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REVIEW: York Actors Collective in J M Barrie’s Mary Rose, York Theatre Royal Studio ****

Xandra Logan’s Mary Rose and Laurence O’Reilly’s Simon, her husband, in the island picnic scene in York Actors Collective’s Mary Rose. Picture: Clive Millard

ALFRED Hitchcock wanted to turn “the strangeness” of J M Barrie’s supernatural drama Mary Rose into a film with Tippi Hedren in the title role (but Universal Studios thwarted him).

The 1920 drama featured in the Guardian theatre critic Michael Billington’s list of Forgotten Plays. “I still think the play is due for rediscovery,” he wrote in August 2020, having seen the Hebridean ghost story 48 years earlier starring Mia Farrow in Manchester.

Now York Actors Collective grant him his wish in their third production, adapted and directed by artistic director Angie Millard for their York Theatre Royal Studio debut.

Angie’s mother called it one of her favourite plays, drawn to the “beautiful, charming story” at a long-gone performance in Sheffield. In turn, Angie wanted to explore why.

Here is the result, wherein she has, in her words, “severely adapted” Barrie’s text. “I have adapted the piece to suit contemporary audiences and offer a little more explanation than JM Barrie provided,” she explains in her programme note.

CharlesHutchPress is delighted to report that every decision was right, starting with the haunted manor house being relocated to Yorkshire, from Sussex, to bring it uncomfortably close to home for York audiences.

Millard has changed the structure too, from three acts with two intervals to three scenes pre-interval, then two more after the break, tightening the running time to increase the dramatic tension of a ghost story timed to coincide with Halloween. [On that theme, the lighting designer could not have a more apt name than Peter Howl!]

Spanning 41 years, taking in two World Wars and major changes in British society, Millard’s dramatisation opens in the Yorkshire house in 1950, where the furniture is covered in dust sheets and Beryl Nairn’s Mrs Ottery looks as white as one of those sheets as she leads Chris Pomfrett’s grizzled former soldier, Harry, into the drawing room.

He is the “lost boy” of the piece, needing to settle matters in his troubled mind from his past before returning to Australia (the ever-detailed Pomfrett giving him Aussie inflexions to acknowledge his time spent there), but Mrs Ottery is reluctant to let him into the next room. Is she in there, he asks. The aforementioned ghost.

The ashen Mrs Ottery departs, Harry falls asleep in the corner chair, whereupon the past comes alive, opening in 1909 as pipe-smoking Tony Froud and Victoria Delaney’s ever-so Edwardian Mr and Mrs Morland are discussing daughter Mary Rose (Xandra Logan), who has taken to her regular hiding place, the apple tree.

We shall learn that Mary Rose is young for her age, always wanting to play games. Her behaviour would now be called autistic, suggested Millard in her CharlesHutchPress interview, and when Simon (Laurence O’Reilly), a man in his 40s, seeks her hand in marriage at 18, the Morlands feel the need to reveal her past. Namely her childhood disappearance on an Hebridean island, returning out of thin air a month later with no recollection or explanation.

She will vanish again on a visit with her husband, only to turn up at the Morland house years later. Everyone else has aged, but she looks the same. (Whereas Barrie’s Peter Pan refuses to grow up, his Mary Rose simply doesn’t.)  

Your reviewer last saw Xandra Logan (or ‘Alexandra’ as she was credited in the cast list) as un uppity fledgling actress, Lily, in York Shakespeare Project’s Summer Sonnets in August, and here she comes on leaps and bounds as Mary Rose, outwardly young in physical appearance and manner but internally damaged by the loss of her young son in Barrie’s intense study of mother-love (drawing on his own experience as a neglected child).

 Millard has cast well throughout, from Nairn’s haunted figure in black to Joy Warner’s ever-concerned, philosophical Scottish gillie, Cameron; O’Reilly’s stern, earnest Simon to Clare Halliday’s Molly, the Morland’s supportive friend.

As much through what is not said as is said, Froud and Delaney capture the frictions and schisms of a couple struggling with parenting skills behind their Edwardian airs.

Pomfrett, delightfully irascible as a shamelessly corrupt police chief in Black Treacle Theatre’s Accidental Death Of An Anarchist only a fortnight ago, is a darker soul here, restless and questing as he bookends Barrie’s disturbed time play.

His closing scene of reconciliation with Logan’s Mary Rose is beautifully judged in tone by both players, bringing to a close this classy production of Barrie’s intriguing, strange, beguiling tale of liminal mystery, mother-and-son bonds, the burdens of loss and laying ghosts to rest.

What a shame that Hitchcock’s film plans hit a hitch but thankfully York Actors Collective have brought this Mary Rose back to the surface, revealing anew its  hidden treasures.

York Actors Collective in Mary Rose, York Theatre Royal Studio, today at 2pm and 7.45pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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REVIEW: York Actors Collective in Beyond Caring, John Cooper Studio, Theatre@41, Monkgate, York ****

Chris Pomfrett’s taciturn Phil and Clare Halliday’s feisty Becky in Beyond Caring

WILL there be a more theatre-filled week in York this year?

