Rowntree Players cast members rehearsing for Grimm Tales
ROWNTREE Players will stage Carol Ann Duffy’s adaptation of Grimm Tales, dramatised by Tim Supple, at the Joseph Rowntree Theatre, York, from July 11 to 13.
Ami Carter’s cast will take a journey through a selection of delightfully bizarre stories from the Brothers Grimm collection to reveal their true origins and to discover how the path to a happy ending can, indeed, be a little grim.
Presented by arrangement with Concord Theatricals, on behalf of Samuel French, Grimm Tales will be narrated by Chris Meadley, joined by Geoff Walker as Male 1; Graham Smith, Male 2; Joe Marrucci, Male 3; Fergus Green, Male 4; Abbey Follansbee, Female 1; Hannah Wood, Female 2; Meg Badrick, Female 3, and Annie Dunbar, Female 4.
In the ensemble will be Henry Cullen, Jess Whitehead, Britt Brett, Jess Dawson, Libby Roe and Ella Lofthouse.
Alongside Carter in the production team are production and technical manager Mark Lofthouse, scenic painter Anna Jones and Lena Ella, who is in charge of marketing and costumes.
Tickets for next week’s 7.30pm performances are on sale on 01904 501395 or at josephrowntreetheatre.co.uk
Rowntree Players’ poster artwork for Grimm Tales at the Joseph Rowntree Theatre
Laura Castle’s Fairy Flo, left, Gemma McDonald’s Buttons, Hannah King’s Prince Charming, Sara Howlett’s Cinderella, Jamie McKeller’s Cassandra, Marie-Louise Surgenor’s Wicked Queen and Michael Cornell’s Miranda in Rowntree Players’ Cinderella
ROWNTREE Players are heading for a sold-out pantomime run of Cinderella with only ‘limited availability’ or ‘last few tickets’ notices for each performance.
Co-written by regular writer-director Howard Ella and delightfully daft comedy dipstick Gemma McDonald in a new creative partnership, this rollicking panto romp will run from Saturday to December 16 at the Joseph Rowntree Theatre, Haxby Road, York.
“When we launched our panto tickets in August, we had record-breaking sales on the first day,” says Gemma, who will be playing Buttons. “We sold the equivalent of a whole show within the first two days and they’ve just kept on selling.”
“I’ve been learning from the best,” she says of her experience of teaming up with Howard on script duties. “It’s hard work to get a script right, and you don’t realise the processes you have to go through to achieve that until you face them.”
Howard says: “For me, that awareness comes from doing repertory panto all those years ago in Harrogate when it was a traditional family show,” he says. “Writing a panto now, I want to keep the innocence for children but with those cheeky double entendres for parents and adults in the audience.
“How do you do that in 2023, keeping it relevant and challenging without it being too challenging, because you do have to get the balance right between being challenging and getting bums on seats? That’s not an easy line to tread, but we’ve managed to do it.
Picture this: Rowntree Players’ pantomime cast members face the camera in the rehearsal room
“Not forgetting that by making our panto profitable, we support Rowntree Players’ ability to put on plays each year that are challenging, rather than just doing the same old plays, and we’re proud to follow that fading principle in theatre.
“We’ve pretty much doubled our audiences over the past 12 years, and hopefully that’s down to the quality and wide appeal of our pantos, but you can never rest on your laurels, and we all know that the York panto landscape has changed over the past few years [with veteran dame Berwick Kaler’s transfer to the Grand Opera House and Evolution Productions teaming up with York Theatre Royal].”
Howard notes how York theatregoers are very supportive of community and amateur productions. “People go to all see all sorts of groups putting on all sorts of shows, which feels like a really healthy eco-system,” he says.
“For Rowntree Players, we’re lucky to have a theatre like the Rowntree Theatre with a decent capacity and good stage facilities, so we have a professional structure for staging shows, building a relationship with the theatre where we can push ourselves to the limit with the support of the theatre and all those volunteers who make it so special.”
Gemma adds: “Over the years, we’ve built a diverse team with diverse skills to run our panto, who work so hard together, such as our engineer Lee Smith, who has welding skills to help us to design things like a magic carpet rig, which everyone else would hire in. We couldn’t do that, but with Lee, we can make things, and so our imagination grows as to what we can do.”
Cinderella has proved “the most difficult” of Howard’s pantomimes for him to write. “Coming from York and having watched Berwick Kaler’s pantos, we all like to mess with the plot, but Cinderella has so many plot points you have to cover, and culturally accepted norms you have to cover, that when you try to have fun with it, there’s not much room to do that when you have to get all that in.
