REVIEW: The Full Monty, Grand Opera House, York, leaving hats on until Sat ****

Bill Ward’s Gerald, left, Danny Hatchard’s Gaz, Nicholas Prasad’s Lomper and Neil Hurst’s Dave watch understudy Leyon Stolz-Hunter’s Horse go through his audition moves in The Full Monty. Picture: Ellie Kurttz

AT the midweek matinee, there appeared to be more men on stage than in the audience. It was very much the same febrile atmosphere that greeted the Chippendales on their York Barbican visits.

Outnumbered, dear reader, yes, but ironically The Full Monty is just as much a show for blokes too. Hence the link up with Menfulness, the York mental health charity.

Throughout this week’s run, the Grand Opera House will be collecting donations at bars and kiosk card payment points to provide funds towards urgent counselling for men at crisis point.

Men don’t talk to each other. Not about their problems, neither their own, nor each other’s. Just the football. But they do talk in this play. A lot. Men would benefit from doing it more often.

In the meantime, let’s talk about this terrific touring revival of The Full Monty, the spin-off play that the 1997 film’s scriptwriter, Simon Beaufoy premiered in 2013 in his first work for the stage.

In essence it is another strip off the same block, The Fuller Monty that goes even further, replaying the film’s greatest bits and greatest hits (Hot Chocolate, Donna Summer, Tom Jones finale), but with resonance anew and a political punch to the gut amid the cost-of-living crisis, rising rate of men’s suicides and a Tory government mired in long-reigning powerplays.

Just as was the case in the Sheffield of 1990s’ industrial strife, whose skyline forms the backdrop to Jasmine Swan’s fold-out set design of scaffolding and gauze.

Policemen’s drill: Nicholas Prasad’s Lomper, left, understudy Leyon Stolz-Hunter’s Horse, Jake Quickenden’s Guy, Bill Ward’s Gerald and Neil Hurst’s Dave in the finale to The Full Monty. Picture: Ellie Kurttz

The Republic of South Yorkshire’s steel industry had been knifed in the back, steelworkers stripped of their jobs, their dignity, their future. Men like former prisoner Gaz (Danny Hatchard, from EastEnders and Not Going Out) and his best mate, big Dave (Neil Hurst), who operated the steelworks crane.

The lads are now consigned to the scrapheap, the forlorn job club form-filling, and thieving from the foundry, where they have snuck into as the play opens, looking up at the crane, named Margaret after you know who, once mighty but now dormant in the damp, ever since the factory was shut down.

They will encounter insecure security guard Lomper (Nicholas Prasad), stuck in a dead-end job that he wants to end with a rope around his neck. Next will be Gerald (Bill Ward, from Coronation Street and Emmerdale), the jumped-up foreman with a sideline in dance tuition at the Conservative club and a free-spending wife (in Mrs Thatcher blue suits and stiff blonde hair), who is yet to tell he has lost his job. Six months ago.

On a night out at the Chippendales are Jean (Harrogate Theatre regular Katy Dean), Dave’s long-suffering yet devoted cleaner wife, and Mandy (Laura Matthews), Gaz’s ex-wife, who is threatening to cut off his links with son Nathan (Jack Wisniewski, sharing the role on tour with Cass Dempsey, Theo Hills and Rowan Poulton) as he falls further behind with the maintenance.

Ever the Billy Fisher dreamer, Gaz hits on the fundraising idea of forming a strip act, a Yorkshire fish-and-chips answer to the Chippendales’ T-bone steak, for one night only. Gerald will teach the routines, joined by Gaz, lovable, ever-dieting Dave, offbeat Lomper and who else?

The auditions, always a highlight, bring the first half to a double climax under Michael Gyngell’s perfectly weighted direction. First, step forward, a tad gingerly, Horse (Ben Onwukwe), with his James Brown/Northen Soul moves and dodgy hip.

Next, the moment the matinee hordes had been waiting for: the arrival to whoops and cheers of Jake Quickenden, last seen in York stripping down to his golden hot pants as a hunky cowboy in Footloose at the Theatre Royal. This time, Jake and his fabbadabbadoo abs are playing Guy, although audience members are quick to shout out Jake’s name, demanding rather more than a pound of flesh.  

The full package: Jake Quickenden’s Guy in The Full Monty. Picture: Ellie Kurttz

He takes it all in his stride, staying in character, gay, gorgeous but still coming to terms with a lost love, in keeping with Gyngell’s production playing the big tease, but always being true to Beaufoy’s original spirit.

