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REVIEW: Grainger & Wright in The Gods The Gods The Gods, Stilly Fringe, At The Mill, Stillington, tonight at 8.45pm ****

Alexander Flanagan Wright, left, Phil Grainger and Megan Drury in The Gods The Gods The Gods

WHY call this Wright & Grainger show The Gods The Gods The Gods, rather than plain old The Gods?

“A lot of things come in threes and a lot of things in this show fall naturally into threes,” reasons Alexander Flangan Wright, the Wright to Phil Grainger’s Grainger in this enduring Easingwold partnership.

“It’s one of those powerful numbers: a triad, with the three of us telling the story.” Make that Grainger & Wright & Drury, the trio being completed by Megan Drury, Australian actor, blues singer, writer, creative artists and dramaturg – oh, and newly married to Alex too.

The Gods The Gods Gods is the third in the trilogy of myth, music and spoken word shows by Grainger & Wright, premiered in a Covid-curtailed Australian visit in 2020 and now following Orpheus and Eurydice into open-air performances under the sails at Stillington Mill, near York.

The Gods X 3 will be heading indoors at the Edinburgh Fringe, with lighting pyrotechnics re-booted in the Assembly Rooms’ Bijou tent from August 3 to 29, when this dancier variation on gig theatre will carry the warnings: “Audience participation, Involves walking, Strobe lighting, Strong language/swearing”.

Saturday night was rather more informal, Alex, Phil and Megan testing out their hi-tech electronic requirements, spread out in a triangle of stations of equipment, as the audience gathered on the banks of seating. “Still not the show,” Alex would say, as another adjustment was made.

Such is the nature of a Fringe warm-up and of a first performance in this al-fresco iteration minus the probing strobe lighting. It was all very much in keeping with the spirit of At The Mill, where theatrical magic is made on the hoof, aided by Abbigail Ollive’s pizzas adding culinary pizzazz to the occasion and cocktails playing on the tongue.

Still doing the Maths, The Gods The Gods The Gods is in fact four, not three, stories, spread over 11 original musical tracks arranged by Grainger and Tom Figgins. They are stories of faith and loss of faith; love and loss of love; faith in anything but religious faith; false gods and new gods; a search for holy ground or finding heaven on earth. All set against a final council of the old Gods, Zeus and co, gathering at the end of days.

As Wright elucidated at the close, they are stories grown freshly from the seeds of Kae Tempest, Walt Whitman and David Whyte (Finisterre), and the messages on 28 signs posted on London’s Millennium Bridge, read by Alex and Megan as they crossed over between  St Paul’s Cathedral and Tate Modern, the towers of God and gallery, religion and art, that now do battle in The Gods The Gods The Gods.

Phil plays guitar and sings mightily yet tenderly, a Yorkshireman as soulful as Joe Cocker and John Newman; Megan throws shapes and switches between heartfelt spoken word and blues singing that brings out the bruises; Alex plays bass and percussion and spins words of dazzling rhythm, breath-taking in their imagery and rapper’s speed. All three tap away at technology too, evoking Kraftwerk.

Grainger & Wright promised a big, loud, bopping night in the garden – and delivered exactly that. In every way it is the biggest show of the trilogy; the spoken word now complemented by a broader musical palette that combines classic songwriting tropes and lyricism with dancefloor pulses and electronic flash to induce a state of euphoria.  

Alas, more Gods than advertised played their hand as the night darkened: the Weather Gods raining on the parade – and all that technology – with one story yet to be completed. Suddenly, the night “involved walking” as we were ushered to the café bar, where Wright gave a resumé of the closing chapters, finishing with that inspirational walk across the London bridge. Trouble at The Mill? Not when they can improvise like that.

An album is in the offing too, and that won’t be in the lap – or laptop- of the Gods, the Gods, the Gods.

Holly Beasley-Garrigan in Opal Fruits, tonight at 7pm

THE Stilly Fringe presents Opal Fruits, Holly Beasley-Garrigan’s solo show about class, nostalgia and five generations of women from a London council estate in South London, tonight at 7pm; Casey Jay Andrews’ The Wild Unfeeling World, a tender, furious and fragile re-imagining of Moby Dick, and A Place That belongs To Monsters, a re-imagining of The Four Horsemen Of The Apocalypse, tomorrow at 7pm and 8.45pm respectively.

