Steven Jobson, who plays Jekyll/Hyde, and Nicola Holliday, in the role of Lucy Harris, pictured at York Castle Museum
YORK Musical Theatre Company are marking their 120th anniversary with a new staging of Jekyll & Hyde The Musical.
Directed by Matthew Clare, York’s longest-running amateur theatre company are presenting Robert Louis Stevenson’s story of love, betrayal and murder from May 25 to 28, when the epic struggle between good and evil comes to life to the pop-rock score of Grammy and Tony Award-nominated Frank Wildhorn and double Oscar and Grammy-winning Leslie Bricusse.
Jekyll & Hyde has been described as a “niche musical”, prompting Matthew to say: “It was first done in Texas in the 1990s and it’s true it’s not been done commonly. Maybe its subject matter is off-putting to those who want something more family orientated: Annie comes without seven murders, doesn’t it – and I once did 17 productions of Annie in one year!
“But given that the music is phenomenal, we stood the chance of getting a really good cast, doing some music nights with musical director John Atkin going through some of the score, and we ended up with a really good turnout for the auditions.”
Among those auditionees was Glyndebourne Academy alumna Alexandra Mather, who will play Emma Carew. “The music has some operatic elements and strong musical theatre ones too,” she says.
“So, the show has that crossover appeal between the populism of Lloyd Webber and the sophistication of Sondheim. It’s Phantom meets Sweeney Todd, with the big power ballads for the Lloyd Webber factor and the interplay of Sondheim in the ensemble scenes.”
Matthew Clare: Directing York Musical Theatre Company’s production of Jekyll & Hyde The Musical
Stevenson’s tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself – finds both women in love with the same man and both unaware of his dark secret.
A devoted man of science, Dr Henry Jekyll is driven to find a chemical breakthrough that can solve the most challenging of medical dilemmas. Rebuffed by the powers-that-be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons, along with the man that the world would come to know as Mr Hyde.
“It’s a really powerful story rooted in Dr Jekyll looking for a cure for his father’s dementia,” says Matthew. “Most people can probably sympathise with that emotion, that desire, but the issue is that he becomes obsessed with it.”
Alexandra adds: “Jekyll doesn’t have a way to pursue this through the proper channels because it’s a one-man crusade and he ends up having to push Emma away because of what he’s doing.”
Anthony Gardner, cast as lawyer John Utterson, joins in: “Hyde is a diminished part of Jekyll. He’s juxtaposed with Utterson, who has all the correct moral values and represents stability.”
Matthew notes how Hyde is the only honest character in the story. “That’s a really weird thing to say about your villain, who’s always within Jekyll.”
“It’s Phantom meets Sweeney Todd,” says principal cast member Alexandra Mather, describing the musical style of Jekyll & Hyde
How we might behave in any given situation depends on where we are in our lives, suggests Alexandra. “We are not constant,” she says. “Depending on where we are, it can bring out that other side.”
Anthony is playing “one of the more relatable characters”. “Utterson is Jekyll’s best friend but he’s also someone who steps out of the story and becomes a narrator, so as such his voice is one of the ones you can trust,” he says.
“He’s desperate to save his friend but he’s also blind to his faults so he’s always one step behind.”
Anthony has been “knocking around I don’t know how many companies all these years”, from York Light Opera Company to York Opera, the Bev Jones Music Company to York Musical Theatre Company. “But the draw to Jekyll & Hyde for me was very specific,” he says.
“I met my fiancée doing an abridged version at the ROSS Musical Theatre Performance School at Lancaster: a 45-minute version that still had all the murders and the full story.
“I had to play two characters: my first take on Utterson, a role suited to my style, and Spider; my now fiancée was playing Lucy Harris, the prostitute, and now she’s playing Lady Savage next week.
Devoted man of science: Steven Jobson’s Dr Henry Jekyll
“We’re due to get married next year. We got engaged over lockdown, and we’ll be getting married on Kirkgate at York Castle Museum, where, as it happens, we did the photocall for Jekyll & Hyde.”
Anthony’s bride-to-be is Elizabeth Vile. “No, she will not be keeping her maiden name! I had always thought I would go double-barrelled when marrying, but ‘Vile Gardner’ doesn’t quite work, does it?!”
Should you be seeking further reasons to be “immersed in the myth and mystery of 19th century London’s fog-bound streets” in Jekyll & Hyde, here are two more from director Matthew.
“Because of Covid, York Musical Theatre Company haven’t had a full-scale production for two years since Jesus Christ Superstar, just a couple of online concerts, so it’s great to be back,” he says.
“It’s also very interesting to have two performers playing Lucy – Nicola Holliday on Wednesday, Friday and Saturday evening; Claire Pulpher on Thursday and at the Saturday matinee – and seeing how they play her in their different ways.”
York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, May 25 to 28, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Copyright of The Press, York
York Musical Theatre Company’s poster artwork for Jekyll & Hyde The Musical
Bolshee trio Paula Clark, left, Megan Bailey and Lizzy Whynes: Premiering Boss B***h at Green Shoots
NEW work commissioned by York Theatre Royal from dozens of York and North Yorkshire professional artists will be premiered in Green Shoots on June 7 and 8.
Poets, performers, singers, dancers and digital artists will take part in this sequel to Love Bites, last May’s two-night showcase that marked the Theatre Royal’s reopening after the lifting of Covid lockdown restrictions.
Forming part of the Rumours & Rebels season, Green Shoots’s diverse bite-sized performances will be focused on “rebooting post-pandemic and looking to the future of the planet”.
Twenty commissions have been selected by the Theatre Royal from the call-out for submissions for a scheme that offers £1,000 per commission plus £150 each time they are performed.
Theatre Royal creative director Juliet Forster says: “Love Bites last year was a joyous event that will live long in my mind, not just because we were re-opening after 14 months of enforced closure, but also because our stage was filled to overflowing with the tremendous talent and ingenuity of local artists.
York Theatre Royal creative director Juliet Forster
“It was moving, spectacular, surprising, thought-provoking and funny in equal measures. We have created this new opportunity with Green Shoots because we are excited to see what they will do next.”
Those who were commissioned have been asked to respond to the title Green Shoots in any way that it can be interpreted. “Pieces might be about hope, recovery, new beginnings, revolution, new life, growth, the environment or anything else that can be imagined as a response,” says Juliet.
