Baron Productions pick The Rivals for winter laughs in Pickering and York

Dave Parkinson’s Sir Lucius O’Trigger gives Paul Toy’s Bob Acres a duelling lesson for Baron Productions’ The Rivals

YORK company Baron Productions are to stage Richard Brinsley Sheridan’s Georgian comedy of manners, The Rivals, next month.

Premiered at Covent Garden Theatre, London, in January 1775, its latest York production is being directed by Paul Toy, who also will play bombastic rival suitor Bob Acres in 7.30pm performances at the Quaker Meeting House, Pickering, on December 7 and St Mary’s Church, Bishophill Junior, York, from December 12 to 14.

Company founder Daniel Wilmot says: “The story of Captain Jack Absolute’s clandestine courtship of the cynical, yet romantic, Lydia Languish, under the noses of their respective guardians, blustering Sir Anthony Absolute and hilarious Mrs Malaprop, is one that has made me smile from the first time I read it.

Baron Productions’ poster for next month’s production of The Rivals

“Given that it’s in keeping with our company’s tradition of theatre with a ‘thoroughly dashing edge’ – period settings, witty dialogue, lush costumes, occasional duelling, sometimes even in character – it seemed the perfect choice to bring a laugh or two to the winter months after our darker production of Hamlet this summer.”

Wilmot formed Baron Productions in 2015 to produce and direct the swashbuckling pirate romp Crossed Swords, since when they have performed Oscar Wilde’s The Picture Of Dorian Gray in 2016, Charlotte Bronte’s Jane Eyre in 2017 and a Yorkshire tour of Shakespeare’s Hamlet this year.

“The choice of The Rivals is a poignant one for me as well,” says Wilmot. “I did the show back in 2012 as a rehearsed reading at the York Theatre Royal Studio, under the direction of Edward Pearce, and lovely Ruth Ford was in the cast as well, playing Mrs Malaprop of course.

Touching moment: Meg Davies as Julia and Daniel Wilmot as Captain Jack Absolute in The Rivals

“Neither of them is still with us. I have a lot of happy memories of working with them, so aside from liking the show, I wanted to do a fully-fledged version dedicated to them and their memories.”

Toy’s cast features Steve Mawson as the domineering Sir Anthony Absolute; Margaret Davey as Mrs Malaprop; Daniel Wilmot as Captain Jack Absolute; Raffy Parker as Lydia Languish and Dave Parkinson as the argumentative Irish baronet Sir Lucius O’Trigger.

Fired up: Molly Ridley’s David panics as Paul Toy’s Bob Acres prepares his pistols in The Rivals

Tyler Cooke will play the hapless lovelorn Faulkland; Meg Davies, his long-suffering partner Julia; Zoe Glossop, pompous butler Fag; Molly Ridley, Acres’ terrified servant David, and Amy Fincham, conniving housemaid Lucy.  

Toy has set the piece at the turn of the 19th century. “This allows for lots of dashing Poldark-esque costumes, the occasional wig, and a healthy dose of swaggering and swashbuckling,” says Wilmot. “He’s also promised a little singing as well.” 

Tickets cost £10, concessions £8, under 18s £5, at or on the door from 7pm each night.

Charles Hutchinson

Meet the new Jesus in Superstar show

John Whitney as Jesus and Marlena Kelli as Mary Magdalene in York Musical Theatre Company’s Jesus Christ Superstar

YORK Musical Theatre Company will stage Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar from November 27 to 30 at the Joseph Rowntree Theatre, York.

Company newcomer John Whitney will lead director Paul Laidlaw’s cast for this 1972 rock opera, a “musical phenomenon” that follows the last week of Jesus’s life through the eyes of Judas Iscariot, exploring the struggles and personal relationships between his followers and disciples. 

For this gritty and touching emotional rollercoaster ride, Lloyd Webber and Rice’s score parades such favourites as Superstar, Everything’s Alright and I Don’t Know How To Love Him.

Laidlaw is joined in the creative team by musical director John Atkin, overseeing a cast led by Whitney’s Jesus, Marlena Kelli’s Mary Magdalene, Peter Wookie as Pilate and Chris Mooney as Judas.

“We were thrilled to have such a great response to auditions, particularly from so many new faces to the company,” says Laidlaw. “We’ve always been proud of the fact that we welcome any new people to join any show that we do, and if you’re new, you can walk into lead roles, and that’s what’s happened.

“Our actors playing Jesus, Judas, Pilate and Mary Magdalene are all new to the company and it’s really encouraging to see. The strength in the singing is staggering and is going to sound just fantastic on stage. We really can’t wait to show York audiences all our hard work.”

Further principal roles go to John Haigh as Herod; Chris Haygard as Simon Zealotes; Martin Harvey, Caiphas; Matthew Clare, Annas; Simon Trow and Malcolm Poole, Priests; David Martin, Apostle Peter, and Heather Richmond, Maid.