A star-vehicle tour of Calendar Girls The Musical at the Grand Opera House is competing for attention with four York companies: York Light in Disney’s The Little Mermaid and, next door in the Studio, the Settlement Players in Rattigan’s Separate Tables, both at the Theatre Royal; Joseph Rowntree Theatre Company’s Kander & Ebb musical Curtains at the JoRo, and York Actors Collective (YAC) at Theatre@41, Monkgate.

Driven by her desire for more political, thought-provoking theatre in York, director and theatre critic Angie Millard launched YAC last March with Joe Orton’s Sixties’ farce Entertaining Mr Sloane.

Now comes a cruel farce, one highlighting the zero-hours contracts that have re-shaped workers’ rights to the point of having no rights, in Alexander Zeldin’s slice of agitprop, devised with The Yard actors in London in 2014.

Work 14 consecutive days? Like it or lump it, frustrated night shift manager and company mandarin Ian (Neil Vincent) tells agency cleaners Grace, Becky and Sam as they turn up for an interview at a meat-packing factory.

Grace (Victoria Delaney) is disabled, struggling with rheumatoid arthritis, but with her benefits stopped, she must find work, even though its physical demands could be too much despite her wish to be a team player.

Becky (Clare Halliday) is a single parent, with a daughter out of reach. Desperate for money. She  has a loose lip that can talk her into trouble and she is not afraid to use her sexuality.

Sam (Mick Liversedge) needs a job, any job. He’s nursing a dodgy arm, sofa surfing, “wondering how I got here and if I will ever get out”.

Phil (Chris Pomfrett) has been doing this job for ages. He’s bored, says little but reads a lot, a Dick Francis thriller at the moment.

Vincent’s smug Ian thinks he has Phil in his pocket. As for the newbies, rules are rules and Ian’s gonna use them, turning up like the proverbial bad penny, changing their shifts at short notice, putting them through job satisfaction questionnaires, looking through their bags.

What a piece of work he is, never lifting a finger, full of himself, conniving and snide. You would call him a pillock…and then lose your shift.

Millard had her cast members building back-stories for their characters, but not to be shared with each other, in a directorial decision that bears fruit in the initial awkwardness of meeting for the first time, before gradually getting to know each other, but not everything about them. This layer of secrecy adds workplace friction, but bonds build too.  

Sam nicks biscuits and tries to stay the night there, unseen by his fellow workers. Becky speaks to her daughter on the phone, out of hearing range from the others. Ian idles the time away watching porn on his phone.

The devised, improvised origins of this 90-minute play with no interval makes for raw, emotionally naked theatre in a series of vignettes that recall the agitprop insurgency of Scottish company 7:84 and carry an authenticity usually to be found in verbatim dramas.

Tremendous performances all round, both individually and collectively, combine with Millard’s frank, kitchen-sink direction to make you care utterly about Beyond Caring with its bleak humour, desperate truths and camaraderie in crap conditions. The coffee machine never works but the price goes up, just another example of what puts the grating into Great Britain.

Performances: 2.30pm and 7.30pm today. Box office: tickets.41monkgate.co.uk

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York Actors Collective delves into zero-hour contracts in Alexander Zeldin’s modern-day tragedy Beyond Caring at Theatre@41

Clare Halliday, left, Chris Pomfrett, Victoria Delaney and Mick Liversidge in rehearsal for York Actors Collective’s Beyond Caring

YORK Actors Collective is following up March 2023’s debut production of Joe Orton’s risqué Sixties’ farce Entertaining Mr Sloane with Beyond Caring, a topical exposé of the social damage inflicted by zero hours contracts. 

Running at Theatre@41, Monkgate, York, from February 6 to 9, this “modern-day tragedy” was devised by Alexander Zeldin and the original Yard Theatre cast in East London in 2014, later transferring to the National Theatre.

Its story of agency cleaners at a meat-packing factory is being directed in York by former teacher Angie Millard, working with a cast of Victoria Delaney, Clare Halliday, Mick Liversidge, Chris Pomfrett and Neil Vincent.

Over 90 unbroken minutes, Beyond Caring follows two women, Becky and Grace, and one man, Sam (replacing Sarah from past productions in a directorial decision), as they confront the reality of minimum wage, zero-hour contract employment, never sure of how many hours they have to work, when they will be paid and whether their ‘job’ will continue.

“This play is remarkable in its structure and power,” says Angie. “It totally represents 2024 where many workers are on the breadline, trapped in employment with no guarantee of further work and no way to improve their position. 

“What drew me to the play, however, is the message it conveys about people surviving and keeping a sense of humour. I loved the intensity of the piece with its silences, its disappointments and its determination to determination to get pleasure out of the smallest things. It gave me hope.”

Beyond Caring was brought to Angie’s attention by fellow company co-founder Chris Pomfrett, who had played the self-aggrandising Ed in Entertaining Mr Sloane. “Following that debut show, our brief was to find something that would appeal to audiences as entertaining but also have an edge to it,” he says.