Participating next month will be Hayley Del Harrison; Dora Rubinstein; Sam Bond; Fladam; Bolshee; Butshilo Nleya; Ana Silverio; Esther Irving; Gus Gowland; Nettle Soup and Polychrome Studios; Paul Birch and Sam Conway.
So too will be Ella Portnoy; Kate Bramley/Badapple Theatre Company; Robert Powell, Ben Pugh and Kitty Greenbrown; Libby Pearson and Emily Chattle; Alexander Flanagan-Wright; Hannah Davies and Jack Woods; Joe Feeney and Carey Simon.
Hayley Del Harrison: Choreographer and theatre-maker
Hang On Little Tomato, Hayley Del Harrison.
HANG On Little Tomato is about a young woman, growing her very first tomato plant. Some people believe that plants respond emotionally when you talk to them but our novice gardener takes this to the next level. It turns out the shared experience delivers mutual support, faithful companionship and that tiny bit of vibrancy they both needed to feel a little less alone.
Spring In My Step!, Dora Rubinstein
THIS contortion and acro-dance piece is a physical exploration of how it feels when the sun shines again after a long winter. The feeling of sunlight on your skin; the smell of freshly cut grass; the sight of daffodils. The feeling that light, connection, joy, is back, and the dark days are over.
All The World Is Green, Sam Bond
LONELY retirees Jamie and Clara meet by chance at a concert in their Yorkshire Dales village, bringing love unexpectedly back into their lives. A story of new beginnings, All The World Is Green blends live performance and film to look at the power of memories, life after loss and finding love again in old age.
Greenfingers, Fladam
DID you ever hear the tale of Greenfingers? The wicked boy born with unsightly green hands, who spoils all he touches. But has history misjudged this green-fingered boy? Is he even a boy at all? Find out in this deliciously Dahl-esq treat from madcap musical duo Fladam, alias Adam Sowter and Florence Poskitt.
BOSS B***H, Bolshee
BOSS B***H explores the infamous statement made by influencer Molly-Mae Hague and celebrity media personality Kim Kardashian that we all have the same 24 hours in a day as Beyonce. Cue five minutes of female voices, beats and moves. “Let’s challenge the toxic boss bitch narrative,” say Paula Clark, Lizzie Whynes and Megan Bailey.
Butshilo Nleya: Healing stories
Tatu Dances: Stories Of Healers, Butshilo Nleya
A PLAY with dances, songs, poetry about healing the mind, the body and the spirit celebrated by three generations of displaced, dejected, denigrated and defiant African healers.
Green Shoots, Ana Silverio (Terpsichoring)
ANA’S solo dance piece, specially created for the Green Shoots commission, explores the processes and emotions of starting over again after an unexpected interruption. This work is about perseverance and the search for possibilities.
Her Face/My Face, Esther Irving
WHAT do you do when you no longer recognise the face that looks back at you in the mirror? How can you re-connect the life you had with the one you live now?
Your Own Road, Gus Gowland
THIS original song takes its inspiration from a quote from James Herriot’s memoir All Creatures Great And Small: “When all t’world goes one road, I go t’other”. Performed by Joe Douglass, this uplifting and empowering anthem encourages you to follow your own path and see hope in the world around you.
Stones On The Riverbed! Nettle Soup and Polychrome Studios
HAVE you ever heard of the legend of the five white stones? This piece of verbatim theatre explores what the residents of York are looking forward to in the future, unearthing their hearts’ truest desires.
Gus Gowland: Uplifting and empowering anthem
Beanstalk, Paul Birch
FOR hundreds of years, you have been telling the story of Jack And The Beanstalk completely wrong. Beanstalk is the recently discovered true account of the tale, told from the Giant’s point of view. Any similarities to any persons now living, lying or misusing public funds is entirely coincidental.
‘Don’t Mow, Let it Grow!’, Sam Conway (Little Leaf Theatre)
THIS piece extols the benefits of letting the grass in your garden grow throughout spring. Incorporating dance, music and video, Little Leaf Theatre endeavour to bring a serious message to the stage in a light-hearted and engaging way.
Baby Bird, Ella Portnoy
A MONOLOGUE about breaking out of an egg and feeling new-born after lockdown – being a gosling and pottering around in the world, full of curiosity.
The Three Allotmenteers, Kate Bramley/Badapple Theatre Company
A CURIOUS late-night game takes place at The Gardener’s Arms as The Three Allotmenteers play for what was left after the sudden death of their friend. An unexpected discovery sows the seeds of a joyous outcome to their current situation
Beckon, Robert Powell, Ben Pugh and Kitty Greenbrown
THIS five-minute performance and film-poem drew initial inspiration from a remarkable medieval church window in York. Beckon invites its audience on a brief but powerful journey through a landscape of shared memory, confusion, fear and wonder towards a sense of hope.
The dramatic collage of spoken word, film and sound conjures both past and present times to address our current situation – a world at once treasured and threatened.
Alexander Flanagan-Wright: “Just words, and a little bit of music”
The Sapling!, Libby Pearson and Emily Chattle
SASHA’S history has bonded her to nature in general and to trees in particular, and she knows that sometimes even the smallest of gestures can have the biggest of impacts. Meet Sasha as she tells her personal story of discovery and making a difference.
If There Was Ever Anything Worth Hoping For Then I Hope, Alexander Flanagan-Wright
“THIS is a story. It’s a short story. It’s only five minutes long. But it’s about loads of stuff. It’s about everyone, I guess,” says Alex. “It’s about everything that got each of us to here and it’s about what we do next and, importantly, what we hope will happen after that.
“It’s just words, and a little bit of music. But it’s come from your yesterday, your week before, the years that got you here. And it’s about tomorrow, or next week, or next year. If you’re after a fresh start, they perhaps don’t exist. But tomorrow does, so let’s pin some of our hope on that, shall we?”
The Ballad Of Blea Wyke!, Hannah Davies and Jack Woods
THE traditional selkie myth is reworked for the Yorkshire East Coast, set against the dramatic landscape of Ravenscar. Here the ancient story of the seal-people is re-imagined, placing it in a world not too far off from our own, where cliffs are crumbling and some people have never seen the sea, despite the rising water levels.
