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More Things To Do in York and beyond, when Jason’s gig is but one good reason to go out. List No. 71, courtesy of The Press

Michael McIntyre: Road-testing new gags at the Grand Opera House, York

FROM McIntyre to Macbeth, two Aussies to an English celebration, a Ugandan story to a pioneering Welsh icon, Charles Hutchinson spreads his net wide.  

Talking point gig of the week: Michael McIntyre: Work In Progress, Grand Opera House, York, Monday, 8pm

COMEDIAN Michael McIntyre will put new material to the test in a “York In Progress” show hastily arranged mid-month for February 28.

Tickets sold out within two hours of going on sale on February 15 for the 45-year-old Londoner’s latest dollops of observational comedy, wherein he turns everyday situations into outpourings of startled exasperation.

The jovial Big Show and The Wheel host previously played a three-night run of Work In Progress gigs at the Grand Opera House in July 2012. For returns only, 0844 871 7615.

Tachia Newall and Jessica Baglow in a masked rehearsal for their roles as Macbeth and Lady Macbeth in Macbeth at Leeds Playhouse

Play of the week outside York: Macbeth, Leeds Playhouse, tonight until March 19

DIRECTOR Amy Leach and designer Hayley Grindle have created a vibrant, raw and visceral vision of Shakespeare’s thrilling tragedy, Macbeth.

Tachia Newall plays the ambitious northern warrior, who does whatever it takes to gain power and, ultimately, the throne, propelled further into darkness by his wife, Jessica Baglow’s Lady Macbeth, whose hands bear witness to her own greed and corruption. Look out for York actress Ashleigh Wilder as one of the witches. Box office: 0113 213 7700 or at leedsplayhouse.org.uk.

She Drew The Gun: Songs decrying corruption, abuse and division at The Crescent, York

York indie gig of the week: She Drew The Gun, The Crescent, York, tonight, 7.30pm

PASSIONATE, principled, and refreshingly plain-spoken, proud socialist, feminist, bi-sexual mother of one Louisa Roach will not be cowed into silence.

As She Drew The Gun, the Wirral singer-songwriter uses punk-infused psych-pop as a vehicle for exposing injustice and for advocating a fairer and more tolerant society.

Written in lockdown and recorded at McCall Sound Studios in Sheffield, latest album Behave Myself decries corruption, abuse and the continued divisions between rich and poor that have only worsened in the pandemic. Annabel Allum supports. Box office: thecrescentyork.com.

Jason Donovan: So many reasons to celebrate his York Barbican concert

Third time lucky: Jason Donovan, Even More Good Reasons, York Barbican, Monday, 8pm

AFTER postponements in September 2020 and November 2021, Aussie heartthrob Jason Donovan’s 52-date tour to mark the 30th anniversary of his debut album, Ten Good Reasons, is finally happening. That anniversary actually passed as long ago as May 2019 on a faraway pre-pandemic planet!

“Having not done my own live shows for a while, I can’t wait to get out there again among my fans and deliver a new energetic show that is both personal, creative and reflective – something that is both nostalgic and just a good night out,” says the one-time Neighbours soap pin-up turned star of pop, stage musicals and theatre. Box office: yorkbarbican.co.uk.

Writer-performer John Rwothomack in his one-man show Far Gone at York Theatre Royal Studio

Solo show of the week, John Rwothomack in Far Gone, York Theatre Royal Studio, Thursday and Friday, 7.45pm

WRITTEN and performed by John Rwothomack, Far Gone is set in northern Uganda, where Okumu’s village is attacked by the Lord’s Resistance Army (LRA), changing Okumu and his brother’s lives forever.

The story of a young boy’s journey from childhood innocence to child soldier is seen through the eyes of those that love him and those that betray him, as presented by Ugandan-born, London-trained and Sheffield-based Rwothomack in his debut play as writer and performer, prompted by himself nearly being kidnapped by the LRA guerrilla rebel group.

He explores complex issues of war, religion and power, drawing on the contrast between his experiences as a child in Uganda and as a young black man in Britain, and how perceptions of “Africa” have affected his own narrative. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Tommy Emmanuel: Playing his best “Tommysongs” at the Grand Opera House, York

Guitar virtuoso of the week: Tommy Emmanuel, Grand Opera House, York, March 6, 8pm

LAST seen in Britain performing on the Transatlantic Sessions Tour, Australian guitarist Tommy Emmanuel returns for 13 dates in February and March with dobro master Jerry Douglas as his special guest.

Emmanuel, 66, who improvises big chunks of each concert, will be showcasing The Best Of Tommysongs, a double album of re-recordings of his best original songs from the past 30 years with new modern arrangements.

