The art beat of YORKshire
YORKSHIRE culture podcasters Graham Chalmers and Charles Hutchinson discuss the impact of Covid on the busiest time of the theatre year in Episode 70 of Two Big Egos In A Small Car.
Under discussion too are Don’t Look Up, Andy McKay’s follow-up film to The Big Short; filming The Witcher in Harrogate; farewell to the Uthink Piccadilly Pop-Up art studios in York, and World Party’s neglected forewarning of climate change decades ago.
To listen, head to: https://www.buzzsprout.com/1187561/9786685
CINDERELLA and you will not be going to the ball for a week at York Theatre Royal after Covid-19 – re-cast as the Ugly Sister of the panto world – forced “an increasing number” of the company to self-isolate from today.
All being well, Juliet Forster’s production will be back on stage on Thursday, December 30 with two performances that day at 2.30pm and 7pm.
Chief executive Tom Bird tweeted: “We tried so hard. We got to our fourth Cinderella. But it was too much to carry on. See you on the 30th.” The rehearsal room needed a revolving door, it was so hectic this week.
The Theatre Royal’s statement advises: “Our box office will be in touch with ticket holders as quickly as they can to make alternative arrangements. We want to thank everyone for their patience and understanding at this difficult time”.
Understudies already had stepped into roles at some performances this week after several cast members tested positive for Covid. A new actress was drafted in to play Cinderella, arriving in York last night, but when several more cast members tested positive today (23/12/2021), it was decided the show could not be performed over Christmas, given the uncertainty surrounding cast availability.
“We’ve tried really hard to ensure the show goes on, but the increasing number of the company having to self-isolate has meant that we can’t continue,” the statement continues. “We are offering several options to our audiences: to book for another performance of Cinderella from December 30; to transfer their tickets to Peter Pan next winter; to have a credit or voucher to book for another show, or the offer of a full refund”.
Extra performances are being added to the schedule to make up for the lost shows. Cinderella will not go into extra time; the show will still end on January 2…unless the Government imposes prohibitive new restrictions in its next Covid briefing before then. Wait and see.
GIVEN the ever-changing Omicron briefings, Charles Hutchinson has a rubber as well as a pencil in his hand as he highlights what to see now and further ahead.
Still time for pantomime unless Omicron measures intervene part one: Dick Turpin Rides Again, Grand Opera House, York, until January 9
BACK on stage for the first time since February 2 2019, grand dame Berwick Kaler reunites with long-standing partners in panto Martin Barrass, David Leonard, Suzy Cooper and A J Powell.
After his crosstown switch to the Grand Opera House, Kaler steps out of retirement to write, direct and lead his first show for Crossroads Pantomimes, playing Dotty Donut, with Daniel Conway as the company’s new face in the Essex lad title role amid the familiar Kaler traditions. Look out for the flying horse. Box office: atgtickets.com/York.
Still time for pantomime but only after a week in self-isolation: Cinderella, York Theatre Royal, ending on January 2 2022
COVID has struck three cast members and understudies too, leading to the decision to cancel performances of Cinderella from today until December 30.
Fingers crossed, you can still enjoy Evolution Productions writer Paul Hendy and York Theatre Royal creative director Juliet Forster’s panto custom-built for 21st century audiences.
Targeted at drawing in children with magical storytelling, silliness aplenty and pop songs, Cinderella has a thoroughly modern cast, ranging from CBeebies’ Andy Day as Dandini to Faye Campbell as Cinders and ventriloquist Max Fulham as Buttons, with his Monkey on hand for cheekiness.
Robin Simpson and Paul Hawkyard’s riotous step-sisters Manky and Mardy and puns galore add to the fun. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Buy now before her prices go up! Julia Borodina, Into The Light, Blossom Street Gallery, York, until January 31
JULIA Borodina will be competing in Sky’ Arts’ 2022 Landscape Artist of the Year, set for screening in January and February. Perfect timing for her York exhibition, Into The Light, on show until the end of next month.
THE Christmas tree of the season: Christmas In Narnia at Castle Howard, near York, until January 2
CASTLE Howard has topped past peaks by installing a 28ft spruce tree from Scotland in the Great Hall as part of the Christmas In Narnia displays and decorations.
“We believe that this is the largest real indoor Christmas tree in the country, standing around eight feet higher than the impressive tree normally installed in Buckingham Palace,” says the Hon Nicholas Howard, guardian of Castle Howard.