In the ensemble will be Helen Barugh; Victoria Hughes; Helen Goodwill; Samantha Hindman; Jane Holiday; Elly-Mai Mawson; Karen Mawson; Jennifer Page; Amie Stone; Holly Inch; Amy Lacy; Paula Stainton; Charlotte Wetherell; Matthew Ainsworth; Derek McMahon and Andrew Pilot.

Tickets for the 7.30pm evening shows and 2.30pm Saturday matinee are on sale at £18, concessions £16, at or on 01904 501935.

Charles Hutchinson

REVIEW: Hello And Goodbye, York Theatre Royal Studio ****

Family wreckage: Jo Mousley as Hester in Athol Fugard’s Hello And Goodbye at York Theatre Royal Studio. Picture: Jane Hobson

Hello And Goodbye, York Theatre Royal Studio, until November 30. Box office: 01904 623568 or at

HELLO again to in-house productions in the York Theatre Royal Studio with this revival of Athol Fugard’s 1965 South African play Hello And Goodbye.

Associate artist John R Wilkinson had lamented the hiatus since the fading away of such Studio works as Blackbird, Blue/Orange and The White Crow and his own show, Can’t Stand Up For Falling Down, six years ago, as he spoke of the pride and spirit engendered by this resurrection: the very last word uttered in Fugard’s “biting yet beautiful parable”, by the way.

“The blue magic of that space has always given rise to intense, intimate storytelling,” said Wilkinson, whose production is exactly that: intense and intimate.

Hello And Goodbye is a two-hander, albeit with the “presence” of a third family member, the father to Johnnie (Emilio Iannucci) and Hester (Jo Mousley).

God fearing: Emilio Iannucci’s Johnnie seeking resurrection in Hello And Goodbye, with Jo Mousley’s Hester in the doorway

Hester is making an unexpected, unannounced visit to the family home at 57A Valley Road, Port Elizabeth, after an absence stretching back longer than the aforementioned Studio hiatus.

Iannucci’s Johnnie already has delivered a restless, psychologically fevered monologue, one that establishes both the dysfunctional state of the family and the unnerving dark, even gothic, humour at play in Fugard’s writing.

Chatting afterwards with Iannucci, he said audiences had laughed at some performances, not at others, but the play had worked both ways.

The way it goes may well depend on how you react to Johnnie telling Hester that he and their disabled Dad have been getting on well enough, but she cannot disturb him because he is asleep in the room next door. Put bluntly, his sleep could not be deeper.

Director John R Wilkinson: re-awakening the “blue magic” of the Theatre Royal Studio space

If Johnnie is nervy, neurotic, repeatedly reaching for biblical quotes, Mousley’s Hester is frenetic in her desperate search for the £500 that she believes their father has squirrelled away somewhere in the house.

Johnnie can keep the house if he lets her find and keep the money, a task that involves him bringing through case after case that trigger traumatic memories of their past. Their already fractured relationship only worsens as Fugard meditates on family, selfishness and redemption, set against the social upheaval in South Africa at large.

Hello And Goodbye brings to mind the discomfiting Sixties’ plays of Samuel Beckett and Harold Pinter, not least in a set design that mirrors the frayed, wounded state of mind of the sparring siblings, as designer Laura Ann Price scatters the stage with debris from the crumbling, smashed-out back wall.

Wilkinson has cast superbly: after his Studio debut in the children’s show E Nesbit’s The Book Of Dragons in December 2017 and his Romeo in Shakespeare’s Rose Theatre’s Romeo And Juliet at Blenheim Palace this summer, Iannucci has hit new heights here, calling on his physical theatre skills, his feel for black comedy and his relish for a surprise.

Mousley is a brilliant pick too, making her Theatre Royal debut after a year of outstanding performances in the Leeds Playhouse Pop-Up Theatre Ensemble. Her Hester has the disruptive force of an Ibsen, Chekhov or Greek tragedian female lead, and together with Iannucci, they settle on a mutual South African accent that is another impressive feature of Wilkinson’s intriguing, fascinating production.

In conversation, he called Hello And Goodbye “weird”, smiling impishly as he said it. Make that weird good, not weird bad.

Charles Hutchinson

Scrooge heralds Christmas at Grand Opera House…in November

Bah Humbug: Mark Hird plays Ebenezer Scrooge in Pick Me Up Theatre’s Scrooge The Musical. Picture: David Harrison

BAH Humbug! The Christmas spirit is taking over the Grand Opera House, York, from Tuesday and not even Ebenezer Scrooge can stop it.

York company Pick Me Up Theatre are presenting their big winter show, Scrooge The Musical, directed by Robert Readman, with choreography by Iain Harvey and musical direction by Sam Johnson.