Howard Ella: Rowntree Players’ pantomime director and co-writer
“In pantomime, the easiest comedy flows between the dame and the comic, but in Cinderella it’s harder to work out where the humour flows when the dame is replaced by two baddies, the Ugly Sisters. It’s the most demanding of all pantomime writing experiences but when you get there, it’s the most rewarding.”
Regular dame Graham Smith is taking a year out, and instead Ugly Sisters Cassandra and Miranda will be a partnership of last year’s villain, Jamie McKellar, alias York ghost-walk guide and spookologist Dr Dorian Deathly, and Michael Cornell. “They know each other of old,” says Howard. “That’s not why they’ve been cast together, but it clearly helped in the auditions.
“When we learned that Jamie, who’s a very experienced actor, was properly up for playing the Sheriff of Nottingham in Babes In The Wood last year, we were delighted. Panto is fun to do but it’s hard work too, where you can break the fourth wall as the villain, but you can’t be too funny, and he was clearly right for the role.
“This year it will be different again, as Graham wanted a year out, and we’ll see Jamie in a new guise as Ugly Sister.”
Sara Howlett’s Cinderella, Hannah King’s Prince Charming, Marie-Louise Surgenor’s Wicked Queen and Jeanette Hunter’s Queen of Hearts need no introduction to Rowntree Players panto regulars.
Graham Smith’s Dame Harmony Humperdinck and Gemma McDonald’s Kurt Jester in 2022’s Babes In The Wood. Graham is taking a year’s break from panto; Gemma is adding co-writing duties to her familiar role as comic in Cinderella
Look out too for Sophie Bullivant and radio presenter Laura Castle, such a hit together in Rowntree Players’ March production of John Godber’s Teechers, now playing Dandini and Fairy Flo respectively.
“What’s interesting is that everyone read the script in a way I hadn’t thought of at the first readthrough, which really shook the script up and made me look at it in a different way,” says Howard of a show also featuring 12 numbers under James Robert Ball’s musical direction and a dozen dance routines choreographed by Ami Carter.
“We’re conscious that we have a regular gang in the panto but that we always have to make sure to give others an opportunity, both in the ensemble and with two Ugly Sisters giving us an ‘extra dame’ this year, it’s been the perfect opportunity to open it up,” says Howard.
“If you just work with familiar relationships within the cast, it can make you lazy, so having new faces makes you up your game, particularly when directing.”
Gemma concludes: “We have a mixture of old and new faces in the cast this year, which is really nice,” says Gemma. “It’s a really strong ensemble and that’s exactly what Cinderella needs.”
Rowntree Players present Cinderella, Joseph Rowntree Theatre, York, December 9 to 16, except December 11. Performances: December 9, 2pm and 7.30pm; December 10, 2pm and 6pm; December 12 to 15, 7.30pm; December 16, 2pm (sold out) and 7.30pm. Box office: 01904 501395 or josephrowntreetheatre.co.uk.
Rowntree Players pantomime players in rehearsal for Cinderella
Who is in Rowntree Players’ principal cast for Cinderella?
Cinderella: Sara Howlett
Buttons:Gemma McDonald
Baron Hardup: Barry Johnson
Wicked Queen: Marie-Louise Surgenor
Cassandra:Jamie McKeller
Miranda:Michael Cornell
Fairy Flo: Laura Castle
Queen of Hearts: Jeanette Hunter
Prince Charming: Hannah King
Dandini: Sophie Bullivant
Flunkit: Geoff Walker
Head Fairy – Bernie Calpin
Production team
Director: Howard Ella
Choreographer: Ami Carter
Musical director: James Robert Ball
Writers: Howard Ella and Gemma McDonald
Shoe-in for success: Rowntree Players’ poster for Cinderella, heading for full houses
Natasha Jones’s Lucy Harris and Joe Gregory’s Dr Jekyll in 1812 Theatre Company’s Jekyll & Hyde The Musical. All pictures: Helmsley Arts Centre, Joe Coughlan Phtography
IN their 30th anniversary year, Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, staged a musical for the first time.
The Old Meeting House stage is not the biggest, yet still Julie Lomas’s cast could accommodate 22 players in that compact space, with the full company number Murder! Murder! being one of the highpoints for cast and choreographer Michaela Edens alike.
Lomas is an experienced directorial hand from her days at The Grange Theatre, Walsall, where she directed Frank Wildhorn and Leslie Bricusse’s Broadway musical for the Grange Players. Likewise, musical director John Atkin had filled the same role for York Musical Theatre Company in May last year.
Know-how and experience duly combined with fresh ideas to good effect in this musical retelling of Robert Louis Stevenson’s novella of love, betrayal and murder.