“It’s certainly the largest we have had, both in terms of height and width at the base, which has a huge footprint in the Great Hall – but thankfully leaves a gap on either side for visitors to walk right around it.” Tickets for Christmas In Narnia must be booked before arrival at castlehoward.co.uk.
Choirs galore: York Community Choir Festival, Joseph Rowntree Theatre, York, February 27 to March 5 2022
EIGHT shows, different every night, will be the format for this choral celebration of how and why people come together to make music and have fun.
At least four choirs will be on stage in every concert in a festival featuring show tunes, pop and folk songs, world music, classical music, gospel songs, close harmonies, blues and jazz.
From primary-school choirs through to teenage, young adult and adult choirs, the choral configurations span male groups, female groups and mixed-voice choirs. Proceeds will go to the JoRo theatre from ticket sales on 01904 501935 or at josephrowntreetheatre.co.uk.
If you see one sage and rage singer-songwriter next year, make it: David Ford, Interesting Times Tour 22, Pocklington Arts Centre, March 10 2022, 8pm
EASTBOURNE troubadour David Ford will return to the road with an album of songs documenting the tumultuous year that was 2020.
May You Live In Interesting Times, his sixth studio set, charts the rise of Covid alongside the decline of President Trump. Recorded at home during various stages of lockdown, the album captures the moment with Ford’s trademark emotional eloquence and dark irony.
After the imposed hiatus times three (and maybe four, wait and see), the new incarnation of Ford’s innovative, incendiary live show promises to demonstrate just what happens when you shut such a creative force in a room for two years. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.
Amid the winter uncertainty, look to next summer’s knight to remember: Sir Tom Jones at Scarborough Open Air Theatre, July 26 2022
SIR Tom Jones will complete a hattrick of Scarborough Open Air Theatre concerts after his 2015 and 2017 gigs with his July return.
In April, the Welsh wonder released his 41st studio album, the chart-topping Surrounded By Time, featuring the singles Talking Reality Television Blues, No Hole in My Head, One More Cup of Coffee and Pop Star.
Sir Tom, 81, will play a second outdoor Yorkshire concert in 2022, at The Piece Hall, Halifax, on July 10. Box office for both shows: ticketmaster.co.uk.
Deep in the bleak midwinter, think of days out on the Yorkshire coast part two: Elbow, Scarborough Open Air Theatre, July 9 2022
MAKE Elbow room in your diary to join Guy Garvey, Craig Potter, Mark Potter and Pete Turner on the East Coast in July.
Formed in 1997 in Bury, Greater Manchester, BBC 6 Music Sunday afternoon presenter Garvey and co chalked up their seventh top ten album in 2021 with Flying Dream 1.
Released on November 19, Elbow’s ninth studio album was written remotely in home studios before the lifelong friends met up at the empty Brighton Theatre Royal to perfect, perform, and record the songs. Box office: ticketmaster.co.uk.
DIRECTOR Juliet Forster first noted Robin Simpson and Paul Hawkyard’s stage chemistry when they played two of the Rude Mechanicals in her Shakespeare’s Rose Theatre production of A Midsummer Night’s Dream in York in July 2018.
Now York Theatre Royal’s creative director has cast them us unruly stepsisters Manky and Mardy in Cinderella.
Both have dame roles in their panto locker, Robin last year donning the frocks for the Theatre Royal’s Travelling Pantomime, having appeared in the Lawrence Batley Theatre panto in Huddersfield in the past few years.
“I was never under contract though; it was always just a case of them giving me a call early in the year, so it was a very free and easy arrangement,” he says.
Last Christmas, the Huddersfield panto was cancelled, and so Robin was able to continue an association with York Theatre Royal that began with The Little Mermaid in 2005 by appearing in Juliet and Evolution Productions’ writer-producer Paul Hendy’s first collaboration, the Travelling Pantomime.
“It was a lovely script and such a lovely show to do, when we were all so happy to be in that situation of being able to perform when so many places were in Tier 3, but there we were in Tier 2, taking every day as a blessing, testing every other day, but still worrying that it would be shut down or that someone would test positive,” he says.
“We were always living on a knife edge, but we got through most of the run and we had such a blast because people were delighted they could see a show again and were so happy to see their children enjoying themselves.”
Lawrence Batley Theatre’s creative team changed with a new chief exec coming in; likewise, York Theatre Royal was looking to move on from Berwick Kaler’s 40-year damehood.
