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Ain’t nothing like their dames? Now Robin Simpson and Paul Hawkyard team up as lovably hateful stepsisters in Cinderella

All revved up to read the riot act: Robin Simpson’s Manky, left, and Paul Hawkyard’s Mardy know how to make an entrance in Cinderella at York Theatre Royal

DIRECTOR Juliet Forster first noted Robin Simpson and Paul Hawkyard’s stage chemistry when they played two of the Rude Mechanicals in her Shakespeare’s Rose Theatre production of A Midsummer Night’s Dream in York in July 2018.

Now York Theatre Royal’s creative director has cast them us unruly stepsisters Manky and Mardy in Cinderella.

Both have dame roles in their panto locker, Robin last year donning the frocks for the Theatre Royal’s Travelling Pantomime, having appeared in the Lawrence Batley Theatre panto in Huddersfield in the past few years.

“I was never under contract though; it was always just a case of them giving me a call early in the year, so it was a very free and easy arrangement,” he says.

Last Christmas, the Huddersfield panto was cancelled, and so Robin was able to continue an association with York Theatre Royal that began with The Little Mermaid in 2005 by appearing in Juliet and Evolution Productions’ writer-producer Paul Hendy’s first collaboration, the Travelling Pantomime. 

Robin Simpson in York Theatre Royal’s Travelling Pantomime last winter

“It was a lovely script and such a lovely show to do, when we were all so happy to be in that situation of being able to perform when so many places were in Tier 3, but there we were in Tier 2, taking every day as a blessing, testing every other day, but still worrying that it would be shut down or that someone would test positive,” he says.

“We were always living on a knife edge, but we got through most of the run and we had such a blast because people were delighted they could see a show again and were so happy to see their children enjoying themselves.”

Lawrence Batley Theatre’s creative team changed with a new chief exec coming in; likewise, York Theatre Royal was looking to move on from Berwick Kaler’s 40-year damehood.  

“Both theatres were starting afresh, and with me facing a choice, I thought it would be a good time for me to move on, as they could start with a clean slate at Huddersfield, and performing in York always feels like coming home,” says Robin, who lives in Slaithwaite, near Huddersfield.

“York Theare Royal is such a wonderful theatre and I’ve done so many shows on that stage. I think York is the city I’ve worked in the most, playing at the National Railway Museum and Shakespeare’s Rose Theatre as well.”

Paul Hawkyard, standing somewhat taller and wider than Robin at 6ft 2, was born and raised in Leeds, and, as chance would have had it, he had just moved back to Yorkshire after many years of living down south when the opportunity to appear alongside him in Cinderella came about.

Paul Hawkyard as Bottom in Juliet Forster’s production of A Midsummer Night’s Dream for Shakespeare’s Rose Theatre in York in 2019

“We’d loved being in the Scottish play [Macbeth] and A Midsummer Night’s Dream together in 2018,” he recalls. “Robin played the Wall in ‘the Wall Play’, I played Bottom, and we’d bring the show to a stop on numerous occasions, getting told to stop doing that!

“We were neighbours in the dressing room and got on so well, putting the world to rights, waiting for our cues, scrambling to the stage, so it’s lovely to be doing this show together.”

Actor and wildlife artist Paul has shed four stones since first playing Bottom. “I got diabetes and I packed in everything after that. I started the Blenheim Palace production in 2019 at one size and ended it at another. I don’t think the costume lady was very pleased!” he says of his fitness regime. “I started doing boxing workouts again and I’m no longer in the diabetic range.”

Paul subsequently left behind Bordon, Hampshire, for a new beginning in Selby. “Covid kicked in hard, and that was a big factor in deciding to return north. It meant I could come back because a lot of auditions are done on Zoom now, so you’re in a position where you don’t have to live in or near to London,” he says.

“I had a look around a lot of areas in Yorkshire and settled on Selby. I’d only been there once before, but I just wanted to be somewhere near York, as I love the place, and Selby is just down the road. I saw the house and that was it!”

Weight loss, house move, and now Paul has become engaged too, to Nicola Filshie. “I decided to marry the girl I’ve known for 26 years, who lives in Glasgow, so I spend a time a lot of time going up there. We’ve worked together a few times, and now we’ll be marrying next October,” he says.

Double trouble act: Robin Simpson and Paul Hawkyard’s comic tour de force as things turn ugly for Cinderella’s stepsisters at York Theatre Royal

Paul contacted Juliet Forster before making the move to Selby. “I said I was moving to Yorkshire and it would be lovely to see her, asking her to keep me in mind if anything came up.” 

Lo and behold, up came the Ugly Stepsister partnership with Simpson in Cinderella. “We are very different,” says Paul. “He’s quietly brilliant and I’m very loud!” 

Making his professional debut in pantomime, he first played Simple Simon in a Pantoni Productions show in his early 20s and has since appeared as Buttons, assorted dames and even the villainous Abanazar out in Dubai.

By comparison, Robin has always played dame. “Maybe a lot of dames see themselves as appealing to the adults, with the comedian turn for the children, but I’ve never thought of it like that. You have to appeal to everyone. I don’t want to alienate children,” he says.

Somehow, this even applies when playing the outwardly unappealing, antagonistic stepsisters Manky and Mardy. Robin and Paul may enter each time to ever more raucous jeering, but they are lovably absurd, boastful villains, mean but funny. “Aren’t we brilliant?” they jest. They are, as it happens!

COVID UPDATE 23/12/2021

NO performances of Cinderella from December 23 for a week after a Covid outbreak among cast members. Provisionally, the production will resume on December 30, with two extra performances being added to the run that ends on January 2. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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How Hayley Del Harrison brought the dance to CBeebies’ Christmas show and York Theatre Royal’s pantomime, Cinderella

Cinderella choreographer Hayley Del Harrison, front, with the York Theatre Royal pantomime ensemble: middle row, dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row, Christian Mortimer, Amy Hammond and Luke Lucas

YORK freelance choreographer and movement director Hayley Del Harrison’s creativity can be seen at the double this festive season.

Not only has she choreographed York Theatre Royal and Evolution Productions’ effervescent pantomime Cinderella, up and running until January 2, but also CBeebies Presents: The Night Before Christmas.

Already this CBeebies Christmas show has made its cinema debut on November 28, and the TV launch on the Beeb will come rather sooner than the night before Christmas: Saturday, December 11 to be precise.

This is her second CBeebies project of the year, having worked with York Theatre Royal creative director (and Cinderella director) Juliet Forster on CBeebies Presents: Romeo And Juliet, filmed at Leeds Playhouse.

More on the Theatre Royal pantomime later, but first, Hayley, 50, recalls working on the CBeebies Christmas show from late-September through to October 10 in Plymouth, working under pandemic constraints that meant the company had to be put up in a hotel in social bubbles.