“I had a look at a lot of play synopses around particular subject matters, came across this one, bought a copy and was completely blown away by it. When it was first done in London, then at the National, it was described as ‘comically devastating’ and that’s absolutely right.”

Beyond Caring forms part of a series of Alexander Zeldin plays entitled The Inequality Triptych, addressing the theme of the impact of austerity. “This one deals with a group of people meeting for the first time to work the night shift cleaning a meat factory on zero-hours contracts, all employed through a temp agency with different arrangements for pay for each of them,” says Chris, who plays scarred, taciturn worker Phil.

“So they’re all strangers, and as happens when strangers meet, there are silences and awkward pauses, like in Harold Pinter’s plays, but they’re all full of meaning.

“Gradually, you see glimpses of their lives and their insecurities, and how that affects them and those around them, mostly adversely.”

Clare Halliday’s factory cleaner Becky and Neil Vincent’s manager Ian in a scene from the darkly humorous Beyond Caring

Chris continues: “I think it’s important for us to do plays that deal with these issues, as they’re still occurring. One of the things that has struck me, after Mr Bates vs. The Post Office is how a TV drama can have a massive impact on the Government’s actions, and that’s because people are confronted with real characters, and there’s an emotional response that you don’t get with news bulletins.

“The same goes for a play like this, and the great thing about all the characters is that in some ways you can see yourself in them.”

In Chris’s case, he can draw on his own experiences working in the community for the NHS (National Health Service) as part of the combined therapy multi-disciplinary team. “You can see the effects of the care system being shot to pieces,” he says.

Clare Halliday will be making her York Actors Collective debut after more than a decade of involvement in York community productions, such as the 2012 York Mystery Plays, when she first met Angie.

“I learned that Angie had created York Actors Collective and went to see Entertaining Mr Sloane, then heard they were doing Beyond Caring and auditioned for the role of Becky [one of the cleaners] after reading about the play and watching extracts from when it was at the National,” she says.

“Becky is a very resilient character, very tough on the exterior. I see her as a born survivor with ways and means of surviving, using her sexuality to get what she wants, in the only way she knows how. We assume she’s had very little education, and we know she’s a single mum, whose daughter is not living with her – she’s probably in care – but she’s trying to see her.

“I can relate to that, as I’ve had work insecurity and been on benefits, so at some points in my life I’ve walked similar steps.”

Clare now runs the Clare’s Kitchen mobile cookery school in York, being involved with schools since 2015.  “Before that, I was living in France, training as a chef, and I wanted to work with children, having been involved in cooking in the kitchen with my mum since the age of two or three,” she says.

“I work with Year One to Six children at Knavesmire Primary, Ralph Butterfield Primary, Haxby, Rufforth, Dringhouses and Lord Deramore’s. I’ve just taken on another lady to help as I’m so busy.”

York Actors Collective in Beyond Caring, Theatre@41, Monkgte, York, February 6 to 9, 7.30pm; February 10, 2.30pm and 5.30pm. Box office: tickets.41monkgate.co.uk.

Copyright of The Press, York

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REVIEW: York Actors Collective, Entertaining Mr Sloane, Theatre@41, Monkgate, York ****

Adjusting to new circumstances: Victoria Delaney’s Kath in York Actors Collective’s Entertaining Mr Sloane. Picture: John Saunders

York Actors Collective in Joe Orton’s Entertaining Mr Sloane, Theatre@41, Monkgate, York, tonight at 7.30pm; tomorrow at 2.30pm and 7.30pm. Box office: tickets.41monkgate.co.uk

YORK Actors Collective is a new group of like-minded actors whose aim is to produce entertaining and thought-provoking theatre.

Launched by director Angie Millard, with actors Chris Pomfrett and Victoria Delaney in tandem, YAC is looking to fill a gap by staging plays that might otherwise sit gathering dust.

One such is Joe Orton’s 1964 farce Entertaining Mr Sloane, controversial in its West End day and still as discomfiting as a punch in the gut.

Coming to an arrangement: Ben Weir’s Mr Sloane and Chris Pomfrett’s Ed in York Actors Collective’s Entertaining Mr Sloane. Picture: John Saunders

It is not a farce to call it a farce – trousers are removed, and yes, there’s sex, please, despite being British – but this is not farce of the cosy, comfy Brian Rix variety. Orton is an iconoclast, a rule breaker, an agent provocateur, an even angrier young man than those Angry Young Men that seethed before him: Osborne, Amis, Braine, Sillitoe, Wain, Braine and co. This is farce as jet-black comedy and psychological drama, all normality refracted through a writer’s absurdist lens.

Orton’s play has a psychopath, physical abuse and sibling squabbling; homosexuality, still illegal in 1964, hovers beneath the surface as the love that dare not speak its name (not least to beat the censor’s scowl). Its humour is savage, cruel, awkward, the kind that in 2023 has you thinking, “is that funny?”. Just as Harold Pinter’s The Homecoming, likewise premiered in 1964, had the same effect when revived on tour at York Theatre Royal last May.