Green Man!, Joe Feeney
AT the end of his tether witnessing the climate emergency’s destructive charge towards certain oblivion, and feeling utter powerlessness, an ordinary man calls on the mythical Green Man of yore to save the world.
Ocean/Jura, Carey Simon
PRESENTING two poems with a backdrop of classical music. Ocean focuses on the seething fury of the mighty unabashed ocean, the passion and the volatility of its rolling motion that conceals its briny, gloom-shrouded depths from frail eyes above.
Jura is an elixir that transcends the bounds of the spirit-taste divide. Smoothness, translucence overflowing the senses into something more. Deliciousness, a notion leading to Nirvana’s devotion.
Tickets for the two 7.30pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Keith Allen as brutal patriarch Max, ruling his sons with threats and violence, in The Homecoming
KEITH Allen is completing a hattrick of roles spread over 25 years in Harold Pinter’s darkly comic power struggle The Homecoming, on tour at York Theatre Royal from tonight.
At the National Theatre, in 1997, the Welsh actor, comedian, television presenter, documentary maker and rousing punk musician played university professor Teddy, returning from America with his wife Ruth to find his two brothers, Joey and Lenny, and elderly father Max still living at their North London family home.
In 2015, at the Trafalgar Studios, London, he was cast as Uncle Sam. “Now I’m playing Max but that’s as far as I can go because I’m too old to play Joey or Lenny,” says Keith, 68. “Max is the patriarch of a very misogynistic household. Every character is repressed to the nth degree but while most of them repress their rage Max doesn’t.
“He had a very interesting relationship with his now-dead wife that has coloured his whole life and he’s in a household where they’re all playing games and trying to top each other. Everything that’s done is for a reason and it’s usually to get one over on someone else.”
Keith compares former butcher Max to a raging sheep: “If you’ve ever been in a field with a very angry tup, you don’t want to be there. I’ve been there and they don’t back down.”
Director Jamie Glover and actor Mathew Horne, who is playing pimp Lenny, always had Allen in mind for their Pinter project “They’re close mates, and the genesis of the idea to do a Pinter play came from them. They took their idea to Danny Moar at [the Theatre Royal] Bath, originally wanting to do The Caretaker, but the Pinter estate offered the rights to The Homecoming instead.”
Glover and Horne were unsure whether Allen would want to return to Pinter’s 1965 fractured family drama, but “Max is a part I’ve always had my eye on,” says Keith. “I was very lucky to be offered it and I’m very pleased to be doing it.”
After all, The Homecoming is considered to be Pinter’s finest work in its exploration of toxic masculinity, stultifying patriarchy, one-upmanship feuds and sexual powerplays. “I’ve always thought Pinter was a poet before he was a playwright and the poetry is amazing. This whole play is about language and very particular choices of words, which is why as an actor you have to be very on-the-ball about the grammar.
Keith Allen’s Max, seated, and Mathew Horne’s Lenny, centre, in The Homecoming
“I think the lyricism of the play is extraordinarily attractive and the tension has people constantly going, ‘What on earth is happening and what’s going to happen next?’.”
Keith praises not only the writing, but the “brilliant structure” too, describing it as a feat of engineering. “As an actor, you just get your skis on and let the skis guide you,” says the skiing enthusiast.
What does Keith recall of his first performance in The Homecoming? “That was in 1997, directed by Roger Michell, who died last September, bless him. I remember feeling I’d let the cast down in rehearsals, as I would forget my lines, make things up and trip my way through it, playing Teddy to Lindsay Duncan’s Ruth.
“But I got a handle on it in the end, and it was a brilliant way to learn about being still on stage, which is a great skill to master, when a lot of actors get scared if they’re not doing anything.”
Comparing the productions, Keith says: “I have to say that all three have had very different qualities. This one is very funny, much funnier than the other two, because the director chose that path. Jamie Lloyd’s production in 2015 was much bleaker; this one is genuinely funny but also very discerning.
“A hefty contributory factor to that humour is that these men are idiots. They’re fantasists, all trying to be top dog, and that’s funny to watch.”
Assessing The Homecoming’s impact on audiences in 2022, by comparison with 1965, Keith says: “Misogyny is very present in the play, as is generational jealousy within a family. The mother is dead but she looms very large in everyone’s memory, especially Max’s because he loathed her.
“When the play was first performed, I don’t think anyone had seen anything quite so vicious and measured before. Now it’s interesting for different reasons because we’re living in a time where women are becoming far more recognised and are on a far more equal footing.
“As an actor, you just get your skis on and let the skis guide you,” says Keith Allen of the art of performing in a Pinter play
“There are things in the play that could be misconstrued as being abusive to women and, because of the times we’re living in, audiences might react very quickly to certain things which they wouldn’t necessarily have reacted to before.”
Keith has “previous” for Pinter, not only appearing in The Homecoming but also in Pinter 3: Landscape/A Kind Of Alaska in the West End and The Celebration and The Room, both directed by Pinter himself at the Almeida Theatre, London, in 2000 and in New York in 2001.
“You very quickly realised that Harold chose people for what they could do; he was very careful in his casting,” Keith recalls. “He wouldn’t ask you to act a part, but to ‘be’, so he left you alone and watched.”
As for Pinter’s advice on his notorious use of pauses, “he once quite frivolously said to us, ‘if the pauses don’t work, **** it’, but actually they do work,” says Keith. “It works like a musical score in that what comes before dictates what comes after. It’s all about rhythm.”
After a five-year hiatus, Keith will enjoy his return to York, where he was last seen on stage as Inspector Rough in Patrick Hamilton’s thriller Gaslight at the Grand Opera House in February 2017. ” York is lovely because you’re near the river and there are some lovely pubs,” he says.
“I really like touring. I like the fact that you’re on the move and it’s as if you’re having an opening night every week because you’re in a different space, in a different theatre, with a different ambience.
” I like to fit in some golf wherever I go and I have an ingrained curiosity about corrugated iron chapels and buildings, so I always see if I can find one or two to go and have a look at.”
Theatre Royal, Bath, presents Harold Pinter’s The Homecoming, York Theatre Royal, tonight until Saturday; 7.30pm, plus 2pm, Thursday; 2.30pm, . Box office: 01904 623568 or at yorktheatreroyal.co.uk
Keith Allen as Inspector Rough and Kara Tointon as Bella Manningham in Gaslight at the Grand Opera House, York, in February 2017
AS album number three arrives so soon, why are the Irish band being as prolific as the early Beatles? Two Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson discuss Skinty Fia in Episode 89.
