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Anarchy in the decay or the miraculous resurrection of the grandest of dames? The verdict on Berwick Kaler’s panto comeback

“Doing pantomime is a hobby now,” says comeback dame Berwick Kaler. All pictures: David Harrison

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.

Suzy Cooper’s Donna Donat

“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.

The dowager dame and the dandy highwayman: Berwick Kaler’s Dotty Donut in discussion with Daniel Conway’s Dick Turpin

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.

Martin Barass, centre, returns to hapless waiter mode, as first seen in One Man, Two Guvnors, while David Leonard’s Vermin the Destroyer and A J Powell’s Luvlie Limpit survey the menu at Dotty Donut’s Ye Olde Whippet Inn

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.

Berwick Kaler’s Dotty Donut cracks an egg, rather than a joke, at this juncture of a recipe slapstick scene in Dick Turpin Rides Again

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.

Devil in the detail: David Leonard’s haughty couture for his villainous Vermin the Destroyer

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

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York Mystery Plays Supporters Trust cancels A Nativity For York ‘amid the growing threat from Omicron’

Mark Comer’s production image for York Mystery Plays Supporters Trust’s A Nativity For York…Out Of The Darkness, now called off, alas

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.”

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Suzy and Martin delighted to be back on the York panto stage in Dick Turpin Rides Again

“To be given this opportunity at the Grand Opera is like receiving a transplant,” says Suzy Cooper. Picture: David Harrison

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.

David Leonard’s Vermin the Destroyer, left, Martin Barrass’s Dunkin Donut, in waiter mode, and A J Powell’s Luvlie Lumpit making a meal of a scene in Dick Turpin Rides Again. Picture: David Harrison

“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!”

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Panto in a car park? Oh, yes it is, in Horrible Christmas at Elvington Airfield on January 2

Horrible Histories’ cast for Car Park Panto’s Horrible Christmas, destined for Elvington Airfield

THE world’s first drive-in pantomime is to park up at Elvington Airfield, York, for a “terrible end” to Christmas on January 2, courtesy of the gleefully grotesque Horrible Histories team.

Car Park Panto’s Horrible Christmas will be performed at 11am, 2pm and 5pm that day in the finale to a 14-date tour of racecourses, airports, stadiums and a motor-racing circuit that begins on Friday.

This is the second tour of a show first prompted by the pandemic-enforced closure of theatres nationwide in 2020. Birmingham Stage Company and Coalition Presents responded by working together to save Christmas for more than17,000 families by putting on their drive-in panto premiere. 

Writer-director Neal Foster, actor/manager of Birmingham Stage Company, says: “We have to thank the remarkable pandemic closing all the theatres for these car park shows coming about.

“At first, we didn’t know what to do, but various people had ideas about doing things in car parks, and in fact we were contacted by seven companies, but only Coalition followed it up, and so we did Horrible Histories’ Barmy Britain in car parks.

“Then, Guy Robinson, from Coalition, asked if we had a Christmas show, and we said, ‘yes, we have Horrible Christmas’.”

Cue the first tour last winter, when, “by December 31, we were the only company still doing a show, because the theatres had had to close again, and our last show, after two weeks of performances, was in Harrogate [at the Great Yorkshire Showground],” says Neal.

“We then put together Billionaire Boy for car parks, for May, when shows could re-start, and that show then went into the West End. Since May, we’ve done eight shows in seven months; we just haven’t stopped!  

Birmingham Stage Company’s cast for Horrible Histories’ Barmy Britain, the first car park tour show

“In fact, it’s been one of our most successful years, and a lot of that was down to the money we received from the Culture Recovery Fund. We didn’t need to apply for the third round of grants, but we wouldn’t have been able to do this year’s shows without the £200,000 we received earlier on.”

Neal was “amazed and thrilled by how totally successful the Car Park Party productions have proved to be”. “We’re delighted to be back on tour again with Horrible Christmas. It turns live theatre into a truly unique and festive event.”