“We had the whole of the Plymouth Theatre Royal building to ourselves and the TR2 rehearsal room too,” she says.

“No-one else was allowed into the space because we knew the risk was too great. We had only that short window to rehearse it, a short window to film it, and that’s why we were so strict.

“We did it all in two weeks; the first week in the rehearsal space, and then in the second week we moved into the theatre, we teched it, and did two shows to invited audiences of schoolchildren and one without one for the couple of days of filming.”

York choreographer and movement director Hayley Del Harrison

Hayley worked with director Chris Jarvis, a “CBeebies legend” with a theatre background, who had played Lord Montague in Forster’s CBeebies Presents: Romeo And Juliet and has 25 years’ experience of directing, producing, writing and performing in pantomimes. This winter he is playing the dame, Betty Bonbon, in Beauty And The Beast at Poole’s Lighthouse, in Dorset.

Again the creative process was influenced by Covid strictures. “I got the songs [by Banks and Wag] and script in advance, and with everyone being so far away, we had the readthrough online, chats online with Chris Banks and a long Zoom meeting with Chris Jarvis about where my input would be, and I remember at one point jumping to my feet and saying, ‘I’m thinking of doing this’!” says Hayley.

“As the show is for young children, a lot of the choreography is designed so that they can copy it. It’s big on storytelling and simple to replicate because, once the show is on BBC iPlayer, they can watch it over and over again. These CBeebies shows are big on participation.”

Hayley worked with a CBeebies cast of 16. “I’d worked with eight of them before on Romeo And Juliet. It’s different from a theatre pantomime because it’s not like you have an ensemble,” she says.

“Everyone has their role, their unique selling point and their chance to shine, but they’re also brilliant at what they do whether as presenters or actors.  it’s been nice to get to know them over the two projects, getting an understanding of how they work and then wrapping the show around their characters to present Clement Clarke Moore’s beautiful poem.

“You’re working with characters who are much loved, so, for example, the character playing the villain has to be silly, rather than frightening, because it’s a show for two to six year olds. It means you have to be very careful; everything is more gentle but really funny.”

Looking back on her two CBeebies’ shows in 2021, Hayley says: “I feel I’ve built up a really good relationship and would love to do more of this work. Fingers crossed. 

“It already feels like being part of a family, similar to working at the Theatre Royal. When it feels right, it feels really collaborative and there’s a mutual understanding. I know how they work and they know how I work.”

CBeebies’ Andy Day (Dandini) with the ensemble in a song-and-dance routine from York Theatre Royal’s Cinderella, choreographed by Hayley Del Harrison

York-born Hayley’s focus then switched to Cinderella, working once more for York Theatre Royal after last year’s Travelling Pantomime (directed by Forster) and such previous productions as The Storm Whale and A View From The Bridge in 2019, For The Fallen in 2018 and In Fog And Falling Snow at the National Railway Museum in 2015.

She received Paul Hendy’s script in October, when most of the music was signed off by musical supervisor James Harrison by the end of that month. “For this kind of show, the more information I have up front, the better I do my job,” says Hayley.

“I can start getting my head around it, though I do like creating in the room too. I’m up for being flexible, but I like to have a clear vision, and that’s what’s great about working with Juliet.

“Yes, she likes being creative in the rehearsal room but her vision is always clear, and because it’s clear, it gives me freedom. I understand where she’s coming from, and she trusts me.”

For Cinderella, Hayley has worked with the seven principals, a six-strong ensemble and two aerial artists, Connor and Tiffany of Duo Fusion, who take part in some of the dancing too.

“We did the auditions for the ensemble just before I went off to Plymouth, and I’ve been delighted to find such versatile performers,” she says.

“They have to do three separate dance styles: lyrical pieces; fun, comedic, highly technical jazz and tap, and work with the text.

“ I wanted everyone to bring something different to the table to ensure there were different characters within the ensemble, and we’re really happy with them. It’s not, ‘here come the dancers’; they’re very much part of the story.”

Cinderella runs at York Theatre Royal until January 2 2022. Box office: 01904 623568 or at yorktheatreroyal.co.uk. CBeebies Presents: The Night Before Christmas premieres on December 11 and will then be available on BBC iPlayer.

CBeebies Presents: The Night Before Christmas, choreographed by Hayley Del Harrison. Picture copyright : BBC
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Theatre Royal’s fun-filled panto ensemble makes a song and dance of Cinderella

CBeebies’ Andy Day (Dandini), left, and the ensemble’s Christian Mortimer, Ella Guest, Luke Lucas, Amy Hammond and Thomas Yeomans in a song-and-dance routine in York Theatre Royal’s pantomime, Cinderella

YORK Theatre Royal pantomime choreographer Hayley Del Harrison was determined to employ dancers from the north when casting for Cinderella.

She succeeded in her aim: five of the six-strong team of dancers are from Yorkshire, two of them from York.

“There’s a lot of talk about supporting regional artists in theatres across the country but it’s rarely implemented,” says York-born Hayley, who danced professionally in the West End and Europe as well as teaching dance and choreographing for 30 years.

“There was no way we were going to do a London audition before we put out a casting call in Yorkshire. Dancers from the north spend a fortune travelling to London for auditions, ironically and far too often, for jobs in the north.

Cinderella choreographer Hayley Del Harrison, front, with the York Theatre Royal pantomime ensemble: middle row, dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row, Christian Mortimer, Amy Hammond and Luke Lucas

“As it happened, we didn’t even need to do a London audition because we found exactly what we were looking for on home grown soil. And they’re absolutely fantastic.”

Hayley trained at the Northern Ballet School in Manchester,  where two of the ensemble, Tom Yeomans, from York, and Lauren Richardson, from Helmsley, also trained. Cinderella marks the professional debut of both performers.

Tom appeared in youth roles with amateur companies York Light Opera Company and York Stage  while taking lessons at the Patricia Veale School of Dancing, in Holgate.

At Northern Ballet School, he studied all forms of dance, not only ballet and although he wants a career in musical theatre, he was thankful for such a broad training “because I got such a strong classical technique, which means we’re versatile in everything we do”.

Faye Campbell (Cinderella) and Max Fulham (Buttons) in rehearsal with Thomas Yeomans, back left, Amy Hammond and Luke Lucas

“I’m loving doing pantomime,” says Tom. “It’s such a fun thing and good experience – and I get to stay at home with my family at Christmas too.”

Lauren is relishing the opportunity too, having graduated in July. “I’m fed up with Zoom and dancing in my own bedroom. That’s not the best but we had to do it,” she says.