Sarah Barker’s brothel madam, Aunt, in Jekyll & Hyde The Musical
Two keyboards, guitar and drums took care of business with panache, Atkin and cohorts Cameron McArthur, Paul McArthur and Joe Brooks being equally at home with big ballads in the Lloyd Webber mode and the sly wickedness shared with Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.
Sue Elm, Michael Goslin and Peter Ives’s set was built on two levels, both of them busy with human traffic in the ensemble numbers but best suited to the duets and profusion of solo numbers. Dr Henry Jekyll’s laboratory had to be rather squeezed in at the back but thankfully Joe Gregory is whippet slim.
The Gothic colour scheme of red walls and black doors was particularly effective when matched by the attire of the Victorian prostitutes of the Red Rat, and the use of masks was striking too.
This was CharlesHutchPress’s first encounter with Joe Gregory, and what an impressive lead performance he gave as the handsome/devil conflation of the upstanding, urbane but obsessive Jekyll and vengeful, sadistic, deranged alter ego Hyde welled up from within, once the doctor dares to dabble in reckless scientific experimentation in the cause of research for mental illness.
Joe Gregory’s urbane but obsessive Dr Jekyll
No Hammer Horror histrionics to report here on the journey to the dark side and an inner struggle between good and evil, scientific learning and carnal carnage. Instead, Gregory became more forceful of voice and manner, his movements staccato, stealthy and seductive, his actions ruthless, as brisk and lean as a bull fighter beneath a cocked hat.
The contrast was greater in his singing of the largely narrative songs, where notes would be deliberately strained in Hyde’s more urgent, guttural delivery, never more so than in The Confrontation, the Act Two vocal wrestling match for control in this dangerously dual personality.
It cannot be every arts centre where the artistic director (and youth theatre director to boot) happens to be the stand-out singer and actress for the resident company too. Step forward Natasha Jones, who was a knockout as Lucy Harris, the love-struck but self-protective prostitute, at once feisty but fearful and vulnerable.
What a voice; what expressiveness. Each and every one of Lucy’s solo songs was better for her singing it, having first teased and tantalised provocatively among the saucy prostitutes in Bring On The Men.
Natasha Jones’s Lucy Harris: “What a voice. What expressiveness”
Her duets with both Gregory’s Jekyll and Hyde fizzed with electricity and, in between, her duet with Amy Gregory’s Emma Carew, Dr Jekyll’s trusting, unknowing fiancée, was Amy’s peak moment too.
As befits a romanticist scientist, Gregory’s Dr Jekyll had chemistry with both women, one relationship tender if preoccupied, the other tactile and voracious, as the chemically altered Hyde gradually prevails, both possessed and possessive.
John Lister’s John Utterson, Kristian Gregory’s Simon Stride, Richard Noakes’s Sir Danvers Carew, Barry Whitaker’s Bishop of Basingstoke, Sarah Barker’s brothel madam, Aunt, and Esme Schofield’s Newsgirl all had their moments in a show best known for Dr Jekyll’s belter This Is The Moment.
It was enjoyable too to spot Rowntree Players’ riotous pantomime dame, Graham Smith, in a deliciously wicked cameo as Sir Archibald Proops QC, a law unto himself indeed.
Joe Gregory’s Dr Jekyll finds peace at last in the arms of Amy Gregory’s Emma in the finale to Jekyll & Hyde The Musical
Double the fun: Graham Smith’s Dame Harmony Humperdinck and Gemma McDonald’s Kurt Jester in Babes In The Wood
Babes In The Wood, Rowntree Players, Joseph Rowntree Theatre, York, tonight until Friday, 7.30pm (last few tickets for first three, limited availability for Friday); Saturday, 2pm (last few) and 7.30pm (limited). Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
HOWARD Ella reckons this is the best of the 13 Rowntree Players pantomimes under his writer-directorship. Well, he would say that, wouldn’t he, but he does have a point. This is a case of 13th time, luckier still, for family audiences at the York community theatre.
For a start, Babes In The Wood is two shows for the price of one: weaving Robin Hood and his merry band, Sherwood Forest and the Sheriff into the fairy tale of those two poor orphans abandoned in woodland by their wicked uncle.
Don’t be hood-winked by the show title. It is rather more Robin’s story and characters that dominate,including distaff variations on a theme, while accommodating the misfortunes of Hansel (Henry Cullen/Fergus Green) and Gretel (Maddie Chalk/Ayda Mooney) in their Gingerbread House, cooked sweeter and cuter than in the dark fable of yore.
Now, Robin (Hannah King) takes on not only a rescue mission to free Maid Marion (Marie-Louise Surgenor) from the tower and the clutches of the Sheriff of Nottingham (Jamie McKeller) and sidekick Will Snatchell (Joe Marucci), but also vows to find Hansel and Gretel.