Plus: what happens to the BBC when the licence fee ends? Anything else? Sheffield Leadmill update; The Divine Comedy at York Barbican review; Gary Barlow’s show with a difference, and why Mischief and Penn &Teller’s Magic Goes Wrong is wand-erful.
Paul Merton, front, and his Impro Chums Mike McShane, Richard Vranch, Kirsty Newton and Suki Webster
HAVE I Got News For You regular Paul Merton teams up with his Impro Chums to flex their off-the-cuff comedy muscles tonight at the Grand Opera House, York.
In their first antics roadshow since August 2019, seasoned improvisers Merton, Richard Vranch, Suki Webster and Mike McShane are accompanied by latest addition Kirsty Newton on piano.
“What audiences like about what we do is that we haven’t lost our sense of play, our sense of fun, the sort of thing that gets knocked out of you because you have to get married or get a mortgage or find a job,” says Merton. “We play and they enjoy watching us play.”
Let the adlibbing fun and games sparked by audience suggestions begin at 8pm, with tickets still available on 0844 871 7615 or atgtickets.com/York.
Here, the Impro Chums discuss their return to the stage.
Do you expect Covid to be mentioned during a game?
Richard Vranch: “I did quite a few shows back at the Comedy Store after a 16-month break and weirdly it hasn’t come up from an audience in any of the suggestions. I’ve made a couple of jokes about it, because they were very funny, but other than that it hasn’t actually been mentioned.”
Paul Merton: “My own view is that people would want to get away from it. Not every comedy show has to hold up a magnifying glass to society and be about how we live today. The whole idea of entertainment, for me, is to take you somewhere else, not to remind you of where you are.”
Suki Webster: “I think the particular form of comedy we do is about us having fun and being silly; it doesn’t lend itself to satire or in-depth discussion on difficult subjects because you’ve got four or five minds on stage all weaving in and out.
“The depth of it is in the joy and connection with each other and the audience. And we’re all so giddy with excitement at being back together that I can’t see it being a focus.”
What have you missed about the touring life since 2019?
Richard: “The thing I’ve missed is laughter. I’ve been watching a load of telly and there has been wonderful stuff produced by an arts industry that has been having a hard time. But I’ve really missed laughing with mates on the bus on the way to the gig and on stage during the gig.”
Mike McShane: “The last tour was exemplary for us as a group; it felt like a Marx Brothers show in the best way possible. We now had music from Kirsty [on her first tour] and it was all very nice. Getting on the bus, checking in on each other, hanging out, acting like idiots. And doing the show is fantastic and everything you hope for. “
What was your over-riding memory of Kirsty’s first Impro Chums tour of duty in 2019?
Kirsty Newton: “I felt as though I’d been let into the coolest, funnest club ever and we had such a wonderful time. My over-riding sense of it is that it’s probably the best job in the world; just consistent fun and loveliness all the way.
“I’d say I have the best seat in the house: I’m up close and personal with everyone on the stage and I get to direct the music, making them explode into song mid-scene. Quite often I don’t know what’s going to come out of my fingers; that’s the joy of it.”
Paul: “To adapt an old saying, you can lead Paul Merton to music but you can’t make him sing. But it was great having Kirsty there and there was more music in that show than before. Mike and Suki are very strong singers and Richard is very musical, of course, but I stay out of the way.”
Kirsty: “I have one brilliant memory of going through the Scottish Highlands and sticking my head out of the bus going, ‘this is wonderful’!”
For a show without a script, how do you get the comedy muscle moving before the start?
Paul: “The most important thing is to be together beforehand. So, we’ll throw a ball around to be in each other’s orbit and to just tune in to each other.”
Richard: “The preparation for the show is the decades that we’ve known and worked together. With a scripted show or a rock band, you’d start to get ‘musical differences’ round about year 15. I think I first appeared on stage with Paul in 1984, and with impro it’s about a group attitude and sense of fun.
“Weirdly, that matures like a good cheese or wine over the years and doesn’t fester like a rock band. So, we put the work in by simply having done it for all this time and it just gets better and better.”
How important is the audience to making an Impro Chums show the best it can be?
Suki: “If you’re doing a play or stand-up there’s a bit of us and them, but with our show it’s about everybody, because their energy and their suggestions build it in a way that no other show can have. Everything is happening in the moment and what they’re doing is absolutely crucial. When it goes right that means everyone is involved and having a good time. It’s like a big party!”
Keith Allen: Homing in on The Homecoming arriving at York Theatre Royal on Monday
AVOIDING the “devastation of stag and hen parties” (copyright Rachael Maskell, York Central MP), Charles Hutchinson finds reasons aplenty to venture out.
Play of the week: Harold Pinter’s The Homecoming, York Theatre Royal, Monday to Saturday, 7.30pm; Thursday, 2pm; Saturday, 2.30pm
GAVIN & Stacey star Mathew Horne and Keith Allen star in Jamie Glover’s new production of The Homecoming, Harold Pinter’s bleakly funny 1965 exploration of family and relationships.
University professor Teddy returns to his North London childhood home from America, accompanied by his wife Ruth, to find his father, uncle and brothers still living there. As life becomes a barely camouflaged battle for power and sexual supremacy, who will emerge victorious: poised and elegant Ruth or her husband’s dysfunctional family? Box office: 01904 623568 or yorktheatreroyal.co.uk.
Tom Figgins: Introducing new material tonight at Stillington Mill. Picture: Daniel Harris
Outdoor gig of the week: Tom Figgins, Music At The Mill, Stillington Mill, near York, tonight, 7.30pm
SINGER-SONGWRITER Tom Figgins returns to At The Mill’s garden stage after last summer’s sold-out performance, with the promise of new material.
Figgins’ vocal range, guitar playing and compelling lyrics caught the ear of presenter Chris Evans,who hosted him on his BBC Radio 2 show and invited him to play the main stage at CarFest North & South.
His instrumental works have been heard on Countryfile and Panorama and he is the composer for the Benlunar podcast, now on its fourth series. Box office: tickettailor.com/events/atthemill.