As a youngster, she danced in pantomimes as an amateur. Cinderella marks her first professional contract. “I used to watch pantomime when I was a little girl and think, ‘I’d like to be one of those dancers’. My passion just grew and grew,” she said.

“I’m more musical theatre than ballet but I wouldn’t be the dancer I am without learning ballet technique. Ballet is amazing but I prefer the more glitzy, showbiz sort of dance.”

Front row: Dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row: Christian Mortimer, left, Amy Hammond and Luke Lucas

Another making her professional bow is the second debutant from York, Ella Guest. She began dancing as a child, going on to study performing arts at CAPA College, Wakefield, and Bird College Conservatoire of Dance and Musical Theatre, London.

“I started when I was young and absolutely loved dancing and singing and acting,” she says. “Acting gives you a chance to express yourself and have fun,” she says.

Ella has seen pantomimes at both York Theatre Royal and the Grand Opera House, and she has even appeared in one: Cinderella at York Barbican a decade ago.

“It’s such a change of lifestyle after graduating, and Cinderella at the Theatre Royal fitted perfectly,” she says. “It’s really nice to have a job and to be at home to spend time with my family.”

Luke Lucas in the rehearsal room at the De Grey Rooms

Making her professional debut is Hull-born Amy Hammond, who grew up in Driffield. She graduated this year from SLP College, in Leeds, where her credits during training included the role of Nikki Wade in the Bad Girls musical and ensemble work in Thoroughly Modern Millie and Don’t Stop Me Now. She was also in dance shows featuring routines from big musicals such as Cats, 42nd Street and Fosse.

“My goal is to go into West End musicals, touring shows and things like that,” says Amy. “I’ve been dancing since I was very young and just love performing. “I saw pantos when I was younger and it’s really nice to see pantos move with the times, keeping up to date and adding modern touches as well as the more traditional things.”

Christian Mortimer is back in the city where he studied singing, acting and dancing for four years at York College – and back living at home with his parents in Harrogate.

Although he has been “singing all my life”, he does not know where the performing bug came from. “As I went into the sixth form, I didn’t really know what I wanted to do,” he says. “I was doing science, sport and music for A-levels. Then I came across a musical theatre course at York College. I saw shows like Les Miserables and Billy Elliot and thought, ‘I’d love to do that’. It seemed more thrilling than going into the music industry.”

Luke Lucas, left, Christian Mortimer and Thomas Yeomans reach for the sky during rehearsals for Cinderella

His first professional job was in the musical Chitty Chitty Bang Bang on the Isle of Man, while his further theatre credits include playing Issachar in Joseph and the Amazing Technicolor Dreamcoat.

The sixth – and only non-Yorkshire – member of the ensemble, Luke Lucas, trained at Liverpool Theatre School in his home city. York Theatre Royal is not his first panto as his credits include the ensemble for Cinderella at Norwich Theatre Royal.

“I love panto and used to go to see it with my family. It was something to look forward to all year. I have four older brothers so you can imagine trips to the panto with five boys and my poor mother,” he says.

“I come from a family of movie fanatics and wanted to be an actor until I fell in love with dance. Since graduating, Luke has worked as a professional dancer, including the European tour of The Andrew Lloyd Webber Gala, and on cruise ships in the Mediterranean and Caribbean., as well as playing Abram in Romeo & Juliet and Fairy in A Midsummer Night’s Dream at Liverpool Epstein Theatre.

Benjamin Lafayette’s Prince Charming with the ensemble in a scene from York Theatre Royal’s Cinderella

Choreographer Hayley spent loads of time with the dancers at the Cinderella auditions. “We ran quite a comprehensive casting process, exploring their skills by throwing an array of dance styles into the day, as well as their vocal abilities, acting experience, how they work with a script, how they interact as a group and their individual personalities,” she says.

“Auditions for dancers are often rushed and somewhat impersonal but it’s worth putting in the time to get the best out of people. We were absolutely spoilt for choice with so much talent in the room. They are really strong, playful performers, with a youthful energy and a fantastic work ethic.

“Plus they have funny bones, which is a joy and just up my street as I really don’t like to see a dance ensemble used as attractive decorations on the stage. They are an integral part of the show, establishing their characters, furthering the plot and intensifying the mood and style of the show.”

Cinderella runs at York Theatre Royal until January 2 2022. Box office 01904 623568 or at yorktheatreroyal.co.uk.

By Steve Pratt

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REVIEW: Charles Hutchinson’s verdict on Cinderella at York Theatre Royal ****

Rev-olution: Robin Simpson and Paul Hawkyard’s ugly, brash, “aren’t-we-brilliant” sisters, Manky and Mardy, herald the new dawn for pantomime at York Theatre Royal. Oh, and yes, they are brilliant!

Cinderella, York Theatre Royal/Evolution Productions, runs at York Theatre Royal until January 2 2022. Box office: 01904 623568 or at yorktheatreroyal.co.uk

THIS is a new age for the York Theatre Royal pantomime, both an Evolution and a revolution, and the earlier start and finish to the shorter production run is only part of the story.

On Tom Bird’s watch as chief executive, the Theatre Royal has decided to look to the future with a new pantomime broom ushered in by (kitchen maid) Cinderella after last year’s Covid-enforced detour into a Travelling Pantomime around the city wards.

Enough has been said of the toxic finale to Dame Berwick Kaler’s unique, unrepeatable era. Let’s focus, instead, on what’s rosy in the new panto garden, cultivated by the award-laden Evolution Productions’ partnership with the Theatre Royal.

Faye Campbell’s Cinderella and the ensemble in Cinderella

The seeds were sown with last winter’s witty, snappy, pretty, compact Travelling Pantomime, written by Evolution’s astute director, Paul Hendy, directed by Theatre Royal creative director Juliet Forster and choreographed with bags of character by Hayley Del Harrison.

This team re-assembles for Cinderella, bringing along two of last winter’s panto players, Faye Campbell, for the title role, and Robin Simpson, who switches from dame to a rumbustious double act with big, boisterous Paul Hawkyard as scary-bikers Ugly Sisters Manky and Mardy. The beards may have gone since the press launch day, but they are still unmistakably two blokes in shock-frocks.

Forster knew they had chemistry from playing two of the Rude Mechanicals – Hawkyard was Bottom, by the way – in Shakespeare’s Rose Theatre’s riotous comedy A Midsummer Night’s Dream in York. Now they form a rouge-and-ready, rowdy partnership, each as funny as the other, with fabulously over-the-top couture, and their Strictly Come Dancing send-up of clunky, hair-in-their-eyes hosts Tess and Claudia is a scream.

Max Fulham’s Buttons with his very cheeky monkey, Gordon

Campbell, meanwhile, looks even more at home on the big stage than she did in the community halls and sports centres last December, with her radiant smile, family audience appeal, sassiness, dance moves and soulful voice for Cinderella.