Double the trouble: Joe Marucci’s Will Snatchell and Jamie McKeller’s Sheriff of Nottingham
For Friar Tuck, read Freya Tuck (Meg Badrick), and so on through the Merry Band of Alana Dale (Keelie Newbold) Georgie Green (Erin Willis), Jill Scarlett (Mollie Surgenor/Eva Howe) and Little Joan (Libby Roe/Charla Banks).
Put them together with King’s traditional, thigh-slapping yet somehow girl-power principal boy Robin Hood and suddenly they are aping SIX The Musical in Six, a musical number that makes great play of the sisterhood buzz musical of the decade (already booked in for June 27 to July 2 return to the Grand Opera House next summer, by the way).
Musicals are a running theme to the song-and-dance numbers in Ella and musical director Jessica Viner fast-moving show, from the opening Hairspray ensemble routine (Good Morning Sherwood Town) to Dirty Rotten’s echo of Something Rotten.
Best of all is Musical, all singing, all dancing and all seven minutes of it, led by Gemma McDonald’s cheeky, chipper, cartoonesque Kurt Jester, who lost her voice at Friday’s dress rehearsal but thankfully called on Doctor Theatre to see her through two shows on Saturday.
Howard Ella: Rowntree Players’ pantomime writer-director
The comic (bubble-haired McDonald) and the dame (Graham Smith’s slightly grumpy but lovable ‘Humpy’, alias Dame Harmony Humperdinck) are no longer chained to working in the Sheriff’s castle, but freelance travelling actors instead.
One is the greatest Shakespearean actor of her age, with an ego to match; the other is a comic extraordinaire in the daft jester tradition. Both have a licence to be loose cannons and pretty much run the show in their unruly way.
King’s Robin and Surgenor’s Maid Marion deliver a knockout Without Love in the tower by the No Exit sign, after Marion knocks back Robin’s demand to do a Rapunzel with her hair, whereupon Robin recourses to a ladder entry through the open window. Physical comedy in the classic English tradition.
Ella loves a pun, a political dig (for example, “Party?”. Correction: “Work gathering”) and partnerships too: not only the regular double act of Smith & McDonald and principal boy and girl King and Surgenor, but also a new combination of McKeller and Marucci, actors with previous form for Rowntree Players, but now venturing into the dark side, albeit to self-delusional comic effect as the topically tax-hiking Sheriff and the dimwitted, snatch-all Snatchell.
Hannah King’s Robin Hood and Marie-Louise Surgenor’s Maid Marion
McKeller is particularly inspired casting. Now making his name on the streets of York as ghostwalk host Doctor Dorian Deathly, he returns to his former stamping ground to make a big imprint with his gleefully dastardly Sheriff, eyebrows arched, voice arch, stage walk swaggering. “There’s still a touch of showbiz lurking behind the venom,” as Ella puts it and he’s spot on.
The comic and the dame nail the slapstick sludge scene; Viner’s musical band are as merry as Robin’s band; the senior chorus and young Blue/Red Team (Red on Saturday night) lap up every ensemble scene, and Ami Carter’s choreography is all dash, nothing slapdash.
Ella and his fellow set designers Paul Mantle and scenic artist Anna Jones have excelled too for the tower and forest alike. Andrea Dillon and Claire Newbold have fun with the costumes, for the pink-fixated dame as ever, but doubly so for the Merry Band in the Six pastiche.
You will love the all-action songsheet number too in a production that comes with genuine icing on the cake: a snow-topped roof from a past panto now repurposed to the dame’s mocking as the Gingerbread House.
Knocked for Six: The Merry Band mirroring SIX The Musical in Babes In The Wood
Hannah King’s Robin Hood in Rowntree Players’ Babes In The Wood
ROWNTREE Players’ rollicking romp of a pantomime, Babes In The Wood, will roll two shows into one at the Joseph Rowntree Theatre, York, from December 3 to 10.
Let writer-director Howard Ella explain: “We’re combining the stories of Robin Hood and Babes In The Wood. Two tales in one means there’s a lot for me to play with.
“Our beautifully hand-crafted panto promises fun from start to finish with traditional characters intertwined with a modern twist. There’ll be lots of fun for the whole family with the traditional slapstick routines, audience participation and of course, a love story: everything you would expect and want from a pantomime.”
Hannah King’s Robin Hood and Marie-Louise Surgenor’s Maid Marion
Facing the challenge of writing a new panto script for each winter, Howard says: “It takes a lot of head scratching to keep an element of freshness and originality around the traditional stories and the old – but lovingly recycled – jokes.
“The constant drive and annual re-invigoration come from bringing a talented and enthusiastic team together on and off stage.”
