time to get everybody in the room and start to figure out how it might work, but I knew David [writer David Reed] was excited about making it theatrical and exploring the journey of the characters in a different medium.”

 What intrigued you about the play?

“Guy Fawkes gets caught. Everyone knows that. But how can you shift an audience’s perception about a story they think they know? Are there moments where we hope he doesn’t get caught? Are there moments when we are on his side and want to blow up Parliament?

“It’s like Hamlet or King Lear. Everyone knows they die but you want the audience to have that moment where they don’t want that to happen, where they want a different ending. Can we have Guy as a hero and an anti-hero? And can a story that is so clearly a tragedy about a man that fails actually work as a comedy that makes us question that failure?”

When did York Theatre Royal first come on board?

“That was around ten years ago when we brought the play to York with the idea of the theatre being a co-producer or partner. I came to a programme meeting at the Theatre Royal and pitched the idea. They were really excited.

“Of course, it absolutely is a York-originated story although it’s set in London, and that’s a vital part of it. The North-South divide, particularly what that meant in the 1600s and how that relates to the characters and their experiences, is vital to the story.

“Then Covid happened and the planned York production was postponed, but what’s great is that this is absolutely the right time to put it on. What put Parliament back between 1604 and 1605 was the plague. What kept stymying them was this awful medical emergency and in the same way Covid has shifted our perspectives and our timescale over the last three years. It feels very prescient in that way.

“I think there’s disappointment and frustration with our current political system and a great deal of tribalism happening. It’s obviously very different to the persecution of Protestants and the Catholics, and what was happening politically in Guy Fawkes’ time, but there is a parallel in terms of the underlying tension and fear, with nobody knowing if they’re safe or quite knowing what’s going to happen next, what the next government will bring. Now is the perfect time to be doing this play.”

David’s play is billed as a comedy but the Gunpowder Plot – an attempt to blow up Parliament in 1605 – was a serious matter. Discuss…

“What we’re brilliant at in the UK is satire. This comes from a long tradition going back to pamphlets about the Whigs and political cartoons in general all the way through Monty Python, The Fast Show, even Spitting Image, which has recently had a renaissance.

“We love to skewer our political leaders; we love to question and cause trouble with humour. That’s absolutely what the arts should be doing: questioning our society and our values and what we hold dear as humans. Otherwise, what’s the point?

“For us, as a team, it’s about finding the right tone for the play – between comedy and the ultimate tragedy. So, sometimes there’s slapstick and it’s very silly but there’s an underlying truth and passion to this story and a real darkness to Guy’s fervour.” 

What should Theatre Royal audiences expect?

“We want people to discover the story of Guy Fawkes afresh. It’s really important people come in knowing it’s a comedy, so that doesn’t freak them out, but I think of it a bit like Blackadder Goes Forth. The end of the last series where they have to go over the top is a really heart-breaking moment.

“You have a bunch of clowns and they’ve been ridiculous; you’ve laughed at them a lot but you’ve also invested in them and grown to love them. That’s so important. The moment at the end where you think they’re all going to die, that’s incredibly moving, and that’s what comedy can do.

“If you laugh at someone, you start to care about them and really invest in their journey. We want our audience to laugh, laugh, laugh and then hopefully cry at the end.” 

You held the casting auditions in Yorkshire. How important was that?

“It was absolutely essential we represented York in the show and we have that authentic voice. We wanted to put York actors in front of York audiences and celebrate local talent. Also, having the right mix of people in the room that (a) an audience would love and (b) who would have comedy bones was key.

“You have to know very clearly who they are as characters and they’ve also got to work together as a team. We’re very lucky to have found a wonderfully talented bunch and it’s a total joy for David (Reed) and I to see it come to life, and see what the cast bring to it [including Reed in the title role].”

Did you ever think you might not direct Guy Fawkes because of your pregnancy?

“Absolutely not! I was always aiming to direct it, whether it was with a babe in arms or the day before being induced in hospital. Guy Fawkes has been my baby for so long, so what’s really lovely for me is to see this theatre baby come to life while my son grows in utero. 

“It’s kind of crazy to know they are both finally going to be out there in the world as both babies have taken me quite a long time to bring to life. Plus, laughter is really good for you in pregnancy and I’m getting lots of that in the rehearsal room!”

Next up?

“Directing Cinderella at the Stephen Joseph Theatre this Christmas. I’m very lucky I get to have this time in the rehearsal room at two incredible theatres, doing the thing I absolutely love, before I meet my son.” 