Orton’s play is not quite as shocking in impact as Ben Weir’s hair – dyed three times on Millard’s instruction to make it look so obviously bleached (and disturbingly reminiscent of angels in a Renaissance religious painting) – but it does shock, especially in its brutality to Mick Liversidge’s Dada Kemp, the old man who knows too much, and its treatment of the vulnerable, needy, highly sexualised Kath (Delaney).

Weir is an exciting young talent from York St John University and here he makes his mark in very good, experienced York company: Liversidge, Delaney and Pomfrett. A tall, lean north easterner, he has an unnerving presence beneath his burning bright hair, his cocksure, amoral lodger Sloane being the house guest yet the cuckoo’s egg in the nest. The Sloane danger.

Chris Pomfrett’s Ed, left, Victoria Delaney’s Kath, Mick Liversidge’s Dada Kemp and Ben Weir’s Mr Sloane at the finale to Entertaining Mr Sloane. Picture: John Saunders

Liversidge’s Dada shuffles around pitiably, caught in the crossfire as Weir’s Sloane plays Delaney’s desperate-to-please seductress, Kath, off against her brother, Pomfrett’s Ed, his self-aggrandising new employer, as they pursue his affections.

The humour tends to stick in the throat rather than be “laugh out loud” funny, but Millard’s cast is all the better for playing it straight, even confrontational, to emphasise how selfish and shameless everyone is.

As Millard says, Orton winds his characters up like toys and then watches what happens. Pomfrett, Liversidge, Weir and Delaney are happy to do exactly the same, their characters beyond control like dodgem cars.

“Our challenge is to attract an audience but shake up their expectations a little,” says Millard in her programme notes. Job done in this disturbing debut.

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Victoria Delaney at the double as she takes on Joe Orton and Tom Stoppard comedies

Victoria Delaney’s Kath in York Actors Collective’s production of Joe Orton’s Entertaining Mr Sloane. Picture: John Saunders

YORK actress Victoria Delaney will be appearing in two plays in quick succession, all on top of her daytime job and being a mum.

From tonight until Saturday, she plays Kath in York Actors Collective’s debut production of Joe Orton’s savage 1964 farce Entertaining Mr Sloane at Theatre@41, Monkgate.

From April 5 to 15, this will be followed by her turn as in York Settlement Community Players’ staging of Tom Stoppard’s 1982 exploration of love and infidelity, The Real Thing, at York Theatre Royal Studio.

Entertaining Mr Sloane launches director and tutor Angie Millard’s new company. “After Angie directed Alan Ayckbourn’s Woman In Mind for Settlement Players last February, we were mulling over a few ideas about starting up a company, and what to do, and we settled on Entertaining Mr Sloane,” says Victoria, who had played the lead, housewife Susan, in Ayckbourn’s dark comedy.

“It’s a highly pressurised play for the cast, especially for the young actor playing Sloane. Angie has chosen Ben Weir, from York St John University, who appeared in Pick Me Up Theatre’s Shakespeare In Love last April.”

In Orton’s fractious farce, Delaney’s Kath, who lives with her father Dada Kemp, brings home a lodger, the amoral and psychopathic Mr Sloane, a face familiar to the father from his past.

When her brother Ed arrives, complications crank up when the siblings become embroiled in a tense sexual struggle for Sloane as he plays one off against the other while Dada Kemp is caught in the crossfire.

“I think it’s still a radical play as it’s such a dark comedy, but people need to remember that they’re permitted to laugh because it is really funny. People are drawn to looking at the scene of a car crash and that’s a bit like what watching really dark comedy is like,” says Victoria.

She is delighted to be appearing in a cast featuring Chris Pomfrett as Ed and Mick Liversidge as Dada Kemp alongside Weir’s Sloane. “I’m really lucky to be working with Chris, who played the doctor in Woman In Mind, and Mick, who was Vanya in Vanya And Sonia And Masha And Spike, the last play Settlement did last year. It’s great to be back with them as there’s a lot of trust there.”

Victoria Delaney in rehearsal for her role as actress Charlotte in Tom Stoppard’s The Real Thing

That trust is essential when performing a play of extreme behaviour. “It’s misogynistic, there are racist comments in there, and Kath’s character is vulnerable and highly sexualised. Feminists will be up in arms,” says Victoria.

“But isn’t theatre supposed to be thought-provoking and aren’t we supposed to learn from the mistakes of the past, like how we now look at Dada Kemp’s racist comments?

“Also, some of the terminology shows how different society was at that time, like Kath’s illegitimate baby, when she was young, was ‘born on the wrong side of the blanket’. It’s good to dip your toe into different times to show how it was.”

Victoria has a preference for Entertaining Mr Sloane over Orton’s most performed work, What The Butler Saw. “Maybe it’s more gritty, and I like that,” she says. “If I had to choose a modern-day drama to perform, I would pick something gritty and British that has wit as well, and Entertaining Mr Sloane does.