Lucy Bird, originally from Ampleforth, heads back north with her Birmingham company Paperback Theatre for an “utterly Brummie” re-telling of The Wind In The Willows on July 30 at 2.30pm and 7.30pm.

Yoshika Colwell returns to The Mill for the Stilly Fringe finale, Invisible Mending, her exploration of the power in small acts of creativity through original music, metaphysics and verbatim material, in collaboration with Second Body’s Max Barton, on July 31 at 7pm.

For tickets, head to atthemill.org.

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Stilly Fringe takes over At The Mill for fiesta of theatre, comedy, music and metaphysics

Mouth-watering prospect: Holly Beasley-Garrigan in Opal Fruits on July 28

THE Great Yorkshire Fringe exited stage left from York in 2019 after five years, 1,200 shows, 9,000 performers and 110,000 visitors.

Frustrated by red tape, impresario Martin Witts pulled the plug on his fiesta of comedy, theatre, spoken word and children’s shows, since when the black hole in York’s summer entertainment calendar has never been filled.

In no way on the same scale, but occupying the same pre-Edinburgh Fringe slot, here comes the Stilly Fringe, out on the fringes of York at Stillington Mill, the home of the At The Mill arts hub, Saturday café and guest-chef supper club nights.

Running from tonight(July 22) until July 31, this is the latest enterprise from newly married Alexander Flanagan Wright, North Yorkshire writer, theatre-maker and visionary facilitator, and Megan Drury, Australian actor, writer and creative artist.

Selkie myth making: Hannah Davies and Jack Woods in The Ballad Of Blea Wyke on Saturday and Sunday night

“It’s come about because a bunch of our dear pals said, ‘can we come and do this?’, like most of the things we do here come about,” says Alex. “There seemed to be a critical mass to make us think these weekends would be a good way to test things out.

“We thought, ‘let’s do it in a communal and convivial way’ with that bond between audiences and performers giving it a different vibe, seeing new work with a chance to chat with the artists. We love doing that here.”

Presented in the mill gardens, either on the open-air stage on the repurposed tennis court or under the cover of the café-bar, the Summer At The Mill programme takes in theatre and spoken-word premieres, comedy, children’s shows, concerts, Gary Stewart’s folk club bills, even silent disco dance nights.

The Stilly Fringe largely mirrors that format but with the added intrigue of giving an early opportunity to see shows bound for the Scottish capital in August. “Six out of nine are going to Edinburgh,” says Alex. “The Lovely Boys, The Gods The Gods The Gods, Invisible Mending, Opal Fruits and Casey Jay Andrews’ double bill, The Wild Unfeeling World and A Place That Belongs To Monsters, are all heading there.”

The Lovely Boys: Opening Stilly Fringe tonight

First up, tonight at 7pm, will be Joe Kent-Walters and Mikey Bligh-Smith’s absurd clown bonanza, The Lovely Boys, followed by Harrison Casswell & Friends, an 8.45pm set of electric spoken word and live music fronted by the Doncaster poet and writer, who Alex first saw on a Say Owt bill in York.

Next will be Say Owt leading light, York poet, actor, playwright and spoken-word slam champion Hannah Davies’s The Ballad Of Blea Wyke, a lyrical re-telling of the selkie myth, set against the Yorkshire coast, complemented by original live music by Jack Woods, in work-in-progress performances at 7pm on Saturday and Sunday.

On both those nights at 8.45pm, and on July 27 and 28 too, Alex and fellow Easingwold School old boy Phil Grainger will give their first Stillington performances of The Gods The Gods The Gods, the third in their trilogy of spoken-word and live music shows rooted in ancient myths after Orpheus and Eurydice.

“We first did the show in Australia in early 2020 before the pandemic forced us home, and we’re going to do a big, loud, bopping version in the garden, different from the indoor production that had a pretty massive lighting set-up,” says Alex.

