Theatre@41 combines the new and familiar in autumn and winter of theatre, music, comedy, cinema and pantomime rehearsals

Burning Duck Comedy Club presents Helen Bauer in Madam Good Tit at Theatre@41 in October

NEW partnerships, returning performers, comedy acts aplenty and community theatre regulars make up the autumn and winter season at Theatre@41, Monkgate, York.

One year on from throwing open its doors post-pandemic, the black-box studio will play host to Yorkshire and national companies and artists alike.

“We’re doing all right, whether by chance or design!” says chair Alan Park.  “In the year since we took over the programming, there’s been a nice balance between comedy, music and theatre, with a focus on new writing, as well as continuing our relationships with York Stage, Pick Me Up Theatre, White Rose Theatre, York Settlement Community Players and York Musical Theatre Company.

“The mailing list has gone up from 40 to 2,000 and we feel that people are invested in the building, our charity status, the work we present, and want us to do well. There are plenty of people who run theatres, but we want to run a ‘movement’ and we think we’re getting there.”

Colin Hoult in The Death Of Anna Mann. Picture: Linda Blacker

Looking ahead to the new season, one new partnership finds Theatre@41 linking up with York promoter Al Greaves’s well-established Burning Duck Comedy Club, complementing his programme at The Crescent (and previously at The Basement at City Screen Picturehouse).

“Maggie Smales, one of our trustees, reached out to Al,” says Alan.  “Initially, comedy promoters were contacting us directly, and we were doing maybe two comedy shows a season, but we got in touch with Al to say ‘we don’t want to tread on your toes, but we’d love to work with you’, and so now we have six shows this autumn through linking up with Al.”

Among those shows will be Lauren Pattinson’s It Is What It Is on September 16; Colin Hoult, from the Netflix series After Life, presenting The Death Of Anna Mann  on October 8; the returning Olga Koch, star of her own BBC Radio 4 series, in Just Friends on October 15 and fellow Edinburgh Festival Fringe Best Newcomer nominee Helen Bauer’s Madam Good Tit, on October 22. Look out too for Taskmaster winner Sophie Duker next April.

Returning to Theatre@41 will be Dyad Productions, following up the sold-out I, Elizabeth with Christmas Gothic, adapted and performed by Rebecca Vaughan, on November 26 and 27, and  Sarah-Louise Young, building on the sold-out success of Alan’s favourite show so far, An Evening Without Kate Bush, by presenting her charming yet cheeky West End and Off-Broadway cabaret hit Julie Madly Deeply, a tribute to Julie Andrews.

Sarah-Louise Young in her Julie Andrews tribute, Julie Madly Deeply. Picture: Steve Ullathorne

Further returnees will be East Riding company Other Lives Theatre Productions in Landmarks, Nick Darke’s environmentally topical story of a farming family feud, and Nunkie Theatre’s Robert Lloyd Parry with two more gripping MR James ghost stories by candlelight in Oh, Whistle on November 25.

“We’ve had a lot of good feedback from artists, such as Olga Koch’s agent,” says Alan. “We know there’s paint peeling off walls, the roof is leaking, but we believe in making the artists welcome, like giving them a little York Gin pack on arrival. We try to be a friendly venue where everyone will want to come back.”

Endorsements for Theatre@41 are spreading, leading to debut visits by Mark Farrelly in his Quentin Crisp show, Naked Hope, on September 7 and Olivier Award-winning actor and director Guy Masterson, staging his one-man adaptation of Charles Dickens’s A Christmas Carol on November 24.

Seven York companies and performers are booked in. Robert Readman’s Pick Me Up Theatre will stage Roald Dahl’s Matilda The Musical Jr from September 23 to October 2 and The Sound Of Music from December 16 to 30 in the Christmas slot. York Settlement Community Players will perform Christopher Durang’s Tony Award-winning Broadway comedy Vanya And Sonia And Masha And Spike from November 3 to 5.

Rebecca Vaughan in Dyad Productions’ Christmas Gothic. Picture: Ben Guest

White Rose Theatre will deliver The Last Five Years, an emotionally charged musical full of upbeat numbers and beautiful ballads by Jason Robert Brown that tells the story of two lovers over the course of five years, with Cathy starting her tale at the end of the relationship and Jamie telling his story from the beginning. Directed by Claire Pulpher, it will run from November 9 to 12.