As always, Rowntree Players promise adventurous showstopper dance numbers to “have you dancing until Christmas”, having produced dazzling routines over the years showcasing York’s dancing talent.
Cast members in rehearsal for a dance routine in Babes In The Wood
Choreographer Ami Carter says: “It’s hard to pick just one number to be my favourite routine, because there are always moments from all the routines over the years that stick out in my mind – usually because it was a crazy idea that ended up working out really well – such as making a ship from people in Sinbad or having a troupe of dancers emerge from a fireplace in Cinderella.
“So far this year, I think my favourite is ‘Musical’, simply because I love the effect of all those musical references happening one after the other. The audience are in for a real treat with this seven-minute number.”
Howard has chosen very ambitious numbers for this year’s cast to sing, but that comes naturally for newly married musical director Jessica Viner (nee Douglas), who is a regular MD on York’s musical theatre circuit and also teaches and inspires the city’s next generation of musicians.
Double act at the ready: Graham Smith’s Dame Harmony Humperdinck and Gemma McDonald’s Kurt Jester
“I’m super-fortunate that my hobby and job are all rolled up into one as a freelance MD and pit musician,” she says. “As part of that, I teach at York Stage School and I’m also a peripatetic instrumental teacher at a school in Harrogate.”
For Babes In The Wood, Rowntree Players will be utilising a nine-piece band. “They are all so talented, so audiences are in for a real treat,” says Jessica.
Hannah King’s Robin Hood will be joined by a Merry Band of Meg Badrick, Keelie Newbold, Erin Willis, Charla Banks, Libby Roe, Mollie Surgenor and Eva Howe as they take on Jamie McKeller’s Sheriff of Nottingham and his all-too-regular tax hikes with his sidekick, Joe Marucci’s Will Snatchall.
Piling on the pain: Jamie McKeller’s Sheriff of Nottingham, right, and his sidekick in tax-hiking evil, Joe Marucci’s Will Snatchall
Adding to the merriment will be the familiar sight of Graham Smith’s Dame Harmony Humperdinck and Gemma McDonald’s Kurt Jester, entertainers extraordinaire who tour the land with their cabaret double act to help to save Marie-Louise Surgenor’s Maid Marion and the Babes in the Wood (Fergus Green, Ayda Mooney, Henry Cullen and Maddie Chalk).
The prospect of silly jokes, big musical numbers, slapstick and good old-fashioned family fun has led to tickets selling well already, prompting the advice to not delay in booking.
“It’s the perfect way to kick off Christmas,” says Howard. “Watch a show then go home and put up your tree. It’s what we all do.”
Rowntree Players in Babes In The Wood, Joseph Rowntree Theatre, York, December 3 to 10. Performances: December 3, 2pm (last few tickets) and 7.30pm; December 4, 2pm (limited availability) and 6pm; December 6 (limited), December 7 (limited), December 8 (last few); December 9, 7.30pm; December 10, 2pm (last few) and 7.30pm (limited). Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Babes In The Wood writer-director Howard Ella in the rehearsal room
CharlesHutchPress puts Rowntree Players writer-director Howard Ella in the pantomime spotlight ahead of Babes In The Wood’s first night
What makes Robin Hood and Babes In The Wood better for interweaving the two storylines, Howard?
“Robin Hood is a great, and ultimately, very traditional story. It’s very basic in its journey, and so being able to add some elements in the form of the Babes in the Wood helps broaden the story telling.
“It gives Robin heroic motivation that is broader than wooing Marion and, because it involves a younger cast, it opens up opportunities to take on larger roles. Of course, the original Hansel and Gretel story is incredibly dark, so I take a huge sidestep and some significant creative liberties!”
What will be the “new twists” you mentioned?
“There’s some twists this year in terms of casting choices and of course the plot goes off on tangents that aren’t wholly (or sometimes remotely) loyal to the initial storytelling. It’s not irreverence that drives that, but a push to keep things fresh and fun.
“Details on the twists? Well, no spoilers – you need to come and see the show – but as a taster, the Dame and comic this year no longer work in the Sheriff’s castle, but are travelling actors: Dame Harmony Humperdinck, the greatest Shakespearean actor of her age (and what an age!) and Kurt Jester, comic extraordinaire.”
What will be the fresh features of this pantomime?
“It’s not just originality in the set that lets us renew every season but also our approach to set design. We’re so lucky to be one of the few amateur companies in the country to have a full set-building store with engineers, carpenters and the most amazing scenic painter – all volunteers working year-round on our productions.
“This year, for the first time, all of our scenery, every single glittered gem of a piece, has been designed and made for us by that team. Add to that the amazing costumes our team pull together and we have a show that really is a dazzler.”
