All in a Weeks’ work in York as Christopher plays Buddy Holly at Grand Opera House

Oh Boy! Christopher Weeks as Buddy Holly in Buddy, The Buddy Holly Story, on tour at Grand Opera House, York

CHRISTOPHER Weeks will be in York all week, playing the lead role as Buddy, The Buddy Holly Story returns to its regular nesting place of the Grand Opera House from Tuesday for the first time since 2017.

After the 30th anniversary travels were stalled by Covid, writer-producer Alan Janes’s musical is back on the road at last, adding to the record-breaking 4,668 performances over 580 weeks on tour in Britain and Ireland (alongside 5,822 performances over 728 weeks in London’s West End since 1989).

Buddy tells the “day the music died” story of how bespectacled Buddy Holly, from Lubbock, Texas, rose from southern rockabilly beginnings to international stardom in only 18 months before his untimely death in a snow-shrouded plane crash at the age of only 22 after playing the Surf Ballroom in Clear Lake, Iowa.

Christopher, a 33-year-old southerner with northern connections, has been a Buddy fan since childhood days. “The show has been around for more than 30 years, and I first saw it in High Wycombe when I was seven or eight,” he recalls.

“I grew up with the show soundtrack, before I knew Buddy Holly’s own versions, and  it’s always been on the list of shows I wanted to do, but I never thought I’d get to play Buddy as it’s top of the tree, a pipe dream, the biggest show of its kind around.”

Nevertheless, Christopher knew members of the previous Buddy cast of actor-musicians, having worked with Josh Haberfield, his “go-to drummer”, who played The Crickets’ Jerry Allison in the show, and Joe Butcher, Buddy’s double bassist Joe B Maudlin.

That affiliation provided his inroad. “I was in a group called The Runaround Kids, a four-piece with a flexible line-up [including Haberfield and Butcher, sharing drumming duties], and we played Buddy Holly and other rock’n’roll songs.

“I played piano and fronted the band on cruise ships and we did it all over the world, playing with headline acts like Chesney Hawkes and Gareth Gates. We once shared a cab back with Chesney!”

Haberfield and Butcher mentioned Weeks’s enthusiasm to play Buddy to director Matt Salisbury. “I then went through an audition process that was very vigorous,” says Christopher.

“That was in 2019, when they were casting for the 30th anniversary tour in 2019/2020. I got the part, and everything was rolling along nicely, six months or so into the tour, when we had the dreaded ‘We’ll keep you posted’ meeting and the pandemic lockdown soon followed.

“They were great with us, very upfront, and gave us some financial support, but it’s such a big show that the tour has only been back up and running for three weeks.

“You couldn’t have done it for the previous two years, as it just wasn’t possible, and then the venues had to play catch-up with all the shows that had been booked in.”

Rave on: Hannah Price, left, Harry Boyd, Christopher Weeks, Rhiannon Hopkins, Joshua Barton and Ben Pryer in a scene from Buddy, The Buddy Holly Story

Has resuming the tour after such a long hiatus been akin to climbing back on to a bicycle? “Well, I did as much work on it as I could at home. The songs never leave you, and because we’ve played them with all those different groups, The Crickets came together a few days before rehearsals resumed to refresh ourselves,” says Christopher.

“Once you get back in the rehearsal room, you start finding yourself instinctively back in the same positions on stage. It felt like a shadow was there from what I’d done before.”

Driven by the truncated arc of Holly’s story – the candle snuffed out so soon – as much as by such songs as That’ll Be The Day, Peggy Sue, Oh Boy, Everyday, Rave On, The Big Bopper’s Chantilly Lace and Ritchie Valens’s La Bamba, Buddy adds up to much more than the raft of jukebox musicals it inspired.

“In terms of drama, it’s a tragedy,” says Christopher. “Jukebox musicals have their place, but this is different. It’s a play with songs and it’s not rose-tinted, showing a lovely guy who nevertheless wanted to get things done his way and didn’t have time for any nonsense.

“There’s so much drama, and it’s a true telling of how the songs came about, rather than just singing because that’s what the emotion demands. They’re playing music because they’re musicians.

“It’s the rawness and simplicity of those songs that still appeal to people. Music has gone through so many turns and changes, like my father growing up listening to Black Sabbath and Led Zeppelin. He’d probably look back at rock’n’roll as simplistic, whereas I see it as simple but vibrant and thrilling.”

Christopher admires Holly for his “creativity, passion and drive, and unimaginable talent”. “He was in the business for only 18 months, and I do wonder if he somehow knew what was coming. He was always on the clock, always in the studio, always up at night writing, and his wife [Maria Elena] had that dream of what might happen,” he says.

Naming Raining In My Heart, Early In The Morning and True Love Ways – the song that accompanied his walk down the aisle on his wedding day – as his Holly favourites, Christopher will be on tour until October.

Next week he will tread the Grand Opera House boards for the first time since playing The Big Three bassist Johnny Gustafson in Cilla, The Musical in January 2018, as he heads north once more.

Should you be wondering about his northern connections: “My mother’s side of the family is from Ilkley. Do you know my uncle?” he enquires. Who? “Mike Laycock!”

Mike Laycock, soon-to-retire chief reporter of The Press, no less.