What sort of theatre work are you attracted to?

“I do a lot of Shakespeare, new work, and I come from a physical theatre background so I do movement and choreography within that, and occasionally a bit of circus as well. The pieces that I’m drawn to tend to have an epic edge to them, and they always have to have heart. Generally, they will have moments of big physicality and lots of comedy.

“When I go to Scarborough, I’ll be directing and choreographing five actors playing the whole story of Cinderella, playing multi-roles and singing their hearts out. I love that I go from Guy Fawkes with a stage revolve, pyrotechnics and sword fights to Scarborough, to work in the round with lots of Strictly Come Dancing moves and glitter. That’s the real joy of being a freelance director.”

Guy Fawkes runs at York Theatre Royal from October 28 to November 12, 7.30pm, except October 30 and November 6; 2pm, November 3 and 10; 2.30pm, November 5 and 12. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Cinderella, Stephen Joseph Theatre, Scarborough, December 2 to 31. Box office: 01723 370541 or sjt.uk.com.

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Amanda Whittington celebrates friendship, growing older and living for today in third Hull Truck instalment Ladies Unleashed

Amanda Whittington: Ladies Unleashed playwright

HULL Truck Theatre’s second half of their 50th anniversary season unleashes Ladies Unleashed, the third instalment of Amanda Whittington’s trilogy.

In the wake of Hull Truck hits Ladies Day – the one set at York Racecourse to coincide with Royal Ascot switching to Knavesmire in 2005 – and Ladies Down Under two years later, now the Nottingham playwright celebrates friendship, growing older and living for today.

Directed by artistic director Mark Babych, Ladies Unleashed reunites four friends, Hull fish factory workers Jan, Pearl, Linda and Shelley in 2022 on the peaceful, magical retreat of the Holy Island of Lindisfarne in a story of secrets and mysteries, reunions and an imminent wedding, twists and surprises.

“Seventeen years! It’s absolutely frightening! I was checking when I started, thinking it must be ten years ago, but in fact it was 2005, and the world has changed so much since then,” says Amanda.

“I can’t believe it’s so long since we first went to Ladies Day with the fish factory foursome, and to Australia in Ladies Down Under a few years later. Creating these stories for Hull Truck was a magical time and the audience response was unforgettable. 

“Since then, the two Ladies plays have been a firm favourite on the amateur circuit across the UK. Barely a month goes by without a production somewhere in the country, keeping the play alive since its original production. It’s such a gift as a writer to know what affection your characters are held in.”

Pearl (Fenella Norman), Jan (Allison Saxton) and Linda (Sara Beharrell) have not seen Shelley (Hull-born Gemma Oaten) for years, but when she suddenly turns up, Linda’s plans for a weekend of quiet contemplation (“not a hen party,” she says) take a different turn as tensions rise with the tide.

“I’ve always set the plays in the present day, so now Pearl is in her early 70s; Jan, mid-60s; Linda and Shelley around 40,” says Amanda.

Gemma Oaten in rehearsal for her role as Shelley in Ladies Unleashed at Hull Truck Theatre

“A whole generation has gone by, and I was quite reluctant to get back on the bike, after doing Ladies Day as a one-off, but then I did another one two years later, and so the characters are still very much alive in village halls and community centres.

“I thought of all the people who’ve been in Ladies Day or seen it, and there were discussions with Nick Hern Books, the publishers, who’ve been really instrumental in keeping the Ladies alive all these years.

“Then I started talking to artistic director Mark Babych about new ideas for the 50th anniversary, and a new Ladies play was floated. I was curious to think about where they were a generation later, but presenting it as a stand-alone play, looking at getting older and the benefits and challenges of doing that, when you don’t normally do that with characters from earlier plays.”

The third instalment was commissioned pre-pandemic. “There was a first draft, then the lockdowns, and when I came back to it, there’d been more changes,” says Amanda.

“I write about where we are, where we’ve been, so it’s partly a play about time. Writing dialogue for those characters again, I found it was like they’d never been away. They were just back in the room.

“It felt instantly right, and then it was about putting it in a dramatic framework that felt contemporary.”

After a day at the York Races in Ladies Day and a trip to Australia in Ladies Down Under, Amanda now sends Pearl Jan, Linda and Shelley to Lindisfarne and lets the island work its spell on them, like in Shakespeare’s The Tempest and Tim Firth’s Neville’s Island.

“That was exactly the thought behind it, to get them to a place they can’t get off, a place that had so much history and texture, and, like Hull, had a great fishing industry, giving it that connection with the past.”