For many, The Full Monty will be familiar, and that familiarity breeds contentment amid the discontent of the lives depicted, played here as if the for the first time.

The bare truths surround impotence, unemployment, loneliness and suicide attempts. You laugh because otherwise you would cry, and sometimes you do both at once, faced by comedy and pathos, mischief and melancholia in tandem, dealing with the stuff of life:  resilience, community, fighting back, and love, in whatever form, whatever shape. The Yorkshire of Keith Waterhouse, John Godber, Alan Plater.

This Cheltenham Everyman Theatre and Buxton Opera House touring production delivers the Fullest Monty yet, superbly cast, with spot-on lighting by Andrew Exeter, ace choreography by Ian West, and a soundtrack not only of the film favourites but Pulp, Primal Scream, The Verve and Chumbawamba too.

It feels wrong to pick out performances: Ward, Onwukwe and Prasad all shine, but partnerships are particularly strong in Gyngell’s company. Take your pick:  the friendship of Hatchard’s Gaz and Hurst’s Dave (with his echoes of York’s Mark Addy). The bond between Hatchard’s Gaz and Wisniewski as his canny-beyond-his-years son, at once amusing yet deeply moving too.

Or the ups and downs of Hurst’s Dave and Dean’s Jean, so been there, done that. And then there’s Quickenden’s Guy and his appendage, his Monty python, if you like.

Performances: 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: atgtickets.com/york

‘The Full Monty will make you feel part of a community again. Who doesn’t want to experience that’ on 25th anniversary tour?

Six pack; Jake Quickenden, left, Ben Onwukwe, Neil Hurst, Danny Hatchard, Bill Ward and Nicholas Prasad in The Full Monty. Picture: Ellie Kurttz

MARKING the 25th anniversary of Peter Cattaneo’s Sheffield film, The Full Monty is stripped for stage action in a national tour of Simon Beaufoy’s spin-off play that arrives in York tomorrow.

As the group of lads on the scrapheap tries to regain dignity and pride, the story of downs, more downs and ups, defiant humour and heartbreak will resonate anew amid the cost-of-living crisis.

Leaving their hat on at the Grand Opera House this week will be Danny Hatchard’s Gaz, Jake Quickenden’s Guy, Bill Ward’s Gerald, Neil Hurst’s Dave, Ben Onwukwe’s Horse and Nicholas Prasad’s Lomper.

Completing the cast will be Oliver Joseph Brooke; Katy Dean; Laura Matthews; Badapple Theatre favourite Danny Mellor; Adam Porter Smith; Suzanne Procter; Alice Schofield and Leyon Stolz-Hunter. The young actors sharing the role of Nathan on tour will be Cass Dempsey, Theo Hills, Rowan Poulton and Jack Wisniewski.

Directed by Michael Gyngell, The Full Monty tour marks the first co-production and partnership between the Everyman Theatre, Cheltenham and Buxton Opera House.

Choreography and intimacy direction is by Ian West; set and costume design by Jasmine Swan; lighting design by Andrew Exeter and sound design by Chris Whybrow.

Making plans: A scene from The Full Monty as the lads audition Horse, right, for their strip act. Picture: Ellie Kurttz

Here, television stars Danny Hatchard (from EastEnders and Not Going Out), Jake Quickenden (Dancing On Ice winner and I’m A Celebrity…Get Me Out Of Here! runner up) and Bill Ward (from Emmerdale and Coronation Street) discuss the joy of taking to the stage in this autumn’s 25th anniversary touring production.

The Full Monty is experiencing a resurgence, first in the Disney+ TV series and now this tour show. Why has stood it stood the test of time?

Danny: “Is there a more iconic working-class comedy than The Full Monty? I’d argue not. Especially one that covers so many incredibly important topics that are still very relevant today. Fathers’ rights, depression, suicide, impotence, homosexuality, unemployment, body image.

“Tackling important subjects like these whilst adding a sprinkle of nostalgia and a dash of humour takes the audience on a two -hour emotional rollercoaster filled with tears and belly laughter. This show is not only a cocktail of excellence, but also hugely relatable to both men and women.”

Jake: “It’s a story for everyone and it has everything – love, humour, sensitive subjects, the lot. So many people can relate to the characters. They draw on relationships that affect everyone: ex-wife; ex-wife’s new husband; kid that lives with mum; lads; being skint, the list goes on and on.