Barnstorming country-rock band The Rusty Pegs will play Rumours (Again!) in a 45th anniversary celebration of the Fleetwood Mac nugget on October 9, after giving Theatre@41’s re-launch gig post-Covid; Jessa Liversidge will sing Some Enchanted Sondheim on October 9, and York Musical Theatre Company will mark their 120th anniversary with A Musical Celebration on October 13 and 14.

Spookologist and ghost-botherer Doctor Dorian Deathly, a winner in the 2022 Visit York Tourism Awards, will make his Theatre@41 debut with his Halloween show, A Night Of Face Melting Horror!, from October 26 to 31.

“Each night, Dorian will be hot-footing over here after doing his Deathly Dark ghost tour for a cabaret evening with a bar of the dead and cocktails,” says Alan. “He came to us with the idea, and we thought, ‘yeah, let’s do it’. He has a huge following, so we’re delighted he wanted to come here.”

The horror! The horror” The poster for Doctor Dorian Deathly’s Halloween show, A Night Of Face Melting Horror!

Paul Birch, one of the stand-outs in York Theatre Royal’s Green Shoots showcase for new work in June, will bring his improv group, Foolish, to Theatre@41 for the third time. On September 15, he will host a night of ad-hoc comedy improvised from suggestions written in chalk on the stage floor under the title of Cobbled Together.

Seeking to foster a growing relationship with The Groves community, Theatre@41 will play host to the inaugural Groves Community Cinema: a weekend of classic films old and new right on residents’ doorsteps when visitors will be invited to “pay what you feel”, with support from an ARG Events and Festivals Grant in partnership with Make It York and City of York Council.

“Historically, we’re on the edge of The Groves, and maybe The Groves has never quite felt this is The Groves’ theatre, but we hope that putting on a community cinema weekend will make it feel more like it’s part of their community, rather than people just walking past our doors,” says Alan.

Olga Koch: Returning to Theatre@41 to present Just Friends

September 10 will offer Encanto Singalong at 2.30pm and Close Encounters Of The Third Kind at 6pm; September 11, Kes at 2.30pm and Nomadland at 6.30pm.

Three more new additions add to the sense of momentum at Theatre@41. Firstly, £5,000 funding from City of York Council and the Liz and Terry Bramall Foundation will ensure the lighting rig “no longer wobbles”; secondly, the theatre will resume being a polling station for elections.

Last, but not least, the Monkgate building will be turned into the rehearsal rooms for veteran dame Berwick Kaler’s Grand Opera House pantomime, Old Granny Goose. “We’re giving them multiple rooms, including the dance studio,” says Alan. “They’ll have the run of the building basically.”

For performance times and to book tickets for the new season, head to: tickets.41monkgate.co.uk.

Copyright of The Press, York

Pantomime dame Berwick Kaler and daft-lad sidekick Martin Barrass will be rehearsing Old Granny Goose at Theatre@41 ahead of its run at the Grand Opera House, York

York Theatre Royal Studio season promises queer history, a potato Faustus, a gaming romcom and Woolf’s talk on feminism

York puppeteer and performer Freddie Hayes’s Potatohead: “A starch-raving mad adaptation of Faustus with puppets”. Picture: Sophie Jouvenaar

YORK Theatre Royal’s Studio season will read the Riot Act on June 9 in a show created and performed by Alexis Gregory as part of a Pride Season tour.

Fresh from his success in Sex/Crime at London’s Soho Theatre, Gregory is directed by Rikki Beadle-Blair in his journey through six decades of queer history, told by those who helped to shape it from Gregory’s interviews with a survivor of the Stonewall Riots, a radical drag queen and an AIDS activist.

Ahead of her Edinburgh Fringe run, York puppeteer, performer and writer Freddie Hayes presents Potatohead, her humorously bizarre solo adaptation of Christopher Marlowe’s Doctor Faustus And The Seven Deadly Sins, on June 10.

Directed by Sh!t Theatre, Potatohead is saturated with potato puns from start to finish as Hayes tells the story of a humble spud who dreams of becoming a cabaret superstar.

Elements of kitsch cabaret and old-school entertainment characterise Hayes’s “one-potato show” show that blends puppetry, clowning and comedy in an unadulterated celebration of silliness. Expect sexual content and references to religion and the devil, hence the age guidance of 14+.

Hayes’s debut UK tour of her hour-long “starch-raving mad adaptation of Faustus with puppets” takes in a further North Yorkshire date in The McCarthy at the Stephen Joseph Theatre, Scarborough, on June 14 at 7.45pm (box office, 01723 370541 or at sjt.uk.com).