Martin Roscoe: Guest piano soloist for York Guildhall Orchestra
Classical concert of the week: York Guildhall Orchestra, York Barbican, tonight, 7.30pm
YORK Guildhall Orchestra’s final concert of their 2021-2022 season welcomes the long-awaited return of pianist Martin Roscoe, originally booked to perform in May 2020.
Retained from that Covid-cancelled programme are Shostakovich’s Jazz Suite, with its combination of cheeky jazz tunes and the Russian’s mastery of orchestration, and Dohnanyi’s mock-serious take on a children’s nursery rhyme. Leeds Festival Chorus join in for Elgar’s Music Makers. Box office: yorkbarbican.co.uk.
Go West and Paul Young: Eighties’ revival at York Barbican
Eighties’ nostalgia of the week: Go West & Paul Young, York Barbican, Sunday, 7.30pm
PETER Cox and Richard Drummer’s slick duo, Go West, and Luton soul singer Paul Young go north this weekend for a double bill of Eighties’ pop.
Expect We Close Our Eyes, Call Me, Don’t Look Down and King Of Wishful Thinking, from the Pretty Woman soundtrack, in Go West’s set. The chart-topping Wherever I Lay My Hat, Love Of The Common People, Everytime You Go Away and Everything Must Change will be on Young’s To Do list. Box office: yorkbarbican.co.uk.
Paul Merton’s Impro Chums: Wanting a word with you at the Grand Opera House
Fun and word games of the week: Paul Merton’s Impro Chums, Grand Opera House, York, Monday, 8pm
HAVE I Got News For You regular and Comedy Store Players co-founder Paul Merton teams up with fellow seasoned improvisers Richard Vranch, Suki Webster and Mike McShane and accompanist Kirsty Newton to flex their off-the-cuff comedy muscles on their first antics roadshow travels since August 2019.
“What audiences like about what we do is that we haven’t lost our sense of play, our sense of fun, the sort of thing that gets knocked out of you because you have to get married or get a mortgage or find a job,” says Merton. Let the fun and games sparked by audience suggestions begin. Box office: 0844 871 7615 or atgtickets.com/York.
Hayley Ria Christian: All aboard her Midnight Train To Georgia for a night of Gladys Knight hits
Homage, not tribute show, of the week: Hayley Ria Christian in Midnight Train To Georgia, A Celebration Of Gladys Knight, Grand Opera House, York, Friday, 7.30pm
HAYLEY Ria Christian’s show is “definitely not a tribute, but a faithful portrayal that truly pays homage to the voice of a generation, the one and only Empress of Soul, Ms Gladys Knight”.
In the late Sixties and Seventies, Gladys Knight & The Pips enjoyed such hits as Take Me In Your Arms And Love Me, Help Me Make It Through The Night, Try To Remember/The Way We Were, Baby, Don’t Change Your Mind and her signature song Midnight Train To Georgia. Box office: 0844 871 7615 or atgtickets.com/York.
Milton Jones: International spy turned comedian in Milton: Impossible
Comedy gig of the week: Milton Jones in Milton: Impossible, Harrogate Theatre, May 21, 7.30pm
ONE man. One Mission. Is it possible? “No, not really,” says Kew comedian Milton Jones, the shock-haired matador of the piercing one-liner, as he reveals the truth behind having once been an international spy, but then being given a somewhat disappointing new identity that forced him to appear on Mock The Week.
“But this is also a love story with a twist, or at least a really bad sprain,” says Jones. “Is it all just gloriously daft nonsense, or is there a deeper meaning?” Find out next weekend. Box office: 01423 502116 or harrogatetheatre.co.uk.
Grace Petrie: Carrying on the fight for a better tomorrow when every day you are told you have lost already
Protest gig of the week: Grace Petrie, The Crescent, York, May 23, 7.30pm
DIY protest singer Grace Petrie emerged from lockdown with Connectivity, her 2021 polemical folk album that reflects on what humanity means in a world struggling against division and destruction.
Petrie’s honest songs seek a way to carry on the fight for a better tomorrow when every day you are told you have lost already. Bad news: her York gig has sold out. Good news: she will be playing Social, Hull, too on May 18 at 8pm (box office, seetickets.com). On both nights, she will be accompanied by long-time collaborator, singer and multi-instrumentalist Ben Moss.
Daniel Kitson: Testing out new material in six Outside performances at Stillington Mill
SUMMER At The Mill is returning for a second season of creative, culinary and community events in the gardens of Stillington Mill, Stillington, near York.
“After the spectacular, gorgeous, fun, exciting, beautiful and heart-warming time we had throughout our inaugural summer last year – what a ride! – we’re over the moon to present the mixed bag of goodies that is Summer At The Mill 2.0,” says programmer, theatre director, writer and performer Alexander Flanagan-Wright.
“Until September 4, we’ll be hosting a load of wonderful events all about community, art, food and flipping good times. We’ll have a pop-up café and bar, community gatherings, theatre, music, comedy, supper clubs and special events.”
The “Wright stuff” is the work of outdoor theatre co-builder Alex, sister Abbigail Ollive (Saturday café cuisine queen and supper club supremo) and their retired headteacher parents Maggi and Paul Wright, together with partners Megan Drury and Paul Smith. That “stuff” also takes in weddings, events and shepherd’s hut accommodation: truly a village cottage industry, you could say, albeit somewhat larger than a cottage.
A Supper Club gathering at At The Mill
“We just had a blast summer,” says Alex. “It was kind of by accident. It felt very serendipitous or of its moment, saying, ‘here is a way we can gather safely, our local community and the arts community, post-lockdown’.
“So this summer is a chance to see if people still care, and so far the evidence is that they do, with the return of the busy Saturday café, the Crafty Tales show [The Case Of The Missing Bunny] that sold out, our Pizza & Cocktail Night and the Dance Dance Dance Big Bank Holiday Silent Disco.
“Last year felt like a huge rush of adrenaline, and then you think, ‘OK, where do we go forward this year for beautiful experiences together?’. Already this year, we’re meeting new people coming to the events and the café.”
Summing up the essence of At The Mill, Alex says: “We believe a feeling of community is so important when people want to have an evening out. Whereas commercial theatre can feel merely transactional, with us, the means is the art, but the end result is a sense of community, and that feels the right way round.