Quick refresher course: based on Charles Dickens’s Victorian cautionary tale A Christmas Carol, Scrooge tells the tale of old miser Ebenezer Scrooge on the night he is visited by the ghosts of Christmas Past, Present and Yet To Come.

Can he be turned from sourpuss to saint? What will happen to Tiny Tim? Will everyone have a merry Christmas after all? “Come and find out in this all-singing, all-dancing, all-flying show,” invites Robert.

His cast will be led by Pick Me Up regular Mark Hird, fresh from directing this autumn’s musical, Monster Makers, at 41 Monkgate. He now adds Scrooge to a diverse CV that includes Captain Mainwaring in Dad’s Army, Colonel Pickering in My Fair Lady and Uncle Fester in The Addams Family.

Further leading roles go to Rory Mulvihill as the jolly Ghost of Christmas Present and Alan Park as Scrooge’s long-suffering clerk Bob Cratchit.

“It started out as a film musical in 1970, adapted for the screen by Leslie Bricusse, with Albert Finney as Scrooge,” recalls Mark. “But it was one of those musicals that landed at an unlucky time just as film musicals went out of fashion.

“Everyone thought it was an absolute banker, but times and tastes change, but now, when you go back to it, it’s actually a really good film.

“So, 22 years later, Leslie Bricusse decided to turn it into a stage musical, wrote half a dozen new songs, written specially for Anthony Newley’s Scrooge, and it went down incredibly well.”

Alan Park chips in: “Then it became a vehicle for Tommy Steele for many years in Bill Kenwright’s productions. Each year, Robert Readman put in a request for the performing rights, and at last, this year he got a ‘Yes’.

“So, this must be the first time it will have been done in a theatre of this size without it being a Bill Kenwright show.”

Park and Hird believe that Bricusse’s songs are vital to the show’s success. “They provide the vehicle for you to discover more about the characters beyond Scrooge, like Bob, so that by the end of a song you know more about them,” says Alan.

“You get the inner thoughts of the characters in the songs, so you get more than 2D characters,” suggests Mark. “You really see Scrooge’s progression, through his songs, for example.

“There’s probably no better show to put you in a good mood for Christmas,” says Mark Hird

“You’re also quite surprised by the sheer variety of the songs and the music, with some big set-pieces.”

“There are some proper Cockney knees-up songs,” says Alan.

“But also some lovely ballads, like when Scrooge sees the only girl he ever loved as a young man, Isabel, his fiancée,” rejoins Mark. You go back in time   and you hear her singing this gorgeous ballad with Young Scrooge called Happiness, as old Scrooge looks on.”

“The way Robert has staged it, you have Young Scrooge and old Scrooge mirroring each other’s actions, so you kind of feel like Isabel is singing it to old Scrooge,” says Alan.

Picking up his earlier point about Scrooge’s character progression, Mark says: “Through his songs, Scrooge goes from his position of denial, saying how he hates Christmas, to feeling ‘it’s not my fault, fate has done this to me’, when confronted by the Ghost of Christmas Past.

“Then, with the Ghost Of Christmas Present, he starts to think, ‘Could there be a better life?’, so it’s a fantastic story arc and a fantastic set of songs, with one of the most perfect stories ever written to hang it all together.”

A Christmas Carol has been interpreted in myriad ways on screen and stage, even by The Muppets puppets in 1992 in The Muppet Christmas Carol “My five-year-old daughter is still convinced I’m playing a frog in Scrooge, because her exposure to A Christmas Carol is seeing Kermit playing Bob Cratchit in the Muppets’ movie!” says Alan.

Assessing the abiding popularity of Dickens’ tale, Alan says: “It’s not just about redemption. We all reflect on moments in our life, wishing we could have done things differently, and the story also taps into nostalgia and regret and worrying about things.

“Watching this story unfold, it can change your perspective on the world and who you are.”

Mark adds: “It also says it’s never too late to turn over a new leaf and never too late to start again.”

“The story is full of joyful moments that are infectious, even infecting Scrooge, so I do feel it’s a feelgood show,” says Alan. “If you’re looking at a wider point, we all tend to focus on what’s getting us down, but this story lets us step out and think about all the joyful things of Christmas.”

Mark concludes: “There’s probably no better show to put you in a good mood for Christmas.”

Pick Me Up Theatre’s Scrooge The Musical runs from November 26 to December 1 at Grand Opera House, York. Box office: 0844 871 3024 or at

Copyright of The Press, York

REVIEW: Nigel Slater’s Toast, York Theatre Royal *****

Flour power: Katy Federman as Mum and Giles Cooper as Nigel in Nigel Slater’s Toast. Picture: Piers Foley

Nigel Slater’s Toast, York Theatre Royal, until Saturday, November 23. Box office: 01904 623568 or at

HERE is the challenge facing director Jonnie Riordan. “Think about how long it takes to actually make a piece of toast, and then how do you do that on stage when you’re trying to keep the audience engaged?” he says.