“Both theatres were starting afresh, and with me facing a choice, I thought it would be a good time for me to move on, as they could start with a clean slate at Huddersfield, and performing in York always feels like coming home,” says Robin, who lives in Slaithwaite, near Huddersfield.
“York Theare Royal is such a wonderful theatre and I’ve done so many shows on that stage. I think York is the city I’ve worked in the most, playing at the National Railway Museum and Shakespeare’s Rose Theatre as well.”
Paul Hawkyard, standing somewhat taller and wider than Robin at 6ft 2, was born and raised in Leeds, and, as chance would have had it, he had just moved back to Yorkshire after many years of living down south when the opportunity to appear alongside him in Cinderella came about.
“We’d loved being in the Scottish play [Macbeth] and A Midsummer Night’s Dream together in 2018,” he recalls. “Robin played the Wall in ‘the Wall Play’, I played Bottom, and we’d bring the show to a stop on numerous occasions, getting told to stop doing that!
“We were neighbours in the dressing room and got on so well, putting the world to rights, waiting for our cues, scrambling to the stage, so it’s lovely to be doing this show together.”
Actor and wildlife artist Paul has shed four stones since first playing Bottom. “I got diabetes and I packed in everything after that. I started the Blenheim Palace production in 2019 at one size and ended it at another. I don’t think the costume lady was very pleased!” he says of his fitness regime. “I started doing boxing workouts again and I’m no longer in the diabetic range.”
Paul subsequently left behind Bordon, Hampshire, for a new beginning in Selby. “Covid kicked in hard, and that was a big factor in deciding to return north. It meant I could come back because a lot of auditions are done on Zoom now, so you’re in a position where you don’t have to live in or near to London,” he says.
“I had a look around a lot of areas in Yorkshire and settled on Selby. I’d only been there once before, but I just wanted to be somewhere near York, as I love the place, and Selby is just down the road. I saw the house and that was it!”
Weight loss, house move, and now Paul has become engaged too, to Nicola Filshie. “I decided to marry the girl I’ve known for 26 years, who lives in Glasgow, so I spend a time a lot of time going up there. We’ve worked together a few times, and now we’ll be marrying next October,” he says.
Paul contacted Juliet Forster before making the move to Selby. “I said I was moving to Yorkshire and it would be lovely to see her, asking her to keep me in mind if anything came up.”
Lo and behold, up came the Ugly Stepsister partnership with Simpson in Cinderella. “We are very different,” says Paul. “He’s quietly brilliant and I’m very loud!”
Making his professional debut in pantomime, he first played Simple Simon in a Pantoni Productions show in his early 20s and has since appeared as Buttons, assorted dames and even the villainous Abanazar out in Dubai.
By comparison, Robin has always played dame. “Maybe a lot of dames see themselves as appealing to the adults, with the comedian turn for the children, but I’ve never thought of it like that. You have to appeal to everyone. I don’t want to alienate children,” he says.
Somehow, this even applies when playing the outwardly unappealing, antagonistic stepsisters Manky and Mardy. Robin and Paul may enter each time to ever more raucous jeering, but they are lovably absurd, boastful villains, mean but funny. “Aren’t we brilliant?” they jest. They are, as it happens!
COVID UPDATE 23/12/2021
NO performances of Cinderella from December 23 for a week after a Covid outbreak among cast members. Provisionally, the production will resume on December 30, with two extra performances being added to the run that ends on January 2. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Copyright of The Press, York
YORK Musical Theatre Company is seeking to attract new members to take part in next year’s exciting shows to marks its 120th anniversary.
First up will be Jekyll & Hyde The Musical, directed by Matthew Clare, with musical direction by John Atkin, at the Joseph Rowntree Theatre, York, from May 25 to 28.
An introductory evening will be held on Thursday, January 6 at 7.30pm at Poppleton Methodist Church Hall. “This will be a chance for anyone interested in being involved with the show to meet the production team and chat about auditions, rehearsals, the characters, the plot and the music,” says new committee member Mick Liversidge.
“There’ll be auditions for all character and ensemble roles on Saturday, January 15, from 11am to 3pm, and Tuesday, January 18, from 7.3pm to 9.30pm, again at Poppleton.”
Based on Robert Louis Stevenson’s thriller The Strange Case Of Jekyll And Hyde, the musical sets the gripping tale of a brilliant mind gone horrifically awry to a powerful pop-rock score by Frank Wildhorn, with book and lyrics by Leslie Bricusse.