Three is a magic number: Alexander Flanagan Wright, left, Phil Grainger and Megan Drury in The Gods The Gods The Gods on July 23, 24, 27 and 28. Picture: Tom Figgins

“We’re having to look at how to play it within this landscape and within the Mill’s vibe, rather than trying to pretend we’re in a black-box theatre design. We’re just really excited to be telling these stories that we’ve been living with for three years.

“We’ve been doing loads of work with Megan as our dramaturg, and Phil and Tom (Figgins) have been re-working the music, re-writing some parts and writing plenty of new pieces.

“It feels like a two-year hiatus that has allowed us to think about these different story-telling modes to tell it with greater clarity.”

Why call this Wright & Grainger show The Gods The Gods The Gods, rather than plain old The Gods, Alex? “A lot of things come in threes and a lot of things in this show fall naturally  into threes,” he reasons. “It’s one of those powerful numbers: a triad, with the three of us [Alex, Phil and Megan] telling the story.

Small acts of creativity: Yoshika Colwell combines metaphysics, music and verbatim material in Invisible Mending on July 31

“There are in fact four stories, three of them everyday stories and one story of the Gods. Most of those stories are told in three parts, and we repeat things three times in parts – and it’s just a good title!

“It’s also the third in the series of storytelling pieces we’ve done, taking a big jump on from the first two with a lot bigger soundtrack of Phil’s songs and Tom’s music production and a more complex narrative that we’ve weaved into it.”

The Stilly Fringe also will present Opal Fruits, Holly Beasley-Garrigan’s solo show about class, nostalgia and five generations of women from a South London council estate, on July 28 at 7pm; Casey Jay Andrews’ The Wild Unfeeling World, a tender, furious and fragile re-imagining of Moby Dick, and A Place That Belongs To Monsters, a re-imagining of The Four Horsemen Of The Apocalypse, on July 29 at 7pm and 8.45pm respectively.

Lucy Bird, originally from Ampleforth, will head back north with her Birmingham company Paperback Theatre for an “utterly Brummie” re-telling of The Wind In The Willows on July 30 at 2.30pm and 7pm.

Yoshika Colwell will return to the Mill for the Stilly Fringe finale, Invisible Mending, her exploration of power in small acts of creativity through original music, metaphysics and verbatim material, presented in collaboration with Second Body’s Max Barton, on July 31 at 7pm.

For tickets, head to atthemill.org.

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More Things To Do in and around York from August 19 , courtesy of The Press, York

Keane: Heading to the East Coast on Saturday

OPEN-AIR cinema and myriad concerts, Proms and wild beasts affirm that summer is not yet over for Charles Hutchinson or for you.

Theatre one-off of the week outside York: Casey Jay Andrews in Every Wild Beast, Theatre At The Mill, Stillington, tonight (19/8/2021) at 7.30pm

FRINGE First award-winning theatre-maker and storyteller Casey Jay Andrews weaves folklore and fable into her magical coming-of-age tale of courage, curiosity and running away from big scary things.

Casey Jay Andrews: Weaving folklore and fable into a magical coming-of-age tale

What happens? The stars are empty, the moon has fallen from the sky and the mountains are full of monsters, as Barri collects newspaper clippings and listens to vinyl in her grandmother’s attic, while Sam tries to outrun a community support officer investigating the murder of several domestic badgers.

“If you like your storytelling full of beauty, skill, fable and reality, this will be right up your alley,” says Theatre At The Mill programmer Alexander Wright. Box office: tickettailor.com/events/atthemill.

Nile Rodgers: C’est Chic at Scarborough Open Air Theatre

Coastal concerts of the week: Scarborough Open Air Theatre, Nile Rodgers & Chic, tomorrow (20/8/2021); Keane, Saturday, gates open at 6pm

AFTER Stereophonics, Kaiser Chiefs, Culture Club and Westlife, the Scarborough OAT summer season gathers still more pace by welcoming back Nile Rodgers & Chic, who first played there in 2018, tomorrow night.

Chic co-founder Rodgers and his band will be reactivating such dancefloor fillers as Le Freak, Good Times and Everybody Dance.

Saturday’s headliners, East Sussex chart-toppers Keane, drew a six-year hiatus to a close with their 2019 album Cause And Effect. The Sherlocks will be supporting. Box office: scarboroughopenairtheatre.com.