Jamie McKeller: Change of gear for actor and ghost tour host, swapping from Doctor Dorian Deathly’s haunted streets of York to spreading evil on the JoRo boards
How important is the elixir of panto right now, given the doom, gloom and financial strictures of the winter ahead and beyond?
“It’s hard to keep positive given the doom and gloom of the wider world and financial forecasts. Escapism, now and then, is an important rejuvenator in trying times. The magic of going to the theatre, specifically the elixir of panto, is such a good way to reboot together with friends and family, to laugh and tap your feet and be reminded of the positives there are in community, opportunity and good old fart gags!
“A night at the panto lasts far longer than two and a half hours. The kids will be talking about the characters for weeks, the adults will leave humming the tunes, and the dads will be recycling my handcrafted, yet ultimately silly jokes for years to come!”
What will be the big musical numbers in Babes In The Wood?
“There’s a phrase… ’Self indulgence is better than no indulgence at all’. Well, that’s certainly true about the choice of music in panto. Musical theatre is a great passion of mine and so panto is an opportunity to play with all my favourite show tunes and perform some fun pastiches of various shows.
“This year we tackle a seven minute-long beast of a number and the dame [Graham Smith] hits some dizzy heights in Act 2. We’ve got hints of Hairspray, Something Rotten, Gypsy, Wicked. It’s a real tour of showstoppers!”
How did you sign up Jamie McKeller, alias York ghost tour host Dorian Deathly, to play the villian?
“This year, as well as giving a lot of our younger company a chance to step into new roles, we have some exciting first-timers. The amazing Jamie McKeller and Joe Marucci have landed the roles of the Sheriff and his henchman respectively.
“Both are Rowntree Players alumni, having been in several plays over the years, but it’s a first foray into the ludicrous for both. It’s especially pleasing for us to have Jamie, aka Dorian Deathly, the award-winning York spookologist, playing it evil in panto. Although there’s still a touch of showbiz lurking behind the venom.”
Forest tomfoolery: Gemma McDonald’s Kurt Jester
Plenty of familiar faces are brought back together in the cast: Hannah King’s principal boy Robin Hood opposite Marie-Louise Surgenor’s Maid Marion; Graham Smith’s dame and Gemma McDonald’s daft lass. Audiences enjoy such partnerships….Discuss!
“Of course, along with new faces are some older ones. Some older than others! There’s a balance between keeping it fresh and building a winning team. Pantomime is one of those genres where audiences return and enjoy familiar faces and some annual in-jokes.
“Added to that is the relationships the cast members build. None is as important as that between ‘Dame’ and ‘Comic’. For us that is Graham and Gemma who, despite the rigorous audition process, have managed to be cast together for several years. That shorthand, trust, comic timing, audience understanding and ability to let a script ebb and flow is a vital backbone to a strong pantomime.”
What do you most enjoy about directing the Rowntree Players in pantomimes?
“Pantomime for everyone is a huge commitment and pretty all-consuming in the run-up to Christmas. For me, it’s become a year-long process of writing, casting, then going into pre-production, directing the show and overseeing the visual and technical elements.
“It’s a stretch to balance off against work in London and actually being at home sometimes, but it feeds the creative control freak in me.
“The process is so incredibly rewarding but there are two hugely satisfying elements. Firstly, I can invent whatever silly, nonsensical story, characters and scenarios I fancy and the team of talented, dedicated and, ultimately, incredibly patient volunteers bring it to life. We’re back to the self-indulgence thing.
“Secondly, and most importantly, we introduce a bunch of young people to the stage. Often from the age of nine or ten until they drift off into adulthood, we all get to share in their growth in confidence, talent and height and, I hope, skills they can use later on in life on or off the stage. Watching those performers get stronger every year is the ultimate reward.”
“Let’s remember what it feels like to come together to sing, to dance, to perform, to laugh,” enthuses Rowntree Players’ pantomime director, Howard Ella
FIRST came the announcement: “In the interests of everyone’s safety, please ensure masks are worn at all times”.
“Ensure”. Good word, that one, stopping all the wishee-washeeness that has prevailed so far, when there is a new variant in town.
Major London theatres are making masks compulsory (for all but children); York theatres really should be singing from the same panto song-sheet too. Anything that helps to keeps theatres open is not an unreasonable request to make.
Hannah King’s Dick Whittington and the ensemble in Rowntree Players’ Dick Whittington
Rant over. If masks are one emblem of pantomime-in-pandemic times, it is comforting to have familiarity too. Look at the sign in Rowntree Theatre’s London street scene: Ivor Leak, Plumber. Ho, ho.
Or look at the cubs and brownies filling row after row at the JoRo, bouncing up and down on their seats on a Monday night. It was ever thus at this community show.