In attempting to cure his ailing father’s mental illness by separating “good” from “evil” in the human personality, talented physician Dr Jekyll inadvertently creates an alternate personality of pure evil, dubbed Mr Hyde, who wreaks murderous havoc on the city of London.
As his fiancée, Emma, grows increasingly fearful for her betrothed, a prostitute, Lucy, finds herself involved dangerously with both the doctor and his alter ego. Struggling to control Hyde before he takes over for good, Jekyll must race to find a cure for the demon he has created in his own mind.
“The music for this show is sumptuous, with some fabulous moving numbers for the lead characters to perform, backing up a truly bittersweet story of love, passion, sex and murder, mixed with both the physical and mental struggles of Dr Jekyll to vindicate his medical theories,” says Mick.
To register for an audition, send an email to: auditions@yorkmusicaltheatrecompany.org.uk.
“The auditions are open to anyone who wishes to be involved in what should be a truly memorable show to celebrate York Musical Theatre Company’s 120th year,” says Mick.
WHY re-tell West Side Story? Culture podcasters Graham Chalmers and Charles Hutchinson mull over Spielberg’s musical in Episode 69 of Two Big Egos In A Small Car.
Plus Christmas singles competing for the top spot; Ayn Rand’s Atlas Shrugged and the American Dream; and cult band I Like Trains’ live comeback in Leeds.
That gig promptied this question: Is swaggering Manchester’s music scene really that much better than self-deprecating Leeds?
Catch the debate at: https://www.buzzsprout.com/1187561/9744141
PLAN B may need its own Plan B amid the Omicron surge, but Charles Hutchinson seeks to be positive – in Christmas spirit only – until otherwise informed.
Children’s show of the week: Riding Lights Theatre Company in Fizzy Finn Finds His Feet, Friargate Theatre, York, today to December 23
JON Boustead’s “crackling new Christmas adventure” addresses children’s mental health problems arising from lockdowns and separation from family and friends.
Finn is a fidget whose brain is ablaze with an unbreakable buzz that fizzes to his fingers and tickles his toes, or it would do if he could only find his feet in a 50-minute story of fear and bravery suitable for children aged five to 11.
The show’s magical blend of vivid storytelling, original music by Patrick Burbridge and creative puppetry is presented by Jared More’s Fizzy Finn and Meg Blowey’s Tink the Cobbler. Box office: 01904 613000 or at ridinglights.org/fizzy-finn.
Christmas film tradition of the week: It’s A Wonderful Life (U) at City Screen, York, today, Tuesday, Wednesday, Thursday, Christmas Eve
AN elderly angel is sent from Heaven to help desperately frustrated businessman George Bailey (James Stewart) as he contemplates suicide.
Taking George back through his life to point out what good he has done, the angel shows him what life would have been like if he had never existed.
Frank Capra’s classic from 1946 is a Christmas Eve big-screen staple: City Screen has shows that day at 3pm and 6pm. Box office: 0871 902 5747 or at picturehouses.com.
Pianist of the week: Joe Alexander Shepherd, National Centre for Early Music, York, tonight, 7.30pm
YORK pianist and composer Joe Alexander Shepherd combines beautiful contemporary and classical music with a Christmas ambience tonight, complemented by special guest appearances by singer-songwriter Wounded Bear and singer Amelia Saleh on his return to the NCEM. Expect new compositions, by the way.
Shepherd composed the music for UEFA’s First World War Truce video, starring footballers Sir Bobby Charlton, Wayne Rooney and Gareth Bale, and for a UK Women’s Rugby Football Union advert.
Concert proceeds will go to the Charlie Gard Foundation to support families affected by mitochondrial disease. Box office: 01904 658338 or at ncem.co.uk.
Finale of the week: Uthink Piccadilly Pop Up art studios and gallery, 23 Piccadilly, York, today and tomorrow
THE Uthink Piccadilly Pop Up art studios and gallery must vacate their temporary premises by the end of the month after being served notice by the re-developers.
Since August 2020, the studios opened to the public on Saturdays to showcase work by 15 artists, ranging from painting, drawing, abstract art and collages to photography, sculpture, installation and poetry.
Today, public opening will be from 12 noon to 6pm; on Sunday, a festive market and extended art exhibition will run from 11am. Admission is free.