Appealing to families has been put at the forefront of the Theatre Royal’s panto mission, and while that might seem obvious, given pantomime’s traditional audience, it does need bolstering to build a new following. Producer Hendy and director Forster have dipped into commercial panto’s usual resources, but not in a cloying way.

Ever-so-amiable Andy Day, from CBeebies, is a canny pick for Dandini, often a straight-bat role, but here full of fizz, playful humour and natural rapport. Likewise, ventriloquist Max Fulham arrives in York with a 2020 Great British Pantomime Award in his pocket for Best Speciality Act and a very cheeky monkey called Gordon on his arm, who says everything that Fulham is thinking but wouldn’t get away with uttering.

A shoe? Bless you. CBeebies’ Andy Day, centre, with Benjamin Lafayette’s Prince Charming and Max Fulham’s Buttons

Fulham, as fresh faced and dimple cheeked as Michael McIntyre, is a music-hall classicist yet inventive in his ventriloquism partners (not only Gordon, but a fly and a pedal bin too), and he is both quick thinking and dexterous, juggling four skills at once at one point. His Buttons shines from start to finish; a big future lies ahead of him.

Benjamin Lafayette has just made his professional bow after Mountview Academy as Othello at the Mill Theatre, Dublin. From such a heavyweight tragedy, he switches with handsome grace and charm to Prince Charming, a very contrasting role but one he plays with a lovely lightness of touch, matched by his singing.

Sarah Leatherbarrow’s forever-enthusiastic Fairy Godmother gleefully overcomes the impediment of her left leg being in a protective boot, with her rapper’s delight in her rhyming couplets, to complete a strong principal cast, highly individual yet good team players too.

Hop to it: Sarah Leatherbarrow’s Fairy Godmother, defying her protective boot

Hendy and Forster introduce a second speciality act, the Duo Fusion aerialists, to accompany Campbell and Lafayette’s romantic ballad to breathtaking effect; the climactic first-half transformation scene is spectacular, and only the opening and closing screen presence of an animal-loving, BBC Radio 2 presenter from Liverpool feels like an unnecessary concession to glitzy modern pantoland. The novel variation on the time-honoured ghost scene is far more rewarding.

Even with a running time of two hours 35 minutes (including the interval), there is not a wasted moment in Hendy’s script, with its combination of puns, social comment, romance, slapstick, knowing nods to panto tropes, crisp storytelling and sheer love of making you laugh. 

Forster’s direction enhances all these winning ingredients, full of pace, energy, visual delight and verbal dexterity, while Harrison’s choreography bursts with life, fun and even funkiness in a series of familiar pop songs, with the ensemble playing their part to the full.

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolution Productions’ producer, director and writer Paul Hendy

Musical director Stephen ‘Stretch’ Price enjoys plenty of interplay with the cast, while guitarist Luke Gaul has his moment in the solo spotlight. Helga Wood’s costumes are at their best for the Ugly Sisters, except for the wobbly hats; Phil Daniels and Michelle Marden’s set designs are solidly reliable, rather than full of inventive originality or beauty, but that is mere background detail. 

Typified by the glorious chaos of Fulham, Simpson and Hawkyard’s Disney-picture slapstick routine,  everyone is having a ball in Cinderella, setting a high benchmark for 21st century pantomime at its best.

In another break with last-night tradition, we even know the name of next year’s Theatre Royal & Evolution panto collaboration already: Peter Pan. That one will surely fly too.

Review by Charles Hutchinson

Romantic pursuit: Benjamin Lafayette’s Prince Charming, accompanied by the York Theatre Royal pantomime ensemble
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Where do you stand on Adele’s No Shuffle dictum in the age of constant change?

Adele’s album sleeve for 30

TWO Big Egos In A Small Car culture podcasters Chalmers & Hutch have their say in Episode 67.

Also under discussion are Blood Youth, heavy metal and heady beer; James & Happy Mondays’ Manchester night in Leeds; Harrogate Theatre’s sublime pantomime, Cinderella; Mick Jagger’s dedication to the blues and House Of Gucci’s style versus content.

To listen, head to: https://www.buzzsprout.com/1187561/9652018

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York Theatre Royal and Evolution panto team raring to go with dynamic Cinderella

York Theatre Royal’s pantomime cast and ensemble arrive for the first day of rehearsals for Cinderella

AFTER last winter’s resourceful response to Covid restrictions with the Travelling Pantomime, York Theatre Royal’s panto returns to the main house for Cinderella from tomorrow (3/12/2021).

This will be the second co-production with the award-garlanded Evolution Productions, whose director and producer, Paul Hendy, has again written the script for Juliet Forster’s cast.

In the company will be CBeebies’ Andy Day (Dandini); Faye Campell (Cinderella) and Robin Simpson (Sister) from the Travelling Pantomime cast; Paul Hawkyard (the other ugly Sister); comedian and ventriloquist Max Fulham (Buttons); Benjamin Lafayette (Prince Charming) and Sarah Leatherbarrow (Fairy Godmother).

“We’ve been looking forward to this moment for a long time now,” says creative director Juliet Forster. “It feels very emotional to be working with a full cast, rehearsing back in the De Grey Rooms.

“We had a great time taking the Travelling Pantomime around the city last Christmas, but, oh my word, it’s just lovely to be back inside the theatre and to give a massive Theatre Royal welcome to Evolution.”

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolutions Productions’ Paul Hendy

After the exit of the gang of five, Berwick Kaler, David Leonard, Suzy Cooper, Martin Barrass and A J Powell, to the Grand Opera House, Forster’s pantomime cast has more of a diverse look, typical of her work. “I’ve almost always been able to do that with my casting because, in a lot of ways, I like to reflect the world we live in.

“For me, it’s more dynamic that way, and it was a policy with me before it became an Arts Council thing.”

Juliet believes the new Theatre Royal pantomime will appeal to a family audience and be marked by warmth. “That warmth will come from the performers, Paul’s script and from myself directing it,” she says.

“That’s not something you can manufacture. You have to feel it and encourage it, and the number one thing I learned from doing the Travelling Pantomime was the need to work with a cast that’s really funny and warm. When you get that mixture, you have a wonderful bond with the audience.”

Juliet adds: “I learned a lot from last year’s show being my first panto. Even though I’d done a lot of children’s shows, comedies and farces, pantomime is very much its own form, and I acquired a lot of respect for Paul’s panto-writing skills.

Andy Day: From CBeebies to Cinderella . Picture: Ant Robling

“The other thing I learned, and another big reason for wanting to do it again, was Hayley Del Harrison’s choreography, which was so playful and individual. I loved how she worked with each cast member really individually to bring out their character in their dancing.