Happy Meal, Tabby Lamb’s joyful queer romcom directed by Blythe Stewart, will be staged by Tadcaster’s Roots and Theatre Royal Plymouth from August 30 to September 3.

What’s the story? Bette, a teenager who knows her Neil Diamond, is into gaming alone, whereas Alec likes Swedish goth rock and multiplayer gaming. In the real world, they would never meet, but online these unlikely best friends can be everything they wanted to be.

Dyad Productions return to the Theatre Royal on October 6 and 7 to present A Room Of One’s Own, a wry, amusing and incisive trip through the history of literature, feminism and gender with a “21st century take on Virginia Woolf’s celebrated pre-TED talk”.

Tickets for these 7.45pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

York Theatre Royal Studio season takes in queer history, a potato Dr Faustus, an online gaming romcom and Woolf feminism

YORK Theatre Royal’s Studio season will read the Riot Act on June 9 in a show created and performed by Alexis Gregory as part of a Pride Season tour.

Fresh from his success in Sex/Crime at London’s Soho Theatre, Gregory is directed by Rikki Beadle-Blair in his journey through six decades of queer history, told by those who helped to shape it from Gregory’s interviews with a survivor of the Stonewall Riots, a radical drag queen and an AIDS activist.

Ahead of her Edinburgh Fringe run, York puppeteer, performer and writer Freddie Hayes presents Potatohead, her humorously bizarre solo adaptation of Christopher Marlowe’s Doctor Faustus And The Seven Deadly Sins, on June 10.

Directed by Sh!t Theatre, Potatohead is saturated with potato puns from start to finish as Hayes tells the story of a humble spud who dreams of becoming a cabaret superstar.

Elements of kitsch cabaret and old-school entertainment characterise a show that blends puppetry, clowning and comedy in an unadulterated celebration of silliness. Expect sexual content and references to religion and the devil, hence the age guidance of 14+.

Hayes’s debut UK theatre tour of her one-potato show has a further North Yorkshire performance on June 14 at the Stephen Joseph Theatre, Scarborough (box office, 01723 370541 or at sjt.uk.com).

Happy Meal, Tabby Lamb’s joyful queer romcom directed by Blythe Stewart, will be staged by Tadcaster’s Roots and Theatre Royal Plymouth from August 30 to September 3.

What’s the story? Bette, a teenager who knows her Neil Diamond, is into gaming alone, whereas Alec likes Swedish goth rock and multiplayer gaming. In the real world, they would never meet, but online these unlikely best friends can be everything they wanted to be.

Dyad Productions return to the Theatre Royal on October 6 and 7 to present A Room Of One’s Own, a wry, amusing and incisive trip through the history of literature, feminism and gender with a “21st century take on Virginia Woolf’s celebrated pre-TED talk”.

Tickets for these 7.45pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

York Theatre Royal Studio to reopen with Tutti Frutti, haunting Female Gothic and Nightwalkers tales and Polish soldier’s trials

York playwright Mike Kenny: Updated adaptation of Hans Christian Andersen’s The Princess And The Pea for Tutti Frutti in York Theatre Royal Studio

YORK Theatre Royal Studio will reopen this autumn after lockdown hibernation and temporary use for storage.

The capacity has been reduced from 100 to 71, a Covid-safety measure that means the theatre space will now be head-on only, with seating no longer on the sides.

First to bed into this configuration will be Leeds children’s theatre company Tutti Frutti with York playwright Mike Kenny’s adaptation of Hans Christian Andersen’s story The Princess And The Pea from October 21 to 26.

Imagine a place where what you see is not what it seems, with forgotten stories and forgotten things, say Tutti Frutti. Imagine princesses who don’t know they are princesses and a prince who doesn’t want to be king. Imagine a real prince, discovering a real princess, and a story that ends happily ever after.

Inside the Museum of Forgotten Things, three musical curators tell the amazing tale of the museum’s artefacts, most notably the mystery of a little green pea and how it ended up there.

Tutti Frutti promise an hour of humour, memorable songs and a romp through every type of princess you could imagine, replete with costumes to match.

“The audience will meet a demanding queen, an array of wannabe princesses and our main characters, an unknown girl, who is blown into the palace by a gust of wind, and an indecisive prince under pressure to find his real princess,” says Mike. “Will he ever find a real princess or his happy-ever-after?”