Ladies Unleashed cast members in the rehearsal room: from left, Martha Godber, Nell Baker, Fenella Norman, Sara Beharrell,, Allison Saxton and Gemma Oaten

Here was the cue for two new additions to the Whittington ranks of women, young fish workers Mabel (played by Martha Godber) and Daisy (Nell Baker), whose friendship from Lindisfarne’s past stirs anew as the island itself becomes restless, the sky darkens, the air chills, and the winds of change blow skeletons from closets. Whereupon past, present and future collide.

“I thought, what happens if the past comes alive and the young women they might have been awaken, working on the island a century earlier?” says Amanda. “This was the chance to bring magic realism into the play, and that’s been a lovely thing to open up.”

Women’s stories are at the heart of Amanda’s plays. “That’s very much what I’m about as a writer. It felt very natural for me to do that, and right from the beginning of my career that’s the voice I’ve always spoken in. Even now it’s still not common but it’s a characteristic of my work,” she says.

“John Godber’s plays, Arthur Miller’s plays, are never talked about as ‘male plays’, but women’s plays stand out because there just aren’t as many. Ladies Unleashed is about a female world, and as the women of Holy Island’s past come alive, it shows how women’s lives have changed so radically and yet how some things have still not changed.

“Thankfully, there are lots of untold stories from history about women that are being told now, but they’re not stories just for women; they’re stories for everyone.”

Ladies Unleashed plays out in the age of #MeToo and a rising focus on women’s rights. “It’s released something in the last few years that’s not about men versus women, or oppressing women, particularly as there are damaged men as well,” says Amanda. “That’s the spirit of my work, with women giving their perspective on a century of change, and in 2022 it’s really welcomed by audiences.”

What are the ladies unleashing, Amanda? “What holds them together is that core of friendship, and the key to that is their work as fish factory workers, but they all have something they need to be released from, barriers to break through, and part of that comes down to how that differs in the different generations and how that’s changed,” she says.

Hull Truck Theatre in Ladies Unleashed, September 29 to October 22. Last performance, 7.30pm. Box office: 01482 323638 or hulltruck.co.uk.

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More Things To Do in York as Guy Fawkes heads home. Remember, remember, Hutch’s List No. 103, from The Press

Greg Haiste, left, and York-born writer and actor David Reed cross swords in rehearsal for York Theatre Royal’s premiere of Guy Fawkes. Picture: Charlie Kirkpatrick

POLITICAL fireworks, street art indoors, beer and bratwurst, a Velvet Underground pioneer and the history of ghosts spark up Charles Hutchinson’s interest.

Premiere of the week: Guy Fawkes, York Theatre Royal, Friday to November 12

WAR-WEARY, treasonous son of York Guy Fawkes vows to restore a Catholic monarch to the English throne, whatever the cost. In the private room of an upmarket tavern, a clandestine of meeting of misfits takes place between this dark dissident, a Poundshop Machiavelli, a portly boob, a clumsy princess, a preposterous toff and a shoddy ham as they plot the most audacious crime ever attempted on British soil.

David Reed, from comedy trio The Penny Dreadfuls, plays York’s traitorous trigger man in his long-awaited combustible comedy-drama with its devilishly dangerous mix of Blackadder and Upstart Crow. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Torrents (Willow Herald Speak), by Michael Dawson, from Navigators Art’s Coney St Jam art intervention at the StreetLife project hub

Exhibition of the week: Navigators Art, Coney St Jam: An Art Intervention, StreetLife project hub, Coney Street, York, until November 19

YORK collective Navigators Art draw inspiration from the city’s rich heritage and vibrant creative communities to explore ways to revitalise and diversify Coney Street. On show is painting, drawing, collage, textile and 3D work, complemented by photography, projections, music and poetry.

Taking part are: Steve Beadle; Michael Dawson; Alfie Fox; Alan Gillott; Oz Hardwick; Richard Kitchen; Katie Lewis; Tim Morrison; Peter Roman; Amy Elena Thompson; Dylan Thompson and Nick Walters.

Woman To Woman: Julia Fordham, left, Rumer, Judie Tzuke and Beverley Craven will be in harmony at York Barbican

Collaboration of the week: Woman To Woman (Beverley Craven, Judie Tzuke, Julia Fordham & Rumer), York Barbican, tonight, 6.30pm

NOT a rumour, definitely true, Beverley Craven, Judie Tzuke and Julia Fordham have invited Rumer to join them for the latest Woman To Woman tour.