Angelina, Lewis & Clark, It’s Never Too Late, fan favourites Mombasa and Train To Dusseldorf and new compositions Fuel and Song For A Rainy Morning will be aired in York. Box office: 0844 871 7615 or at atgtickets.com/York.

Simon Wright: Conducting York Guildhall Orchestra’s St George’s Day debut at the JoRo

Bring out the flags: York Guildhall Orchestra, St George’s Day Concert, Joseph Rowntree Theatre, York, April 23,7.30pm

YORK Guildhall Orchestra and conductor Simon Wright make their Joseph Rowntree Theatre debut with a celebration of patron saint St George in an evening of light music with the spotlight on English composers.

Expect a variety of favourite pieces alongside some lesser-known gems, but not a dragon in sight in this joyful springtime programme. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.

Going Underground: Velvet pioneer John Cale to play York Barbican at 80

Gig announcement of the week: John Cale, York Barbican, July 19

VELVET Underground icon John Cale will play York as the only Yorkshire gig of his seven-date summer tour, his first British itinerary in a decade, with tickets going on sale on Wednesday at 10am.

The Welsh multi-instrumentalist, songwriter and producer, who turns 80 on March 9, will perform 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, most recently M:Fans in 2016, 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.

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Seeing asylum through a child’s eyes in Pilot Theatre’s The Bone Sparrow premiere

Yaamin Chowdhury in rehearsal for his role as refugee Subhi in Pilot Theatre’s world premiere of The Bone Sparrow

AFTER racism in Noughts & Crosses and gang culture in Crongton Knights, York company Pilot Theatre now address immigration and asylum seekers in The Bone Sparrow.

The world premiere opens tomorrow (25/2/2022) at York Theatre Royal, Pilot’s partners in the third in a series of co-productions with Derby Theatre, Belgrade Theatre, Coventry, and Mercury Theatre, Coventry.

Pilot artistic director Esther Richardson directs Australian playwright S. Shakthidharan’s adaptation of children’s author Zana Fraillon’s story of a Rohingya refugee boy who has spent his entire life living in a detention centre in Australia.

Directing a cast of eight, who have been rehearsing in a bubble in the De Grey Rooms and taking lateral flow tests every second day, Esther says: “It’s the biggest project we’ve done since the start of the pandemic, with a team of 12 on the road – the cast and four stage managers – for the tour.

“This show was already on the slate to do in 2022, and we just thought ‘let’s do it’ as we really believe in the importance of the project because how we treat migrants is so topical.

“Immigration and racism are very important subjects, as we ask searching questions about who we are as a country if we’re not going to support those who are fleeing their homes to seek a better life – whereas before Brexit we were seen as a nation that did accept asylum seekers.”

In The Bone Sparrow, refugee Subhi is born in an Australian permanent detention centre after his mother fled her violent homeland. Behind the fences, his imagination grows as he grows, until bursting at the limits of his world. 

One night, Jimmie, a scruffy, impatient girl, appears from the other side of the wires, bringing with her a notebook written by the mother she lost. Unable to read it, she relies on Subhi to unravel her own family’s mysterious and moving history. Will Subhi and Jimmie find a way to freedom as their tales unfold?

“The play is set in Australia, where the system for asylum seekers is horrendous, and it’s the one that [Home Secretary] Priti Patel is talking of implementing here,” says Esther.

“The play seeks to raise awareness about detention centres and how people are treated, but it’s also a story of the power of imagination for a boy who is born in a detention centre but has this relentlessly optimistic way of seeing the world through that imagination.

Pilot Theatre artistic director Esther Richardson

“That’s an important metaphor for everyone, but especially young people, as we come out of the pandemic and those lockdowns.”

The role of Subhi will be played by Yaamin Chowdhury, who says: “I always used to say that kids ‘play pretend’, but I didn’t ‘play pretend’; I ‘play believe’. That’s how Subhi resonates with me.

“Then, doing plays that are political, especially this boy, carrying the story, being the hero of the story, I feel like I’m the custodian of people who are disenfranchised, which is important, no matter what geographical world a story is set in.”

Subhi is 12, Yaamin, 23. “Tapping into my inner child, and a child’s curiosity, is the best way to play this character, and I have to be true to every moment, every stimuli, I can be.

“That can be hard sometimes, when remembering that I can look at the world differently, whereas Subhi can only do so by looking at the outside world through the fence’s diamond shapes.

“A lot of people are hermetically sealed from Subhi’s world, and it’s the harsh reality that seeing is believing only when confronted by his story, but that’s the journey we have to take educate people about the sensitive issues of what’s going on in these detention centres for anyone seeking asylum.”

Esther rejoins: “Subhi has never been able to see the sea, for example, so he has to imagine what the sea looks like as he only has people’s stories to draw on. He’s driving his older sister mad by always asking her what she remembers of living in Burma.”