This show was first made by Tutti Frutti and York Theatre Royal in 2014 for an extensive tour and Christmas run at the Sheffield Crucible before playing to sell-out audiences in Hong Kong and Singapore in January 2015.

“In the dark between life and death, a haunted woman tells strange and terrifying tales”: Rebecca Vaughan in Female Gothic

Now it returns in a new and updated adaptation by Kenny and the inventive Tutti Frutti in a funny, original, beautiful retelling suitable for children aged three upwards and their families. Evening performances will start at 6pm, complemented by Friday shows at 10am and 1pm, Saturday, 3pm, and Tuesday, 11am and 2pm.

Dyad Productions producer Rebecca Vaughan will perform her adaptation of Female Gothic, directed by Olivier Award winner Guy Masterson on October 28 and 29 at 7.45pm.

In the dark between life and death, a haunted woman tells strange and terrifying tales; eerie stories, dusty and forgotten. Until now. “It’s the Hallowe’en season, so come along and be thrilled by three lost gothic spine-tinglers from the great Victorian female writers,” says Rebecca, who has appeared in such Dyad shows as Jane Eyre: An Autobiography, Christmas Gothic, I, Elizabeth and Austen’s Women.

Summoning the magic of the contraries, storytellers Jan Blake & TUUP will present Nightwalkers on October 30 at 7.45pm: a night of “disturbing, comedic and poignant tales of ghosts, duppies, jumbies, loogaroos, soucouyants and other supernatural beings that haunt the Caribbean and the Americas”.

Jan Blake, the queen of Afro-Caribbean storytelling, and TUUP – the acronym stands for The Unorthodox, Unprecedented Preacher – will explore the sorcery, shape-shifting and deep magic that has endured to sustain some and punish others through thunderous storytelling designed to raise the roof as well as neck hairs.

In Imagine If Theatre’s new production, My Old Man, on November 18 at 8pm, Michal Piwowarski’s whole world changes when his granddaughter Tasha finally moves out. The school dinner lady becomes his favourite person, a new neighbour moves onto the street and he has to face his biggest battle yet.

Imagine If Theatre allow people to “imagine if” within their own lives through their thought-provoking productions, creating theatre designed to be “inspiring, entertaining and unashamedly honest for intimate audiences”.

They make theatre shows based on the world around them, comprising real stories from real people, and in the case of the heartfelt and humorous My Old Man, that story revolves around the trials and tribulations of Michał, an old, blind Polish soldier.

Full details of the upcoming York Theatre Royal Studio season can be found at yorktheatreroyal.co.uk. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Why we are still fascinated by Marilyn Monroe in remarkable farewell play

It is a gift of a part. An absolute dream role,” says Lizzie Wort, of playing screen icon Marilyn Monroe in Dyad Productions’ The Unremarkable Life Of Marilyn Monroe

LIZZIE Wort had written off Marilyn Monroe. “I really wasn’t very interested in her,” she says. “I had always thought she was kind of fun and frivolous.”

Then, however, writer-director Elton Townend Jones asked her to play Marilyn in The Unremarkable Death Of Marilyn Monroe.

“It is a gift of a part. An absolute dream role,” says Lizzie. So much so that Lizzie, trained ballet dancer, former comic entertainer, actor and mother, has returned to that dream role for St Albans company Dyad Productions’ latest tour, visiting Theatre@41, Monkgate, York, on Sunday night.

The date is August 5 1962, on Marilyn’s last night, at her 12305 Fifth Helena Drive home in Brentwood, Los Angeles. Marilyn as never seen before: alone in her bedroom in a dressing gown and underwear; no glitz, no glamour, no masks.

Overdosed on pills, the woman behind the icon unravels her remarkable life and travels back through the memories of her closest relationships. Repeatedly stalked by a mysterious caller, the Hollywood icon tells all – about Joe DiMaggio, Clark Gable, Arthur Miller, her mother – revealing a biting intelligence and an imperfect body, leading in real time to the moment of her death.

“Elton was very clear from the beginning that he wanted us to find a Marilyn that was recognisable as the well-loved icon, but also had a different, previously unseen side to her. This was such a gift for me in terms of finding the characterisation,” says Lizzie, who played her previously in 2015.

“To be cast as such a huge icon felt intimidating at first, and potentially limiting, but being able to dig beneath the surface opened up so many possibilities for her and my understanding of her, which was hugely rewarding and exciting.”