Alexander Flanagan-Wright: At the heart of At The Mill
“On top of that, eating outside together, drinking outside together, is a lovely thing to do, and we have the space and setting to do that.”
Where once Stillington Mill’s 18th century mill would produce flour, now the At The Mill combines food with food for thought, new recipes at the Supper Club, new works on stage. “We’re very clear with the artists about that. Everyone we’ve asked, we’ve said, ‘we think you’re cool, we like your work, do you want to come and play with us?’,” says Alex.
“What we have in abundance is space and time, imagination and a community. What we don’t have in abundance is cash, but we find most performers end up walking away with cash in their pocket.
“We don’t say to them, bring a particular show. What you get instead is artists testing out new material, so it becomes a genuine relationship with the audience built around nurturing new work. We’re seeking an equal balance between the two communities, where they care about each other, and if we do our part well in bringing them together, then they will meet in a beautiful way, and hopefully that process is more valuable, than, say, a Q&A session in a theatre.”
The Saturday cafe at At The Mill, baked by Abbigail Ollive
Alex continues: “Hopefully too, we’re going to be able to sustain that culture of being able to welcome artists for whatever they want to try out, and of audiences being continually excited about seeing new work at such an early stage, performed by people they wouldn’t expect to be passing through their village.”
A case in point is Edinburgh Fringe favourite Daniel Kitson, the Denby Dale stand-up comedian, who asked to take part in the Theatre At The Mill programme after he was tipped off by storytelling performer Sam Freeman.
“Daniel got in touch to say hello, could he come and do a show? I don’t know what the show is about; I don’t know if Daniel does yet, but that feels a pretty exciting thing to be going on, and testament to our aim for brilliant performers to test out their work to our community,” says Alex.
“I’m also aware that there will be those who don’t know who Daniel Kitson is and would just see him as someone standing up in a garden! But it feels beautiful to know that his shows in May will be his first in two years and it’s great to be part of that work-in-progress experience.”
Chris Stokes: Storytelling comedy in Lockdown Detective at At The Mill on May 26
Clearly, plenty of people know exactly who Daniel Kitson is: his 8pm performances of Outside on May 23 to 25 have sold out already and his June 8 to 10 run looks close to following suit.
What’s in store from Kitson? Here’s the show blurb: “Daniel hasn’t been on stage for over two years. And, to be entirely honest, he’s not really missed it. It is, however, his actual job and everyone’s gone back to work now. So, he’s picked out a comfy pen, bought a new notebook and booked himself a summer’s worth of outdoor shows to find out whether he can still do his job and what, if anything, he has to say to large groups of people he doesn’t know.”
Given his performing hiatus and lack of practice, Kitson predicts the shows are “likely to be relatively rickety affairs”. “But Daniel’s already written the question ‘Do worms feel fear?’ in his new notebook, so we should be okay,” the blurb adds. “Also, if it gets boring – you can just use the time to look at the sky and feel small.”
At The Mill’s role in nurturing new work ties in with Alex’s own creativity as a writer and director, whether directing The Flanagan Collective, heading off to Australia with songwriter/musician/performer/magician Phil Grainger or spending last September to December in New York, making the immersive piece Tammany Hall for the Soho Playhouse.
Gary Stewart: Hosting regular Folk Club nights at At The Mill
“We meet loads of brilliant people when touring our work, and it’s great that they want to come here to test new pieces,” he says. “We’re delighted that people will hone shows here just before the Edinburgh Fringe kicks off, or will do shows here that aren’t going to Edinburgh but fit that vibe.”
Picking out upcoming highlights, singer-songwriterTom Figgins follows up last summer’s gig – his first in four years – with a return tomorrow; Chris Stokes’s storytelling comedy show, Lockdown Detective, is booked in for May 26, and Scottish musician Gary Stewart, now resident in nearby Easingwold, will host his regular Folk Club night on May 27, June 24 and July 8.
“For his first night, it’ll be just Gary and his guitar, performing Paul Simon songs solo rather than with his Graceland band. It’s lovely for us that a local musician, who’s internationally renowned, came here and said, ‘I want to play here every month and bring acts here regularly’,” says Alex.
At The Mill’s ERII Platinum Jubilee celebrations will take in Jubilee Jubilee, A Very Jubilant Cabaret, on June 3 and A Right Royal Knees Up, with live music and pizza, on June 5.
Maddie Morris: 2019 BBC Radio 2 Young Folk Award winner, playing a Music At The Mill gig for the first time
Leeds folk duo Maddie Morris & Lilian Grace will make their At The Mill debut on June 12, performing together as Death And The Daughter and playing solo works too. Their 2022 project, The Sticky Monsters, is influenced by the artwork of Swedish artist John Kenn and their compositions deal with childhood, poverty and more general reflections on culture and the idea of fear.
“I saw Maddie, the 2019 BBC Radio 2 Young Folk Award winner, at The Courthouse, Rural Arts’ home in Thirsk, and she’s an absolute folk musician, studying folk music at Leeds University and looking at contemporary politics through the lens of the folk tradition,” says Alex.
Gemma Curry’s York company Hoglets Theatre will perform the children’s show The Sleep Pirates on June 19 (10am to 1pm); York spoken-word collective Say Owt will host a poetry-writing workshop on June 25 (5pm), followed by an evening showcase (7.30pm); Heady Conduct Theatre will combine physical storytelling with live music to tell the Greek myth of Tiresias on July 10, and Paperback Theatre will stage their charming account of roguish Toad’s misadventures, The Wind In The Willows, on July 30 at 2.30pm and 7pm.
Alex himself has a couple of contributions to the season: Monster, a work-in-progress new story, on June 16 and 17, and The Gods The Gods The Gods, the Wright and Grainger show whose Australian premiere tour was curtailed by the pandemic, now making its British debut on July 23, 24, 27 and 28 at 8.45pm.
Gemma Curry in Hoglets Theatre’s The Sleep Pirates
“In its full iteration, it’s a big, heavy show, but this will be a lighter version before we take it to the Edinburgh Fringe,” says Alex of the final work in Wright & Grainger’s trilogy of myths, after Orpheus and Eurydice, both sell-outs at last summer’s At The Mill season.
The Gods The Gods The Gods, with its four stories and 14 compositions, corals big beats, soaring melodies and heart-stopping spoken words as it “calls us to the crossroads where mythology meets real life”.