“Let’s make the most of it and remember what it feels like to come together to sing, to dance, to perform, to laugh,” says director Howard Ella in his programme notes. How right he is.
Belting performance: Ellie Watson’s Alice Fitzwarren
Perish the thought that any theatre should ever rehash an old pantomime script – no names, no pack drill – but Rowntree Players have every right to revisit Ella and regular co-writer Andy Welch’s Dick Whittington, last year’s cancelled panto. Now it is the equivalent of a Christmas pudding becoming all the richer for having had to be put back in the larder for a year.
Hannah King’s resourceful, sprightly Dick Whittington and the ensemble set the tone with the opening Here I Am, establishing the Yorkshireman abroad in London Town vibe, grappling with a strange place of rhyming slang and “Oy, oy, Saveloy”.
Ami Carter’s choreography is superb throughout, knitting principal actors, principal dancers and the young team together so assuredly, and she hits her stride early in Money, marking Martyn Hunter’s return to the Rowntree panto ranks as mayoral candidate and rodent villain King Rat as he leads this irresistible number from Cabaret with panache.
In the pit: Musical director Jessica Douglas, centre, and guitarist Georgia Johnson
The song-and-dance list will go on to draw heavily on musicals, some well-known, some rather less so (Love Is Your Legs, from Dirty Rotten Scoundrels, for example), but all well chosen and delivered with musical-theatre oomph by musical director Jessica Douglas’s band.
Pantomimes need to combine the tried and tested with the fresh, and here Ella’s regular trouble-making comedy double act of Graham Smith’s saucy, head-strong, sometimes brusque dame, Dora Di Sorderlie, and Gemma McDonald’s daft, accident-prone, lovable, ginger-nutted Duncan Di Sorderlie, must play hapless security guards at Alderman Fitzwarren’s bank.
Their verbal interplay is always a joy, their physical slapstick peaking as they are drenched in coins, but to be pernickety, on occasion they could pick up the pace a tad, especially in the long first half.
Rat-a-tat-tat: Martyn Hunter’s King Rat and Mary-Louise Surgenor’s Ratatouille in a musical number in Dick Whittington
One stretched-out discussion between Hunter’s King Rat and Mary-Louise Surgenor’s sidekick Ratatouille had the cubs and brownies fidgeting, but otherwise this is a second partnership of highly experienced principals that clicks, albeit Hunter could have had a more poisonous bite to his ratty demeanour.
Company stalwart Geoff Walker’s Alderman Fitzwarren is suitably avuncular and the show’s knockout vocal award goes to singing teacher Ellie Watson for a belting My Hero in the role of Alice Fitzwarren.
Bernie Calpin’s sassy Kit the Cat is an unusually chatty moggie and all the better for it, when so often Dick’s companion merely meows.
Gemma McDonald’s Duncan Di Sorderlie and Mary-Louise Surgenor’s Daisy duetting on Love Is Your Legs
Adding to the pleasure are the uncredited set designs, and even more so the costumes, especially for Smith’s dame (look out for the Chocolate Whip!).
Smith relishes one joke in particular. When McDonald’s Duncan talks of “not making a scene” after losing a job as a set builder, the dame waspishly adds: “Unlike someone”. Who could Graham possibly mean?!
Rowntree Players present Dick Whittington at Joseph Rowntree Theatre, York, until December 11, 7.30pm plus 2pm, Saturday. Ticket availability: tonight and Friday, widest choice; Wednesday, Thursday, Saturday night, limited; Saturday matinee, last few. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Shocking pink: Graham Smith in saucy mode as Dame Dora Di Sorderlie
Rowntree Players’ principal cast members: Gemma McDonald’s Duncan, left, Hannah King’s Dick Whittington, Ellie Watson’s Alice Fitzwarren, Graham Smith’s Dame Dora and Martyn Hunter’s King Rat
DICK Whittington had to turn round and rest up for a year when Rowntree Players’ 2020 show was cancelled by Covid.
Now, however, Dick and his cat will be on the road from York to London from Saturday (4/12/2021), when the Players take to the Joseph Rowntree Theatre stage with director Howard Ella and co-writer Andy Welch’s pantomime.
Joining Hannah King’s Dick Whittington in the cast will be Graham Smith’s Dame Dora; Gemma McDonald’s Duncan; Martyn Hunter’s King Rat; Marie-Louise Surgenor’s Ratatouille; Geoff Walker’s Alderman Fitzwarren; Ellie Watson’s Alice Fitzwarren and Bernie Calpin’s Kit The Cat.
Howard and Andy first wrote the script remotely, via a satellite link, before the 2020 show was called off. “Socially distanced writing – that was a challenge,” says Howard. “I work away a lot so there had always been an element of remote collaboration, but this was full on.