Marilyn was unusual. The more I have studied her, the more clearly I see how she was essentially always able to be many things to many people,” says Lizzie Wort

Lizzie continues: “Elton has written such a tremendously well rounded, rich character, who is flawed, gets angry, is at times selfish, bitingly intelligent, wry, playful, warm and deeply soulful.

“It is a gift of a part. An absolute dream role. It also feels so relevant to women today. Marilyn was a female in a male industry in a time when women weren’t allowed a voice. And, sadly, that struggle continues. To finally give her that voice, and in doing so, give other women that chance too, was such an exciting process and journey of discovery. 

“Her experiences are relevant still today and that played a large part in forming my characterisation of her.” 

Why are we still fascinated by Marilyn Monroe, Lizzie? “There are two elements to this. One is the endless fascination we have with celebrity in general. This is referenced in the play and she makes the point herself that we all invest in celebrity stories. We want to revel in other people’s lives. It’s a fascination that has existed for a long time now.

“Marilyn’s death was unexpected and far too early. To have a young, vibrant life cut short so suddenly was shocking. People feel that they know a person, feel they are connected to them, are invested in them. To lose them so early always feel tragic and unfathomable.

“The controversy surrounding her death and the fascination over how she died continues to this day. She was a hugely popular star, made all the more famous by her death, so this keeps her as an interesting character.”

The fascination goes beyond conspiracy, suggests Lizzie. “Marilyn was unusual. The more I have studied her, the more clearly I see how she was essentially always able to be many things to many people,” she says.

“Marilyn was somehow approachable and relatable, while also being totally unobtainable,”  says Lizzie

“She had an effortless ability to draw people in. She instinctively knew how to capture people’s interest. How to charm people. She had the perfect blend of vulnerability and unbridled joy. She was hugely likeable. And that’s not actually an easy thing to accomplish as a Hollywood star. To be likeable in the truest sense. She was somehow approachable and relatable, while also being totally unobtainable.” 

Naming her favourite Marilyn film roles as The Prince And The Show Girl (1957) and The Misfits (1961), Lizzie says that what she most loved about Marilyn was her strength. “She endured so much as a child, as a young woman, from the industry, from the press, from men. She carried a huge amount of trauma within her, but still radiated warmth and joy,” she reasons.

“When someone goes through personal pain and grows up with traumatic experiences, it shapes who you are and the way you view and receive the world. It can sometimes enable a person to feel both sides of the coin.

“You can feel the pain and the torture of your experience existing deeply in your body and have a sense from childhood of the fragility of life. But, if you are lucky, that pain can also then give you an even greater appreciation of the beauty and joy of life all the more deeply. I truly think she had that appreciation.”

Lizzie’s favourite discovery about Marilyn has been to realise that her golden Hollywood smile was actually real. “Not because she was a one-dimensional blonde movie star who just smiled vacuously for the cameras. It was a smile that expressed all her pain and joy simultaneously,” she says.

“She understood life deeply. She felt it all deeply. I find that incredibly beautiful. And I think fundamentally that’s why we all love her. She radiated humanity. Heartbreak and joy in a single smile.”

Dyad Productions in The Unremarkable Death Of Marilyn Monroe, Theatre@41, Monkgate, York, October 10, 7.30pm. Box office: tickets.41monkgate.co.uk

“Heartbreak and joy in a single smile”: Lizzie Wort’s essence of Marilyn Monroe

Copyright of The Press, York

What hasn’t yet been said about Marilyn Monroe that still needs saying? “Almost everything!”, reckons writer Townend Jones

The final curtain: Lizzie Wort as Marilyn Monroe in The Unremarkable Death Of Marilyn Monroe

THIS is The Unremarkable Death Of Marilyn Monroe: August 5th, 1962. Marilyn as she has never been seen before: alone in her bedroom in a dressing gown and underwear; no glitz, no glamour, no masks.

So begins writer-director Elton Townend Jones’s play, presented by Dyad Productions on tour at Theatre@41, Monkgate, York, on Sunday night with Lizzie Wort in the role of Monroe.

Overdosed on pills, the woman behind the icon unravels her remarkable life and travels back through the memories of her closest relationships. Repeatedly stalked by a mysterious caller, the Hollywood icon tells all – Joe DiMaggio, Clark Gable, Arthur Miller, her mother – revealing a biting intelligence and an imperfect body, leading us in real time to the very moment of her death.