“The Gods are gathering and you’re invited,” says Alex. “We’re excited about testing it out here, to wrangle up the story, to see that all the text and music works, and then add lights for Edinburgh, where we’ll be doing it in the Assembly’s 200-seat spiegeltent.”
The Mill’s summer programme will continue to add new events, with full details, including tickets, at athemill.org. Shows start at 7.30pm unless stated otherwise.
The Flanagan Collective’s Alexander Flanagan-Wright and Gobbledigook Theatre’s Phil Grainger staging Orpheus and Eurydice at At The Mill’s socially-distanced summer season in 2021. Picture: Charlotte Graham
Heady Conduct view the world differently to rejuvenate Greek myths of blind prophet Tiresias in At The Mill show at Stillington
Simon Rodda in Heady Conduct Theatre’s Tiresias
HEADY Conduct Theatre conclude the short tour of Tiresias, their storytelling show of rejuvenated Greek myths and legends, in July 10’s At The Mill performance at Stillington, near York.
“Tiresias is the 600-year-old blind prophet who pops up in a lot of Greek myths but hasn’t a story of their own,” says co-artistic director Beck Rogers. “We were fascinated by them; a blind prophet, who walks with royalty and rejects, contends with some of the heavyweights of the ancient Greek world and lives as both a man and woman.
“At the heart of our play we ask the audience, ‘if you could choose to know your future, would you want to?’.”
Last performed pre-pandemic on the other side of the world in New Zealand, the show is told by one actor, co-artistic director Simon Rodda, and one musician, Rachel Barnes, who have played Brighton, Penzance, Suffolk and St Albans before their tour finale in North Yorkshire.
Rodda plays Tiresias, the blind prophet given the gift to predict Zeus’s future. In 600 years of life, Tiresias has incredible encounters with royalty, rejects, heroes, murderers and a snake-wrangling baby, as well as becoming the first person to be transformed from a man into a woman.
Barnes accompanies his performance with singing and a live score played on guitar and cello in Heady Conduct’s intoxicating theatre piece about the extraordinary ability of humans to face adversity, often with mischief, humour and acts of rebellion.
Rodda says: “I can’t wait to perform these ancient stories in this beautiful, hand-crafted hidden gem of a theatre venue. The stories surrounding Tiresias’s life offer a unique and unrivalled perspective.
“Beck and I are neurodiverse and are advocates for those who view the world differently. To enhance the storytelling experience for the audience, we use language, live music, physical movement and sensory atmospheres to tell Tiresias’s tale.”
Maddie Moate: CBeebies presenter, YouTube channel host and York Theatre Royal pantomime star
CBEEBIES’ favourite Maddie Moate is the first signing for this winter’s York Theatre Royal pantomime, All New Adventures Of Peter Pan.
Award-winning television presenter and You Tuber Maddie will be starring as feisty favourite Tinkerbell in creative director Juliet Forster’s production from December 2 2022 to January 2 2023.
Further casting will be announced in the coming months for the Theatre Royal’s third pantomime in partnership with Evolution Productions, after 2020’s Travelling Pantomime and last winter’s Cinderella, a show that featured another CBeebies’ star, Andy Day, and was nominated for Best Pantomime (500-900 seat category) at the UK Pantomime Association’s Pantomime Awards.
Maddie has presented the BBC’s CBeebies series Do You Know? since 2016, exploring the secret workings of everyday objects and winning the 2017 Best Presenter category at the BAFTA Children’s Awards to boot.
In addition, she has starred in the CBeebies Proms Live at the Royal Albert Hall, London, and multiple CBeebies Christmas Shows and presented the CBeebies Ballet. Elsewhere, she has hosted CBBC’s Show Me Honey, the BBC’s Springwatch Academy and CNBC’s The Cloud Challenge.
Maddie Moate: Making her York Theatre Royal debut as Tinkerbell in All New Adventures Of Peter Pan
Maddie has her own science and technology You Tube channel, wherein she takes her worldwide family audience on educational adventures and inspires them to “stay curious”. Latterly, her channel has been home to Let’s Go Live! With Maddie And Greg, her daily science show for families.
She presents and makes films for educational You Tube channels, including Fully Charged, focusing on electric vehicles and future energy, and BBC Earth’s Unplugged, where she investigates the quirks of our planet. She also appears on stage in her live science and wildlife shows for families and children.
Maddie is a patron of the Youth Stem Awards (YSA) and an ambassador for Eureka, the National Children’s Museum, in Halifax.
Welcoming Maddie to the Theatre Royal pantomime, director Juliet Forster says: “I’m delighted to be working with such a talented and much-loved CBeebies presenter. I know she will bring plenty of magic to our pantomime.”
Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Haunted happenings: Jessica Woodward, left, Robert Wade and Stephanie Hutchinson in Badapple Theatre Company’s Elephant Rock
GREEN Hammerton theatre-on-your-doorstep purveyors Badapple Theatre Company return to York Theatre Royal for the first time in a decade tonight (10/5/2022).
At the invitation of TakeOver 2022, the arts festival run by York St John University, Kate Bramley’s travelling troupe will be presenting Elephant Rock, a “lighthearted comedy about finding your place in the world” set against the backdrop of environmental change.
“We were last at the Theatre Royal with Back To The Land Girls roughly ten years ago and it feels very exciting to be back. We’re delighted,” says writer-director Kate. “It’s come about through the York St John performing arts students, who, as part of their final-year work, have the chance to put together a week of performances in a festival.
“They came to us and asked if we could do Elephant Rock, so we juggled things around a bit on the tour, and here we are, on the main stage, which is lovely for us, having the chance to use more than the five lanterns we take on tour for the lighting!”
Badapple Theatre Company artistic director Kate Bramley: Delighted to be returning to York Theatre Royal
Set in a storm-battered seaside village, Kate’s upbeat play with original music and songs by Jez Lowe follows the fortunes of a family trying desperately to keep the struggling pier-front Palace Theatre open, come hell or high water.
“The heyday of the great British seaside holiday may have gone but the memories remain,” says Kate. “So too does the old Palace Theatre, once perched proudly on the pier in sight of the mighty Elephant Rock, and boasting its own fabulous attraction, The Amazing Mechanical Elephant.