In this collaboration between the four female singer-songwriters, they present hit singles and album tracks, such as Promise Me, Happy Ever After, Welcome To The Cruise, Slow, Holding On, (Love Moves In) Mysterious Ways, Aretha and Stay With Me Till Dawn.

“We cannot wait to share a stage together, create beautiful vocal harmonies with each other and collaborate on some possible new material,” they say. Box office: yorkbarbican.co.uk.

Self aware: Comedian Helen Bauer discusses herself at Theatre@41. Picture: James Deacon

Comedy gig of the week: Helen Bauer, Madam Good Tit, Theatre@41, Monkgate, York, tonight, 8pm

SELF-AWARE stand-up Helen Bauer is on the road with her Edinburgh Fringe show about self-confidence, self-esteem and self-care. “It’s the year of ‘the self’ and I’m trying to be the change I want you to see,” says Helen, who grew up in Hampshire blandness and honed her comedic craft in Berlin. 

Expect adult themes and language, including natural disasters and eating disorders, forewarns Theatre@41, as York awaits the co-host of two podcasts, Trusty Hogs with Catherine Bohart and Daddy Look At Me with Rosie Jones. Box office: tickets.41monkgate.co.uk.

Velma Celli: York drag diva supreme adds sauce to all the bratwurst and beer at Yorktoberfest

Festival of the week: Yorktoberfest Beer Festival, Clocktower Enclosure, York Racecourse, today and next Saturday, 1pm to 5pm, 7pm to 11pm; Friday, 7pm to 11pm. Doors open: evenings, 6.30pm; daytime, 12.30pm.

FOLLOWING up last year’s debut, Yorktoberfest returns in party mood for beer, bratwurst, bumper cars and all things Bavarian. This beer festival mirrors the first Oktoberfest staged in 1810 in Munich, where the citizens were encouraged to eat, drink and be merry at the wedding of Crown Prince Ludwig of Bavaria and his princess bride.

Step inside a giant marquee to discover the rustic Bavarian Bar and Dog Haus, full of bratwurst, currywurst, schnitzel, apple strudel and pretzels; live music by the Bavarian Strollers oompah band and vocal drag queen entertainment by York’s own Velma Celli. Dodgems and a twister add funfair thrills. Box office: yorktoberfest.co.uk.

Underground overground: Velvets legend John Cale to be spotted at York Barbican on Monday

THE gig of the week, John Cale, York Barbican, Monday, 8pm

VELVET Underground icon John Cale’s only Yorkshire gig of his rearranged 2022 tour has moved from July 19 to Monday on his first British itinerary in a decade.

The Welsh multi-instrumentalist, songwriter and producer, who turned 80 in March, will be performing songs from a career that began in classical and avant-garde music before he formed The Velvet Underground with Lou Reed in New York in 1965.

Over six pioneering decades, Cale has released 16 solo studio albums, while also collaborating with Brian Eno, Patti Smith, The Stooges, Squeeze, Happy Mondays, Siouxsie And The Banshees, Super Furry Animals and Manic Street Preachers. Box office: yorkbarbican.co.uk.

Doctor Dorian Deathly: Will his face melt in his horror show at Theatre@41?

From ghost walk to ghost talk: Doctor Dorian Deathly: A Night Of Face Melting Horror (or The Complete History Of Ghosts), Theatre@41, Monkgate, York, Wednesday to October 31, 8.30pm

VISIT York Tourism Awards winner Doctor Dorian Deathly, spookologist and ghost botherer, celebrates Halloween season with six nights of ghost stories, paranormal sciences, theatrical trickery, horror, original music and perhaps the odd unexpected guest (with the emphasis on ‘odd’?).

“Together we will huddle around the stage and explore spine-chilling tales of hauntings, both local and further afield, dissemble horrors captured on film and follow the ghost story through from the origins to the Victorian classics and modern- day frights,” says Deathly, whose face-melting macabre amusements are suitable for age 13 upwards. Box office: tickets.41monkgate.co.uk.

Ladysmith Black Mambazo: Black History Month concert at Grand Opera House, York

Harmonies of the week: Ladysmith Black Mambazo, supported by Muntu Valdo, Grand Opera House, York, October 29, 7.30pm

SOUTH African singing group Ladysmith Black Mambazo’s York concert marks Black History Month on their first British tour for many years.

When Paul Simon incorporated their harmonies into his ground-breaking 1986 album Graceland, that landmark recording was seminal in introducing world music to mainstream audiences.