A five-star hit at the 2013 Edinburgh Fringe, The Unremarkable Death Of Marilyn Monroe comes from the St Albans company’s stable of touring shows such as Orlando; Jane Eyre: An Autobiography; Dalloway; Female Gothic; I, Elizabeth; The Diaries Of Adam And Eve; Christmas Gothic, The Time Machine and Austen’s Women.

Here, CharlesHutchPress puts questions to writer-director Elton Townend Jones and actor Lizzie Wort, previously seen on a York stage in the Theatre Royal and Tutti Frutti production of When We Lived In Uncle’s Hat in October 2010.

Elton Townend Jones: Writer-director of The Unremarkable Death Of Marilyn Monroe

What hasn’t yet been said about and by Marilyn Monroe that still needs saying, Elton?

“Almost everything! The collective impression of Marilyn is a combination of dizzy blonde, untalented actor, bimbo, and victim of a convoluted and conspiratorial political death.

“The woman herself – the complex and intelligent troubled female behind the painted icon – is obscured not only by the circumstances of her death but also by her own on-screen persona.

“That said, it’s evident, if one takes a moment to look at movies like Some Like It Hot, The Misfits or The Prince And The Showgirl, that she’s a tremendously gifted actor, but The Unremarkable Death Of Marilyn Monroe is about the fascinating, likeable real person that seems to have been lost in all of that.

“However, it’s not really a play solely about Marilyn. Working backwards through time from the moment of her death, we travel through her entire life via her relationships and loves. It’s a play about love and how we share and express that emotion.

“But more than that, this is a piece about all of us – yes, a great focus on the female experience of life, but a piece about our private troubles; about how we treat and are treated by others; about kindness and how we don’t do enough of that; about how we grow, how we endure our pains and celebrate our pleasures. It’s a play about living, surviving, enduring and giving ourselves to others.

“In many ways, it’s autobiographical to me – and I drew on much of my own life experience and relationships to give Marilyn a ‘voice’.

“Many reviewers and audience members comment on the authenticity of the female experience I depict, and seem to marvel at my ability to have tapped in to that. That’s very flattering and humbling, but really, I just wrote myself into Marilyn.

“I don’t consider different thoughts and responses to certain events or moments in life as belonging to one gender or another. Marilyn’s story is everybody’s story – she’s just an ordinary person living in extraordinary circumstances – and the play, though peppered with dark and difficult moments, is ultimately inspirational and life affirming; optimistic.”

What above all else drew you to Marilyn’s story and why should you be the one to voice it?

“I became interested in Marilyn when I was a schoolboy in Yorkshire. Aged 12, I saw Some Like It Hot and read an article about her in a Sunday supplement that had been left in the art room for use in making collages.

“The play, though peppered with dark and difficult moments, is ultimately inspirational and life affirming; optimistic,” says writer Elton Townend Jones of The Unremarkable Death Of Marilyn Monroe, starring Lizzie Wort

“From there, I read a few books and found myself identifying with the frailties of this fascinating and admittedly beguiling figure. I always suspected there was more going on under the surface that had yet to be revealed and knew – even at that early and naïve age – that I wanted to do some kind of theatrical representation of her; to investigate her and do justice to the truth of her.

“Fast-forward a generation and I’m a theatre director and I knew that I still had this itch to represent Marilyn on her terms and not the terms of the conspiracy theorists or her detractors. It’s called ‘The Unremarkable Death’, and the idea behind that really is that it’s a play about the inspirational, the positive – in spite of the many terrible and painful things she endured – a play about her ‘Remarkable Life’.

“It’s not her death that we should be focusing on: her life, her vivacity, her vulnerable but brilliant open- heartedness is bigger than that. There’s a lot to enjoy in this story, and a lot of comedy and laughter.”

Will Marilyn Monroe ever fade into the distance and be allowed to rest or will she be like those other ill-fated 20th century blondes/blonds, Diana, Princess of Wales and Kurt Cobain?

“I think her story has endured because of the myths and legends built around her death. Had she made it past 1962, she would have undoubtedly gone on to more significant movie work – perhaps not immediately, but there would certainly have been a revivalist interest in her as a performer and icon.

“One could imagine her turning up as an older, more seasoned actor in films by Cassavetes, Scorsese, Lynch and Tarantino even.

“Still, I think we’re at a very interesting transitional period of cultural history. The digital sphere is expanding beyond our ability to keep up with it, and I think we are beginning to gradually disconnect ourselves from much that was once culturally important or relevant.