“Hayley is back this year, and we’re doing more of that way of working – and we have the ensemble back too. Again, it was a big learning curve for me that dance can not only be beautiful and spectacular in panto but playful and fun too, and that’s something Hayley really brings out.”

Writer-producer Paul Hendy is delighted by the casting too. “It’s not by accident,” he says. “It’s done with this in mind: more than anything we want to appeal to a family audience. That’s my driving force.

“The cast must have that appeal; they must be talented, and they have to have that youthful energy to make the audience go, ‘wow, this is a great show, a different show from the norm’, mixing those qualities with spectacle and comedy. They’re all the ingredients that make a good panto.”

Paul acknowledges the “big reputation” of York Theatre Royal’s pantomime built up over Berwick Kaler’s four-decade damehood. “It’s very significant. Berwick helped to really establish York as a pantomime city, and we will carry that on but with a different flavour. I have every confidence in what we do, and we think people will say, ‘oh yes, we love this show too’,” he says.

York Theatre Royal’s pantomime cast members at the September launch day for Cinderella. Picture: Ant Robling

“There is definitely room for two large-scale pantomimes in this city. People will come and see this show for what it is, done with a lot of love and care, done in a bespoke way for York audiences. If people want high quality, they will enjoy this show.”

After the positive response to the Travelling Pantomime, audiences can expect more of the same, but more of it!  “I was so pleased and proud to be associated with last year’s show. Cinderella will be in that style but on a much bigger scale, with that humour, that spirit, that connectivity with the audience.

“It’s also ‘meta-theatre’ with a knowing awareness to it: it’s that thing of everyone knowing it’s not just Andy Day playing Dandini, but it’s Andy Day from CBeebies playing Dandini. It works better when everyone knows it.”

The last word goes to Juliet, who says: “It feels right to start the new era at the Theatre Royal with Evolution with Cinderella, the best known of all pantomimes, but also a pantomime without a dame, to give the transition time, not wanting someone to have to step into Berwick’s shoes straightaway, out of respect for him, but with a gradual progression to the future in mind.”

Cinderella runs at York Theatre Royal from tomorrow (3/12/2021) to January 2. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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More Things To Do in York and beyond as Dickens tales, dames and Damon drop in. List No. 59, courtesy of The Press, York

What the Dickens? Yes, James Swanton is reviving his Ghost Stories For Christmas at York Medical Society

FROM boyish Boris to Dame Edna, Christmas concerts to panto dames, Dickensian ghost stories to solo Damon, Charles Hutchinson has highlights aplenty to recommend.   

Dickensian Christmas in York: James Swanton’s Ghost Stories For Christmas, York Medical Society, on various dates between December 2 and 13, 7pm

AFTER the silent nights of last December, York gothic actor supreme James Swanton is gleefully reviving his Ghost Stories For Christmas performances of Charles Dickens’s A Christmas Carol, The Haunted Man and The Chimes.

“I’ve scheduled extra performances of A Christmas Carol: the perfect cheering antidote, I feel, to the misery we’ve all been through,” says Swanton. “But the two lesser-known stories are also very relevant to our times.”

A reduced capacity is operating for Covid safety, meaning that tickets are at a premium on 01904 623568 or at yorktheatreroyal.co.uk.

Political debate of the week: Boris: World King, Theatre@41, Monkgate, York, tonight, 7.30pm

THE year is 1985 and Alexander Boris de Pfeffel Johnson has plenty going for him, being young, posh and really rather blond. However, his efforts to become President of the Oxford Union debating society have been thwarted.

Never fear. Boris always has a cunning plan up his sleeve. Cue time travel, classical allusions and good clean banter in Boris: World King, Tom Crawshaw’s comedic exploration of a young man’s ambition and humanity explored as a half-hour one-man show, performed by Benedict Turvill. Box office: tickets.41monkgate.co.uk.

Richard Kay: Co-directing York Philharmonic Male Voice Choir’s Christmas concerts

Harmony at Christmas: York Philharmonic Male Voice Choir and the Citadel Singers, Christmas Traditions 2021, The Citadel, Gillygate, York, Tuesday to Friday, doors 7pm

AFTER delivering an online Christmas concert via Zoom to an international audience in 2020, York Philharmonic Male Voice Choir return to live concerts for Christmas Traditions 2021.

The Citadel allows room for cabaret seating downstairs and balcony seating that can ensure safe distancing is maintained, while the show retains its format of carols old and new, Christmas songs, festive readings and sketches. Box office: arkevent.co.uk/christmastraditions2021.

The poster for Damon Albarn’s night at the double at York Minster

York gig(s) of the week: Damon Albarn, York Minster, Thursday, 6.30pm and 8.30pm

DAMON Albarn quickly added a second special intimate album-launch show at York Minster after the first was fully booked in a flash.

The Blur, Gorillaz and The Good, The Bad & The Queen leader now plays two sold-out concerts in one night in his first ever York performances, marking the November 12 release of his solo studio recording The Nearer The Fountain, More Pure The Stream Flows.

Albarn, 53, has been on a “dark journey” making this album in lockdown, exploring themes of fragility, loss, emergence and rebirth.

Martyn Joseph: Lockdown reflections on landmark birthday on new album, showcased in concert at Pocklington Arts Centre concert

Gig of the week outside York: Martyn Joseph, Pocklington Arts Centre, Thursday, 8pm

“THE Welsh Springsteen”, singer-songwriter Martyn Joseph, will be showcasing his 23rd studio album, 1960, a “coming of age” record with a difference, in Pocklington.

Last year, amid the isolation of the pandemic, Penarth-born Joseph turned 60 on July 15, a landmark birthday, a time of self-reflection, that shaped his songs of despair and sadness, gratitude and wonder, and gave the album its title. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.

Alistair Griffin: Series of Big Christmas Concerts in York

Alistair Griffin’s Big Christmas Concert, St Michael-le-Belfrey, York, December 3 (sold out) and December 10, 8pm; Alistair Griffin’s Candlelit Christmas, Holy Trinity Church, Goodramgate, York, December 11, 8pm

ON December 3 and 10, a brass band greets revellers, then York singer-songwriter Alistair Griffin’s Big Christmas Concert takes a musical journey from acoustic traditional carols to Wizzard, Slade and The Pogues. “Sing along and sip mulled wine while enjoying the fairytale of old York,” says Griffin’s invitation.

On December 11, he switches from St Michael-le-Belfrey to a candle-lit Holy Trinity Church. “Take a seat, or in this case, a medieval pew and soak in the festive atmosphere,” he says. Cue mulled wine, Christmas tunes, acoustic festive numbers and a Christmas carol singalong. Box office: alistairgriffin.com.