Founded by the late Joseph Shabalala, the Grammy Award winners have since recorded with Stevie Wonder, Dolly Parton, Emmylou Harris and Barnsley folk singer Kate Rusby. Box office: 0844 871  7615 or atgtickets.com/york.

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REVIEW: Frantic Assembly in Othello, York Theatre Royal, until Saturday ****

Michael Akinsulire’s Othello in a street clash in Frantic Assembly’s 21st century Othello. Picture: Tristram Kenton

HOW reassuring to see packed houses for theatre shows in York this autumn, whether for Agatha Christie’s The Mirror Crack’d at the Theatre Royal or SIX The Musical at the Grand Opera House.

Sitting next to Theatre Royal chief executive Tom Bird on Tuesday night, he revealed that 60 schools – yes, 60 – had booked for Frantic Assembly’s combustible 21st century reimagining of Othello, Shakespeare’s tragedy of paranoia, sex and murder.

“That’s the draw of Frantic Assembly, not Othello,” he said. Maybe, but you don’t have one without the other.

The crackle of excitement in the air, the cheers that greeted the company’s arrival on stage, brought to mind the electric surge triggered by the visits of Emma Rice’s Wise Children company, most recently for Wuthering Heights, that again drew young audiences in abundance.

Drink it all in: Joe Layton’s Iago, left, Tom Gill’s Cassio, Felipe Pacheco’s Roderigo, Oliver Baines’s Montano and Matthew Trevannion’s Brabantio (right) in a scene from Frantic Assembly’s Othello. Picture: Tristram Kenton

You could draw comparisons between the two companies: the importance of choreography; the almost dangerous physicality of the performances; the unexpected moments of humour; the chemistry and one-for-all and all-for-one commitment between actors; the instant bond with the audience; the drive to bring text to thrilling life; the propulsive power of thunderous music.

Yorkshireman Joe Layton, who plays an incorrigible Iago, puts it this way: “The way Frantic work, you are creating a physical sequence, finding a physical connection between characters,” he says. “Then story and characters are layered in on top of that. You throw yourself in and trust the director. You have to give yourself and trust the process,” he says.

From the off, that working practice is borne out in a fast, furious and, yes, frantic Othello, adapted, directed and choreographed by Scott Graham and Steve Hoggett, newly updated for the 2022 tour co-produced with Curve, Leicester.

That opening feels like plugging into the powerlines of The Prodigy’s Firestarter in a wordless, breathless scene-setter that introduces characters (Shakespeare), setting (Laura Hopkins) and soundscape (Hybrid) all at once.

Michael Akinsulire’s Othello listens to Joe Layton’s poison-dripping Iago as Chanel Waddock’s Desdemona looks on. Picture: Tristram Kenton

Think Shameless or This England; a bar with a pool table and a slot machine; bottled beers; everyone off their heads or on a short fuse in high-street zip tops, trainers, hoodies, stretchy sportswear and joggers.

One long Friday night, full of broken glass, jealousy, betrayal, revenge and the darkest intents; a darker brew of John Godber’s Bouncers, where the booze meets the bruise.

Let Frantic Assembly light the fuse, then stand well back, but feel the fierce heat from all that brutal physicality as Layton’s mendacious manipulator Iago winds up Michael Akinsulire’s Othello, the Moor, who is as muscular with Shakespeare’s words as he is physically, his eyes bursting, his mind mangled, his baseball bat never far away.

This is an Othello of myriad street accents, making it universal, from Tom Gill’s Scouse Cassio to Akinsulire’s North London Othello; Chanel Waddock’s Essex Desdemona to Kirsty Stuart’s Scottish Emilia.

Luck’s out: Chantel Waddock’s wronged Desdemona in Othello. Picture: Tristram Kenton

The pace is relentless, the dialogue hot on the tongue, the choreography dazzling, sometimes beautiful and sensuous, as in Akinsulire and Waddock’s pas de deux spread across the pool table, later to be repeated in such contrasting circumstances at the finale.

Frantic’s trademark physicality extends even to Hopkins’ design, suddenly coming to life in wave-like motions, first when a drunken Cassio staggers along the wall, and later when Othello is overcome with shock at what he has done, wishing it might swallow him.

Nothing sums up this Othello better than Iago’s prophetic T-shirt, Just Do It. Let’s hope Frantic Assembly will be back to “just do it” again, whatever the play, because Shakespeare all shook up this way demands a follow-up with more of this full-on brand of theatre.