“I think that within the next five to ten years, much of what we held up as iconic from the mid-20th century will be forgotten, which is an incredible shame, but that’s how we progress. I think we’ll be too busy dealing with other, more pressing matters than cultural nostalgia.

“But Marilyn’s story is currently still important – perhaps more important than we give it credit for. This piece was first written and performed almost a decade ago, but since then its relevance has increased, resonating with the #MeToo movement and other issues of inequality or institutional abuse and injustice perpetrated on women both in the celebrity sphere but also in ‘normal’ life.

“These are issues that the play takes great care to confront; these are issues that myself, the show’s producer, Rebecca Vaughan, and Dyad Productions are keen to explore and address in all our work.”

“This is a play about Marilyn Monroe and Marilyn Monroe only,” says playwright Elton Townend Jones. “Somebody else can write that conspiracy stuff, not me.”

Marilyn’s death has forever been the subject of conspiracy theories. Are you pouring more fuel on that fire, like an Oliver Stone film might, or is there a different reason for giving Marilyn her voice here?

“As I’ve suggested, this play isn’t about any of that stuff. Yes, the Kennedys are mentioned and they form an important backdrop to the final hour of her life, but really that’s just context. This is a play about Marilyn Monroe and Marilyn Monroe only.

“Somebody else can write that conspiracy stuff, not me. Having done masses of research on her life and career, I was able to join the dots in a way that I don’t think anyone had before, finding a definite connection between the way she died, the lateness on set, the miscarriages, the colitis, the endometriosis, the childhood abuse.

“This is my reading of Marilyn. I’ve made connections – and they may not necessarily be correct, but they’re certainly compelling. It’s up to the audience to decide whether or not this is the definitive Marilyn.

“Let’s not forget that this is a work of fiction, so I do have creative and artistic licence, but everything in the play is based on true events and things she said and did.

“Having a skilled and hauntingly apposite actor like Lizzie Wort play Marilyn only adds to the play’s veracity. If nothing else, this is a powerful and emotionally resonant piece because of her performance.”

What do you love about Marilyn Monroe? The films? Everything else? The iconic imagery? The mystery? The too-soon snuffing out of the candle in the wind?

“The iconic imagery is important to me. I adore her ‘look’ in her final years. The older, more experienced, lived-in look. It appeals to me aesthetically. There’s life in those eyes. Things that can’t be unseen.

“She is a powerful icon across much of her Hollywood career, but I personally identify with the pained vulnerability of those later years and always have.

“As I said, I wrote myself into this play and I suppose I identify with Marilyn because my own past has its own legacy of abuse, heartbreak and loss. As Marilyn is burdened by the pain of her childhood experiences, so am I; for both of us, this has resonated into our adult lives, and I think there was something about this that I ‘felt’ intuitively when I was 12, but couldn’t articulate until I was a playwright in my 40s.

“And I love her movies, particularly everything from after she took classes at the Actors Studio: she is amazing in the intense drama of The Misfits and the unparalleled comedy of Some Like It Hot, which are, for my money, two of the best movies you’ll ever see. She’s simply remarkable.”

“It is a gift of a part. An absolute dream role,” says actor Lizzie Wort of the opportunity to play Marilyn Monroe

How did you create your characterisation of Marilyn Monroe, Lizzie? From Elton’s script; from research; from films and interviews?

“Elton was very clear from the beginning that he wanted us to find a Marilyn that of course was recognisable as the well-loved icon, but also had a different, previously unseen side to her. This was such a gift for me in terms of finding the characterisation.

“To be cast as such a huge icon felt intimidating at first, and potentially limiting, but being able to dig beneath the surface opened up so many possibilities for her and my understanding of her, which was hugely rewarding and exciting.

“I was able to use her films and interviews to find elements of her on-screen persona to bring to the part, but could also draw from Elton’s script, which gives her such a strong and articulate voice. There were times when watching her was incredibly useful and then times when I had to turn it all off and approach the part as a new person, as a regular woman, using my empathy for her and connecting my own personal life experiences.

“Elton has written such a tremendously well rounded, rich character, who is flawed, gets angry, is at times selfish, bitingly intelligent, wry, playful, warm and deeply soulful.

“It is a gift of a part. An absolute dream role. It also feels so relevant to women today. She was a female in a male industry in a time when women weren’t allowed a voice. And, sadly, that struggle continues. To finally give her that voice, and in doing so, give other women that chance too, was such an exciting process and journey of discovery. 