In a nutshell, Horrible Christmas is a car-centred, Covid-secure experience, wherein children and adults are able to able to jump up and down in their own seats, cheer and make as much noise as they like, even beeping horns, as they watch a celebration of Christmas “delivered in a way that only Horrible Histories can”.

“You don’t need to worry about anyone else because you’re in your own bubble in your car, like everyone there,” says Neal. “It’s like you’re in your own VIP tent!”

In the panto, when Christmas comes under threat from a jolly man dressed in red, one young boy must save the day, but can he save Christmas? From Victorian villains to medieval monks, Puritan parties to Tudor treats, the Horrible Histories cast of eight sets off on a hair-raising adventure through the history of Christmas in the company of Charles Dickens, Oliver Cromwell, King Henry VIII and St Nicholas as they all join forces to rescue the festive season in Terry Deary’s tale.

True, it is not strictly speaking a typical panto, but nevertheless Horrible Christmas will spark up the audience’s festive spirit, from the comfort and security of their own cars.

In doing so, the Car Park Panto seeks to address these scenarios: children being unable to sit still; the need to cater for different snack requirements; the feeling of anxiety in crowds; the inability to find a dog sitter; and a desire to wear pyjamas, fancy dress or a Christmas jumper at the panto and not be judged.

“You can leave all worries at home and relax as a family with Car Park Panto’s Horrible Christmas,” say the promoters. “If traditional panto at your local theatre is proving too expensive for all the family, Horrible Christmas! is the best value ticket for you. 

The poster for Car Park Panto’s Horrible Christmas show

“The ticket covers the car, not the people inside, so you can bring your grandparents and babies and be sound in the knowledge you will be safe seated among family and friends, rather than in a packed theatre auditorium.”

Horrible Histories’ own history of Horrible Christmas began in 2013. “We first did it in a co-production with Derby Playhouse that year, and apart from one year, it’s been put on every year since then, at such places as the Lowry, Salford Quays, Blackpool Winter Gardens, Cambridge and Birmingham,” says Neal.

“It’s different from our other Horrible Histories stories, with a cast of eight, making it the biggest Horrible Histories show we do, whereas we do the Barmy Britain show with a double act and big 3D special effects. Not only do we use eight actors but there’s a screen on stage too, so it’s like a concert, with everything being filmed live.”

Horrible Christmas tells the story of a young boy having all his Christmas presents stolen by ‘Father Christmas’, who turns out not to be Father Christmas.  “The boy goes back to the times of Charles Dickens, Charles II, Oliver Cromwell and Henry VIII, Saint Nicholas, and back to Bethlehem itself, and what’s different to other Horrible Histories is that it’s very touching,” says Neal.

“It’s worth saying, there’s nothing gory about Horrible Christmas, unlike our other shows. It’s more about being silly and funny – and it works really well in a car park.

“Because the play is about how special Christmas is to people, it was great for us that last Christmas, for some, it was the only way to experience a Christmas show. It remains the safest way to see a Christmas show, and it’s particularly good if you have anyone elderly or vulnerable in your family.”

What comes next for Horrible Histories? “We’ve been doing Horrible Histories shows for 16 years now, starting in 2005, and there’s no end to that history,” says Neal. “Fortunately, humans have produced all sorts of horrible history down the years, and Boris Johnson is doing that for us now, isn’t he?!”

Car Park Panto presents Horrible Histories in Horrible Christmas, Elvington Airfield, near York, January 2 2022. Bring blankets, sleeping bags, maybe a favourite festive hat – oh, and a car, obviously. Tickets: £49.50 per car, plus £2.50 booking fee, at carparkparty.com.  

Did you know?

“HENRY VIII is one of the reasons why turkey became popular on Christmas Day,” says Neal Foster. “The world seems to follow the fashion of what the Royals do, and it was Henry who introduced the eating of turkey at Christmas. As with all the Horrible Histories, that story is taken from a Terry Deary book.”

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Riding Lights address children’s mental health problems in lockdown in Fizzy Finn Finds His Feet at Friargate Theatre

Jared More’s Fizzy Finn and a puppet in Riding Lights Theatre Company’s Fizzy Finn Finds His Feet

RIDING Lights Theatre Company’s “crackling new Christmas adventure”, Fizzy Finn Finds His Feet, will hit the ground running from Saturday at Friargate Theatre, York.