York playwright Mike Kenny: New production of The Railway Children with his award-winning script at Hull Truck

On the right track show of the week outside York: The Railway Children, Hull Truck Theatre, running until January 2

YORK playwright Mike Kenny has revisited his award-winning adaptation of E Nesbit’s The Railway Children – first staged so memorably by York Theatre Royal at the National Railway Museum – for Hull Truck’s Christmas musical.

Directed by artistic director Mark Babych in the manner of his Oliver Twist and Peter Pan shows of Christmases past, original music and dance routines complement Kenny’s storytelling in this warm-hearted, uplifting tale of hope, friendship and family, set in Yorkshire. Box office: 01482 323638 or at hulltruck.co.uk.

Faye Campbell: Brushing up on playing Cinderella in York Theatre Royal’s pantomime, opening on Friday

Evolution, not revolution, in pantoland: Cinderella, York Theatre Royal, December 3 to January 2

YORK Theatre Royal’s post-Berwick era began last year with the Travelling Pantomime, establishing the partnership of Evolution Pantomimes’ man with the Midas touch, Paul Hendy, as writer and Theatre Royal creative director Juliet Forster as director.

After the 2020 road show, here comes the full-scale return to the main house for Cinderella, starring CBeebies’ Andy Day (Dandini), last winter’s stars Faye Campbell (Cinderella) and Robin Simpson (Sister), Paul Hawkyard (the other Sister), ventriloquist comedian Max Fulham (Buttons), Benjamin Lafayette (Prince Charming) and Sarah Leatherbarrow (Fairy Godmother). Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Unmasked: Barry Humphries tells all at the Grand Opera House, York next April

Hottest ticket launch of the week: Barry Humphries, The Man Behind The Mask, Grand Opera House, York, April 13 2022

AUSTRALIAN actor, comedian, satirist, artist, author and national treasure Barry Humphries will play only one Yorkshire show on his 2022 tour, here in York.

Set to turn 88 on February 17, he will take a revelatory trip through his colourful life and theatrical career in an intimate, confessional evening, seasoned with highly personal, sometimes startling and occasionally outrageous stories of alter egos Dame Edna Everage, Sir Les Patterson and Sandy Stone. Hurry, hurry, for tickets on 0844 871 7615 or at atgtickets.com/york.

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Who’s who in York Theatre Royal’s pantomime Cinderella? Meet the cast…

O, happy Day: CBeebies presenter Andy Day will play Dandini in York Theatre Royal’s Cinderella

CBEEBIES presenter Andy Day will be joined by Travelling Pantomime familiar faces Robin Simpson and Faye Campbell for York Theatre Royal’s homecoming pantomime, Cinderella.

Presented in tandem with perennial panto award winners Evolution Productions, creative director Juliet Forster’s production will run from December 3 to January 2: an earlier start, shorter run and much earlier last night than past main-house pantos.

Day, who will play Dandini, joined CBeebies in 2007, since when he has presented animal and nature programmes, whether tackling dinosaurs, investigating baby animals and going on safari.

Sister act: After his Dame Trott in the Travelling Pantomime, Robin Simpson will be back in York as one of the sourpuss Sisters

Nominated for a Children’s BAFTA award for best presenter in 2009, he has pantomime history, appearing in the CBeebies annual televised panto, as well as playing the Genie in Aladdin, Dandini in Cinderella, Muddles in Snow White and Billy Goose in Mother Goose.

Day is no stranger to director Forster, by the way, having been in the cast for her 50-minute CBeebies Presents: Romeo And Juliet, screened on April 2 and available subsequently on BBC iPlayer.

Day fronts his own live band, Andy And The Odd Socks, who once again will be launching Odd Socks Day for Anti-Bullying Week in schools up and down the country alongside the Anti-Bullying Alliance, a charity for whom Andy is a patron.

Look who’s back: Faye Campbell moves on from The Hero in York Theatre Royal’s Travelling Pantomime to the title role in Cinderella this winter

Faye Campbell will take the title role in Cinderella after playing The Hero in Jack And The Beanstalk and Dick Whittington in the Theatre Royal’s Travelling Pantomime in 16 York wardslast December.

Actor-storyteller Robin Simpson will be returning too, following up his Dame Trott last winter on the back of a three-year damehood at the Lawrence Batley Theatre, Huddersfield. For Cinderella, he will form an (Ugly) Sister double act with Paul Hawkyard.

Comedian and ventriloquist Max Fulham, set to shine as Buttons, has played leading comedy roles in pantomimes throughout the UK, being voted Best Speciality Act in the 2020 Great British Pantomime Awards for his Washee in Aladdin at Bromley’s Churchill Theatre. 

Award-winning ventriloquist Max Fulham: Making his York Theatre Royal debut as Buttons

Fulham has created his own comedy series, Drivel Pedlar, for his You Tube channel. Next summer, he will head to Australia to play Muddles in Snow White at the new Sydney Coliseum.

Forster’s cast for the first main-house Theatre Royal pantomime since the Dame Berwick Kaler reign will be completed by Benjamin Lafayette’sPrince Charming and Sarah Leatherbarrow’sFairy Godmother.

Written by Evolution producer Paul Hendy, the Theatre Royal’s Cinderella will relocate the timeless rags-to-riches story to York, as the stage “comes to sparkling life with magical transformations, glittering sets, stunning songs and side-splitting laughs”.

Sister double act: Paul Hawkyard as the other Sister, teaming up with Robin Simpson in Cinderella

Audiences should expect a ”brand-new pantomime for everyone with the promise of a truly epic spectacle and heaps of hilarity”, directed by Forster, who was at the helm of both the Travelling Pantomime’s tour of community venues and this summer’s Around The World The World In 80 Days, her circus-themed adaptation of Jules Verne’s novel that visited four York school playing fields in 16 days before a Theatre Royal finale last week.

Chief executive Tom Bird says: “We’re over the moon to be creating a spectacular new pantomime for the people of York – one that’s tailor-made for the whole family, while honouring the pantomime traditions that our audiences love so much.

“The phenomenal team will give the York Theatre Royal pantomime a new lease of life with a fresh, family friendly, fun-filled approach to the story of Cinderella, set with pride in our amazing city.”

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolution Productions producer and writer Paul Hendy

Evolution Productions, started by Emily Wood and Hendy in 2005, have built a reputation for superior, bespoke pantomimes with the emphasis on high-quality production values, strong casting and highly humorous scripts. Two-time winners of Pantomime of the Year at the Great British Pantomime Awards, they are the team behind Sheffield Theatres’ “extraordinarily successful” panto at the Lyceum Theatre.