Forever Tenors: Yorkshire classical-crossover singers Rob Durkin and Adam Lacey, performing at the Castle Howard Proms

Pomp and circumstance of the weekend: Castle Howard Proms, Castle Howard, Saturday (21/8/2021); gates, 5pm; concert, 7.30pm

YORKSHIRE’S own Forever Tenors, best friends Rob Durkin and Adam Lacey, are confirmed as the opening act at the Castle Howard Proms.

The classical crossover duo joins a bill featuring Welsh tenor Wynne Evans, alias Gio Compario off the telly, soprano Victoria Joyce and the London Gala Orchestra under the baton of Stephen Bell, plus a Spitfire flyover, lasers and a firework finale.

Castle Howard’s concert weekend opens with Café Mambo Ibiza’s sold-out show tomorrow (20/8/2021, gates, 4pm) and concludes with Queen Symphonic on Sunday, when Forever Tenors support again from 5pm. Box office: castlehoward.co.uk.

Evans, above: Wynne Evans will be the tenor soloist at the Castle Howard Proms

Film event of the week: The Luna Cinema at York Minster, August 24 to 29; doors, 6.45pm; screenings, 8.15pm

BAZ Luhrmann’s Romeo + Juliet opens five days of Luna Cinema open-air screenings against the backdrop of York Minster on Tuesday.

To follow will be the Elton John story, Rocketman, on Wednesday; The Greatest Showman on Thursday; Harry Potter And The Prisoner Of Azkaban, next Friday; Dirty Dancing next Saturday and Rian Johnson’s American mystery, Knives Out, next Sunday. Tickets are available from thelunacinema.com/york-minster2.

LS6 Theatre’s poster for Life Below, on tour at Joseph Rowntree Theatre, York

Theatre one-off of the week in York: LS6 Theatre in 90’s Kids Only and Life Below, Joseph Rowntree Theatre, York, Wednesday, 7.30pm

LS6 Theatre serve up a touring double bill of new theatre: writer-director Spike Woodley and Laurentz Valdes-Lea’s comedy-drama 90’s Kids Only and writer-director Dec Kelly’s gritty mining drama Life Below.

When did the universe begin? 1990. At least according to Ozzy and his friends in 90’s Kids Only, where what starts as a celebration of 1990s’ nostalgia ends in confusion, hysteria and the kidnapping of a beloved TV presenter.

In Life Below, Kelly chronicles two generations of a northern mining family that each had to endure treacherous conditions to stay alive. In 1984, Rosie Gooder fights for her community’s rights under the threat of Margaret Thatcher’s pit closures. Box office: josephrowntreetheatre.co.uk.

The Magpies: Playing The Crescent in York in September

Magpies in twos: First a North Yorkshire festival, now a York gig for The Magpies next month

FRESH from hosting their sold-out first festival last Saturday at Sutton Park, Sutton-on-the-Forest, contemporary roots trio The Magpies are off on a 16-date tour next month.

York guitarist, banjo-player and singer Bella Gaffney, clawhammer banjo player and singer Kate Griffinand fiddle-player and tunesmith Holly Brandon will be showcasing their June 2020 album, Tidings, and latest single I Will Never Marry, a traditional tale of lost love, handed down from woman to woman over the centuries.

Among the dates will be The Crescent, York, on September 10. Tour tickets are on sale at themagpiesmusic.com.

Matt Bowden at his Natural Landscape Of Yorkshire exhibition at City Screen, York

York exhibition of the week: Matt Bowden’s The Natural Landscape Of Yorkshire, City Screen, York, until September 11

FILM and television location manager and photographer Matt Bowden’s exhibition has re-opened at City Screen, York, after its Covid-enforced premature closure during lockdown.

“Growing up in North Yorkshire, with such natural beauty on my doorstep, meant it was almost inevitable I would develop an appreciation and interest in wildlife from an early age,” says Matt. “My grandfather Eric was a keen bird-watcher, often taking me to local nature reserves for days out, binoculars around our necks.  

“But the desire to capture images of wildlife came to me relatively late in life, as my growing interest in photography through my job collided with the joy and fascination I found in the natural world that surrounded me.”