Frantic Assembly’s Othello, York Theatre Royal, 7.30pm tonight until Saturday; 2pm, Thursday; 7.30pm, Saturday. Box office:  01904 623568 or yorktheatreroyal.co.uk

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Next Door But One take storyteller version of Philip Pullman’s The Firework-Maker’s Daughter to York libraries at half-term

Ceridwen Smith: Performing The Firework-Maker’s Daughter at York libraries next week

NEXT Door But One are teaming up with Explore York Libraries to bring a magical storyteller performance of Philip Pullman’s The Firework-Maker’s Daughter to four York libraries over half-term.

The award-winning York theatre company originally created their theatrical adaptation as a Zoom performance during lockdown, reaching hundreds of young families desperate for creative projects to engage young ones stuck at home.

The online version was such a hit that Pullman gave permission for a solo storyteller version to be developed for community touring, performed last year by Emma Liversidge .

Backed by City of York Council and Make It York, Next Door But One’s show is to visit Acomb, Tang Hall, New Earswick and York libraries during October half-term, the story now told by Ceridwen Smith .

The poster for Next Door But One’s half-term performances of The Firework-Maker’s Daughter

The show tells the story of Lila’s journey across lakes and over mountains as she faces her biggest fears, learning everything she needs to know to become the person she has always wanted to be.

Next Door But One’s production has been designed to be accessible to all young people and their families, including those with additional sensory needs and learning difficulties. It features Makaton [a language programme that uses symbols, signs and speech to enable people to communicate], magic and loads of audience participation.

Lyndsay Glover, of Explore York said, “We’re so delighted to be bringing this beautiful and magical version of The Firework-Maker’s Daughter to four of our libraries this half-term. We hope to reach a wide range of young families across York with daytime performances at local Explore sites and tickets at just £2.50.”

Sir Philip Pullman, best known for the His Dark Materials trilogy, has been vocal in his support of Next Door But One’s production. Recognising the cost-of-living crisis, he has waived all royalties for these performances, in lieu of a donation to the Trussell Trust, in support of a network of more than 1,200 foodbanks across Great Britain.

Emma LIversidge performing The Firework-Maker’s Daughter on Next Door But One’s 2021 tour. Picture: James Drury

Emma Revie, the Trussell Trust’s chief officer, says: “We’re really grateful to Philip Pullman and Next Door But One for their support. Soaring food and fuel costs are affecting us all, but for families on the very lowest incomes, this crisis means so much more and more people are likely to need a food bank’s help.

“The support of Philip Pullman and Next Door But One will help food banks within our network continue to provide the lifeline of emergency support for local people, while we work in the long term to end the need for food banks, for good. Thank you so much.”

NDB1 artistic director Matt Harper-Hardcastle says: “This project encapsulates everything that Next Door But One stands for. Brilliant, original theatre made in York, for York audiences, with York artists… but also targeted at an audience that might not otherwise get to access theatre and, thanks to Sir Philip’s generous donation to the Trussell Trust, making a wider social impact. I couldn’t be prouder to be bringing this show to York families this half-term.”

Next Door But One present The Firework-Maker’s Daughter at Acomb Library on October 24 at 10am and 11.30am; Tang Hall Library, October 24, 2pm and 3.30pm; New Earswick Library, October 25, 10am and 11.30am, and York Explore, October 25, 2pm and 3.30pm. Tickets: £2.50, family tickets £8.50, at nextdoorbutone.co.uk.

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NE to serve up more in revised Oliver! with extra scenes at Joseph Rowntree Theatre

Oliver! Oliver! Meet NE’s two Oliver Twists, Zachary Pickersgill in orphan’s clothes and Fin Walker in his Sunday suit, who will alternate performances next month

IT would appear that NE Musicals York have undergone a name change to the shortest theatre company moniker in York: NE.

Once NE stood for New Earswick, the company’s roots. Now it is an anagram for creating “NEW & EXCITING” musical productions.

Formed in 1914 as the New Earswick Dramatic Society, the society has mutated into New Earswick Dramatic and Operatic Society, New Earswick Operatic Society, New Earswick Musical Society and latterly NE Musicals York.

Anyway, here comes NE’s latest new and exciting production, Lionel Bart’s musical Oliver!, now well into rehearsals for the November 16 to 26 run at the Joseph Rowntree Theatre, York.

Steve Tearle directs NE cast members as they rehearse Food Glorious Food

The NE creative team behind Wind In The Willows and Priscilla Queen Of The Desert The Musical will stage a revised version of Oliver!, complementing the familiar songs and characters with added scenes that “bring the story to life in more detail”. 