“It means that’s everyone who watches it can feel like it’s speaking to them, and then of course, there is the brilliant humour, the dancing and everything that goes with it!”

Bill: “Because at its core it revolves around a number of universal, timeless themes: male brotherhood, love, overcoming loss and adversity, and ingenious solutions to universal recognisable problems. This is essentially about six men who’ve lost not only their jobs, but their sense of identity and their dignity too, and what they’re prepared to do to get them back.”

Hitting their stride: Bill Ward’s Gerald, left, Danny Hatchard’s Gaz, Neil Hurst’s Dave, Nicholas Prasad’s Lomper and understudy Leyon Stolz Hunter’s Horse invest their all in the strip routine finale from The Full Monty. Picture: Ellie Kurttz

The Full Monty is a comedy but one that explores tough issues around male body image and mental health too. In which ways are these themes relevant today?

Danny: “They’re almost indistinguishable. If anything, times are harder now on men (and women) than they ever have been, especially regarding body image and mental health. Social media being the main driving force of that. Every day people post their idea of ‘perfection’ all over the internet, and naturally we compare.

“I’d say The Full Monty is just as important now as it was 25 years ago. There used to be more of a sense of community and care for one another, and I feel social media is pushing us further and further away from our natural way of communicating. The Full Monty will make you feel part of a community again. Who doesn’t want to experience that?”

Jake: A lot of people ask this [question] and do you know, I think The Full Monty led the way with a lot of these conversations. It was ’97 when then film came out, men didn’t really share their issues with each other, and it was still pretty taboo to be open about mental health and being gay.

“This story reminds us of lots of things that are more accepted today but still very important: talk to people if you are feeling down – there is always another way out other than suicide.

“Being yourself in the world is nothing to be ashamed of. Your body is the only one you have; love it no matter how it looks; everyone likes something different. Just because you are old doesn’t mean you can’t do something…there are just so many messages in here for everyone.”

Bill: “There are so many things in this play that resonate today. Simon Beaufoy, the writer, came to see us during rehearsals, and he was very clear it wasn’t a comedy at all. ‘A play with jokes’, is how he described it.

“It is of course very funny indeed, but the comedy actually comes from the very real tragedy that all these characters are facing in their lives…different circumstances, different starting points, but real grief and tragedy nevertheless.”

Jake Quickenden now: Playing Guy in The Full Monty, on tour at the Grand Opera House, York from tomorrow. Picture: Ellie Kurttz

In keeping with the brotherhood between the men in the play, how well have you bonded with your fellow cast members?

Danny: “The casting team have done an incredible job. I love and respect every member of this cast very much. They say time flies when you’re having fun. Well, two hours feels like 20 minutes on stage with this lot. We’re all just a bunch of good mates having a wonderful time. Every scene feels effortless, and I trust them all implicitly.”

Jake: “I don’t want to sound clichéd but literally everyone is so close. Usually, you get little cliques grow but we genuinely all get on so well, and because a lot of the scenes include all of us, we just have a laugh and get closer and closer every day.

“Then there are all the memories we’re making as we tour the UK and all those different theatres, hotels, lunch breaks end up building to create this huge happy family. Plus, we are all hilarious, which helps!”

Bill: “This is a wonderful cast and crew. Hugely talented and lovely too. We’re a very happy band of sisters and brothers.”

What do you hope this week’s audiences will take away from seeing this production?

Danny: “Pure unadulterated happiness.”

Jake: “The main thing is: be yourself, never give up, never listen to what anyone thinks and just do you! The story is sad at times, but every character overcomes their worries in some way and ends with success! It’s a feel-good show, which keeps people laughing even when they are crying.”

Bill: “This is a very beautiful, heartwarming and at times very moving story. It’s also very, very funny indeed and an absolute riot at the end. A properly banging night out at the theatre.”

Jake Quickenden then: Striking a pose in hot pants in his role as cowboy Willard Hewitt in Footloose The Musical at York Theatre Royal last year

Did you know?

JAKE Quickenden last appeared on a York stage as hunky cowboy Willard Hewitt, stripping to his golden pants in Footloose The Musical at the Theatre Royal in April 2022.

BILL Ward’s last appearance on a York stage came during the Theatre Royal’s Haunted Season, cast opposite fellow Coronation Street star Wendi Peters in Philip Meeks’s The Legend Of Sleepy Hollow in October 2021. He played not only village elder statesman Baltus Van Tassel, but also a naughty 90-year-old female cook, a hard-drinking coach driver and a crazy, delusional Dutch captain.

