York Musical Theatre Company’s poster for next May’s production of Jekyll & Hyde The Musical
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.
“Jekyll & Hyde The Musical should be a truly memorable show to celebrate York Musical Theatre Company’s 120th year,” says committee member and actor Mick Liversidge
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?
Finding his feet: Jared More’s Fizzy Finn with Meg Blowey’s Tink the Cobbler in Riding Lights Theatre Company’s “crackling new Christmas adventure”
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 Eve would not be complete in York without…City Screen showing It’s A Wonderful Life
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.
Joe Alexander Shepherd: York pianist returns to the NCEM tonight
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.
Art attack: Replete’s mural Shark at Piccadilly Pop Up, Piccadilly, York
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.
Shed Seven: Two “Shedcember” nights in Leeds on the Another Night, Another Town tour
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 atticketmaster.co.uk/shed-seven-leeds. Doors open at 7pm each night.
Head’s up: Michael Head to play The Crescent on Tuesday
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
Car Park Panto’s Horrible Christmas: Parking up at Elvington Airfield on January 2
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.
Rachel and Becky Unthank: York Barbican concert on Sorrows Away tour
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.
“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 Donutin 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 .
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.”
“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.
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!”
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.”
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.
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.
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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.