It brings a new meaning to pop-up theatre in York after the summer Elizabeth version at Shakespeare’s Rose Theatre, and Riordan and writer Henry Filloux-Bennett have made a wonderful job of adapting cookery writer Nigel Slater’s coming-of-age memoir for the stage.

Like Jonathan Watkins for Matt Haig’s Reasons To Stay Alive, on tour at the Theatre Royal only two weeks ago, Riordan is both director and choreographer. However, whereas Watkins’s show took time to find its footing on a somewhat strange-looking set – was it a crater or a cracked cloud egg? – Toast is sure footed, even light on its feet from the start.

Nigel, meet Nigel!: Cookery writer Nigel Slater meets Giles Cooper, who plays his younger self on stage. Picture: Simon Annand

Nigel, our narrator, guides us through his story like Slater’s lovely writing leads you through his recipes and epicurean thoughts in his mellifluous books. Played by the delightful Giles Cooper in schoolboy tank top and short trousers, Nigel is nine and already drawn to the one cookery book in the Slaters’ Wolverhampton home: Marguerite Patten’s ground-breaking Cookery In Colour, a full-colour Sixties’ bolt out of the cordon bleu after the grey gravy of before.

From within the cream and brown Sixties’ kitchen of Libby Watson’s design, Cooper’s Nigel likes to orchestrate all the storytelling, stepping in and out of a scene to converse with the audience, but such is the skill of Filloux-Bennett’s writing that the events of his young life have a habit of pulling the rug from under him. At one point, his mother stops him in his tracks and tells him to re-trace his steps to relate the true, darker version of events.

There is abundant humour, absolutely true to Slater’s own tone in his books, but the darkness has to break through too, given what happened to Slater in his childhood and teenage years.

Table manners: Blair Plant’s Dad, left, Stefan Edwards’ waiter, Giles Cooper’s Nigel, Samantha Hopkins’ waitress and Katy Federman’s Mum in Toast

His love of food is omnipresent, and yes, we see toast popping up in real time and later Nigel making mushrooms on toast with a chef’s flair and precision in one so young. We enjoy the culinary sensations, and when Nigel is regaling us with the delights of sweets – amid his father’s insistence that certain sweets are for boys, others for girls – bags of sweets are passed around the audience. The real Nigel Slater had a bag by his feet as he sat in the dress circle, by the way!

Food is at the heart of Toast, glorious food and not so glorious food in the case of Nigel’s father’s first attempt at making spaghetti bolognaise, mountains of “sick-smelling” Parmesan dust et al. Part of the joy here  is having our own recollections of mishaps around our own kitchen tables.

Through food too, we see the difference between Nigel’s relationship with his Mum (Katy Federman), pretty much tied to the apron strings, such is their bond, and his abusive Dad (Blair Plant, back at his old Theatre Royal stamping ground).

What’s that on the plate? Nigel (Giles Cooper) nervously scans the spaghetti bolognaise served up by Dad (Blair Plant) as Mum (Katy Federman) looks on

Into the story comes the dreadful Joan (Samantha Hopkins) and assorted characters played by Stefan Edwards, as the first stirrings of Nigel’s sexuality play out.

Brilliant performances, a superb choice of soundtrack from La Mer to Dusty, and a finale as warm and toasty as toast make Toast a five-star treat, both measured and deeply flavoured like a Nigel Slater recipe.

Charles Hutchinson

Copyright of The Press, York

Discover the wicked side of ‘Allo, ‘Allo! star Vicki Michelle

“I make her a bit of fun to play with,” says Vicki Michelle of her role as the Wicked Queen in Snow White And The Seven Dwarfs. Picture: David Harrison

‘ALLO, ‘Allo! sitcom star Vicki Michelle will spend her winter being booed at the Grand Opera House, York, even on her birthday.

Fondly remembered for a decade of waitress service as French dish Yvette Carte-Blanche in the BBC wartime comedy from 1982 to 1992, she will play the Wicked Queen in Snow White And The Seven Dwarfs from December 12 to January 4 2020.

Her 69th birthday falls on December 14 as she settles into the Three Bears Productions’ pantomime run in a role she knows only too well. “I’ve done lots of wicked queens,” says Vicki, in full regal attire at the panto launch.

“I haven’t counted, but it’s probably 30 years now [in fact Snow White will be 27th panto]. I love it, because panto is magical for children, their parents and their grandparents, and it’s a genre where you think, ‘thank you, we still have this each year’…with people really believing in what they see on stage!”