The Full Monty, Grand Opera House, York, Tuesday to Saturday, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york. Also: Alhambra Theatre, Bradford, November 14 to 18, 7.30pm plus 2pm Wednesday and 2.30pm Saturday matinees; 01274 432000 or bradford-theatres.co.uk.

The men from Full Monty say yes to supporting York mental health charity Menfulness in fund-raising drive

The Full Monty cast with representatives from the York charity Menfulness in the foyer bar at the Grand Opera House, York

THE Full Monty cast has met up with the men’s mental health charity, Menfulness, ahead of the first night of this week’s run in York.

The Grand Opera House is supporting the York charity by collecting donations at bars and kiosks card payment points throughout the week to provide funds for urgent counselling for men at crisis point.

Menfulness is an inclusive social wellbeing group that supports and promotes improvements in men’s lives through activities and counselling. The group is “led by five blokes from York who, like most of us, have struggled with mental health and the pressures of life”.  

“Our goal is to bring men together to socialise, exercise, enjoy themselves, talk and let off steam in a non-judging, friendly and supportive environment,” says the charity. “These are all essential for wellbeing and health, both physical and mental.

“Menfulness is not only changing lives, it’s saving lives. And we aim to be the leaders of a cultural shift in which men can talk, where we don’t have to man up, where it’s OK not to be OK, and where support is plentiful, accessible and affordable.”

To find out more about the charity, head to: menfulness.org

Beware headless horseman as Corrie stars Bill Ward and Wendi Peters bring Sleepy Hollow horror story to York Theatre Royal

Wendi Peters and Bill Ward in the artwork for The Legend Of Sleepy Hollow, touring York Theatre Royal from tomorrow (5/10/2021)

BILL Ward and Wendi Peters, who shared four years together on Coronation Street, are reuniting for the Haunted Season at York Theatre Royal.

From tomorrow to Saturday, they will be taking prominent roles as Baltus Van Tassel and Mariette respectively in Philip Meeks’s stage adaptation of Washington Irving’s The Legend Of Sleepy Hollow, replete with illusions by Back To The Future Musical’s Filipe J Carvalho.

In Irving’s infamous story, Hallowmas celebrations are fast approaching, when the residents of Sleepy Hollow spin tall tales of legends and unsightly entities, but who can tell truth from nightmare?

Enter Ichabod Crane into an eerie world of secrets and unsettling tradition as he starts his teaching post. When disturbing events overwhelm the small town, however, he finds himself swept up in a dangerous mystery that leaves him doubting his own sanity.

Here Bill and Wendi discuss their present and past roles, horror stories and what scares them.

How would you describe the show and your character?

Bill: “The show is a high energy, edge-of-your-seat thriller. Part horror, part comedy. Very physical. Think Hammer House of Horror meets Kneehigh. We’re all multi-role playing, which will be great fun.

“My main character is Baltus Van Tassel, who’s the elder statesman of the village, who’s trying to keep the village together during some pretty tricky times.

“But I also get to play a naughty 90-year-old female cook, a hard-drinking coach driver and a crazy, delusional Dutch captain. What’s not to like?!”

Bill Ward in rehearsals at the Churchill Theatre, Bromley, for The Legend Of Sleepy Hollow

Wendi: “It’s a folk horror: intriguing, scary, clever, witty with spectacular illusions. You’ll be on the edge of your seat! My main character, Mariette, is the strange widow of Sleepy Hollow.

“She lives on the outskirts of the village, alone, and has a few secrets that are revealed throughout the play. She takes Ichabod under her wing when he arrives and insists that he stay with her.”

What drew you to the play initially?

Bill: “The story – it’s a classic. I was particularly intrigued as to how they were going to do the Headless Horseman. There’s a fair amount of magic both in the story and also our telling of it. Putting that kind of a thing onto a stage is always good fun.

“Plus the physicality. I like doing plays where movement is an integral part of the show, and this is very much like that.”

Wendi: “I loved the script, it’s very clever, with multi-role playing, which is always great fun. I couldn’t put it down. I’d never seen the film but knew of the story. This is a completely new, and wonderful, adaptation by Philip Meeks. I’ve also never appeared in a horror piece, so was intrigued by that. It’s really exciting!”

Were you familiar with the original Washington Irving text, or had you seen other adaptations of the tale, and will you be drawing inspiration from them?