Hendy says: “Emily and I are absolutely thrilled to be working with York Theatre Royal on Cinderella. We’re huge fans of the theatre and we’re looking forward to collaborating with Tom and his brilliant team to produce a wonderful, family-friendly pantomime with spectacular production values, a superbly talented cast and a genuinely funny script.”

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

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‘A year ago, I couldn’t have looked you in the eye and said, ‘this is going to be OK’,’ says York Theatre Royal chief exec Tom Bird

Tom Bird: Looking forward to tonight’s reopening of York Theatre Royal after 15 months like no other

YORK Theatre Royal will re-open tonight after 427 days, but chief executive Tom Bird feared this day might never have come.

Aside from two preview performances of December’s Travelling Pantomime tour, the main house stage has been in Covid-enforced hibernation since March 14’s performance of Alone In Berlin.

In the ensuing months, shorn of 89 per cent of its annual income being generated through selling tickets and associated revenue streams, the Theatre Royal had to cut its permanent staff by one third – seven voluntary redundancies and nine staff made redundant – after extensive consultations against a grim national picture where an estimated 40 per cent of theatre workers have lost jobs over the past 15 months.

Last September too, the Theatre Royal’s divorce was announced from the neighbouring De Grey Rooms, home to the theatre’s leased rehearsal rooms, workshops, offices and below-stairs costume department, as well as weddings, parties, award ceremonies and performances in the glorious ballroom.

Had Tom ever thought that the pandemic might be the final curtain for the Theatre Royal, England’s longest-running theatre outside London?  “Yes, as early as last May, I started wondering. I remember it well because the weather was gorgeous, but the outlook was bleak, though it was at that stage that Arts Council England were brilliant, in that they moved very quickly to provide £160 million Emergency Funding to theatres like us,” he recalls.

Josh Benson: The comic turn in York Theatre Royal’s upturn with The Travelling Pantomime last December

The Theatre Royal received £196,493 to help to cover costs in the fallow months from last July to September 30. “The ACE grant was about ‘What do you need right now not to collapse?’,” said Tom at the time.

“But when 89 per cent of your income revolves around ticket sales, you’re looking at that situation thinking, ‘that’s 89 per cent of our revenue gone, a turnover of £4.5 million; what business survives that?’.”

What’s more, Tom and the theatre faced the problem of running an old, if recently refurbished, building that is both huge and hard to heat, “so much so that it costs £475,000 a year just to keep it open, without staffing, to cover heating, lighting, water and safety,” he reveals.

“At that point, we didn’t know that Culture Recovery Funding would be made available by the Government, though there was a lot of noise, and we didn’t know if the pantomime [Cinderella, in the Theatre Royal’s first collaboration with Evolution Productions] could go ahead.

“What we did was to get brave at that point, making big decisions, giving up the lease of De Grey House and the De Grey Rooms, going back into our old offices in the gorgeous, ramshackle Tate Wilkinson House.

“Then there’s the decision you never want to have to make: having to lose staff, and that decision still haunts me. But in a way, the need to make savings was pretty black and white; it wasn’t a case of looking to be a bit more efficient. We had to take steps now, and last summer was pretty tough.”

The Pop Up On The Patio festival stage on the York Theatre Royal terracing last August

A Pop Up On The Patio festival season on the theatre terracing ran from August 14 to 29, a positive step in showcasing York and Yorkshire talent, but through the huge glass panes of the Theatre Royal could be seen the dormant foyer, box office and closed doorways to the main house and Studio: out of reach and shrouded in uncertainty.

Once the £1.57 billion Culture Recovery Fund was announced, the Theatre Royal was awarded £230,000 to assist the theatre until March 31, but the pandemic’s grip put paid to any chance of Cinderella going to the ball at the Theatre Royal.

“What picked us up was deciding to do the Travelling Pantomime that we took round York’s wards: it gave us something to focus on, not just thinking ‘is the Theatre Royal going to survive?’,” says Tom.

“It energised us all, and it was such a great show to do, but the truth is, a year ago, I couldn’t have looked you in the eye and said, ‘this is going to be OK’.

“We didn’t even know what was going to happen through that year ahead, but I have to say that the Yorkshire producing theatres have been brilliant. York, Hull [Hull Truck], Leeds [Playhouse], Scarborough [Stephen Joseph Theatre] and Sheffield [Sheffield Theatres] have got together each week on Zoom, which has been a really good case of peers supporting each other…

“…and we are where we are now, reopening to coincide with Step 3 of the roadmap. Love is in the air at the Theatre Royal!”

Clown time: James Lewis-Knight’s in rehearsal for Staying Connected, one of the Love Bites at York Theatre Royal tonight and tomorrow. Picture: Tom Arber

Tom is referring to The Love Season, already trailered in CharlesHutchPress [April 29 2021], that opens with Love Bites: two nights of two nights of letters from the heart tonight and tomorrow at 8pm that have both sold out.

The Love Season should have opened on St Valentine’s Day, February 14, but Lockdown 3 put yet another red line through diary plans. However, a second round of the Cultural Recovering Fund grants has put a £324,289 spring in the Theatre Royal’s step, coupled with the third stage of lockdown loosening from today.

Love Bites will turn the spotlight on the creativity of artists from in and around York, whether poets, performers, singers, dancers or digital artists, who have been commissioned to write love letters celebrating the return to live performances after the easing of the Government’s pandemic restrictions.

Introduced by Look North alumnus Harry Gration, Love Bites will explore the idea of love letters, dedicated to people, places, things, actions, occupations and more besides in five-minute specially commissioned bite-sized chunks.

The Love Season’s focus on human connection, the live experience and a sense of togetherness will embrace solo shows by stage and screen luminary Ralph Fiennes and Coronation Street star Julie Hesmondhalgh (The Greatest Play In The History Of The World…); a new Ben Brown political drama about writer Graham Greene and spy Kim Philby, A Splinter Of Ice, and Swedish playwright August Strindberg’s Miss Julie, transposed to 1940s’ Hong Kong by writer Amy Ng and director Dadiow Lin.

Ralph Fiennes in rehearsal for T S Eliot’s Four Quartets

The number one talking point is Ralph Fiennes’s Theatre Royal debut, in six performances from July 26 to 31, directing himself in the world-premiere tour of T S Eliot’s Four Quartets: a solo theatre adaptation of Burnt Norton, East Coker, The Dry Salvages and Little Giddings, a set of poems first published together in 1943 on the themes of time, nature and the elements, faith and spirituality, war and mortality.

Tom says: “Ralph is rehearsing in London, opening at the Theatre Royal, Bath, from May 25 and then touring. We’re so chuffed to have Ralph coming to York. We can’t believe it!