“What was missing was the ability to read and act as we wrote without a satellite delay. That one-second delay kills humour stone dead, so there was a lot of writing on instinct. Then we had to shelve the script. Totally gutting.”
Roll on a year and out came the script again. “What was great was to lift it out a year later, read it with fresh eyes and still enjoy it,” says Howard. “What’s most strange is that it really demonstrated the stasis we have been in. It still felt relevant, if only because so much of our world of Covid and politics did not change.
“Of course, once we start blocking with the cast, then the gags change and everyone throws in their bit.”
Comedy writing as a duo, in the tradition of Galton & Simpson and Le Frenais & Clement, works well for the Players’ pantos. “I’ve written on my own and with both Barry [former dame Barry Benson] and Andy on different panto years,” says Howard.
“It’s exciting as you can bounce off each other and try things out before anyone else ever sees the script. The trick in making that writing partnership work is honesty and trust. When you don’t find something funny, when it’s not quite good enough, you have to say so and in a clear way.
Hannah King’s Dick Whittington is ready to set off from York to London in Rowntree Players’ Dick Whittington
“If you’re on the other end of the criticism, that’s where the trust kicks in. You trust you partner’s judgement and screw up the page. Sometimes tough, but you have to see it as collaboration, not compromise.”
This year’s cast is down in size by a couple of principals. “But that was story driven,” reasons Howard. “We wrote the script in early 2020 assuming Covid would drift past, so, in reality, there’s no compromises there. The script has the cast it always needed.
“That said, our chorus numbers are slightly lower to facilitate sensible spacing in dressing rooms and to deal with the [pandemic-enforced] practicalities, like not being able to share costumes between teams.”
Adapting to Covid restrictions has created extra challenges both in rehearsal and at the JoRo theatre. “We’ve had mask wearing and sanitising and spacing where we can,” says Howard.
“Everyone has been on different testing regimes through work and school, and they have been ever changing. Also, there’s double jabs where possible (and some of us oldies are boosted too!)
“What’s great is that the Joseph Rowntree Theatre is aligned with all the guidelines and so we’ve worked together, more than ever, to make it as safe as possible for everyone, both backstage and in the audience.
“But in reality we’re in the lap of the gods. From here on in, we put on a great show and hope that we all stay healthy. Otherwise, I’ll be picking up a script and donning a frock!”
As the first night approaches, what’s the mood in the camp? “Excited isn’t the word! We have missed the community aspect so much – and you only realise the strength of bond between the Rowntree Players company when it hasn’t been there and we all get back together.
“Stepping into the theatre on Sunday for the get-in, seeing all those familiar, yet strangely masked, faces was a delight. We haven’t done this for two years but it’s all come flooding back.
Rowntree Players’ Gemma McDonald, Hannah King, Ellie Watson, Martyn Hunter and Graham Smith dress in pantomime character on a day out at Murton Park, the Yorkshire Museum of Farming, near York
“In the company, we have a lot of returning cast and chorus, which has really helped us to short-cut through both Covid and a slightly curtailed rehearsal period because we slotted in Agatha Christie’s Spider’s Web in September, having delayed that production three times.
“Martyn Hunter has returned to the panto fold after a few years away and he’s done so with gusto, as has Bernie Calpin as Kit the Cat.”
Balancing work commitments with rehearsals, Howard is delighted to be bringing Dick Whittington to the stage. “At its heart, Dick Whittington has traditional pantomime roots. That’s what I love. We try and make every pantomime relevant, recognise how the world is changing and represent it in our own way.
“But underneath all good pantomimes is a tale of right and wrong with a love story in the background and the freedom to be silly in between.
“I’ve also always liked the reminder that nowhere’s streets are paved with gold and that generally you have to work hard and you get out what you put in,” he says, “channelling his inner Yorkshireman”.
Saturday’s opening show will be emotional for cast and audience alike, given the sense of community at the core of all the Players’ work. “Everything we do at Rowntree Players aims to be inclusive of anyone who wants to take part,” says Howard, who is presenting Dick Whittington in tandem with choreographer Ami Carter, musical director Jess Douglas and production manager Helen Woodall.
“There’s a real commitment, there’s a pride in being involved with such an old society returning to the theatre where they started.
“The joy for any audience comes from the cast and their joy in being part of a production. We get so much pleasure from our hobby, we laugh an enormous amount, and I think that enjoyment flows over the pit and into the auditorium in everything we do.”
Rowntree Players present Dick Whittington at Joseph Rowntree Theatre, York, December 4 to 11. Performances: 7.30pm, except Sunday; 2pm matinees, Saturday, Sunday and next Saturday. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