Vicki relishes the audience interplay. “I’ll stamp my feet, I’ll react to them standing up to the Wicked Queen, not in a comical way, but I make her a bit of fun to play with,” she says

“I have to be evil ­- and the Wicked Queen is truly evil – but l love doing it. I just love performing. The audience have paid to see the show, they want to see you giving 200 per cent, and I know I’m working with people who can do that.”

Commercial pantomimes are never slow to remind audiences of their stars’ biggest successes. “Probably there’ll be a few lines about ‘Allo, ‘Allo!,” says Vicki, knowingly. “I was in this amazing series that’s still shown on TV and has been sold to 80 countries. South Africa. Bulgaria. Romania. Lithuania. Sweden…”

Even Germany? “The Germans said they would never buy it, but they did!” says Vicki with glee. “How amazing is that! ‘Allo, ‘Allo! Is still funny. It makes you laugh out loud and there aren’t many comedies that do that today.

“That’s the mark of good comedy: if they can make you laugh out loud. That should be revered.”

David Croft and Jeremy Lloyd’s long-running comedy, set in Rene’s Café in a German-occupied small French town, was recorded live to audiences of 200 to 300. “The laugh would come on the second line and grow on the third line. That’s what worked. Like in panto: audiences want the old jokes. I want the old jokes!” says Vicki. “But a lot of shows try to change things, and they don’t work.”

Louise Henry, left, Jonny Muir, Steve Wickenden, Vicki Michelle, martin Daniels and Mark Little in Snow White And The Seven Dwarfs at the Grand Opera House, York. Picture: David Harrison.

‘Allo, ‘Allo! gave Vicki the chance to say hello, hello to plenty more work. “It didn’t spoil things, because afterwards you’re typecast,” she says. “What I did was loads of theatre: playing Miss Hannigan in Annie; Salad Days; Miss Mona in The Best Little Whorehouse In Texas; Don’t Dress For Dinner; loads of Ray Cooney farces.”

You can add to that list Lady Bracknell in The Importance Of Being Earnest, a 2008 tour of ‘Allo, ‘Allo! and more television too, from playing Patricia Foster in the Yorkshire soap Emmerdale to competing in Celebrity Master Chef in 2009 and heading into the Aussie jungle for the 2014 series of I’m A Celebrity…Get Me Out Of Here!.

Vicki returns to the Grand Opera House after earlier appearances as Jacqueline in Marc Camoletti’s boulevard comedy Don’t Dress For Dinner and, in June this year, the humorous three-hander Hormonal Housewives, a no-holds barred romp through the joys of being a fabulous 21st century woman.

The tour schedule left room for only two days off in a 68-show run, but Vicki loved the script and ended up delighted she said yes to the invitation to join Hormonal Housewives co-writer Julie Coombe and Josephine Partridge on the road.

“It went fabulously well, doing a show, then a four to five-hour drive, but the show was such a joy to be in,” she says. “I’d never heard such howls of laughter.”

There was another benefit from Hormonal Housewives too. “People would come up afterwards and say they’d lost someone, and this was the first show they’d come out to since then as they wanted some laughter,” reveals Vicki.

Returning to York for a wicked winter in pantoland, Vicki has plans for Christmas Day. “I want to get home for Christmas, which is always at my place; three sisters and their families,” says the Essex-born actress, who has Snow White performances on Christmas Eve and Boxing Day either side of that family celebration. “Christmas morning is always something sparkly and a salmon and a smoked cheese bagel.”

What may 2020 bring Vicki? “There are a few things that are bubbling under, but first I’ve got this panto to enjoy,” she says.

Vicki Michelle stars in Snow White And The Seven Dwarfs, Grand Opera House, York, December 12 to January 4 2020. Box office: 0844 871 3024 or at

Charles Hutchinson

Did you know?

Vicki Michelle calls herself “Vix Mix” on her social media.

Hurry, hurry for last tickets for Poet Laureate Simon Armitage’s Pock show

Poet Laureate Simon Armitage is heading for Pocklington Arts Centre

ONLY the last few tickets are left for An Evening With Simon Armitage, the new Poet Laureate, at Pocklington Arts Centre on November 28.

The Huddersfield-born poet, playwright and novelist, 56, was appointed to his post for ten years earlier this year, succeeding Carol Ann Duffy.

In October 2017, he became the first Professor of Poetry at the University of Leeds; in 2018, he received The Queen’s Gold Medal for Poetry and an Ivor Novello Award for song-writing in the BAFTA-winning film Feltham Sings.

“It’s such a privilege to be able to welcome the UK’s new Poet Laureate, Simon Armitage, to our stage,” says Pocklington Arts Centre director Janet Farmer.

“He’s such a celebrated poet of his times, so a chance to spend an evening in his company, within the intimate settings of our auditorium, to hear some of his live poetry and for a Q&A, is a unique opportunity for lovers of literature and poetry.  