Double act resumes: Dominic Goodwin as Dr Watson, left, and Julian Finnegan as Sherlock Holmes in Pyramis and Thisbe Productions’ revival of Holmes And Watson: The Farewell Tour

When is The Farewell Tour not the farewell tour? When Pyramus and Thisbe Productions revive Holmes and Watson next month

DOMINIC Goodwin thought he had called time on Stuart Fortey’s Holmes And Watson: The Farewell Tour in 2017, but now his double act with Julian Finnegan will have its miraculous Lazarus reawakening, on tour for 18 dates from September 3 to October 9.

Goodwin once more will play Dr Watson opposite Finnegan’s Sherlock Holmes in Kirkbymoorside company Pyramus and Thisbe Productions’ re-enactment of The Case of The Prime Minister, The Floozie and The Lummock Rock Lighthouse, an affair on whose outcome the security of Europe once hung by a thread.

For full details of a tour with 11 North and East Yorkshire performances, go to: pyramusandthisbeproductions.com

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REVIEW: Eurydice, Serena Manteghi & Phil Grainger, Theatre At The Mill, 7/8/2021

WRITER Alexander Wright and composer Phil Grainger presented Eurydice last summer, first as part of At The Mill’s six nights of six works, then at York Theatre Royal’s Pop-Up On The Patio festival.

The sister piece to Wright and Grainger’s Orpheus had, however, been shaped on overseas duty by Serena Manteghi and Casey Jay Andrews to award-winning success at the Adelaide Fringe in 2019, and it was actor-singer Serena who headed to Stillington last week to reacquaint herself with Eurydice…and a live audience.

For her first stage appearance in a year, she was joined by pantalooned Phil, on electric guitar, occasional humorous interjections and vocals, under the shelter of At The Mill’s bar after the forecast of a deluge forced a late switch of location from the Mill’s open-air theatre.

The rain subsequently did play its part, but only for second-half cameo that complemented rather than ruined the top billing.

“It feels weird calling it a performance. It’s just us chatting,” said Serena, but she was underselling the performance’s combination of formality and informality, and the skills required to deliver its graceful ebb and flow, both in word and song in heightened moments.

In Serena’s hand throughout was a book, Alex’s book, containing both his Orpheus and Eurydice stories. Alex had performed that way too, not because he couldn’t be bothered with learning the lines, but because he loves the feel of the book in which he wrote those lines.

Serena broke off to explain the roots of her following the same performative practice – “a tradition,” she called it – and the book then became more of a comfort blanket, there for her to check a line in case she dried.

Eurydice is a spoken-word show, but one that is theatrical too, given how Serena moved around the café bar and interacted with Phil and his sympathetic, symbiotic guitar, especially when duetting instinctively on songs, whether Phil’s own compositions to Alex’s lyrics or interpretations of apposite Kate Bush and Cyndi Lauper numbers.

Wright’s story is billed as a “tale about being a daily superhero and the need to let go of the stories we think define us”, prompted by his realisation that while Orpheus’s underworld story is familiar, we never hear Eurydice’s account, not even one word from her. History, even in myths, puts the ‘his’ into history, rather than telling her story.

Wright rights that wrong, creating Eurydice as her “untold story imagined and reimagined for the modern-day and told from her perspective”. All the more so last Saturday and Sunday, now that Serena was saying those words, while Alex restricted himself to electronica and sound duties to the side of the bar.

At the outset, Eurydice becomes Leni, five years old on the first day of the rest of her life in a one-parent household, when she wants to wear her superhero costume to school. Attentive listening is then required to follow the story’s path because Wright eschews reportage in favour of storytelling language more poetic, more affecting, more rhythmic, more heart-felt, in part torn from his own torrid back-story.

The story may be ancient, but Wright’s interpretation feeds into the modern world in its detail, although it also remains timeless, such is the universality of its themes of love, cheating, flash-flood romance and finally breaking free. “Hold me in a moment made of everything,” is an image we all want to hold, because we know it can only be impermanent.

In Manteghi’s performance, with Grainger a responsive musical radar to her side, Eurydice’s tale of love and loss, a bee tattoo and a bee sting became even more moving, still cathartic for Wright, but now truly Eurydice’s story, told her way.