Written by Jon Boustead for primary-school children, the topical play 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 so if he could only find his feet, in a Christmas adventure full of fear and bravery in a stormy world.

“Christmas brings surprises and not all of them are nice,” says Boustead. “It’s a crackling mix of hopes and fears and they’re definitely getting closer. Finn is on the run. Can stories help to untangle things?

“If only someone would listen to Suzy Pettiskew before she bursts. Or stop Barney Box’s dog from growing bigger night by night. And can anyone really ‘blotzsh the Glim’?”

Jared More’s Fizzy Finn and Meg Blowey’s Tink the Cobbler in her amazing story-telling Shoe Shop

Directed by Erin Burbridge and designed by Anna Gooch, Fizzy Finn Finds His Feet features a magical blend of vivid storytelling, original music by Patrick Burbridge and creative puppetry, presented by Jared More’s Fizzy Finn and Meg Blowey’s Tink the Cobbler.

Suitable for five to 11-year-old children, the show has been available to schools this term either for live performances or in a film version, accompanied by a teachers’ pack, prepared by a primary school teacher, overseen by a child psychologist and approved by Ebor Psychology. “There’s really useful stuff in there for teachers and children,” says says acting general manager Bernadette Burbridge.

This is the second such Riding Lights film. “We learned last year, with a very charming filmed production of Oscar Wilde’s The Selfish Giant, that film offered a very successful way of supporting schools coping with lockdowns,” says Bernadette.

“We provided a link that they could forward to children at home and in some cases, the giants zoomed into schools, by agreement, to interact with the children.

Finding his feet: Jared More’s Fizzy Finn in a scene with Meg Blowey’s Tink the Cobbler

“Sadly, in November, we were receiving at least one call a day from a school to say they had Covid and didn’t want us to come into their buildings, so we had to cancel a number of Fizzy Finn performances.

“We offered them the film and a virtual visit from Tink the Cobbler and Fizzy Finn instead – and the advantage of having a filmed version is that we can make this available to audiences right across the UK and beyond.”

Now, Fizzy Finn Finds His Feet does exactly that from December 18 to 23 in 50-minute performances at 10am, 1pm and 3pm on Saturday and next Wednesday and 11am and 2pm next Monday, Tuesday and Thursday at Friargate Theatre, Lower Friargate.

“The film is a good alternative but there’s nothing like a live show!” says Bernadette, who sums up Fizzy Fiin’s tale this way: “Jon’s play isn’t about Christmas although it’s set at this time of year. It’s about learning to understand one’s fears and anxieties and finding good ways to deal with them.”

Jon concludes: “Shoes are very good storytellers. You experience a lot by stepping into someone else’s shoes. So fasten your laces! Tie them up tight and join Finn as he discovers Tink the Cobbler and her amazing story-telling Shoe Shop.”

Tickets are on sale on 01904 613000 or at ridinglights.org/fizzy-finn.

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What are the albums of the year? We decide…

Will The War On Drugs feature in Graham Chalmers or Charles Hutchinson’s list?

YORKSHIRE culture podcasters Chalmers & Hutch pick their Top Tens in Episode 68 of Two Big Egos In A Small Car.

Under discussion too are Damon Albarn’s bleakly beautiful concerts at York Minster; the tidal wave of streaming; and who will be number one at Christmas? Elton & Ed? Gary & Sheridan? Adele & yet more Adele? The sausage roll enthusiast?

To listen, head to: https://www.buzzsprout.com/1187561/9700461

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Badapple Theatre Company tackles global warming in revival of The Snow Dancer eco-fable at Joseph Rowntree Theatre

Meg Matthews and Danny Mellor in Badapple Theatre Company’s 2021 revival of The Snow Dancer. Picture: Karl Andre Photography

BADAPPLE Theatre Company’s Christmas show, The Snow Dancer, opens a two-day run at the Joseph Rowntree Theatre, York, tomorrow.