“But tickets have almost sold out, so I would urge you to book yours quickly or risk missing out .”

After studying geography at Portsmouth Polytechnic and writing an MA thesis at the University of Manchester on the the effects of television violence on young offenders, Armitage gained a social work qualification and became a probation officer, like his father before him. He worked in the Greater Manchester probation service until 1994, apparently once being introduced with the words: “By day he reads them their rights, by night he writes them their reads.”

He has published 28 collections of poetry, his first entitled Human Geography in 1988 and his latest, Sandettie Light Vessel Automatic. He writes extensively for television and radio, as well as penning three memoirs, All Points North, Walking Home and Walking Away, and he is the lead singer of The Scaremongers too.

Tickets for Armitage’s 7.30pm show in Pock cost £12.50 or £7 for under 21s on 01759 301547 or at He will be on hand to sign books in the foyer afterwards.

Iranian musicians join Northern Broadsides’ Christmas fundraiser for refugee support

Amir Beymanesh and Kamran Hoss: Iranian musicians now settled in Yorkshire . Picture: Jess Rooney

NORTHERN Broadsides will stage a festive fundraiser, Christmas Broadsides, at The Viaduct Theatre, Dean Clough. Halifax, from December 13 to 15.

This concert is based around Broadside Ballads; song lyrics published from the 1600s onwards, featuring popular songs of scurrilous dealings, thwarted love and ginormous geese.

For this combination of folk song and storytelling, Amir Beymanesh and Kamran Hoss, two Iranian musicians who arrived in Yorkshire recently, will join Ripponden folk musician and multi-instrumentalist Alice Jones.

West Yorkshire actors Catherine Kinsella and Tom Shaw complete the Halifax company’s line-up for this celebration of festive cheer and reflection on Christmases past, present and future.

Alice Jones: taking part in Northern Broadsides’ festive fundraiser

Broadsides’ artistic director, Laurie Sansom, says: “We are thrilled to be celebrating this Christmas with old friends and new, welcoming Amir and Kamaran to Halifax in this extraordinary collaboration with the multi-talented Alice Jones.

“It’s a chance to share together ridiculous festive songs of comic extravagance, whilst also thinking of those who may be far from home this Christmas.

“We look forward to welcoming regular supporters and new friends who want to support the work of their local theatre company, and our collaborators at St Augustine’s Centre, who support refugees and asylum seekers.”

Looking ahead to 2020, Sansom’s debut production as Broadsides’ artistic director, a new take on J.M. Barrie’s regency romantic comedy Quality Street, will open at Dean Clough from February 14 to 22.

Catherine Kinsella: performing at Christmas Broadsides

Broadsides will collaborate with workers from the Halifax Quality Street chocolates factory by developing contemporary tales of hapless love that will frame the action of Barrie’s tale.

Barrie’s play was so popular in its day that it gave the chocolates their name. Its story revolves around Phoebe Throssel, who lives on Quality Street, the bustling hub of a quaint northern town where she runs a school for unruly children.

Ten years since a tearful goodbye, an old flame returns from fighting Napoleon, but the look of disappointment on Captain Valentine’s face when he greets a more mature, less glamorous Phoebe, spurs the determined heroine to action.

She becomes the wild and sparkling Miss Livy, a younger alter-ego who soon entraps the clueless Captain. As their romance is rekindled, can she juggle both personas? Or will her deception scandalise the town and wreck any future with the man she loves?

Tom Shaw: part of the company for Christmas Broadsides

Now, as well as providing a modern lens through which to view Barrie’s story, Broadsides also aims to build long-lasting relationships between the Halifax employees and their local theatre company.

Broadsides’ tour of Quality Street will take in Leeds Playhouse from April 21 to 25; Stephen Joseph Theatre, Scarborough, May 12 to 16; Harrogate Theatre, May 19 to 23; Hull Truck Theatre, June 2 to 6, and last stop York Theatre Royal, June 9 to 13.

Christmas Broadsides will be performed at The Viaduct Theatre, Dean Clough, Halifax, at 7pm on December 13 and 3pm and 6pm on December 14 and 15. Tickets are on sale on 01422 849227 or at

Charles Hutchinson

Schools step out for dance festival weekends in York

Uplifting: The Yorkshire Schools Dance Festival in York

THE second weekend of the 2019 Yorkshire Schools Dance Festival will be held at Central Hall, University of York, on Saturday and Sunday from 3pm.

As many as 1,200 children aged four to 19, from 57 primary schools, secondary schools, colleges and community dance groups, are taking part in this annual non-competitive event.

Spread over two weekends, the festival celebrates the region’s young creative talent and raises the profile of dance provision within schools and the wider community, while showcasing a range of abilities and dance styles. For the vast majority, this is the first time they will have danced in public.