The show-stopping songs are all there, including Food Glorious Food, Consider Yourself, Who Will Buy?, As Long As He Needs Me and Where Is Love?

Two teams of performers will play alternate performances, led by Zachary Pickersgill and Fin Walker sharing the role of Oliver Twist, the boy who asks for more. Henry Barker and Toby Jensen will be the Artful Dodger; Perri Ann Barley and Maia Stroud, Nancy, and Fiona Ann Cameron and Aileen Stables, Widow Corney.

Zachary Pickersgill’s Oliver

At each performance, director Steve Tearle will play Fagin, James O’Neil, Bill Sikes, and Chris Hagyard, Mr Bumble.

“We have an amazing set, costumes designed exclusively for this production and 50 children in the opening number,” says Steve, who is joined in the production team by musical director Scott Phillips and choreographer Ellie Roberts. “This is an epic production not to be missed: a night at the theatre for the whole family to remember.”

Tickets are on sale on 01904 501935 or at josephrowntreetheatre.co.uk. Performance times: 7.30pm, November 16 to 19 and 22 to 26; 2.30pm matinees, November 19 and 26.

Fin Walker’s Oliver
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Yorkshireman Joe Layton heads home as trouble-making Iago in Frantic Assembly’s Othello on tour at York Theatre Royal

What’s he plotting next? Joe Layton’s Iago in Frantic Assembly’s Othello, on tour at York Theatre Royal. Picture: Tristram Kenton

JOE Layton returns to his native Yorkshire from tonight to play Iago in Frantic Assembly’s electrifying reimagining of Shakespeare’s Othello at York Theatre Royal.

Once more he will confirming his English teacher’s hunch at a parents’ evening that Ilkley lad Joe “had some talent for acting”.

“He said, ‘I don’t say this very often, but I would encourage Joe to apply for drama school’,” he recalls.

He duly did so, supported by teacher Tony Johnson, who provided not only encouragement but help in preparing audition speeches. “I owe him a huge amount,” says Joe. “He came to see the last show I did in Leicester and hope he’s in the audience for Othello.”

This is Frantic Assembly’s third staging of their award-winning account of Othello, Shakespeare’s tragedy of paranoia, sex and murder, set in a volatile 21st century wherein Othello’s passionate affair with Desdemona becomes the catalyst for jealousy, betrayal, revenge and the darkest intents.

Shakespeare’s muscular yet beautiful text combines with the touring company’s own bruising physicality in a world of broken glass and broken promises, malicious manipulation and explosive violence, previously staged in 2008 and 2014 and now updated for 2022.

On the wind-up: Joe Layton’s Iago has a word with Michael Akinsulire’s Othello. Picture: Tristram Kenton

Frantic Assembly have had a marked effect on his career and aspirations already, as he was part of their Ignition programme – a free nationwide talent development programme for young people aged 16 to 24 – in 2009 and later appeared in Frantic’s The Unreturning.

“It’s for all genders now but Ignition started out as an all-male programme and was a space where sensitivity and masculinity were explored in a non-toxic way, which I hadn’t experienced before,” says Joe, one of no fewer than five Ignition graduates involved in Othello this season.

He saw Frantic Assembly’s original production in 2008 but it was another of the company’s shows that was particularly influential: Bryony Lavery’s two-hander Stockholm. “I must have been 15 years old,” says Joe. “It was one of those mind-blowing moments that gave you goosebumps. That was the moment I said to myself, ‘I want to work with Frantic one day’.”

His professional debut came two years later in Nikolai Foster’s production of George Orwell’s Animal Farm at West Yorkshire Playhouse. As a 17-year-old schoolboy, he was given special dispensation to leave early several days a week to do the Leeds show.

Looking back at his first encounter with Frantic Assembly’s Othello, Joe recalls how “it really leapt off the page for me and made it accessible, especially for teenagers. It was real, visceral and immediate”.

Honest, Iago? Joe Layton keeps at arm’s length from the truth in Othello. Picture: Tristram Kenton

Now he is playing Iago, the poison-dripping baddie of the piece, or is he possibly misjudged? Psychopath or “a bit of a villain”, Joe must ask himself. “As an actor, you have to get inside them, understand them, what makes them tick, and do the things they do which, in Iago’s case, is hideous, unforgivable things,” he says.

Movement becomes as important as words in Frantic Assembly’s style book. “The way Frantic work, you are creating a physical sequence, finding a physical connection between characters. Then story and characters are layered in on top of that. You throw yourself in and trust the director [Scott Graham]. You have to give yourself and trust the process,” he says.