Gigs of the week outside York: Shed Seven, Another Night, Another Town – Greatest Hits Live Tour, Leeds O2 Academy, Monday and Tuesday
SHED Seven have restarted their Covid-stalled tour after calling off December 10 to 16’s run of shows to next March when a member of the touring party tested positive.
Earlier this week, the York band tweeted: “Excited to confirm that the tour will resume this Friday [December 17] in London – let’s finish what we started!! New dates for the shows that were postponed will be announced next week. Shed Seven ride again. See you down the front. X.”
Tickets are still available for both Leeds gigs at ticketmaster.co.uk/shed-seven-leeds. Doors open at 7pm each night.
Cult gig of the week: Michael Head & The Red Elastic Band, The Crescent, York, Tuesday, 7.30pm
IN the wake of Adios Señor Pussycat in 2017, Michael Head & The Red Elastic Band are working on a new album, nearing completion.
Devotees of the 60-year-old Liverpudlian’s gilded songwriting brio can expect to hear new songs as well as much-loved nuggets from his days in Shack and The Pale Fountains. Pet Snakes support at this standing-only gig. Box office: thecrescentyork.seetickets.com/event/michael-head
Pantomime in a car park? Oh yes it is, in Car Park Panto’s Horrible Christmas, Elvington Airfield, near York, January 2, 11am, 2pm and 5pm
BIRMINGHAM Stage Company’s Horrible Histories franchise teams up with Coalition Presents for Car Park Panto’s 14-date tour of Horrible Christmas to racecourses, airfields, stadiums and a motor-racing circuit.
In writer-director Neal Foster’s adaptation of Terry Deary’s story, when Christmas comes under threat from a jolly man dressed in red, one young boy must save the day as a cast of eight sets off on a hair-raising adventure through the history of Christmas.
At this car-centred, Covid-secure experience, children and adults can jump up and down in their car seats and make as much noise as they like, tuning in to the live show on stage and screen. Box office: carparkparty.com.
Looking ahead to 2022: The Unthanks, Sorrows Away, York Barbican, May 31; doors 7pm
NORTHUMBRIAN folk sisters Rachel and Becky Unthank will perform forthcoming new album Sorrows Away and Unthanks favourites with an 11-piece ensemble in a co-promotion by York’s Please Please You, The Crescent and Black Swan Folk Club and Brudenell Presents from Leeds.
As the album title suggests, Sorrows Away promises to be a blues-belter and a step into the light for sisters known more for melancholia and, well, sorrow. For tickets for The Unthanks’ return to touring after a two-year hiatus, go to: yorkbarbican.co.uk.
REVIEW: Dick Turpin Rides Again, The Legend Returns!, Grand Opera House, York, until January 9. Box office: atgtickets.com/york
BERWICK Kaler is at the Frank Sinatra comeback stage of his career, not the Elvis hologram with his old band taking care of business live on stage.
The panto pack has reassembled at a new home, originally at the invitation of pantomime juggernaut Qdos Entertainment, but now under the wing of Crossroads Pantomimes, Qdos’s new overlords.
This is the Berwick Kaler show as commercial pantomime in York’s commercial theatre, with costumes and set design (both uncredited) from the Crossroads stock, visual special effects by The Twins FX and pyrotechnics by Le Maitre. All such detail is of a higher quality than for the Grand Opera House pantos staged by Simon Barry’s New Pantomime Productions and Three Bears Productions.
Yet none of that matters to anyone wanting to renew acquaintances with writer-director Berwick and sidekick Martin, David, Suzy and AJ. The story here is the return to the stage of Britain’s longest-running dame for the first time since his retirement after 40 years at York Theatre Royal on February 2 2019.
“I thought you’d retired,” comes the jest. “So did I,” replies the Wearsider, eyes looning and bulbous in that familiar way. Doing panto is a hobby now, he explains.
Berwick’s pantomimes have become as divisive as Brexit. Leave. Remain. Retire. Come back. Get Brexit Done. Get Berwick Back. Too many bridges burnt for that ever to happen at his beloved Theatre Royal, but the die-hards felt betrayed, Suzy Cooper calling it “a travesty” that such a long-running show should end so abruptly. “We are not dead yet!” she exclaimed in her interview.
Qdos and now Crossroads have made those mutual wishes of cast and devotees come true, and while pantomime may be a hobby for Berwick at 75, it is a serious business too.