For the four days of dancing, groups are travelling from as far afield as Ingleton, Hull, Thirsk and Barnsley to take part after developing their performances through after-school clubs, during curriculum time and as part of examination courses.

A festival theme is set each year, and for the past few months schools and groups have been deciding how best to interpret this year’s theme, Reflections. Performances vary from reinterpretations of the Snow White story, through to a consideration of the physics of reflection, to support work within science lessons.

Laura Brett, class teacher at Naburn CE Primary School, York, says: “Our dance piece tells the story of a Grandma and Grandad reflecting on their lives as children, watching as visions of their younger selves relive some of the happier days in their lives.

“The children have had great fun choreographing this – prompting some discussion about the lives we lead and the mark we want to make on the world.”

Taking part from Keighley, Emma Pease, Class 3 teacher at Cowling Primary School, says: “We thought about how social media affects us and our mental health. The group then modelled how we could reflect this negativity away from us, realising our strength together and becoming more resilient as a result.”

The festival is produced by York arts education specialists Creative Learning Partnerships, whose director, Colin Jackson, says: “Dance is an art form that is central to our heritage and culture. It’s celebrated increasingly on our TV screens through shows like Strictly Come Dancing and Britain’s Got Talent.

Let’s dance: Dancers enjoying the schools festival in York

“The sad state of affairs in schools, however, is that it is quickly disappearing from the curriculum, despite the overwhelming evidence of its positive impact on physical, emotional and social wellbeing.

“Dance is a collaborative process that develops teamwork, resilience, communication skills, creativity and a sense of pride. Why shouldn’t our children be afforded these opportunities?”

Across the two weekends, the 1,200 dancers will be performing to 2,000 people, who will see how schools have interpreted the theme in different ways.

In an extension to the 2019 festival, through funding from Arts Council England, Engage & Inspire will be giving participating children the chance to work with professional artists from Yorkshire and the North.

Northern Rascals and Hawk Dance Theatre are presenting specially commissioned performances, Casson & Friends and TenFoot Dance are hosting interactive workshops while Brink & Howl Creative are delivering an innovative digital dance installation combining music, dance and digital projections. Two hundred children will have the opportunity to achieve an Arts Award to reward their efforts.

Jon Beney, associate artist at Hull Truck Theatre and co-artistic director at TenFoot Dance, says: “The Yorkshire Schools Dance Festival is a great opportunity for the young dancers of Yorkshire to come together and celebrate everything dance.

As a kid, I was inspired by many people that shaped my journey and it feels nice to have stories and skills to help inspire others.”

Tickets are available at, priced at £7 for adults, £6 for children, plus a booking fee.

Charles Hutchinson

Taking part on November 16 were:

Burton Leonard CE Primary School, near Harrogate;

Clifton Green Primary School, York;

E.K Galaxy Cheer & Dance, Harrogate;

Gomersal Primary School, Cleckheaton;

Holy Trinity CE Junior School, Ripon;

Ingleton Primary School;

Ingleton Youth Dance;

Knavesmire Primary School, York;

Selby High School;

St John Fisher Catholic High School, Harrogate;

St Olave’s School, York;

The Snaith School, Goole;

Westfield Primary Community School, York;

York College Performing Arts.

November 17

CAPA College, Wakefield;

Cowling Primary School, Keighley;

Hall Cross Academy, Doncaster;

Naburn CE Primary School, York;

Osbaldwick Primary Academy, York;

Outwood Academy, Ripon;

Pannal Primary School, Harrogate;

Robert Wilkinson Primary Academy, York;

St Oswald’s CE Primary School, York;

Stamford Bridge Primary School;

The Rodillian Academy, Wakefield;

The Space Dance Studio, Hull;

Thirsk Youth Dance;

Tockwith CE Primary Academy.

Taking part on November 23 will be:

Barnsley Academy;

Bellfield Primary School, Hull;

Cast, York;

Greatwood Community Primary and Nursery;

Haxby Road Primary Academy, York;

Leavening Community Primary;

Platform, Hull;

Poppleton Road Primary School, York;

Ralph Butterfield Primary School, York;

Skipton Girls High School;

St Barnabas CE Primary School, York;

St Lawrence’s CE Primary School, York;

Trinity Academy, Halifax.

November 24

CAPA Juniors, Wakefield;

Dunnington CE Primary School, York;

Hempland Primary Academy, York;

Huntington Primary Academy, York;

Hymers College Junior School, Hull;

Lord Deramore’s Primary School, York;

Mechanics Performing Arts, Wakefield;

Melbourne Primary School, York;

Northern Dance Academy, York;

Ryburn Valley High School, Sowerby Bridge;

St Aelred’s RC Primary School, York;

St Paul’s CE Primary School, York;

St Wilfrid’s RC Primary School, York;

Staynor Hall Primary Academy, Selby;

 York Youth Dance.