Bill: “It’s obviously a very famous tale – a classic – but actually I hadn’t read it till now. I loved it. It’s surprisingly short as a story, only 20 to 30 pages long. What’s interesting about that is that the shell of the story, the structure if you like, is there, but what each adaptation does is to fill in the considerable blanks for themselves.

“What the original story is big on is mystery and mood – so I’m sure we’ll be taking a fair bit of that and sprinkling it into our production.”

Wendi Peters during rehearsals for her role as Mariette in The Legend Of Sleepy Hollow

Wendi: “I wasn’t familiar with the text and I’d never seen the film. I knew the story and started watching the film but, 20 minutes in, I stopped it. It’s so very different from our adaptation, and, if I’m honest, I wasn’t really enjoying it.

“Our production is so much more exciting and moves at such a fast pace. I’m seeing this as a whole new piece of writing and story, and I love the idea of creating something from scratch.”

Have you worked with any of the cast or creative team previously?

Bill: “Yes, I was lucky enough to work with Wendi [Peters] for four or so years, quite a few years ago now on Coronation Street. Great fun. I was playing a pretty nasty piece of work, Charlie Stubbs, and I remember the show would often cut from scenes involving my character wandering around being hugely unpleasant, to Wendi’s character, Cilla, mucking about in a bubble bath with the family dog.

“I also know the writer, Philip [Meeks], from panto among many other things. Not only is he a great playwright and screenwriter, he’s also a rather brilliant dame. We worked together up in Sunderland a few Christmases ago. Happy days.”

Wendi: “Most of the cast are a lot younger than me, so our paths haven’t crossed. It feels strange to now be the mother, sometimes grandmother, of the cast. I guess I’m getting old. However, Bill and I worked together at Corrie. We were there over the same four-year period but our characters were rarely in the same storyline. It’s going to be great to catch-up again after 14 years.”

The Legend Of Sleepy Hollow promises to shock and scare audiences. What scares you the most?

Bill: “Heights. Can’t stand them. I’ll do anything to avoid them. Urgh!”

Wendi: “I’d say, on the whole, I’m quite a brave person, although I don’t like, or watch, many horror films. I don’t really believe in the paranormal. I once did a ghost-hunting programme and found it quite funny. Having said that, I don’t like the dark much, especially in the situations I’m unsure of.”

The Legend Of Sleepy Hollow playwright Philip Meeks

Why has The Headless Horseman – a legendary figure in the horror genre – stood the test of time?

Bill: “Because it plays to our imaginations and to one of our strongest emotions: fear. Fear of the dark. Of death. Of the fantastical. Of being caught in a chase you cannot possibly win – the stuff of nightmares the world over.

“The Headless Horseman was arguably one of the first true horror creations: larger than life and truly unforgettable.”

Wendi: “I think it was one of the first horror stories written and creates such a vivid image in people’s head. Hopefully, when people see our production, they’ll take away more than just an image in their heads.”

What do you want audiences to take away from this production? 

Bill: “The thing that theatre does so well: that sense of being transported, for a couple of hours, toanother world entirely. It’ll be an energetic, enjoyable, scary, funny, night out. And I really think we’ve all missed that, as a country, and as a community over the last 18 months: that sense ofbeing out, together, having fun, sharing and telling stories.”

Wendi: “It’s been such a terrible 18 months for theatre, both for actors and audiences, that I think everyone will be thrilled to be there and just be entertained.

“As a piece, I’d like them to come away having been scared and on the edge of their seats, but also having relaxed and laughed. They will go away with a few questions too, hopefully.”

What is the biggest difference for you between performing on stage and screen?   

Bill: “Rehearsals! They pretty much don’t exist in television anymore, certainly not in the serial dramas and soaps. That’s one of the things that makes TV so invigorating to do: bringing your performance in on the day, standing, and delivering, knowing you have 40 minutes to nail it.

“Hopefully, when people see our production, they’ll take away more than just an image in their heads,” says Wendi Peters

“But I love the sense of exploration you get with theatre: that sense of looking at a piece of writing (particularly a new piece of writing like this) from a number of different angles, and directions, trying all sorts of things out on the rehearsal-room floor, and seeing what best serves the play.”

Wendi: “I’ve been so lucky, having worked in all aspects of theatre, TV and radio. I love that it never seems monotonous or boring and enjoy learning new things too.

“The main difference is the level of playing. On stage, you are performing to hundreds and have to make sure the back row is included. I love touring because you are in a new space each week to explore your performance.