“If you have a powerful plot, then you really have the chance to up your acting game and show your skills. At times, it’s also important to remember it’s a comedy, but there are some scenes that however you approach them, they’re not going to be funny, but what you do next has to be funny to lift the mood.”

Coming next will be her first experience of performing a play by Pocklington School alumnus Tom Stoppard, The Real Thing. “It’s my first Stoppard and my first time of working with director Jacob ward, who I met when we did The Coppergate Woman last year at York Theatre Royal, where he played one of the gods,” says Victoria. “He came to see me in Vanya And Sonia And Masha And Spike, liked what I did, and that  helped with the audition.”

In Stoppard’s typically witty and adroit play within a play, Henry is married to Charlotte, Victoria’s character. Max is married to Annie. Henry – possibly the sharpest playwright of his generation – has written a play about a couple whose marriage is on the brink of collapse. Charlotte and Max, his leading couple, are soon to find out that sometimes life imitates art, as Stoppard has everyone questioning,  “What is the real thing?”

“Charlotte’s husband has written a play for her to star in, but she hates him and the play as he’s written a really weak woman character, which is something that Stoppard was accused of doing in the past. So this is Stoppard taking the mick out of himself,” says Victoria.

York Actors Collective in Entertaining Mr Sloane, Theatre@41, Monkgate, York, tonight (15/3/2023) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

York Settlement Community Players in The Real Thing, York Theatre Royal Studio, April 5 and 6, 7.30pm; April 11 to 15, 7.30pm plus 2.30pm Saturday matinee. No performances from April 7 to 10. Question-and-answer session after the April 12 peformance. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Jacob Ward: Directing York Settlement Community Players in Tom Stoppard’s The Real Thing this spring

Jacob Ward to direct York Settlement Community Players in Tom Stoppard’s deceptive comedy The Real Thing

YORK thespian Jacob Ward is directing York Settlement Community Players for the first time in Tom Stoppard’s play within a play, The Real Thing, at York Theatre Royal Studio from April 5 to 15.

First performed in 1982, this award-winning beguiling play of surprise and wit follows Henry, possibly the sharpest playwright of his generation, who is married to Charlotte, an actress. Max is married to Annie.

Henry has written a play about a couple whose marriage is on the brink of collapse. Charlotte and Max, his leading couple, are soon to learn that sometimes life imitates art in Stoppard’s study of love and infidelity that ponders: “What is the real thing…?”

Settlement Players’ last production was New Jersey playwright Christopher Durang’s relationship comedy Vanya And Sonia And Masha And Spike at Theatre@41 in November 2022.

The Real Thing marks their return to the Theatre Royal Studio after presenting Alan Ayckbourn’s Woman In Mind last February.

Alan Park’s Henry and Alice Melton’s Annie rehearsing a scene from The Real Thing

Director Jacob Ward says: “I’m very excited for an audience to interact with our modern-day version of Stoppard’s play. Its subject seems simple but, as we see through the eyes of various characters, we realise its complexity, and enjoy having our views on love and relationships broadened.

“The writing is nothing short of genius – it really is. Even after 20-plus times of reading, I’m still finding impossible connections and meaning. It’s a joy to direct and will be a thrill to watch: hilarious, heart-warming and thought-provoking all in one.

“We have a brilliant cast to take you on the journey and a truly dedicated production team to bring the play to life. I can’t wait to add the audience.”

Alan Park, chair of Theatre@41, takes on the role of Henry. Alice Melton, last seen in York Mystery Plays Supporters Trust’s 2022 production of A Nativity Of York last December, plays Annie. They are joined by Settlement regulars and newcomers: Victoria Delaney as Charlotte; Mike Hickman as Max; Rebecca Harrison as Billy; Hannah Waring as Debbie and Alexandra Logan as Brodie.

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Angie Millard’s York theatre collective make debut with still shocking Sixties’ Orton farce

York Actors Collective director Angie Millard, left, and stage manager Em Peattie

YORK Actors Collective, the like-minded group set up by theatre director, critic and theatre and film studies tutor Angie Millard, will make their debut with Joe Orton’s Entertaining Mr Sloane next month.

Premiered in the West End in 1964, Orton’s controversial farce still has the power to shock almost 50 years later with its story of Kath bringing home a lodger: the amoral and psychopathic Mr Sloane.

Her father recognises him from his past life and challenges Mr Sloane’s honesty, but when her brother Ed arrives, everything turns more complicated. A tense sexual struggle for Mr Sloane ensues as he plays one sibling off against the other while their father is caught in the crossfire.

The roles at Theatre@41, Monkgate, from March 15 to 18 go to Victoria Delaney as Kath, York St John University student Ben Weir as Mr Sloane, Chris Pomfrett as Ed and Mick Liversidge as the father, Dada Kemp.

“Victoria and Chris have been involved with the new group since last summer,” says Angie. “We talked about so many plays, plays that would have audience appeal but also be challenging for the performers.