“We begin rehearsals with a one-hour workout and high intensity training. The rest of the morning is given over to movement sequences. Everything is really highly choreographed. There’s nothing that happens on stage that’s not choreographed.”

Joe grew up in Ilkley, moved to London for drama school, met his wife in New York and now lives in the United States, while working on both sides of the Atlantic.

He headed to America after being scouted by a top actors’ agency. “I don’t regret moving to Los Angeles because it was a really interesting period of my life, although challenging in a lot of ways. I moved away from family and friends and all that sort of stuff.

Turning the tables: Joe Layton’s Iago plays his mind games on Michael Akinsulire’s Othello as Chanel Waddock’s Desdemona looks on. Picture: Tristram Kenton

“I couldn’t work for six months because I was waiting for my work visa to come through. I was a 21-year-old with not much money just sitting around.”

One role to emerge from his USA move was Marvel’s Agents of SHIELD. He was not picked for the role for which he auditioned but was offered a different one. He took part in the series for only a few weeks but found working in the Marvel superhero world to be “a whole different ballgame”.

“I have an agent in the US and the UK,” he says. “One of the things that really changed through the pandemic is that everything, including casting, went online, which means there’s even less need to be in London. It seems the industry is getting less London-centric. You can audition on film anywhere, read a scene and be cast off the tape. That’s been great for me in terms of quality of life and being able to live in America.”

During lockdown, Joe spent an enforced period back in Leeds while visiting family for Christmas celebrations. Unable to go home, he spent six months living in his grandmother’s cottage near Pateley Bridge.

He will return to the USA during a break in the Othello tour. “My wife is at home in America. She’s a writer and working on a new book, so she’s pleased to have me out of the house and have time for herself and her writing.”

Frantic Assembly’s Othello runs at York Theatre Royal from tonight until Saturday, 7.30pm plus 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Did you know?

Joe Layton (Iago), associate director David Gilbert, co-choreographer Perry Johnson, Oliver Baines (Montano) and Felipe Pacheco (Roderigo) have all taken part in Frantic Assembly’s Ignition programme.

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Bolshee launch Perform Yourself, a free eight-week creative project for women to find their voice at Friargate Theatre

Bolshee trio Lizzy Whynes, left, Megan Bailey and Paula Clark: Launching autobiographical performance project, Bolshee Women: Perform Yourself

THREE York women who set up an arts company this year to champion women and girls are to run a free project from October 20 with Make It York’s Cultural Wellbeing Grant funding.

Bolshee CIC– a female-led creative projects company – is run by artists and friends Paula Clark, creative director, Lizzy Whynes, associate director, and Megan Bailey, creative producer.

“We produce projects with the aim of helping everyone to feel heard, empowered and supported, regardless of their background, with a particular focus on women and girls,” they say.

“Collectively, as a team, we have 35 years’ experience in creating, producing and delivering creative arts projects with young people and adults, and in only six months, we’ve already made some noise in the city and beyond through collaborations with York St John University, At The Mill [at Stillington], Drawsome Festival, York Theatre Royal, ARC Stockton and York Design Week.”

Bolshee Women: Perform Yourself: New creative project funded through Make It York

Now, Bolshee CIC (community interest company) are launching an eight-week autobiographical performance project, Bolshee Women: Perform Yourself, for self-identifying women aged 25 and over to find their voice in collaboration with Make it York.

Paula explains: “It’s so important that we find our voice, take up space and share our truths. This is what Bolshee Women is all about. Coming together in solidarity to make friends, be creative and share our experiences has a hugely positive impact on our wellbeing.

“We wanted to offer a cultural provision, this time for women over the age of 25. We feel that this age group don’t have as many opportunities to get involved in performance in the city as younger people do. We also know that women will suffer disproportionately from the financial crisis we’re facing. That’s why Bolshee Women will be FREE to attend.”

Bolshee Women: Perform Yourself will be held at Friargate Theatre, Friargate, from October 20 to December 8 from 6.30pm to 8pm each week. “We will explore contemporary performance and autobiographical devising techniques, including free drawing and creative writing,” says Paula. “No experience is necessary. All materials will be provided.” To book for the workshops, go to: www.bolshee.com.

Full of drive: Lizzy Whynes, Megan Bailey and Paula Clark

Who are the Bolshee triumvirate?

Paula Clark is a creative director, theatre maker and community artist.

Lizzy Whynes is a performer, movement and theatre director and facilitator.

Megan Bailey is a designer and producer.