“TV is much more intimate and held back. I love doing both but if I had to choose one for the rest of my career, it would definitely be theatre.”

What are you most looking forward to while on tour?  

Bill: “I’ve always been a bit of a traveller at heart. I’ve been round the world with a backpack a couple of times. So, I love getting out and about around the country, especially to towns and cities, and theatres, I haven’t spent time in before. A real treat. Oh, and I’ll be taking my camera, as always.”

Wendi: “Seeing a couple of theatres that I haven’t worked at before, but mainly just being back on stage, entertaining audiences, and doing the job I love.”

The Legend Of Sleepy Hollow, York Theatre Royal, October 5 to 9, 7.30pm nightly; 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Harrowing horror of the headless horseman rides into the haunted York Theatre Royal

Bill Ward and Wendi Peters in a scene from The Legend Of Sleepy Hollow, bound for York Theatre Royal next week

THE Headless Horseman is galloping apace towards York Theatre Royal for the Haunted Season.

Coronation Street alumni Wendi Peters and Bill Ward will lead the cast in Philip Meeks’s stage adaptation of Washington Irving’s The Legend Of Sleepy Hollow, on tour in ever-spooky York from October 5 to 9, replete with illusions by Back To The Future Musical’s Filipe J Carvalho.

In Irving’s infamous story, Hallowmas celebrations are fast approaching, when the residents of Sleepy Hollow spin tall tales of legends and unsightly entities. Who can tell truth from nightmare, however?

Enter Ichabod Crane into an eerie world of secrets and unsettling tradition as he arrives in Sleepy Hollow to become the town teacher. While quickly finding friendship with the town patriarch and his spirited daughter, his presence is not wholly welcome.

Not all is as it seems, for Ichabod Crane harbours his own dark secret. He is not in Sleepy Hollow by chance. When disturbing events overwhelm the small town, he finds himself swept up in a dangerous mystery that leaves him doubting his own sanity.

Director Jake Smith says: “Sleepy Hollowis undoubtedly one of the greatest horror stories ever written and a tour de force to stage. The story has at its heart the power of nomadic storytelling and gathering round the campfire for a good story. It’s an important story for now as we look at conversations around the identity of nations, communities and humankind throughout the world.

“This production has allowed an incredible ensemble of actors to viscerally and inventively bring the Hollow to life. It’s a piece that shines on our actors’ athleticism, which is really exciting as we look to theatre returning. We look forward to transporting the audience through a quest of logic and illusion, creating fear and defying expectation.”

Wendi Peters in rehearsal at the Churchill Theatre, Bromley, for her role as Mariette in The Legend Of Sleepy Hollow, on tour at York Theatre Royal from next Tuesday

For Philip Meeks, The Legend Of Sleepy Hollow follows the 2017 premiere of Murder Margaret And Me into York Theatre Royal, where earlier his play about the dying embers of a pantomime dame, Twinkle, Little Star, ran in the Studio in April 2008.

“I’m a huge horror fan; the history of Gothic, the history of horror; if I was going to do an MA, it would be on the horror medium,” says Philip, who shares an agent and indeed an imagination with director Jake Smith.

“The agent lives in a caravan in Marsden Grotto, next to Mam’s house in South Shields. There was a project I was working on where it looked like the director was going to drop out and I said, ‘what about Jake doing it?’, as I’d heard good things about him.

“Now, I like to think of us as Peter Cushing and Christopher Lee! He’s got this great visual energy as a director and the work he’s done has all been fantastic.

“We think very much alike and sometimes it’s hard to know who’s the 50-year-old [Meeks] and who’s the 30-year-old [Smith]!”

Playwright Philip Meeks: “Chipping in from the corner in rehearsals”

Smith, who stayed with Meeks when he was holding auditions, has been drawn to horror previously, doing a “sort of Hound Of The Baskervilles before the current plethora of productions of that story”. “He does a lot of writing too, and we have the same sense of humour, laughing a lot even when we shouldn’t,” says Philip.

“As a result, I’ve been in rehearsals a lot, with me as the Richard Osman figure on Pointless, chipping in from the corner.”

What drew Meeks and Smith to The Legend Of Sleepy Hollow? “It’s a piece that’s not really been done a lot before, probably because it’s a short piece , but it’s a story that people turn to in times of existential fear,” says Philip.

“It’s not about blood and gore; it’s about people in society, exploring human nature, thinking, ‘My god, how would I cope?’.