Buddy – The Buddy Holly Story, runs at Grand Opera House, York, March 21 to 25, 7.30pm plus 2.30pm Wednesday and Saturday matinees.  Box office: atgtickets.com/york

Copyright of The Press, York

Yorkshireman Joe Layton heads home as trouble-making Iago in Frantic Assembly’s Othello on tour at York Theatre Royal

What’s he plotting next? Joe Layton’s Iago in Frantic Assembly’s Othello, on tour at York Theatre Royal. Picture: Tristram Kenton

JOE Layton returns to his native Yorkshire from tonight to play Iago in Frantic Assembly’s electrifying reimagining of Shakespeare’s Othello at York Theatre Royal.

Once more he will confirming his English teacher’s hunch at a parents’ evening that Ilkley lad Joe “had some talent for acting”.

“He said, ‘I don’t say this very often, but I would encourage Joe to apply for drama school’,” he recalls.

He duly did so, supported by teacher Tony Johnson, who provided not only encouragement but help in preparing audition speeches. “I owe him a huge amount,” says Joe. “He came to see the last show I did in Leicester and hope he’s in the audience for Othello.”

This is Frantic Assembly’s third staging of their award-winning account of Othello, Shakespeare’s tragedy of paranoia, sex and murder, set in a volatile 21st century wherein Othello’s passionate affair with Desdemona becomes the catalyst for jealousy, betrayal, revenge and the darkest intents.

Shakespeare’s muscular yet beautiful text combines with the touring company’s own bruising physicality in a world of broken glass and broken promises, malicious manipulation and explosive violence, previously staged in 2008 and 2014 and now updated for 2022.

On the wind-up: Joe Layton’s Iago has a word with Michael Akinsulire’s Othello. Picture: Tristram Kenton

Frantic Assembly have had a marked effect on his career and aspirations already, as he was part of their Ignition programme – a free nationwide talent development programme for young people aged 16 to 24 – in 2009 and later appeared in Frantic’s The Unreturning.

“It’s for all genders now but Ignition started out as an all-male programme and was a space where sensitivity and masculinity were explored in a non-toxic way, which I hadn’t experienced before,” says Joe, one of no fewer than five Ignition graduates involved in Othello this season.

He saw Frantic Assembly’s original production in 2008 but it was another of the company’s shows that was particularly influential: Bryony Lavery’s two-hander Stockholm. “I must have been 15 years old,” says Joe. “It was one of those mind-blowing moments that gave you goosebumps. That was the moment I said to myself, ‘I want to work with Frantic one day’.”

His professional debut came two years later in Nikolai Foster’s production of George Orwell’s Animal Farm at West Yorkshire Playhouse. As a 17-year-old schoolboy, he was given special dispensation to leave early several days a week to do the Leeds show.

Looking back at his first encounter with Frantic Assembly’s Othello, Joe recalls how “it really leapt off the page for me and made it accessible, especially for teenagers. It was real, visceral and immediate”.

Honest, Iago? Joe Layton keeps at arm’s length from the truth in Othello. Picture: Tristram Kenton

Now he is playing Iago, the poison-dripping baddie of the piece, or is he possibly misjudged? Psychopath or “a bit of a villain”, Joe must ask himself. “As an actor, you have to get inside them, understand them, what makes them tick, and do the things they do which, in Iago’s case, is hideous, unforgivable things,” he says.

Movement becomes as important as words in Frantic Assembly’s style book. “The way Frantic work, you are creating a physical sequence, finding a physical connection between characters. Then story and characters are layered in on top of that. You throw yourself in and trust the director [Scott Graham]. You have to give yourself and trust the process,” he says.

“We begin rehearsals with a one-hour workout and high intensity training. The rest of the morning is given over to movement sequences. Everything is really highly choreographed. There’s nothing that happens on stage that’s not choreographed.”

Joe grew up in Ilkley, moved to London for drama school, met his wife in New York and now lives in the United States, while working on both sides of the Atlantic.

He headed to America after being scouted by a top actors’ agency. “I don’t regret moving to Los Angeles because it was a really interesting period of my life, although challenging in a lot of ways. I moved away from family and friends and all that sort of stuff.

Turning the tables: Joe Layton’s Iago plays his mind games on Michael Akinsulire’s Othello as Chanel Waddock’s Desdemona looks on. Picture: Tristram Kenton

“I couldn’t work for six months because I was waiting for my work visa to come through. I was a 21-year-old with not much money just sitting around.”

One role to emerge from his USA move was Marvel’s Agents of SHIELD. He was not picked for the role for which he auditioned but was offered a different one. He took part in the series for only a few weeks but found working in the Marvel superhero world to be “a whole different ballgame”.

“I have an agent in the US and the UK,” he says. “One of the things that really changed through the pandemic is that everything, including casting, went online, which means there’s even less need to be in London. It seems the industry is getting less London-centric. You can audition on film anywhere, read a scene and be cast off the tape. That’s been great for me in terms of quality of life and being able to live in America.”

During lockdown, Joe spent an enforced period back in Leeds while visiting family for Christmas celebrations. Unable to go home, he spent six months living in his grandmother’s cottage near Pateley Bridge.

He will return to the USA during a break in the Othello tour. “My wife is at home in America. She’s a writer and working on a new book, so she’s pleased to have me out of the house and have time for herself and her writing.”

Frantic Assembly’s Othello runs at York Theatre Royal from tonight until Saturday, 7.30pm plus 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Did you know?

Joe Layton (Iago), associate director David Gilbert, co-choreographer Perry Johnson, Oliver Baines (Montano) and Felipe Pacheco (Roderigo) have all taken part in Frantic Assembly’s Ignition programme.