Just as Subhi uses his imagination, so must the audience. “Theatre is about us doing that,” says Esther. “It’s the human act of profound connection with a story that enables us to empathise or project on to a character to understand someone in a way that only theatre can do.”

Yaamin picks up that point. “Experiencing a play, someone’s story, can change someone, and it’s good to have that feeling that if we have changed someone, we’ve done something right,” he says.

From tomorrow, let the power of theatre meet the power of the imagination at York Theatre Royal.

Pilot Theatre presents The Bone Sparrow at York Theatre Royal, tomorrow (25/2/2022) until March 5, then on tour until April 2. Box office: 01904 623568 or at yorktheatreroyal.co.uk

Copyright of The Press, York

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REVIEW: York Settlement Community Players in Ayckbourn’s Woman In Mind ****

Desperately seeking Susan, as she loses her mind: Victoria Delaney in the Settlement Players’ Woman In Mind. All pictures: John Saunders

Woman In Mind, York Settlement Community Players, York Theatre Royal Studio, until Saturday, 7.45pm and 2.45pm Saturday matinee. Box office: 01904 623568 or at yorktheatreroyal.co.uk

ANGIE Millard “seemed to have avoided Alan Ayckbourn” in her past directorial choices, but she had one play in mind for the Settlement Players’ return to York Theatre Royal after two years.

Ayckbourn’s sad, haunting, darker than dark-humoured psychological drama Woman In Mind had struck a chord in the pandemic climate of isolation and mental health issues.

Premiered in 1985 but still feeling present day in 2022, it remains Ayckbourn’s supreme study of a trapped woman, older than Nora in A Doll’s House but just as affecting as the desperate flight of Henrik Ibsen’s proto-feminist, Susan’s story being told from inside her woozy head.

The setting is 48 hours in her south London garden and beyond: the place where the world is refracted through the prism of Susan’s psyche.

Playing fantasy families: Victoria Delaney’s Susan raises a glass to husband Andy (Paul French), daughter Lucy (Amy Hall) and brother Tony (Neil Vincent)

Following in the footsteps of Julia McKenzie, Stockard Channing and Helen Mirren, in her first stage role since October 2019, Victoria Delaney opens the play on her back and never leaves the stage (interval aside).

Delaney’s suburban housewife is coming round from unconsciousness, after knocking herself out when stepping on a garden rake, as Chris Pomfrett’s cautious yet accident-prone family doctor, Bill Windsor, attends to her. In a brilliant Ayckbourn conceit, his words, like her vision, go from a gobbledygook blur to being clear.

With the bang on the head comes the comforting concern of her champagne-golden  family, as if torn from a Mills & Boon cover or a desirable clothes catalogue: first, handsome old devil husband Andy (Paul French); then tennis-playing brother Tony (Neil Vincent) and her auburn-haired darling of a daughter, Lucy (YSCP debutante Amy Hall).

Too, too perfect, surely, and yet played as straight down the line as Tony practising a backhand winner, they could – at first at least – be real. We see and hear them, just as Susan sees and hears them, but only she does so, just like only urbane novelist Charles Condomine and the audience see and hear his deceased first wife, Elvira, in Noel Coward’s Blithe Spirit.

Living on a prayer: Paul Toy as vicar Gerald

The grim reality is very different: husband Gerald (clergyman’s son Paul Toy) is a self-obsessed priggish vicar, always in another room writing his interminably dull, interminably long parish history since 1387. They have reached the separate bed stage already.

Live-in sister-in-law Muriel (Helen Wilson) is obsessed with reconnecting with her late husband and is forever making foul-tasting beverages and even fouler meals, defeated by the lack of labelling on kitchen ingredients.

Wastrel son Rick (YSCP newcomer Frankie-Jo Anderson) is estranged and strange, having joined a cult in Hemel Hempstead, but suddenly he arrives with news.

Where once Susan loved being a wife and mother, now she is neglected by husband and son alike and unfulfilled in her humdrum, loveless domestic domain, Symbolically, the garden plants in Richard Hampton’s design are reduced to twigs, with the only flowers being on the backdrop tapestries, Susan’s bench and Muriel’s cardigan. What lies ahead beyond Susan’s disillusioned forties, her days as frustrating and stuck as a buffering laptop screen?

Muriel (Helen Wilson) serves up another gruesome beverage to vicar Gerald’s (Paul Toy) distaste

Ayckbourn, and in turn Millard and Delaney, capture a “woman on the verge”, and as the real and unreal worlds collide increasingly beyond her control, so too do the ever-blackening humour and pathos, her sanity crumbling and the words returning once more to gobbledygook.