His absence from the stage, when writing and co-directing Sleeping Beauty in 2019-2020, left his partners rudderless without their panto cult leader. No Berwick, no panto, and on those grounds, he had to come back if a Kaler pantomime were to retain its identity. Ironically, he has chosen to play a character called Dotty Donut, the pastry one with the hole in the middle, when he has just filled that hole.
Meanwhile, across the city, York Theatre Royal and Evolution Productions are looking to create a modern, multi-cultural, topical 21st century pantomime, still oozing cheesy puns but above all with their eyes on a younger audience.
Berwick’s show is more like a greatest-hits set with the best Fleetwood Mac line-up ever back together again, albeit leaving out such big smashes as the water slapstick, the films and the Harry Gration cameo.
“Me babbies, me bairns” welcome? Tick. Rocking chair? Tick. Wagon Wheel chucking? Tick. Newcastle Brown? Tick. The fish-demanding crocodile from 2008’s Dick Turpin? Tick. Not a lot of plot? Tick. Occasional innuendos involving the show title? Tick. Dick.
Once a Berwick Kaler pantomime stood for anarchic innovation, with a waspish wag of a bossy bloke out front in big boots, an unruly wig and no garish make-up, making merry hell, full of viperish bite and joshing ad-libs.
Now it is more in keeping with that cosy rocking chair, the show being nostalgic, sentimental about our shared yesterdays, slower, gentler and, like Keith Richards, just glad still to be here. It is much shorter too, at a little over two hours, with the structure being more obviously a series of set-pieces, rather than having the free-flowing unpredictably of the peak years.
Berwick’s face and frame are noticeably thinner – he even mentions it in his Dolly Parton routine – and so less comical, and you can see him reaching for the comic timing, both in his own performance and in his writing for his fellow panto players, as he re-works old jokes.
He is not helped, and nor are they, by the novel barrier of the whole audience, rather than merely Dick Turpin, being masked. This precautionary constriction in Omicron’s nascent days has a deflating impact on noise levels from the seats, on interaction too, a dehumanising device that injects an air of caution.
In the absence of excitable children to pump up the volume, the cast may well have to push harder to break down the newly extra-thick fourth wall, maybe even acknowledging the new dress code for pantomime. Berwick restricts himself to mentioning Covid once in the shout-outs.
He takes the show very steadily, his slapstick reduced to coconuts dropping on his head and mucking around with a ball of dough, but suddenly there is a flash of the trademark Berwick when David Leonard’s microphone malfunctions, prompting the dowager dame to veer off-script with an impromptu quip.
Now, that’s timing, gold mined from a mishap, and you hope more such moments of mischief will emerge through the run when too much elsewhere has to work hard and for too long, not least the courtroom scene that was previously a high point of 2008’s Turpin premiere.
Leonard’s villainous Vermin the Destroyer is as reliably arch as ever, and his hip rap song is a riot in the company of the perky ensemble, choreographed with typical snazziness by Grace Harrington .
Suzy Cooper’s Donna Donut reprises her ditzy vampire bat from 2008, shows off her yoga moves and knowingly sends up her ageless principal girl schtick. Martin Barrass’s Dunkin Donut revisits his hapless waiter from One Man, Two Guvnors and forms a dwarf double act with Berwick, where his gift for physical comedy is frustratingly better than the script.
AJ Powell’s Luvlie Limpit is the best-developed character among the regulars, caught between good and evil as a particularly dim-witted assistant, sounding all the dimmer for that luvverly Brummie accent.
The fresh face among the regulars is Daniel Conway as an Essex lad Dick Turpin, a dandy highwayman, yes, but not so much the rogue of reputation as something of a hero keen to set the record straight. He has a lovely singing voice too, best demonstrated in the first half’s finale, You’ll Believe A Horse Can Fly!. Even a pantomime horse, in the manner of a pantomime cow.
Unlike Leonard’s errant microphone, Berwick Kaler is on best behaviour, but that is not Berwick on best form, when he has that glint in his eye for naughty interjections he can’t resist saying.
Berwick Kaler, the panto dame, is a tough act to follow. Here he is more of a tribute act to himself, and while there remains audiences for two contrasting pantos in York, will the comeback dame saddle up again or ride off into the sunset? Box-office figures will dictate.
York Mix Radio: Hear Charles Hutchinson’s immediate post-show response to Berwick Kaler’s pantomime comeback in Dick Turpin Rides Again in a race against time to answer David Dunning’s questions before the Grand Opera House staff turn off the lights .