“Her experiences are relevant still today and that played a large part in forming my characterisation of her.”

You are playing Marilyn at her final curtain – the Greek tragedy finale rather than the Hollywood rise and stumble – all alone at her 12305 Fifth Helena Drive home in Brentwood, Los Angeles. What are the principal challenges this scenario presents: the mortal versus the immortal? 

“I would say this isn’t a Greek Tragedy finale either. It is indeed tragic, and we see her unravel as she reflects on her life, but it is also joyous and uplifting. It is full of hope and wit. She shines so brightly in this piece and her demise is all the more quiet and simple, once her story is truly understood. The play is about her life, finally, rather than focusing on the many possible ways she may or may not have died.” 

Why are we endlessly fascinated by Marilyn Monroe?

“There are two elements to this. One is the endless fascination we have with celebrity in general. This is referenced in the play and she makes the point herself that we all invest in celebrity stories. We want to revel in other people’s lives. It’s a fascination that has existed for a long time now.

“Marilyn’s death was unexpected and far too early. To have a young, vibrant life cut short so suddenly was shocking. People feel that they know a person, feel they are connected to them, are invested in them. To lose them so early always feel tragic and unfathomable.

“The controversy surrounding her death and the fascination over how she died continues to this day. She was a hugely popular star, made all the more famous by her death, so this keeps her as an interesting character.

“But, of course, the fascination also goes beyond conspiracy. Marilyn was unusual. The more I have studied her, the more clearly I see how she was essentially always able to be many things to many people.

Lizzie Wort as Mum, second from left, in York Theatre Royal and Tutti Frutti’s When We Lived
In Uncle’s Hat in 2010

“She had an effortless ability to draw people in. She instinctively knew how to capture people’s interest. How to charm people. She had the perfect blend of vulnerability and unbridled joy. She was hugely likeable. And that’s not actually an easy thing to accomplish as a Hollywood star. To be likeable in the truest sense. She was somehow approachable and relatable, while also being totally unobtainable.” 

What is your favourite Marilyn film and film role and why?  

“I adore The Misfits [1961]. She is just so raw and beautiful in it. I also love The Prince And The Show Girl [1957]. It’s not necessarily my favourite film, but her performance is utterly electric. She outshines [Laurence] Olivier.

“I always feel a sense of pride and excitement for her when I watch it. You can see her making different choices in it, from how she previously might have, earlier in her career. I find it thrilling to watch, knowing she was at the beginning of a new chapter of her career, having left The Actors Studio.” 

What do you love about Marilyn Monroe? The films? Everything else? The iconic imagery? The mystery? The too-soon snuffing out of the candle in the wind?

“I love how strong she was. She endured so much as a child, as a young woman, from the industry, from the press, from men. She carried a huge amount of trauma within her, but still radiated warmth and joy.

“People talk a great deal about what she was feeling truly behind that beautiful big smile. I spent a lot of time studying photographs and looking at her eyes, that seemed to be saying something altogether different from her smile.

“It’s clear she covered up a lot of pain and sadness. Physical pain due to various health issues and also emotional struggles. However, I also believe she was a bright soul who genuinely adored life, adored people, had a thirst for knowledge, wanted to love and be loved.

“When someone goes through personal pain and grows up with traumatic experiences, it shapes who you are and the way you view and receive the world. It can sometimes enable a person to feel both sides of the coin.

“You can feel the pain and the torture of your experience existing deeply in your body and have a sense from childhood of the fragility of life. But, if you are lucky, that pain can also then give you an even greater appreciation of the beauty and joy of life all the more deeply. And I truly think she had that appreciation.

“It has been my favourite discovery about her. To realise that the golden Hollywood smile was actually real. Not because she was a one-dimensional blonde movie star who just smiled vacuously for the cameras. It was a smile that expressed all her pain and joy simultaneously.

“She understood life deeply. She felt it all deeply. I find that incredibly beautiful. And I think fundamentally THAT’S why we all love her. She radiated humanity. Heartbreak and joy in a single smile.”

Dyad Productions in The Unremarkable Death Of Marilyn Monroe, Theatre@41, Monkgate, York, October 10, 7.30pm. Box office: tickets.41monkgate.co.uk

“Marilyn understood life deeply. She felt it all deeply. I find that incredibly beautiful. And I think fundamentally THAT’S why we all love her,” says actor Lizzie Wort