Delaney’s performance is deeply unsettling, her Susan being full of vulnerability, waspish of tongue, her mind grasping desperately at the cliff’s edge, happiness out of reach.

Pomfrett, in particular, provides the comedy, perfectly in step with Ayckbourn’s rhythms; Toy makes the supercilious vicar utterly unbearable but splendidly sets himself up for laughter at his expense; Wilson judges just right how to be annoying yet not annoying as the never-wanted-where-she-is Muriel. Anderson’s disingenuous Rick would fall out with anyone.

French, Hall and Vincent are perfectly well cast as the fantasy family that gradually turns into a nightmare and Woman In Mind becomes a woman out of her mind.

Angie Millard was right: Ayckbourn’s play has indeed taken on even more resonance under the pandemic microscope, where already unhappy marriages have cracked under the strain and the desire to escape has been heightened in enforced isolation.

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York Theatre Royal opens applications for Green Shoots commissions for June shows

A montage of Love Bites performances at York Theatre Royal in May 2021

YORK Theatre Royal is to commission new work from dozens of York and North Yorkshire professional artists in a variety of art forms for performances in June.

The Green Shoots project is the follow-up to Love Bites, the showcase of 20 bite-sized works that marked the re-opening of the St Leonard’s Place theatre on May 17 and 18 2021 after the lifting of lockdown restrictions.

Replicating that format as the green shoots of recovery are given the chance to bloom, now comes Green Shoots, two nights of new theatre centred around “rebooting post-pandemic and looking to the future of the planet”.

From the call-out for applications that starts this week with a deadline of March 24, York Theatre Royal will select 20 commissions, offering £1,000 per commission, plus £150 each time they are performed.

Juliet Forster, the Theatre Royal’s creative director, says: “Love Bites last year was a joyous event that will live long in my mind, not just because we were re-opening after 14 months of enforced closure, but also because our stage was filled to overflowing with the tremendous talent and ingenuity of local artists.

“It was moving, spectacular, surprising, thought provoking and funny in equal measures. Now we’ve created this opportunity with Green Shoots because we’re excited to see what they will do next.”

York Theatre Royal creative director Juliet Forster

The work celebrating York and Yorkshire talent and live performance will be performed on the main stage on June 7 and 8 as part of the Theatre Royal’s Rumours & Rebels summer season.

“More than 2,000 artists across a variety of art forms applied for Love Bites and they ranged from spoken word to circus,” says Juliet. “The 2022 commissions should respond to the title Green Shoots in any way that can be interpreted.

“Pieces might be about hope, recovery, new beginnings, revolution, new life, growth, the environment or anything else that can be imagined as a response. The work should be able to be performed or shared both live and in a digital form and have a duration of up to five minutes.”

Artists may apply as individuals and/or as part of a collective. The Theatre Royal is keen to incorporate as wide a mix of art forms and interpretations of the theme as possible, welcoming submissions from artists working in any medium.

Interested artists are being asked to write a short proposal for their piece, how it might be performed live and how it would translate into a digital form. Submissions should be sent to commissions@yorktheatreroyal.co.uk by midday on March 24.

For more information on Green Shoots and how to apply, go to:  yorktheatreroyal.co.uk.

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What would you do if you found Bram Stoker’s original version of Dracula? James Gaddas wrote an obsessive one-man show

James Gaddas: Getting his teeth stuck into Dracula’s story

THIS is the story of Bad Girls, Coronation Street and Hollyoaks actor James Gaddas happening upon Bram Stoker’s original handwritten manuscript of Dracula.

He duly reads of strange encounters in the Count’s castle in Transylvania, his ghostly arrival on a ship of death off the coast of Whitby, his midnight seductions, and a heroic pursuit across Europe in a race against the setting of the sun.

So far, so familiar, but this document contains pages never published, leading Gaddas to a terrifying discovery, one that he shares with the Grand Opera House audience in York on Monday (21/2/2022) in his solo show Dracula – One Man’s Search For The Truth.

“What if everything we thought we knew was just the beginning? What if it’s not a work of fiction but a warning? What if the legend is real?” ponders James, who will bring the original version to life before sharing his discovery in a performance with one actor, 15 characters and one monumental decision. “Are some things better left unburied,” he must discern.

Are you telling the “truth” in this adaptation, James? “It’s more like Boris Johnson’s ‘truth’,” he says. “It’s conjecture. It’s a way of being able to do a one-man version of Dracula without just concentrating on the end.”

Born in Teesside, James recalls Dracula being the first horror film he saw when he was only 11. “I was staying with my grandparents,” he recalls. “I went to bed, but being typically adventurous, I tiptoed downstairs, turned on the telly, and there it was: Dracula, starring Peter Cushing.”