In its 21st year, the Green Hammerton theatre-on-your-doorstep company has revived artistic director Kate Bramley’s magical eco-fable for its latest rural tour from December 2.

Bramley’s original story blends festive family entertainment with an important eco-message and an original score by Jez Lowe, as actors Meg Matthews and Danny Mellor tell the story of the animals of The Great Wood, who are desperate for a long sleep, but find it too warm because something is awry.

Everyone is going around in circles and is sick of nuts before Christmas is even in sight. On a set design by Catherine Dawn, the intrepid heroes in this fairy tale with a furry tail must search for the mysterious Snow Dancer to make it snow if they are ever to sleep.

Badapple’s trademark humorous, song-filled shows have been delighting audiences of all ages for 21 years on tours of rural locations around Yorkshire and further afield. The company “brings a full theatre experience to unusual, often tiny, spaces with significance to their communities in productions that reflect world-wide issues that have an impact on village life”.

Founder, writer and director Kate says: “Theatre is just storytelling and what better way to raise awareness of issues? The climate emergency, referenced in The Snow Dancer, is something we’ve been concerned about for a long time.

Badapple Theatre Company artistic director Kate Bramley

“We want to create social discussion that’s relevant to our audiences and 21st century living. We can do this through theatre and constantly reinventing what that is: with music, sometimes dance, puppetry and on one occasion live baking!”

Kate continues:“Badapple as a company has been working on becoming more environmentally sustainable for over a decade, wherever possible reusing or recycling sets and sourcing sustainable clothing for costumes.

“By taking theatre to rural locations on tour, we have reduced the environmental impact of audiences having to travel to one location to see a production.”

Badapple will stage two school shows and one public performance at the JoRo at this week’s residency. “We’ve rarely performed at a ‘fixed’ venue in a city in the past 15 years, but we’ve struck up a great partnership with Joseph Rowntree Theatre and their community commitment and ethos is so synchronised to our core values,” says Kate.

“It’s harder for us to sustain a run of performances in one larger venue, having not specialised in this area for 15 years, but it’s just about making new friends in new areas and the return of The Snow Dancer to York this year is a great chance for the good folk of our nearest city to see what it is we do.”

As with all theatre companies, particularly touring companies, Badapple has experienced the hardships of the various lockdowns during the pandemic. In particular, one show in production for 18 month and booked into 30 venues had to be cancelled immediately. The pandemic has been a time of crisis for the North Yorkshire company but nevertheless one of reflection that has resulted in positive outcomes and new plans for the future.

“Theatre is just storytelling and what better way to raise awareness of issues?” says Badapple writer-director Kate Bramley of The Snow Dancer, with its climate change topicality, performed by Danny Mellor and Meg Matthews. Picture: Karl Andre Photography

Kate says:“We were lucky to be so well supported by Arts Council England to get us through this period. It was really hard but we came out fighting. We made sure we stayed connected to our Badapple Youth Theatre students online and later with outdoor classes, and then we diversified into outdoor touring for the first time [with Danny Mellor’s Suffer Fools Glady in September 2020].

“Like many other organisations, we had to diversify, exploring film work and also radio. Despite the hardships of that time, there were so many positives to come out of it. We are now looking to find long-term partners and finance to create a bespoke outdoor space for summer shows for the next decade and hopefully beyond.”

Badapple Theatre Company in The Snow Dancer, Joseph Rowntree Theatre, York, December 15 (two school performances) and December 16 (public performance). Tickets for Thursday’s 7.30pm show are on sale on 01904 501935 or at josephrowntreetheatre.co.uk.

Further Yorkshire performances:

Thornton le Dale Village Hall, December 17, 6.30pm, tickets on 07894 345126 or via bookings@tledvillagehall.co.uk.

Brandesburton Village Hall, East Yorkshire, December 18, 6pm; tickets on 01423 339168.

East Morton Village Institute, 11 Main Road, East Morton, Keighley, December 19, 3pm; tickets on 01423 339168.

Green Hammerton Village Hall, near York, December 20, 2pm; tickets on 01423 339168.