“It came to the fore in the late 1970s/1980s when there was the last horror boom because of the fear of nuclear war and the apocalypse, and in 2021 what we’re afraid of is the breakdown of society. The most popular form now is folk horror, and Washington Irving’s story was the first example of that.

“America was not the home of horror but they certainly explored it there, and Washington Irving really did explore it, writing at a time when narrative fiction was quite new.

“He was a journalist and a factual writer who dabbled in fiction, but he wrote his factual pieces very buoyantly with a great prose style, and that’s why his writing captured the imagination, because it was very accessible.”

Bill Ward in the rehearsal room for The Legend Of Sleepy Hollow

Meeks’s play is a “true act of adaptation, taking these characters and the story into a different medium”. “The legend is told to scare off Ichabod Crane, and we’ve kept that but we’re telling the story with a contemporary twist.

“I wanted to put a heart into it, using the device of a confidante for Ichabod, so I’ve created Mariette, played by Wendi Peters.”

Philip is hugely influenced by Hammer Horror, “even though people think of those films as being schlocky, especially with the Dracula franchise at the end”. “The story I’ve chosen to tell has a lot of elements from Hammer Horror, aside from its themes of corruption or belief or lack of belief.

“Ichabod only believes in science and technology; the rest believe in god knows what. The future is ichabod thinking he is God, so there’s the dawn of scientology.

“But with a monster you must bring an element of heart and humanity to them, like with Frankenstein’s monster.”  

The Legend Of Sleepy Hollow runs at York Theatre Royal from October 5 to 9, 7.30pm, plus 2pm, Thursday, and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

Darker nights, ghostly tales and premieres stalk York Theatre Royal’s Haunted Season

Let’s stalk: Will York Theatre Royal’s fabled ghost, The Grey Lady, make an appearance during The Haunted Season this autumn?

ONCE nights start to draw in, York Theatre Royal will fill its stage with spirits and shadows in The Haunted Season from September 9.

In the home of the restless ghost of the Grey Lady, world premieres by Emma Rice, Matthew Bourne and Tonderai Munyevu will be complemented by scary appearances by horror favourites Dracula, The Hound Of the Baskervilles and the Headless Horseman.

As trailered in CharlesHutchPress, Emma Rice’s Wise Children will complete a hattrick of Theatre Royal visits with Rice’s new adaptation of Emily Brontë’s Wuthering Heights in a Theatre Royal co-production with the National Theatre and Bristol Old Vic from November 9 to 20.

Lucy McCormick will play Cathy in this world premiere as Rice’s visual and musical style brings new life to this epic Yorkshire story of love, revenge and redemption.

“It is with an earthy spring in my step and epic twinkle in my eye that I announce our new plans for Wuthering Heights,” says Rice, who presented Angela Carter’s Wise Children at the Theare Royal in March 2019 and Enid Blyton’s Malory Towers that September.

Lucy McCormick’s Cathy in the poster for Wise Children’s world premiere of Emma Rice’s adaptation of Wuthering Heights. Picture: Hugo Glendinning

“So many projects have fallen by the wayside during lockdown that there were times when I lost hope but there was no need. Wise Children are back; stronger, wiser and grateful for the chance to sing and dance again. The exceptional cast, crew, administrative and creative teams are ready to go and we are fizzing with ideas, dreams and anticipation.”

Earlier in the Haunted Season, from September 30 to October 2, will be the world premiere of celebrated choreographer Matthew Bourne’s The Midnight Bell, a dance exploration of “intoxicated tales from darkest Soho”, inspired by English novelist and Gaslight playwright Patrick Hamilton.

Delving into the underbelly of 1930s’ London life, this New Adventures show invites audiences to step inside The Midnight Bell, a tavern where one particular lonely hearts club gathers to play out lovelorn affairs of the heart: bitter comedies of longing, frustration, betrayal and redemption.

The Theatre Royal had to wait for 30 years for Londoner Sir Matthew Bourne, doyen of dandy dance, to bring a show to York for the first time on his Early Adventures tour in March 2017 after he introduced mid-scale touring. The Theatre Royal promptly booked his next tour, Matthew Bourne’s Deadly Serious, but that visit never materialised. Now, however, Bourne is back with his Soho tales.

Matthew Bourne’s The Midnight Bell: Delving into the underbelly of 1930s’ London life in the New Adventures production from September 30 to October 2

The season will open with another world premiere, Zimbabwean writer-performer Tonderai Munyevu’s Mugabe, My Dad & Me from September 9 to 18. His high-voltage one-man show charts the rise and fall of one of the most controversial politicians of the 20th century, Robert Mugabe, through the personal story of Tonderai’s family and his relationship with his father as he considers familial love, identity and what it means to be “home”.