Gaddas, now 61, initially had the chance to appear in Dracula with a small-scale theatre company in Bath 40 years ago when training at Bristol Old Vic Theatre School. “I was going to do it, but then I got offered work for my Equity Card, and there was nothing for me in doing Dracula as it was a non-Equity production,” he says.

The idea of doing his own Dracula show first came after watching programmes about searching for lost Second World War treasure. “You watch, knowing from the start they won’t find anything, and they still haven’t after an hour, with all those looks to the camera, but it made me think, ‘wouldn’t it be fascinating to find Stoker’s original version of Dracula?’.

Gaddas was duly asked to voice one of those “lost treasures” investigations into the roots of Stoker’s manuscript, taking him to Romania, where he travelled around Dracula country with a film crew and director in jeeps. “But then something goes wrong with the filming and we have to come back to England,” he says.

Whereupon he took up the role of abusive care-home worker Cormac Ranger in Hollyoaks, shooting episodes sporadically in 2020 and 2021. “I was doing Hollyoaks when lockdown started, so I was left kicking my heels and started looking further into the Stoker story, deciding to write my adaptation in lockdown in London,” says James.

“The idea is that Stoker had been asked by Van Helsing to put this genuine document in book form and I then take it upon myself to take up that story – and by trying to tell it like an investigative journalist, it allows you to play with how Stoker had everything flying around all over the place – the timelines, the newspaper cuttings, the journals – when he was writing the book.

The poster, blood-red writing and all, for James Gaddas’s Dracula – One Man’s Search For The Truth

“In my show, the search for the truth becomes an obsession, and that psychological side of a story is such a strong part of a solo show.”

Gaddas previously wrote a solo play in Australia in 1989 called Shadow Boxing. “It was about a gay boxer,” he says. “It came about when this actor, David Field, said, ‘write me a one-man show’, and his dad had been a boxer. That play was revived on an Arts Council tour over here two years ago.”

Gaddas knew what form his Dracula show should take. “Doing such a classic piece, I wanted to get away from just standing there enunciating the book,” he says. “We’ve come to the point where we expect Dracula to be a comedy, whereas really it isn’t. It’s much more like Nosferatu, rooted in Eastern European ideology, while playing with what happens to someone when sense ends and obsession begins. It’s that archetypal thing where an obsession can take over.”

He may be performing on his own, but he has an impressive production team that has created the show with him, led by director Pip Minnithorpe, UK associate director of Harry Potter And The Cursed Child.

Illusion design is by John Bulleid, who provided the Olivier Award-winning illusions for The Worst Witch, and Deborah Radin has provided the movement direction.

The show’s original music is by composer and Downton Abbey and Ted Lasso actor Jeremy Swift. “I’ve known Jez since he was 11, when we were at school together,” says James.

“He’s always had a love of music, and we’d write songs together; he’d write the tunes, I’d write the lyrics. Anyway, we were on this walk on Hampstead Heath, when he said, ‘what are you doing in lockdown?’, and I told him I was writing a one-man play. ‘Would you like me to write the music?’ he said.”

Tomorrow, Gaddas will be playing no fewer than 15 characters. “It’s slightly easier than when I did Billy Bishop Goes To War, a [John MacLachlan Gray ] musical about a Canadian First World War flying ace, where I had to play 23 characters – and I didn’t get to choose those characters, but here, for Dracula, I could.”

As the interview draws to a close, Gaddas offers a final thought on Stoker’s sense of drama in his writing. “Today, he would probably have been writing episodes for Coronation Street,” he says. Imagine that.

James Gaddas in Dracula – One Man’s Search For The Truth, Grand Opera House, York, February 21, 7.30pm. Box office: 0844 871 7615 or at atgtickets.com/York.

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‘There are so few plays that feature a woman like this,’ says Woman In Mind director Angie Millard. ‘Hedda Gabler and that’s it.’ Meet Alan Ayckbourn’s Susan

Victoria Delaney and Neil Vincent shelter under an umbrella in a February rehearsal for the Settlement Players’ production of Alan Ayckbourn’s Woman In Mind. Picture: John Saunders

ANGIE Millard has directed myriad plays but “seemed to have avoided” Alan Ayckbourn…until now.

“The present climate of isolation and mental health issues led me to Woman In Mind, which is a perfect choice for this time,” she says, ahead of her York Settlement Community Players production opening on Saturday in the York Theatre Royal Studio.

One of 87 full-length works by the Scarborough playwright, 1985’s Woman In Mind’s portrait of a woman in the verge finds housewife Susan stuck, unfulfilled and neglected in her humdrum marriage.

As played by Victoria Delaney, who remains on stage throughout, Susan’s growing disillusionment with everyday life is brought to a head when she steps on a garden rake and is knocked unconscious.