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Dame Berwick Kaler returns to York stage after three years as Dick Turpin Rides Again opens today at Grand Opera House

Leaping to it: Berwick Kaler is raring to pick up the pantomime reins from today in Dick Turpin Rides Again. All pictures: David Harrison.

AFTER two dress rehearsals in one day, York’s comeback dame, Berwick Kaler, plays to an opening pantomime crowd today for the first time since December 13 2018.

Much water has passed under York’s bridges since Berwick’s farewell 40th anniversary show, The Grande Old Dame Of York.

He exited the York Theatre Royal stage for the last time in trademark boots, unruly wig and walkdown frock on February 2 2019, that night saying he would “return like a shot” if he were asked to do so.

That return, delayed by a year by Covid’s theatre shutdown, goes ahead today at Berwick’s new pantomime home after a crosstown transfer, the Grand Opera House, as he resumes panto business with vainglorious villain David Leonard, bouncy comic stooge Martin Barrass, golden gal Suzy Cooper and “luverly Brummie” A J Powell in Dick Turpin Rides Again.

“I’ve always thought the Grand Opera House is a proper theatre, absolutely right for pantomime,” says Berwick, who has appeared on the Cumberland Street stage only once before, when he played the flamboyant Captain Terri Dennis in Peter Nichols’ musical comedy Privates On Parade.

“Dick Turpin is one of the most original pantomimes ever, and I’m so excited by it,” says Berwick Kaler

“It’s no good asking me anymore when it was; it was a long time ago. I used to have the poster hanging in my loo, the one with me saluting.”

Should you or Berwick be wondering, the year was 1996, and now, 25 years on, he is back there, retirement plans cancelled. “You’re not going to believe this, but when I retired, I’d retired, and I’ve not earned a penny on stage since then, so I was retired,” he says.

“But we got this offer from Qdos Entertainment [now taken over by Crossroads Live], the biggest pantomime producer in the business, and the thing is I knew I had to be in it this time, not just write it and direct it, which I did for Sleeping Beauty [in 2019-2020 at the Theatre Royal].

“I took up the invitation to return for Martyn, David, Suzy and A J because they’re great exponents of the art of panto, who should be on stage in York.”

Recalling his experience of working on Sleeping Beauty, Berwick says: “At that time, I had no yearning to go back on stage,” he says. “It was a little too soon to start missing playing the dame. Even when I went in for rehearsals, I didn’t want to get up and do it.”

The dame and the daft lad: Berwick Kaler and Martin Barrass reunite for Dick Turpin Rides Again

Later, he would say he regretted the decision to exit stage left. “But when we got the offer to return, at first, I wasn’t sure, but now, at this stage, having said yes, I believe I’m writing better than ever. I’ve got my brain back in gear.”

Panto villain David Leonard has noted how Berwick becomes a “different animal” once he pulls on the dame’s wig and frocks, his voice taking on its stage power too. At 75, four years on from heart bypass surgery, he says, “The thing is, we have to be careful because we can’t do the full-scale slapstick like before, but there can still be slapstick, and Dick Turpin is one of the most original pantomimes ever, and I’m so excited by it.

“It was a one-off when we did it before, as my 30th Theatre Royal pantomime, and it was one of these shows that forced you to really use your imagination. It’s been great to bring it back and work on creating a new version all over again.”

“The legend returns!”, declares the show poster: a reference as much to Berwick Kaler as Dick Turpin as 49 performances lie ahead, starting at 2pm today.

Crossroads Live presents Berwick Kaler in Dick Turpin Rides Again, Grand Opera House, York, today until January 9. Box office: 0844 871 7615 or at atgtickets.com/York.

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More Things To Do in York and beyond as Plan B doesn’t stop the Christmas buzz. List No. 60, courtesy of The Press, York

CHRISTMAS shows, Christmas concerts, Christmas plays, ‘tis the season for Charles Hutchinson’s diary to be jolly full.  

Jason Manford: “Exercising the old chuckle muscle”

Busy week for comedy: Jason Manford: Like Me, York Barbican, Thursday and Friday, 7.30pm.