A troublesome triangle: Ben Weir’s Mr Sloane, left, with Victoria Delaney’s Kath and Chris Pomfrett’s Ed in Joe Orton’s Entertaining Mr Sloane. Picture: John Saunders

“Entertaining Mr Sloane was one. Joe Orton died too young [aged 34 on August 9 1967], so there aren’t that many plays and they’re not performed that often. I think people are a bit frightened of him, but the thing I love about him is the way he takes a theatrical form and updates it totally to his time, the Sixties. The language is brilliant; the writing is so funny.”

Angie continues: “The other big thing about Orton is that he was writing at a time of censorship, and the innuendo in the play is there to help him get away with things – and he did! He got away with murder! Especially when the censors were looking for homosexuality without recognising it.”

Controversy still surrounds Orton. “I find his treatment of women difficult in his plays, like his treatment of Kath. He makes her grotesque, and finally when she gets her revenge, in a way he had to do that for the shape of the play,” says Angie.

“Left to his own devices, he wouldn’t have done it, but he was such a master of theatrical form, though not of detail. It means I have to work very hard to work out how to get props on and off because he’s forgotten about them.”

Orton’s savagely sharp, confrontational dramas present challenges to director and cast alike. “I like to look at a play and see what you can do with it, and then you make your decisions about it. Orton’s estate are keen that you don’t change words, but rather than Kath having to be naked [as denoted in the play], Victoria is making her look seductive, clothed,” says Angie.

Ed-lock: Chris Pomfrett’s Ed and Mick Liversidge’s Dada Kemp in York Actors Collective’s debut production of Entertaining Mr Sloane. Picture: John Saunders

“We’re playing it in the period setting – the 1960s – and there are things like racist references in there, but because Kath takes a non-racist attitude, it works.

“There are lots of times where her brother Ed treats her shabbily too – they have a very unhappy, complex relationship – and you realise he could easily be transported to 2023 and still behave like that in the home.”

Looking back to the Sixties and the prevailing attitudes towards women at the time, Angie says: “I was a young student in London, at college doing drama and then going to university after that, and men treated you in a certain way; they all did, but that was the culture of the time. When I hear women complain now, I understand, but I also think, ‘you should have been there in the Sixties; that behaviour was the norm’.”

From Sheffield originally, Angie and her husband Clive moved to York ten years ago, since when she has played her part in the arts world, whether directing Alan Ayckbourn’s Woman In Mind for York Settlement Community Players or writing reviews for York Calling. 

Now, she has formed her own troupe. “I don’t know if any other group would have put on this play, saying ‘it’s too shocking. No-one will come’. But York deserves to be shocked! If you fall shy of that, then you don’t see the theatre you deserve,” she says.

“I find his treatment of women difficult in his plays,” says director Angie Millard of Joe Orton. Here Ben Weir’s Mr Sloane attacks Victoria Delaney’s Kath. Picture: John Saunders

“I’m putting my own money into this project. People have hobbies that they put their money into, and I’m equating what I’m doing with that. I’d like to break even, and if people come along, we shall continue and do another play.”

Should you be wondering why the York Actors Collective is so called, Angie says: “I wanted to call it a ‘cooperative’ but everyone else wanted ‘collective’, and I thought ‘fair enough’! But whatever the name, it’s a passion project that I really wanted to do, where like-minded actors aim to produce entertaining and thought-provoking theatre.

“I don’t think Entertaining Mr Sloane is Orton’s best play. That would be What The Butler Saw, but by not doing this play you would be losing out on what is superb about it: it’s an actor’s play, a character play, where you really get into those characters’ situations.”

And so, the York Actors Collective is born.

York Actors Collective in Entertaining Mr Sloane, Theatre@41, Monkgate, York, March 15 to 18, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

Did you know?

ENTERTAINING Mr Sloane lead actress Victoria Delaney also will be appearing in York Settlement Community Players’ production of Tom Stoppard’s The Real Thing at York Theatre Royal Studio from April 5 to 15. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Copyright of The Press, York

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REVIEW: York Settlement Community Players in Ayckbourn’s Woman In Mind ****

Desperately seeking Susan, as she loses her mind: Victoria Delaney in the Settlement Players’ Woman In Mind. All pictures: John Saunders

Woman In Mind, York Settlement Community Players, York Theatre Royal Studio, until Saturday, 7.45pm and 2.45pm Saturday matinee. Box office: 01904 623568 or at yorktheatreroyal.co.uk

ANGIE Millard “seemed to have avoided Alan Ayckbourn” in her past directorial choices, but she had one play in mind for the Settlement Players’ return to York Theatre Royal after two years.

Ayckbourn’s sad, haunting, darker than dark-humoured psychological drama Woman In Mind had struck a chord in the pandemic climate of isolation and mental health issues.

Premiered in 1985 but still feeling present day in 2022, it remains Ayckbourn’s supreme study of a trapped woman, older than Nora in A Doll’s House but just as affecting as the desperate flight of Henrik Ibsen’s proto-feminist, Susan’s story being told from inside her woozy head.

The setting is 48 hours in her south London garden and beyond: the place where the world is refracted through the prism of Susan’s psyche.