Head to: https://youtu.be/zRAnOa5hGp4
FOR the second year running, York Mystery Plays Supporters Trust has had to cancel A Nativity For York at Spurriergate Centre, Spurriergate, York.
The decision has been taken “amid the growing threat from Omicron”, putting paid to performances at 7pm tonight and 2pm, 4pm and 6.30pm tomorrow of A Nativity For York…Out Of The Darkness, Terry Ram’s community production drawn from the York Cycle of Mystery Plays.
Trust chair Linda Terry says: “Due to the uncertainty surrounding the impact of the new variant, we have, with great regret, taken the decision to cancel our Nativity production on December 17 and 18.
“The cast, crew and the trust are extremely disappointed, but we feel it is a wise option under the circumstances. Ticket holders have been contacted by email and reimbursement of ticket costs are being made.
“We express our grateful thanks to everyone who supported the production in so many ways: our cast and crew; Terry Ram, our director; our sponsors; the Spurriergate team; Mark Comer, for the production image; John Saunders, for photography, and everyone who contributed to the fundraising efforts.
“We know this will be a disappointment to all involved. Let us hope that we can bring A Nativity for York back in 2022.”
TONIGHT is press night for York pantomime stalwarts Suzy Cooper and Martin Barrass for the first time since December 2019.
They have reunited as part of the “Famous In York Five”, starring alongside grand dame Berwick Kaler, David Leonard and A J Powell in Dick Turpin Rides Again, their first pantomime for Crossroads Live since their switch to the Grand Opera House from York Theatre Royal.
“It’s a great stage for pantomime,” says principal girl Suzy, who plays Donna Donut this winter. “It’s a wonderful stage with a proscenium arch, stalls that go all the way back, a dress circle and upper circle, and it’s exciting to be back in a theatre with such a traditional auditorium. Acoustically, it’s fantastic too.”
Delayed by a year by Covid enshrouding the Cumberland Street theatre in darkness last winter, Suzy is even keener to be back among friends. “We wanted to be back together, which was really important to do: we have a very loyal audience and it’s lovely to bring our pantomime to this city that we love, and not just for those that live here but also for the people from further afield whose tradition has been to come to our panto,” she says.
“I was devastated to lose the Theatre Royal, but to be given this opportunity at the Grand Opera is like receiving a transplant, allowing us to continue this tradition.”
Comic stooge Martin – son Dunkin Donut to Berwick’s mam Dotty Donut this time – is no less enthusiastic. “This place is fantastic,” he says. “It’s a bit like Dr Who’s Tardis; you stand outside and you have no idea how big it is, but it turns out to be a full 1,000-seat theatre inside.
“It’s lovely to have ended up here, with all the legacy and longevity of Berwick Kaler’s pantomimes, and he’s been champing at the bit to get on stage again!”
Suzy is enjoying re-establishing the camaraderie of the long-running team, with Berwick restored to the fore after co-directing and writing Sleeping Beauty in the wake of his retirement from the pantomime stage in February 2019.
“We have the added edge within us of knowing people want to see us doing pantomime together again,” she says. “We are blessed: it’s hard work doing panto but we know how teamwork is important and how we are the sum of our parts.
“When we did Sleeping Beauty, we missed Berwick on stage, the audience missed him, and now we have a second chance to be together again. We need him.
“There’s this awful ‘cancel culture’ going on, and yes, things have to develop and have to change, but the idea that a show like ours, that’s been going on for so long, shouldn’t continue is a travesty. We are not dead yet!
“I’m genuinely delighted to be here, in a city that means so much to me. Last year, it just wasn’t Christmas, because I wasn’t in York.”
Assessing what Grand Opera House audiences can expect from Dick Turpin Rides Again, with Berwick taking the rains once more as writer, director and dame, Suzy says: “We’ve always said that we’re a family pantomime but we are anarchic. There’s nothing that won’t delight children, but we are unruly.
“What’s our USP [unique selling point]? Our pantomime is anarchic, it’s crazy, it’s madcap!”
Did you know?
SUZY Cooper played a “lesbian office worker” in BBC One soap opera EastEnders this year, filming in lockdown in late-January and early February for episodes that went out in March/April. “It got me out of the house and into London for the first time in four months,” she says.
Did you know too?
Suzy, who lives in London, is a yoga teacher, teaching both in person and online on Zoom. “To share my yoga has been an amazing thing to do,” she says. “They are very tough, my classes!”