SALFORD’S Jason Manford revives his funny-bloke-next-door schtick for Like Me, his follow-up to “the fun we had on my last tour”, Muddle Class, a show about turning from working class to middle class that played York Barbican in February and October 2018.

“In these trying times, it’s always important to be able to get away for a couple of hours and exercise the old chuckle muscle,” reckons Manford, 40, who has tickets available for both nights at yorkbarbican.co.uk.

Meanwhile, Jack Dee’s Off The Telly gig, moved from April 25 2020 to tomorrow night, has sold out. So too have Alan Carr’s Regional Trinket shows on December 18 and 19.

Filey Brigg, seascape, by Rosie Dean at Village Gallery, York

Exhibition of the week: Rosie Dean, Seascapes, Village Gallery, Castlegate, York, until January 22, open 10am to 4pm, Tuesday to Saturday.

SEASCAPE artist Rosie Dean has taken part in York Open Studios for the past ten years. Now she is exhibiting at Simon Main’s Village Gallery through the winter months.

“I feel total peace breathing the ozone, staring out to sea and focusing on the horizon line, sensing all around me and feeling the elements around me, the sights and sounds, the salt in the air. Pure contentment,” says Rosie.

Levellers: Part of York Barbican’s busy week for concerts. Picture: Steve Gullick

Curiosity concert of the week: The Magical Music Of Harry Potter Live In Concert With The Weasleys, York Barbican, Monday 8pm.

POTTY about Potter? Then exit those Shambles shops and head to York Barbican for a night of music from Harry’s films and the West End musical, performed by the London Symphonic & Philharmonic Film Orchestra with the Weasley brothers in tow.

Original actors, magic, star soloists, a choir and the orchestra combine in the debut European tour’s programme of John Williams, Patrick Doyle, Nicolas Hooper and Alexander Desplat’s soundtrack magical moments, plus selections from the Harry Potter And The Cursed Child score. 

More music in York Barbican’s crammed pre-Christmas diary comes from Levellers, Brighton’s folk-rock stalwarts, tonight and Steve Steinman’s tribute show, Anything For Love: The Meat Loaf Story, on Wednesday, both at 7.30pm. Box office: yorkbarbican.co.uk.

Steve Mason: Solo gig at Stockton on the Forest Village Hall

If you seek out one gig, make it: Steve Mason, Stockton on the Forest Village Hall, near York, Tuesday, doors, 8pm; start, 8.30pm.

STEVE Mason was the frontman of The Beta Band, cult Scottish exponents of folktronica, a blend of folk, psychedelia, electronica, experimental rock and trip hop.

He first dipped his toe into solo work on Black Gold, his mournful 2006 album under the guise of the short-lived King Biscuit Time and has since released Boys Outside in 2010, Ghosts Outside with Dennis Bovell in 2011, Monkey Minds In The Devil’s Time in 2013, Meet The Humans in 2016 and About The Light in 2019.

Presented by All Off The Beaten Track, Mason will play solo on Tuesday. Box office: seetickets.com/event/steve-mason/stockton-on-the-forest-village-hall.

The poster for The Arts Barge Christmas Party! at The Crescent, York

Christmas jamboree of the week: The Arts Barge Christmas Party!, The Crescent, York, Tuesday, 7.30pm.

THREE York community musical groups, Bargestra, The Stonegate Singers and The Blind Tiger Dance Band, unite for the Arts Barge Christmas bash.

Bargestra, the 20-piece Arts Barge band skippered by Christian Topman, play jazz, swing, Beatles, ska and more. The Stonegate Singers, a community choir open to anyone, is directed by Jon Hughes, who teaches the music by ear, one part at a time, so that anyone can do it.

The Blind Tiger Dance Band, Arts Barge’s 16-piece Lindy Hop swing band with Rinkadon Dukeboy up front, brings together seasoned professionals and rising young instrumentalists. All three groups will join together to make a 50-piece ensemble for the festive finale.

Recommended but alas sold out already at The Crescent are Christmas shows by Mostly Autumn on Sunday and fellow York band The Howl & The Hum on Wednesday, both at 7.30pm.