Playing fantasy families: Victoria Delaney’s Susan raises a glass to husband Andy (Paul French), daughter Lucy (Amy Hall) and brother Tony (Neil Vincent)

Following in the footsteps of Julia McKenzie, Stockard Channing and Helen Mirren, in her first stage role since October 2019, Victoria Delaney opens the play on her back and never leaves the stage (interval aside).

Delaney’s suburban housewife is coming round from unconsciousness, after knocking herself out when stepping on a garden rake, as Chris Pomfrett’s cautious yet accident-prone family doctor, Bill Windsor, attends to her. In a brilliant Ayckbourn conceit, his words, like her vision, go from a gobbledygook blur to being clear.

With the bang on the head comes the comforting concern of her champagne-golden  family, as if torn from a Mills & Boon cover or a desirable clothes catalogue: first, handsome old devil husband Andy (Paul French); then tennis-playing brother Tony (Neil Vincent) and her auburn-haired darling of a daughter, Lucy (YSCP debutante Amy Hall).

Too, too perfect, surely, and yet played as straight down the line as Tony practising a backhand winner, they could – at first at least – be real. We see and hear them, just as Susan sees and hears them, but only she does so, just like only urbane novelist Charles Condomine and the audience see and hear his deceased first wife, Elvira, in Noel Coward’s Blithe Spirit.

Living on a prayer: Paul Toy as vicar Gerald

The grim reality is very different: husband Gerald (clergyman’s son Paul Toy) is a self-obsessed priggish vicar, always in another room writing his interminably dull, interminably long parish history since 1387. They have reached the separate bed stage already.

Live-in sister-in-law Muriel (Helen Wilson) is obsessed with reconnecting with her late husband and is forever making foul-tasting beverages and even fouler meals, defeated by the lack of labelling on kitchen ingredients.

Wastrel son Rick (YSCP newcomer Frankie-Jo Anderson) is estranged and strange, having joined a cult in Hemel Hempstead, but suddenly he arrives with news.

Where once Susan loved being a wife and mother, now she is neglected by husband and son alike and unfulfilled in her humdrum, loveless domestic domain, Symbolically, the garden plants in Richard Hampton’s design are reduced to twigs, with the only flowers being on the backdrop tapestries, Susan’s bench and Muriel’s cardigan. What lies ahead beyond Susan’s disillusioned forties, her days as frustrating and stuck as a buffering laptop screen?

Muriel (Helen Wilson) serves up another gruesome beverage to vicar Gerald’s (Paul Toy) distaste

Ayckbourn, and in turn Millard and Delaney, capture a “woman on the verge”, and as the real and unreal worlds collide increasingly beyond her control, so too do the ever-blackening humour and pathos, her sanity crumbling and the words returning once more to gobbledygook.

Delaney’s performance is deeply unsettling, her Susan being full of vulnerability, waspish of tongue, her mind grasping desperately at the cliff’s edge, happiness out of reach.

Pomfrett, in particular, provides the comedy, perfectly in step with Ayckbourn’s rhythms; Toy makes the supercilious vicar utterly unbearable but splendidly sets himself up for laughter at his expense; Wilson judges just right how to be annoying yet not annoying as the never-wanted-where-she-is Muriel. Anderson’s disingenuous Rick would fall out with anyone.

French, Hall and Vincent are perfectly well cast as the fantasy family that gradually turns into a nightmare and Woman In Mind becomes a woman out of her mind.

Angie Millard was right: Ayckbourn’s play has indeed taken on even more resonance under the pandemic microscope, where already unhappy marriages have cracked under the strain and the desire to escape has been heightened in enforced isolation.

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‘There are so few plays that feature a woman like this,’ says Woman In Mind director Angie Millard. ‘Hedda Gabler and that’s it.’ Meet Alan Ayckbourn’s Susan

Victoria Delaney and Neil Vincent shelter under an umbrella in a February rehearsal for the Settlement Players’ production of Alan Ayckbourn’s Woman In Mind. Picture: John Saunders

ANGIE Millard has directed myriad plays but “seemed to have avoided” Alan Ayckbourn…until now.

“The present climate of isolation and mental health issues led me to Woman In Mind, which is a perfect choice for this time,” she says, ahead of her York Settlement Community Players production opening on Saturday in the York Theatre Royal Studio.

One of 87 full-length works by the Scarborough playwright, 1985’s Woman In Mind’s portrait of a woman in the verge finds housewife Susan stuck, unfulfilled and neglected in her humdrum marriage.

As played by Victoria Delaney, who remains on stage throughout, Susan’s growing disillusionment with everyday life is brought to a head when she steps on a garden rake and is knocked unconscious.

Whereupon her minor concussion and hallucinations combine to surround Susan with the ideal fantasy family, handsomely dressed in tennis whites as they sip champagne. However, when her real and imaginary worlds collide, those fantasies take on a nightmarish life of their own in Ayckbourn’s hotbed of humour and pathos.