“We’re thrilled that Ralph’s show became a possibility for us, and it’s a huge credit to him to recognise the need to support theatre around the country at this time. Let’s say it, it’s rare for an actor of his profile and standing to do a regional tour, but he’s seen that he can help to save some incredibly important producing houses, like this one, by doing a tour – and it’s not an act of charity; it’s an important and really exciting piece of work.”

Performances in The Love Season will be presented to socially distanced audiences, adhering to the latest Government and industry Covid-19 guidelines to ensure the safety of staff and audiences with a reduced capacity of 344, but should Step 4 of the roadmap roll-out go ahead as planned on June 21, there is scope for more seats to go on sale for shows later in the season. Over to you, Mr Johnson and the Indian Variant fly in the ointment.

For full details of The Love Season, go to: yorktheatreroyal.co.uk. Tickets can be booked at yorktheatreroyal.co.uk; on 01904 623568, Monday to Saturday, 12 noon to 3pm, and in person, Thursday to Saturday, 12 noon to 3pm.

In the name of love: York Theatre Royal’s reopening season
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16 jobs cut, divorce from De Grey Rooms, as Theatre Royal launches voucher scheme

Pledge Ahead is just the ticket for audiences to support York Theatre Royal “at this critical time”

YORK Theatre Royal is launching Pledge Ahead, an initiative that asks audiences and the wider community for financial support, seven deeply wounding months into the Coronavirus arts crisis.

The pledge will take the form of buying vouchers that can be exchanged later for theatre tickets once the still-closed building re-opens. More details can be found at yorktheatreroyal.co.uk.

Launching the scheme, executive director Tom Bird said: “Lots of people have been asking what they can do to help the theatre at this critical time.

“By pledging ahead, our audiences can continue to support us while our building is closed and look forward to using their vouchers as soon as we are able to re-open our doors and welcome everyone back.”

The plea comes “at this critical time” when the Theatre Royal has revealed it has cut its permanent staff by one third – seven voluntary redundancies and nine staff made redundant – after extensive consultations.

In a further cost-cutting measure, the Theatre Royal also has confirmed it will not be renewing its lease of the neighbouring De Grey Rooms, home to rehearsals, workshops, staff offices and the below-stairs costume store, as well as weddings, parties, award ceremonies and performances in the glorious ballroom.

“It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future,” says executive director Tom Bird

The “hand-back” will be completed this week after 11 years of renting the Grade 2-listed neo-classical Victorian building from York Conservation Trust.

The costume hire business will be re-located and will re-open in January; further announcements are awaited on exactly where, along with long-term plans for rehearsals, workshops and staff rooms once the Theatre Royal can re-open.

Bird said: “We have been forced to take some very difficult cost-saving decisions. It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future.”

Along with the redundancies, many more staff have taken cuts in hours and wages, to ensure the theatre survives, and the Government’s soon-to-disappear furlough scheme has played its supportive part too.  

However, 89 per cent of York Theatre Royal’s annual income is generated through selling tickets and from associated revenue streams, such as the bars and café, from the tens of thousands of people who come through the doors of a theatre that underwent a £6.1 million redevelopment completed in 2016.

The Theatre Royal – the longest-running theatre in England outside London – reopened on April 22 that year with a new roof, an extended and re-modelled front-of-house area and a refurbished, reconfigured and redecorated main auditorium, with major improvements to access and environmental impact too. 

Decked out: Hannah Sibai’s design for York Theatre Royal’s Pop-Up On The Patio festival in August

Since the Covid-enforced closure in March, the Theatre Royal has reduced its costs “significantly”, the redundancies being the most draconian step so far.

“Like almost everywhere in British theatre, we have sadly had to reduce our team in order for the Theatre Royal to survive and provide a theatre for the community.

“There was zero ambiguity that it might have to happen, but all theatres are in this situation and I’m pleased that we have not closed any department, so we maintain producing expertise across the staff.”

Since lockdown, performances have been restricted to a Pop-Up On The Patio festival of 12 shows by diverse York performers on the Theatre Royal terracing from August 14 to 29, with a maximum audience of 35 at each show.

Cinderella shall not go to the ball this winter on the main stage, but instead the Theatre Royal and new pantomime partners Evolution Productions have announced the Travelling Pantomime, starring York magician, panto comic turn, actor and children’s entertainer Josh Benson.

The dates are yet to be announced, but the small-scale tour will visit sports centres, social clubs, halls and community centres in all 21 wards in York in December and January.

Pantomime this way: Josh Benson is full of beans as he looks forward to leading the York Theatre Royal Travelling Pantomime to Holgate, Heworth and 19 more destinations besides. Picture: Anthony Robling

At each socially-distanced, Covid-secure performance, the audience will vote whether to watch Aladdin, Jack And The Beanstalk or Dick Whittington, all scripted by Evolution director and producer Paul Hendy and directed by Theatre Royal associate director Juliet Forster.

Meanwhile, the Theatre Royal expects to learn on Monday (October 5) whether its bid for a grant from the Government’s £1.57 billion Culture Recovery Fund has been successful…or not.

The theatre received £196,493 from Arts Council England’s Emergency Fund to help to cover July to September 30’s costs, and the latest grant application is “not a million miles from that figure,” confirmed Bird.

“The problem with an old building that’s so huge and hard to heat is that it costs £475,000 a year just to keep it open, without staffing, to cover heating, lighting, water and safety.

“Under Covid restrictions, things like the patio season and Travelling Pantomime are our direction of travel right now.

The team behind the York Theatre Royal Travelling Pantomime: Theatre Royal associate director Juliet Forster, executive director Tom Bird and Evolutions Productions director, producer and writer Paul Hendy

“It’s been brilliant to have done the patio shows and we’re totally over the moon with how that went; it was terrific giving local artists the chance to perform. Now we’re looking at further options for outdoor shows in York until it’s viable and safe to be back indoors.

“But we’re always mindful of the risk of a local lockdown, and the main task is to safeguard the future of the theatre and that’s going well but it’s a big fight.”

The Culture Recovery Fund grant, if approved, would cover October to March 31. “It’s a little bit more about recovery this time,” says Bird. “Last time, the ACE grant was about ‘What do you need right now not to collapse?’.

“We have interpreted the guidance for a grant in the best way we can and we hope the Department of Culture, Media and Sport and the Arts Council will see fit to support us in the best manner possible.”

Today, by the way, is Creative Performance Protest Day, a rallying call to “to highlight the Government’s failure to support the performing arts sector throughout the Covid-19 pandemic”. 

Trafalgar Square, London, at midday will be among the focal points of a campaign whose urgency has been heightened by Chancellor Rishi Sunak’s new Job Retention Scheme not accommodating freelance arts workers in its definition of “viable” jobs.

The Creative Performance Protest insignia