Chapter House Choir at the double: Carols by Candlelight, York Minster, Wednesday; Festival of Carols, St Michael-le-Belfrey, York, December 18, both at 7.30pm.

THE Chapter House Choir’s Carols by Candlelight at York Minster has sold out, but a second chance to hear the York choir and its bell ringers comes at St Michael-le-Belfrey.

Tickets for a Festival of Carols are available via Eventbrite,  but do hurry because they are limited in number and selling fast.

Danny Mellor and Meg Matthews in Badapple Theatre Company’s The Snow Dancer. Picture: Karl Andre Photography

Global warming alert of the week: Badapple Theatre Company in The Snow Dancer, Joseph Rowntree Theatre, York, Thursday, 7pm; Green Hammerton Village Hall, December 20, 2pm

GREEN Hammerton’s Badapple Theatre Company has revived artistic director Kate Bramley’s magical eco-fable, The Snow Dancer, for its latest rural tour.

Bramley’s original story blends festive family entertainment with an important eco-message and an original score by Jez Lowe, as actors Meg Matthews and Danny Mellor tell the story of the animals of The Great Wood, who are desperate for a long sleep, but find it too warm because something is awry.

The intrepid heroes in this fairy tale with a furry tail must search for the mysterious Snow Dancer to make it snow if they are ever to sleep. Box office: York, 01904 501935 or at josephrowntreetheatre.co.uk; Green Hammerton, 01423 339168.

York Mystery Plays Supporters Trust’s artwork for A Nativity For York…Out Of The Darkness

Christmas plays of the week: York Mystery Plays Supporters Trust in A Nativity For York…Out Of The Darkness, Spurriergate Centre, Spurriergate, York, December 17, 7pm; December 18, 2pm, 4pm, 6.30pm. A Christmas Carol, Mansion House, York, December 17 to 19, 7pm.

TERRY Ram directs the second York Mystery Plays Supporters Trust community production for Christmas, drawn from the York Cycle of Mystery Plays in the old church atmosphere of the Spurriergate Centre. Box office: ticketsource.co.uk/york-mystery-plays-supporters-trust.

The Penny Magpie Theatre Company, from York, have sold out all three Mansion House performances of director Samantha Hindman’s adaptation of Dickens’s A Christmas Carol, a version seen through the eyes of modern-day schoolboy Jon, who is gradually welcomed into Scrooge’s redemptive tale. Carols, mince pies, mulled wine and a house tour complete the festive experience.

Freedom is…Johannes Radebe’s debut tour show at at the Grand Opera House, York, next spring

Leaping into 2022: Johannes Radebe, Freedom, Grand Opera House, York, April 12, 7.30pm.

MAKING swish waves with baker John Whaite in Strictly Come Dancing’s first all-male coupling, South African dancer Johannes Radebe has announced his debut tour, Freedom.

Radebe will lead a company of dancers in classic Ballroom and Latin arrangements, scorching South African rhythms and huge party anthems, as he takes you on his journey from growing up in Zamdela, to travelling the world, winning competitions and becoming a Strictly professional.

“Leave your inhibitions at the door and get ready for a night of energy, passion and freedom,” he says. Box office: 0844 871 7615 or at atgtickets.com/York.

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New home, familiar faces, as Berwick, David and co return in Dick Turpin Rides Again

Ride on time: AJ Powell, left, Suzy Cooper, Berwick Kaler, David Leonard and Martin Barrass return in Dick Turpin Rides Again. Picture: David Harrison

GRAND dame Berwick Kaler reunites with David Leonard, Martin Barrass, Suzy Cooper and AJ Powell from today at their new pantomime home of the Grand Opera House, York.

The Kaler comeback was delayed by Covid’s dark shroud, putting Dick Turpin Rides Again back in the stable for a year, during which panto producers Qdos Entertainment have been acquired by global entertainment company Crossroads Live.

Even more so now, this is a new beginning for the familiar team and their faithful followers. “What we want to do is get people back into the theatre, gathering together to have a jolly good laugh,” says villain David Leonard.