“You can see Ayckbourn’s plays over and over again and still see something new in them each time; they’re so rich in detail,” says Angie. “I love Woman In Mind, and I’m working with very talented and creative people who make every rehearsal a joy, though the problem we’ve faced is the limited amount of time we’ve had to rehearse.

“We’ve been doing just three hours on Sundays, two hours on Mondays and Wednesdays, with the Mondays for intensive sessions for the two-hander scenes, followed by a week in tech.

Victoria Delaney: On stage from start to finale in Alan Ayckbourn’s Woman In Mind

“You need the time to explore the lines, to find the humour, to bring a light touch to it, as it’s that subtle, offhand way that Ayckbourn has in his writing.”

Explaining her reasoning behind selecting Woman In Mind, Angie says: “Because of Susan. I feel there are so few plays that feature a woman like this. Hedda Gabler and that’s it.

“That’s important now in a society where people are having mental health problems – and Susan has massive mental health problems. The pandemic has also thrown up an increased awareness of isolation and of not being happy in a relationship, which has been exacerbated in the lockdowns.”

Angie notes how Susan’s husband Gerald, busy writing his magnus opus on the history of the parish, “doesn’t know how to deal with Susan”. “Men in Ayckbourn’s plays rarely do. It’s a position they take where, over the years, they slide away from their responsibilities in relationships or in their workplace, and that’s rarely something women get to do,” she says.

“But this is where Ayckbourn is really clever, because you also see Susan for who she is. You ask yourself, ‘why did she marry him?’. When Gerald asks, ‘what did I do wrong?’, she says, ‘’Married me’.

“Yes, he’s let her down, he’s a disappointment, but marriages are about a contract and a bargain. It’s about acceptance.” 

Putting Susan’s character on the psychiatrist’s couch, Angie says: “Most people who end up unwell mentally have an addiction, though with Susan, I can’t attribute an addiction to her, except an addiction to perfection.

York Settlement Community Players’ poster for Woman In Mind

“If you’re classically depressed, it’s because the world doesn’t see you as you see yourself, but you have to get over that and not see yourself as so important.”

Victoria Delaney will be joined in Millard’s cast by company stalwarts Chris Pomfrett, Paul Toy, Helen Wilson and Paul French and newcomers Frankie-Jo Anderson, Neil Vincent and Amy Hall in Settlement Players’ first Theatre Royal production since Chekhov’s The Seagull in pre-Covid March 2020.

“This is the first role I’ve done since Covid started,” says Victoria. “My last one was in a play I wrote myself, Mad Alice, in October 2019, and my plan at the time was to start my own company, do a Yorkshire tour and then maybe take it to the Edinburgh Fringe, but then the pandemic happened and it just wasn’t possible. I’ll wait for things to settle down and then I can return to that plan or more writing.

“So, when I saw the casting call-out for Woman In Mind, I jumped at it. I did my research and requested to audition for two roles, Susan and Muriel, as I love comedy and I would have loved to play Muriel too, but what a peach of a part Susan is.”

Victoria initially took a break from her professional acting career after her divorce to focus on being a single mum with an autistic son – who will turn 20 in the summer – and she now works remotely from home giving legal advice on Zoom to families with special educational needs up to the age of 25.

Her acting and writing come into play when the opportunity arises.  “But in my work, I do also sometimes have to think creatively about how the law might get over a problem,” she says.

Rehearsing for an Ayckbourn play has been such a stimulating challenge. “It’s a comedy but it’s a dark comedy, which means I can show lots of sides to Susan. There are moments where I can play the comedy; moments where she’s really vulnerable, or indignant, or annoyed,” says Victoria.

“I’m going to really miss her because she takes you over,” says Victoria Delaney of playing housewife Susan in Woman In Mind. Here she is pictured by John Saunders, masked up in the rehearsal studio

“There’s just so much to her character, and because I never leave the stage, I get to interact with so many characters. I’m going to really miss her because she takes you over. I’ve been called for every rehearsal because Susan is in every scene, and as I have to go through so many emotions, I then need to let those emotions , that adrenaline, seep away.”

To learn all those lines, “I’ve been walking around the village, doing laps at 6am, listening to the play,” says Victoria, who lives in Wheldrake.

She finds liberation in playing a character of such emotional contrasts. “I’ll say things on stage that I would never say myself. Things that I would consider rude. I’d have too many filters to go through to say them!” she says.

“But the absolute drug of acting is to be able to show the audience all these emotions, this sadness, and when you feel them connect with you, I love that connection.

“I’ve meet lot of actors that have a certain shyness about them in their own lives. I mask it, but I have a shy side, and when people say, ‘but you go out on stage’, I say, ‘yes, but I’m playing someone else and I love doing that’.”

As chance would have it, when facing such a demanding week ahead, “luckily the performances are over half-term”, says Victoria, breathing a little more easily at the prospect.

York Settlement Community Players in Alan Ayckbourn’s Woman In Mind, York Theatre Royal Studio, Saturday until February 26, except February 20; 7.45pm plus 2.45pm, February 26. Box office: 01904 623568 or at yorktheatreroyal.co.uk.