“But the relentless tides have chipped away at the coast, and Elephant Rock and its mechanical counterpart are long gone, as if instinct and longing have lured them off to the land of their ancestors.
“Amid the comic yet heartfelt attempts of the mismatched team who are determined that the Palace doors stay open, they discover a surprising family history that stretches across a hundred years and five thousand miles, from the rocky coast of England to the sweeping grasslands of Sri Lanka.”
Jessica Woodward: Pink dress, pink umbrella, in Catherine Dawn’s typically colourful design for Elephant Rock
Elephant Rock’s subject matter was prompted by a family visit to Withernsea, the East Riding resort noted for its Pier Towers, sandy beach, Valley Gardens and lighthouse. “A few years back, we were staying there, and where there used to be a road, now there was just a drop with a sign saying ‘End’,” says Kate.
“It was partly that observation that set me thinking about erosion, and we’d also heard the story of the Elephant Rock, just off the coast at Hartlepool, standing there for many years and then ‘wandering off’, disappearing into the sea – though we’ve had sightings of ‘Elephant Rocks’ elsewhere: one was in Iceland and another off the Vietnamese coast.
“It seems to be a phenomenon to do with coastal erosion that leaves rock in the shape of an animal.”
While the Elephant Rock story was a “bit of trivia”, Kate noted how coastal communities were being hit by climate change and the impact of erosion. “I thought about how people need to move and migrate, and I wondered whether people had to come from a place to call it ‘home’, when the coast plays host to a fluctuating community, such as carnival troupes that come and go.”
Entertainment on the pier: Robert Wade and Stephanie Hutchinson in the vintage dance hall in Elephant Rock
Elephant Rock is set in the present day while harking back to the past. “The three principal characters are stuck in a dance hall where these comedic hauntings happen to them as they try to decide what to do with a magical box,” explains Kate.
Those roles and no doubt more besides are played by Jessica Woodward, Robert Wade and Stephanie Hutchinson. “They’re a lovely bunch, all Yorkshire actors – quite by chance it’s fallen that way – and they’re having a lovely time together on what is our ‘comeback tour’ to full-scale touring after these past two years. Thankfully all these venues have stayed loyal to us,” says Kate.
“Robert worked with us in The Carlton Colliers and The Last Station Keeper before we lost him to Northern Broadsides and the West End, but now we’ve tempted him back to the north!
“Jess graduated from ALRA [Academy of Live and Recorded Arts] a couple of years ago and this is her first long tour. She’s a whiz, a classic ALRA all-rounder. Stephanie is a lovely actor from Leeds, who’s done some rural touring and telly and does the bulk of the singing in the show.”
Look out for new compositions by Jez Lowe that are set within the action of the play, recounting what happened to Elephant Rock, and he has delivered some fun Fifties’ jive numbers too.
Stephanie Hutchinson: Making her Badapple Theatre Company debut
Kate has been delighted at the response to the show that opened on April 22 and will be on the road until June 19 in Badapple’s 24th year of touring original productions with professional actors to the “most unexpected of places”: the smallest and hardest-to-reach rural venues and village halls in Yorkshire and beyond.
“It seems people are resting more easily around the Covid situation, and it feels like a transitional show, reminding people that they can go out,” she says. “We’ve had people saying ‘I’ve really missed it’ – and that is our role, to go out there on rural tours, bringing joy to communities.
“There’s still some generation caution about going out, with older people proving to be more cautious, but that said, equally some people feel far safer going to their village hall than going into town to see a show.”
Should you miss tonight’s 7.30pm show, Badapple’s spring and summer tour has plenty more performances in the York vicinity: May 17, Green Hammerton Village Hall (box office, 01423 331304); May 18, Terrington Village Hall, 8pm (01653 648394); May 20, Sutton upon Derwent Village Hall (01904 608524); June 10, Low Catton Village Hall (07837 330421); June 12, Skipsea Village Hall (01262 469714), and June 15, Galtres Centre, Easingwold (01347 822472, Monday to Friday, 9am, to 5pm). Shows start at 7.30pm unless stated otherwise.
Tickets for tonight and all the TakeOver 2022 festival events are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
York puppeteer and performer Freddie Hayes’s Potatohead: “A starch-raving mad adaptation of Faustus with puppets”. Picture: Sophie Jouvenaar
YORK Theatre Royal’s Studio season will read the Riot Act on June 9 in a show created and performed by Alexis Gregory as part of a Pride Season tour.
Fresh from his success in Sex/Crime at London’s Soho Theatre, Gregory is directed by Rikki Beadle-Blair in his journey through six decades of queer history, told by those who helped to shape it from Gregory’s interviews with a survivor of the Stonewall Riots, a radical drag queen and an AIDS activist.
Ahead of her Edinburgh Fringe run, York puppeteer, performer and writer Freddie Hayes presents Potatohead, her humorously bizarre solo adaptation of Christopher Marlowe’s Doctor Faustus And The Seven Deadly Sins, on June 10.
Directed by Sh!t Theatre, Potatohead is saturated with potato puns from start to finish as Hayes tells the story of a humble spud who dreams of becoming a cabaret superstar.
Elements of kitsch cabaret and old-school entertainment characterise Hayes’s “one-potato show” show that blends puppetry, clowning and comedy in an unadulterated celebration of silliness. Expect sexual content and references to religion and the devil, hence the age guidance of 14+.
Hayes’s debut UK tour of her hour-long “starch-raving mad adaptation of Faustus with puppets” takes in a further North Yorkshire date in The McCarthy at the Stephen Joseph Theatre, Scarborough, on June 14 at 7.45pm (box office, 01723 370541 or at sjt.uk.com).
Happy Meal, Tabby Lamb’s joyful queer romcom directed by Blythe Stewart, will be staged by Tadcaster’s Roots and Theatre Royal Plymouth from August 30 to September 3.
What’s the story? Bette, a teenager who knows her Neil Diamond, is into gaming alone, whereas Alec likes Swedish goth rock and multiplayer gaming. In the real world, they would never meet, but online these unlikely best friends can be everything they wanted to be.
Dyad Productions return to the Theatre Royal on October 6 and 7 to present A Room Of One’s Own, a wry, amusing and incisive trip through the history of literature, feminism and gender with a “21st century take on Virginia Woolf’s celebrated pre-TED talk”.
Tickets for these 7.45pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