“Earlier this year, I did A Little Night Music at the Buxton Festival, and it was just lovely to see people having a pre-show drink, laughing and full of expectation of going to the theatre once more and being entertained. There was such a lovely buzz.

“That will be the case at the Grand Opera House, where we know it will be a family show because generation after generation have come to our pantomimes, and we’ve had such a response on social media, with people saying, ‘we’ve got our tickets, we can’t wait’.”

Leonard, Barrass, Cooper and Powell last performed together in Sleeping Beauty in the winter of 2018-2019, their Theatre Royal finale in a show written and co-directed by Kaler.

“Pantomime is a bit like a drug,” says David. “I miss it when I’m not doing it, like last year and when I was doing Matilda in the West End, though I’ve missed theatre in general too.

“Pantomime is a bit like a drug,” says David Leonard. “I miss it when I’m not doing it.” Picture: David Harrison.

“As [theatre director] Peter Brook said, people feel better after a show, and more so than ever this year, after the pandemic lockdowns, when people want to be together, being entertained by a live show, rather than sitting at home binge-watching Netflix.”

The “famous in York five” are delighted to be working together again. “It’s a good feeling,” says David. “When we did the launch, we hadn’t seen each other for over a year. There was Berwick, in his street clothes, chatting with the photographer, then I chatted to him, gave him a hug, and it was time to do the photoshoot.

“In those six minutes, as he put his ‘dress’ on, he becomes a different animal, the lord of misrule. I remember thinking, when he stopped after 40 years, ‘why are you retiring? You always played an old dame, even in your 30s’. Now you are the dame.’

“Berwick is witty, he’s a great ad-libber, and we revolve around his planet. He provides the energy; the drive; he has this natural performer gene, with his voice going up a notch as soon as he’s on stage.

“You can only sit at home for so long reading Dickens before wanting to get back on that stage. He’s still got that desire; he still wants to do it, even after three years of not performing. It’s natural to him, like breathing.”

Looking back at Sleeping Beauty, the pantomime with the Berwick-sized hole in the middle, David says: “Being a team, without him, it was, maybe not rudderless, but it was a different experience.

“Now Berwick’s back with his joshing, and Martin is so happy about that. As the villain, I have my own agenda, I don’t care who’s playing the dame!” You should note, at this point, his tongue is pushing deep into his cheek.

“Berwick is just himself up there, a bloke in a frock, and very few actors can do that,” says David Leonard. Picture: David Harrison

The production run for Dick Turpin Rides Again is much shorter than for the team’s long, long stretches at the Theatre Royal, and the rehearsal period is leaner too. “This time we have two and a half weeks of rehearsals, but I always felt we were twiddling our thumbs before, thinking, ‘we could probably get this on in a week because we know each other so well’; we have that shorthand,” says David.

Once praised by fellow dame Roy Hudd for “being the best dame because you play the dame as a man in a frock with no make-up”, Berwick has resumed the full reins at 75 as writer, director and grand dame.

“He sets the pace, and when you’re on stage with him, you have to be very disciplined, very solid, so that he can have some air around him to allow him to ad-lib, and Suzy and Martin know that better than anyone,” says David.

“Berwick is just himself up there, a bloke in a frock, and very few actors can do that. I can’t, Martin can’t, because we’re character actors, but he’s not afraid to be himself. He’s very honest about himself, who he is, and he’s not scared of showing that to the audience.

“That’s what people love about him; they really connect with him because he’s warm and genuine; he feels it inside, and you need that in the central character.”

Kaler and co first staged Dick Turpin in 2008. “Berwick said, ‘well, he’s a bit dark’, but I said, ‘make him a hero, good versus evil’,” recalls David. “I think it ended up being our most popular show, and yet it’s a completely original panto, like Berwick’s Millennium panto, Old Mother Millie, and Robinson Crusoe. I’m really glad he’s doing this one for his comeback.”

Dick Turpin Rides Again, Grand Opera House, York, December 11 to January 9 2022. Box office: 0844 871 7615 or at atgtickets.com/York

Copyright of The Press, York