Playwright (and pantomime dame to boot) Philip Meeks has history at York Theatre Royal in the form of Twinkle, Little Star, starring Nottingham Playhouse panto legend Kenneth Alan Taylor in the Studio in 2008  and the 2017 world premiere of Murder, Margaret and Me, his comedy-thriller of imagined meetings between crime novelist and playwright Agatha Christie and actress Margaret Rutherford.

Now Meeks will return with his stage adaptation of The Legend Of Sleepy Hollow, Washington Irving’s 1820 tale of the Headless Horseman, from October 5 to 9, when Wendi Peters, from Coronation Street, and Bill Ward, from Coronation Street, Emmerdale and Before We Die, will lead the cast and Filipe J Carvalho will provide the stage illusions.

Director Jake Smith says: “Sleepy Hollow is undoubtedly one of the greatest horror stories ever written and a tour de force to stage. The production has at its heart the power of nomadic storytelling and gathering round the campfire for a good ghost story. It is an important story for now as we look at conversations around the identity of nations, communities and humankind throughout the world.”

Coronation Street alumni Wendi Peters and Bill Ward will star in Philip Meeks’s stage adaptation of The Legend Of Sleepy Hollow

Two familiar figures from the world of horror will put in appearances at the Haunted Season, albeit maybe not in the expected manner. Kings of comedy Le Navet Bete will sink their teeth into Dracula: The Bloody Truth on September 24 and 25, mixing slapstick with carefully crafted comedy and a healthy dose of things going wrong as the action moves from dark and sinister Transylvania to the “awkwardly charming seaside town of Whitby”.

From October 19 to 23, Sir Arthur Conan Doyle’s detective story The Hound Of The Baskervilles will be given a humorous overhaul in a Lotte Wakeham production where farce collides with theatrical invention and comic performances.

Pride And Prejudice’s most roguish gentleman, George Wickham, will seek to set the record straight when Adrian Lukis performs in Being Mr Wickham from October 14 to 16. Lukis, who played Mr Wickham in the BBC TV adaptation, will reveal what really happened with Darcy, how he felt about Lizzie and, of course, what happened at Waterloo.

Two dance companies will return to the Theatre Royal stage: Ballet Black on October 26 and Phoenix Dance Theatre on November 23 and 24.

The poster for the world premiere of Tonderai Munyevu’s Mugabe, My Dad & Me

Cassa Pancho’s Ballet Black Double Bill will feature Then And Now, wherein Will Tuckett blends classical ballet, poetry and music to explore ideas of home and belonging, and fellow Olivier Award-winning choreographer Mthuthuzeli November’s contemplation of the purpose of life in The Waiting Game.

Leeds company Phoenix Dance Theatre will be celebrating 40 Years Of Phoenix with a birthday programme of work by international and award-winning choreographers, including former artistic directors and collaborators.

Lorne Campbell’s new theatrical version of The Ballad Of Johnny Longstaff will be performed by BBC Radio 2 Folk Award-winning trio The Young’uns – Sean Cooney, David Eagle and Michael Hughes – from October 28 to 30.

This protest-song celebration of northern working-class activism features songs from the original album, alongside new material and animation, in the true story of a young anti-fascist’s journey from poverty and unemployment in Stockton-on-Tees through the hunger marches of the 1930s, the mass trespass movement and the Battle of Cable Street, to fighting fascism in the Spanish Civil War.

Protest-song celebration of northern working-class activism The Young’uns in The Ballad Of Johnny Longstaff. Picture: Pamela Raith

On October 11 and 12, English Touring Opera will return to the Theatre Royal with Handel’s Amadigi, based on a chivalric romance about three young people imprisoned by a sorceress.

From November 2 to 6, York Opera will present The Magic Flute, Mozart’s magical and last great opera, sung in English with an orchestra.

For younger audiences, Rod Campbell’s lift-the-flap book will leap off the page in Dear Zoo Live!, a show packed full of puppetry, songs and all the animals from the zoo, on September 28 and 29.

After The Love Season and upcoming Summer Of Love, The Haunted Season will be the third of York Theatre Royal’s mini-seasons since reopening on May 17. Tickets are on sale on 01904 623568 and at yorktheatreroyal.co.uk.