Whereupon her minor concussion and hallucinations combine to surround Susan with the ideal fantasy family, handsomely dressed in tennis whites as they sip champagne. However, when her real and imaginary worlds collide, those fantasies take on a nightmarish life of their own in Ayckbourn’s hotbed of humour and pathos.

“You can see Ayckbourn’s plays over and over again and still see something new in them each time; they’re so rich in detail,” says Angie. “I love Woman In Mind, and I’m working with very talented and creative people who make every rehearsal a joy, though the problem we’ve faced is the limited amount of time we’ve had to rehearse.

“We’ve been doing just three hours on Sundays, two hours on Mondays and Wednesdays, with the Mondays for intensive sessions for the two-hander scenes, followed by a week in tech.

Victoria Delaney: On stage from start to finale in Alan Ayckbourn’s Woman In Mind

“You need the time to explore the lines, to find the humour, to bring a light touch to it, as it’s that subtle, offhand way that Ayckbourn has in his writing.”

Explaining her reasoning behind selecting Woman In Mind, Angie says: “Because of Susan. I feel there are so few plays that feature a woman like this. Hedda Gabler and that’s it.

“That’s important now in a society where people are having mental health problems – and Susan has massive mental health problems. The pandemic has also thrown up an increased awareness of isolation and of not being happy in a relationship, which has been exacerbated in the lockdowns.”

Angie notes how Susan’s husband Gerald, busy writing his magnus opus on the history of the parish, “doesn’t know how to deal with Susan”. “Men in Ayckbourn’s plays rarely do. It’s a position they take where, over the years, they slide away from their responsibilities in relationships or in their workplace, and that’s rarely something women get to do,” she says.

“But this is where Ayckbourn is really clever, because you also see Susan for who she is. You ask yourself, ‘why did she marry him?’. When Gerald asks, ‘what did I do wrong?’, she says, ‘’Married me’.

“Yes, he’s let her down, he’s a disappointment, but marriages are about a contract and a bargain. It’s about acceptance.” 

Putting Susan’s character on the psychiatrist’s couch, Angie says: “Most people who end up unwell mentally have an addiction, though with Susan, I can’t attribute an addiction to her, except an addiction to perfection.

York Settlement Community Players’ poster for Woman In Mind

“If you’re classically depressed, it’s because the world doesn’t see you as you see yourself, but you have to get over that and not see yourself as so important.”

Victoria Delaney will be joined in Millard’s cast by company stalwarts Chris Pomfrett, Paul Toy, Helen Wilson and Paul French and newcomers Frankie-Jo Anderson, Neil Vincent and Amy Hall in Settlement Players’ first Theatre Royal production since Chekhov’s The Seagull in pre-Covid March 2020.

“This is the first role I’ve done since Covid started,” says Victoria. “My last one was in a play I wrote myself, Mad Alice, in October 2019, and my plan at the time was to start my own company, do a Yorkshire tour and then maybe take it to the Edinburgh Fringe, but then the pandemic happened and it just wasn’t possible. I’ll wait for things to settle down and then I can return to that plan or more writing.

“So, when I saw the casting call-out for Woman In Mind, I jumped at it. I did my research and requested to audition for two roles, Susan and Muriel, as I love comedy and I would have loved to play Muriel too, but what a peach of a part Susan is.”

Victoria initially took a break from her professional acting career after her divorce to focus on being a single mum with an autistic son – who will turn 20 in the summer – and she now works remotely from home giving legal advice on Zoom to families with special educational needs up to the age of 25.

Her acting and writing come into play when the opportunity arises.  “But in my work, I do also sometimes have to think creatively about how the law might get over a problem,” she says.

Rehearsing for an Ayckbourn play has been such a stimulating challenge. “It’s a comedy but it’s a dark comedy, which means I can show lots of sides to Susan. There are moments where I can play the comedy; moments where she’s really vulnerable, or indignant, or annoyed,” says Victoria.

“I’m going to really miss her because she takes you over,” says Victoria Delaney of playing housewife Susan in Woman In Mind. Here she is pictured by John Saunders, masked up in the rehearsal studio

“There’s just so much to her character, and because I never leave the stage, I get to interact with so many characters. I’m going to really miss her because she takes you over. I’ve been called for every rehearsal because Susan is in every scene, and as I have to go through so many emotions, I then need to let those emotions , that adrenaline, seep away.”

To learn all those lines, “I’ve been walking around the village, doing laps at 6am, listening to the play,” says Victoria, who lives in Wheldrake.

She finds liberation in playing a character of such emotional contrasts. “I’ll say things on stage that I would never say myself. Things that I would consider rude. I’d have too many filters to go through to say them!” she says.