Theatre Royal stalwart Blair Plant pops up in Toast

Blair Plant, centre, with Giles Cooper and Katy Federman in Nigel Slater’s Toast. Picture: Piers Foley

ACTOR Blair Plant is touring for the first time in 20 years in Nigel Slater’s Toast. By a happy coincidence, the show brings him back to a theatre he knows very well, York Theatre Royal, from tomorrow.

He first worked on the stage crew 34 years ago while studying at York St John College (as the university was called then). 

“I’ve done regional theatre but only in one specific theatre, not touring,” says Blair. “Over the last six or seven years I’ve done a lot of work in the West End.

“Now I’ve changed agents for the first time in 15 years and my new agent said I’ve got to put myself about a bit more and perhaps take less comfortable jobs than the West End work I’ve been doing. Basically, to get out and get back on the road and be seen by more people.”

Toast has been adapted for the stage from food writer Nigel Slater’s book recounting his childhood and cooking ambitions. Blair knew “nothing at all” about the show and Slater’s life before the job came along, although they do have one thing in common: both come from Wolverhampton.

He plays Nigel Slater’s father, so when Slater watches the play, that understandably adds to Blair’s nervousness. “He had a complicated relationship with his father,” he says. “His father makes the children laugh and is a nice dad sometimes but then just flips and switches. You never know when that’s going to happen. He’s not a violent man but is unpredictable, short tempered”

Slater attended rehearsals. “He’s lovely. He baked a cake and brought it in for us,” recalls Blair.

Blair Plant, left, with Stefan Edwards, Giles Cooper, Samantha Hopkins and Katy Federman in Nigel Slater’s Toast, at York Theatre Royal from tomorrow. Picture: Piers Foley

Talking of things to eat, the actor is required to demonstrate how to eat a Walnut Whip at every performance, but don’t ask why! When you see the play, you will understand.

After eating so many in rehearsal, Blair “went off” Walnut Whips. A similar thing happened during his student days in York when he was an ice cream seller:  he swiftly stopped wanting to eat ice cream.

The York St John course that young Blair took was billed as “dance, drama, movement, film and television”. His ambition was to act, but his parents, who were funding him through university, preferred him to take an academic degree.

However, he saw working on the Theatre Royal stage crew during his student days as a means of gaining entry into theatre. 

He began as a follow-spot operator and LX technician before joining the stage crew. His break came when the touring company run by actors Kate O’Mara and Peter Woodward opened a show in York and the Theatre Royal stage crew built the set.

“I persuaded them to take me on tour with them as their touring carpenter. I did that for 13 weeks and touring all over the country was a wonderful experience,” he says. 

He was back at York when the same company asked if he would like to return as an acting assistant stage manager, an opportunity that enabled him to gain the all-important Equity union card. He toured with the company for four years, each time bringing a production to York, where he lived for 15 years after falling in love with the city during his student days.

Blair Plant, centre, with Giles Cooper and Samantha Hopkins. Picture: Pierce Foley

He can also claim some responsibility for Damian Cruden becoming artistic director at York Theatre Royal. Blair had been directed by the Scotsman in John Godber’s Bouncers at Hull Truck Theatre and suggested him to theatre bosses.  The rest, as they say, is history. Damian was artistic director for 22 years until he left earlier this year.

Blair worked with him several more times, including in The Railway Children at both Waterloo and King’s Cross venues over a four-year period. “Damian sent me the script before it went on at the Railway Museum in York. I’m terrible at lifting a story off the page and didn’t get it at all and said it wasn’t for me. I didn’t realise how immense the show was going to be,” he recalls.

When the award-winning production, which featured a real steam train, transferred to London, Blair wanted to be part of it. He spent four years playing first the dissident Russian intellectual, Mr Szczepansky, then the Father in York playwright Mike Kenny’s adaptation of E. Nesbit’s book. “I really, really loved it. It was a really lovely job,” says Blair.

He names his most challenging role at York – and of his career – as Lenny in Alan Bleasdale’s comedy Having A Ball, where he had to strip on stage and perform a six-minute monologue totally naked. “That was difficult to do in the rehearsal room, but by the time we got on stage, I’d got over being naked and so had the other actors. It was the audience who had to get over it.”

The most fun he has had was in Bouncers. “The buzz from that gig – you couldn’t sleep until three in the morning because as an actor you are so high and very fit,” he says.

Now Blair is popping up in Toast on his latest return to York.

Nigel Slater’s Toast, York Theatre Royal, November 19 to 23, 7.30pm, plus 2pm, Thursday, and 2.30pm, Saturday. Box office: 01904 623568 or at

By Raymond Crisp