“But the absolute drug of acting is to be able to show the audience all these emotions, this sadness, and when you feel them connect with you, I love that connection.

“I’ve meet lot of actors that have a certain shyness about them in their own lives. I mask it, but I have a shy side, and when people say, ‘but you go out on stage’, I say, ‘yes, but I’m playing someone else and I love doing that’.”

As chance would have it, when facing such a demanding week ahead, “luckily the performances are over half-term”, says Victoria, breathing a little more easily at the prospect.

York Settlement Community Players in Alan Ayckbourn’s Woman In Mind, York Theatre Royal Studio, Saturday until February 26, except February 20; 7.45pm plus 2.45pm, February 26. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

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Showtime for Anton and Erin as Strictly duo celebrate Fred, Ginger, Chaplin and Elton

Terpsichorean twirlers Anton du Beke and Erin Boag toast their return to the dancefloor in their first tour since early 2020

LONGSTANDING, long-dancing ballroom couple Anton du Beke and Erin Boag are reunited in Showtime at York Barbican tomorrow night (18/2/2022).

After a fallow 2021, when the pandemic put paid to their tour plans, the Strictly Come Dancing alumni have been on the road since January 28 this winter, playing 30 dates that will take in further shows in Yorkshire at Hull New Theatre on February 22 and 23.

“Not only 2021 was lost,” says Strictly judge Anton. “We lost shows in 2020 as well; we were into the last week of our tour, when were going to play York and then go onto Scotland, so it’s been a while since we danced together.”

Sevenoaks-born Anton, 55, and New Zealander Erin, 46, are taking to the dance floor in Showtime, a “glittering tribute to some of the world’s greatest icons of entertainment”: Fred Astaire and Ginger Rogers, Frank Sinatra, Judy Garland, Charlie Chaplin, Shirley Bassey, Tom Jones, Liza Minelli, Elton John and more besides.

Glittering tribute: Anton and Erin are ready to dazzle in Showtime

Returning to dancing after sitting down through the 2021 series of Strictly on the judging panel, Anton says: “To be honest with you. it’s been like ‘wow, I only feel like I’m 28’ because there’s a lot of experience to fall back on.

“We did a few special shows at the back end of last year, like one night in Leeds, where we were only there to do a couple of numbers, and my biggest concern was ‘would the suit still fit’. It did! Then Erin asked, ‘would you do up my zip’, and her dress fitted perfectly too.”

Erin says: “I’m fit! There aren’t many dancers at my age still going strong, but I am, though I’m not the same [dancer] as I was 20 years ago – or even two years ago. But keeping fit is the easiest part. The hardest part is the technical side, but I’ve been really looking forward to the tour as I don’t think anyone will notice that!

“Maybe adrenaline can get you through the first few shows and the presence of an audience can do that too, as well as working with people again, performing with a big orchestra. It’s all about the enjoyment of getting back to dancing again.”

“It’s all about the enjoyment of getting back to dancing again,” says Erin Boag

Six months of preparation have gone into Showtime, a show produced by Raymond Gubbay that combines the dazzle of ballroom couple Anton and Erin with “stunning costumes, fabulous live vocals, a high-energy dance ensemble and a sensational 23-piece orchestra”.

“We have a new sound company working with us, great lighting and costumes,” says Anton. “When there has been no shows, it’s been so much more than Erin and me not being able to put on a show. No shows means no frocks, no work for sound engineers. That’s why it’s important that now that shows are back, the message is clear that people can feel safe to come into a theatre.

“It’s also important that people work harder to make the experience enjoyable, with venues going the extra mile. We get that venues need to be safe, but their job is to make it enjoyable within the safety guidelines. Don’t be officious, be welcoming!”

Anton And Erin in Showtime, York Barbican, tomorrow (18/2/2022), 7.30pm; Hull New Theatre, February 22 and 23, 7.30pm. Box office: York, yorkbarbican.co.uk; Hull, hulltheatres.co.uk.

Copyright of The Press, York

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Kerouac Lives near Hebden Bridge…as spotted in Heath Common’s cabaret night

Heath Common: Jack Kerouac aficionado

IN Episode 77, Two Big Egos In A Small Car podcasters Graham Chalmers and Charles Hutchinson report on the Kerouac Lives cabaret show that reappraised the work of Jack Kerouac and the Beat Generation.

Under discussion too are John Rushton, D-Day hero, RIP; Harrogate duo The Paper Waits in hushed concert; Black Country, New Road’s sophomore album, and levelling up in the arts.

To listen, head to: https://www.buzzsprout.com/1187561/10055233

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REVIEW: We Will Rock You, Grand Opera House, York, until Saturday ****

We Will Rock You, pictured on an earlier tour in 2019. The 2022 show comes re-booted with a state-of-the-art design

WE Will Rock You is “intriguing, challenging, achingly romantic, brutally cynical and at once both sad and hilarious,” says the futuristic Queen “rock theatrical’s” writer-director, Ben Elton.

It is also probably the daftest musical you will ever see. Even dafter on reacquaintance than when the flamboyant show visited Leeds Grand Theatre in 2011, the year it won the Most Popular Show prize at the Olivier Awards.

Thirty years since Freddie Mercury passed away at 45 – “too beautiful, too wild,” as Elton puts in his script – Queen still rule. On press night, there was not a spare seat to be had, setting the box-office pattern for the busy week ahead.

For its 20th anniversary touring production, Elton is back at the helm as director, adding changes and updates here and there to a plot that has gone from “science fiction to science fact” and is “more relevant than ever”, in the judgement of Queen guitarist Brian May.

A pre-show Elton recorded plea to “live in the freakin’ moment” (by putting away mobile phones) and two references to Covid go down particularly well, while the renaming of Planet Earth has moved on from Planet Mall to iPlanet in the age of Internet Gaga.

Astutely, musical advisor May had suggested: “The show needs to work in a theatrical context and retain the rock, while also incorporating the spectacle, uniqueness and humour embodied by Queen.”

This prompted Elton to consider how “legendary rock music should have a legendary context” as he riffed on tales from King Arthur to The Terminator: “heroic myths in which brave individuals take on the vast monolithic force of evil systems”.

Elton’s nutty narrative is duly set in a distant, dystopian, globalised future where iPlanet’s inhabitants dress and think identically and exist in a brain-dead cyberspace haze, like the Gaga High School pupils encouraged to spend day after day on the online drip-feed.

Rock music is banned, prompting a rebellious cluster, the tartan and leather-clad Bohemians, to fight against the all-powerful Global Soft company, its pantomime-baddie boss, the Killer Queen (Jenny O’Leary) and her henchman, Khashoggi (Adam Strong), the Malvolio party-pooper of the piece.

Two school outsiders, boy dreamer Galileo Figaro (Ian McKintosh) and bad-ass girl Scaramouche (Elena Skye), want to break free from all this bleak conformity, to join the Bohemian cause to restore freedom of expression and individuality (except for the audience, who are asked to refrain from singing except when instructed).

Ben Elton: Writer-director of the hit and myth musical We Will Rock You. Picture: Trevor Leighton

We Will Rock You builds that Orwellian story around a framework of readymade hits, like the Madness musical vehicle, Our House. In other words, it applies a back-to-front process, songs first, story second, as satirical humorist Elton sticks his tongue firmly in Queen’s already saucy cheek.

Combining lampoon and harpoon, he revels in a hoary plotline that sends up Britney Spears, Lady Gaga, Sir Cliff Richard, Meat Loaf and corporate control of pop, throws in a love story and sexual innuendo, while finding endless routes/excuses to sing another of those Queen monoliths: 24 in total.

May’s fellow musical advisor, Queen drummer Roger Taylor, defines the musical as being silly, funny but making “quite a lot of serious points”. True, but Elton’s show rightly refuses to take itself seriously when making those points.

His dialogue is deliberately as clunky as a B-movie script and his knowing, debunking humour, full of in-jokes and Queen and rock-history references bounces off his characters, just as it does in Blackadder, The Young Ones and Upstart Crow.

Tim Blazdell’s set design and Stufish Entertainment Architects & Willie Williams’s  video production bring a state-of the-art pizzazz to the Queen hit parade, while also evoking the spirit of Flash Gordon and Return To The Forbidden Planet, aided by Kentaur’s costume and wig designs.

Zachary Flis’s band, up on the mezzanine level, relish the mock-operatic drama and sheer diversity of the Queen songbook, sung spectacularly by Elton’s company of colourful characters, as much in the tradition of Meat Loaf as Mercury.

No-one is afraid to throw the kitchen sink into shamelessly over-the-top performances, especially O’Leary’s belting Killer Queen and David Michael Johnson’s Brit, or to be hammy in the case of Strong’s Khashoggi.

Michael McKell’s motor-biking dude, Cliff, is the scene stealer; McIntosh’s Freddie and the dreamer combination of gorgeous voice and naivety are a joy throughout and Skye’s drop-dead goth attitude as Scaramouche is a killer.

Ultimately, silly and funny as it may be, We Will Rock You is all about those oh-so familiar songs being brought to fresh life by myriad knock-out voices, Far better to be done this way than in yet another tribute show.

P.S. Make sure to stay for the end, not the false end, to experience the fandango of a finale.

To join the ticket rush: 0844 871 7615 or at atgtickets.com/York