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December 21, 2023December 21, 2023

Jakey Lad takes on title role in Robinson Crusoe after a decade of Berwick jests

*“I’ve done 11 pantos for Berwick now, and he’s always really lovely to me off stage,” says Jake Lindsay after a decade of dame jokes at his expense on stage. Picture: Charlie Kirkpatrick*

TRUE to form, dowager dame Berwick Kaler has advice for Jake Lindsay, the long-serving Essex lad in his York pantomime ensemble in Robinson Crusoe & The Pirates Of The River Ouse.

“Ah, Jakey lad. I keep telling you, take up painting and decorating,” teases the dowager dame, who earlier told The Press in his panto interview: “Every year I tell him, ‘go and get another career’ and he never listens. Anyway, it’s a while before you see him as Robinson Crusoe!”

It is indeed: not until the second half on Destiny Island in fact, but for all those years as the butt of Kaler’s jesting, Jake has enjoyed a gradual graduation from ensemble to “Jakey Lad” character parts, now crowned by playing the title role as well as being the leading light of the ensemble of Villagers and Pirates at the Grand Opera House.

“I’ve done 11 pantos for Berwick now, and he’s always really lovely to me off stage,” says Jake. “He’s really seen me grow up. I would have been 20-21 when I started at the Theatre Royal, when you’re like a vortex or a mirror, taking in everything. Now I don’t think I could go and do any other panto after being part of this pantomime spectacular for a decade.

*Jake Lindsay, centre, with ensemble cohorts Henry Rhodes and Benjamin Goodwin in Robinson Crusoe & The Pirates Of The River Ouse. Picture: Charlie Kirkpatrick*

“There’s a certain magnificence and magic that Berwick captures that’s in keeping with classic panto; the details that he can zoom in on. He’s always watching from the wings when he’s not on stage; he never misses a trick.

“When he directs us, he’s very clear what his vision is, and now we’re working with commercial pantomime producers [UK Productions], he’s a maestro of walking that tightrope of what we can say on stage with a certain savvy.

“It’s a delicate dance…where you have to keep up with the times, when it’s tough to know what’s too much, but that commercial edge is useful because it keeps us aware of what the boundaries are now.”

Relishing the “Jakey Lad” panto persona that “has kind of stuck”, Thurrock-born Jake enjoys adding to the diversity of a Wearside dame (Kaler), daft Yorkshire sidekick (Martin Barrass), luverly Brummie lackey (AJ Powell), pucker principal gal (Suzy Cooper) and devilishly thespian villain (David Leonard).

“It’s wonderful to be part of the team; I’ve learned so much from them,” says Jake, 31. “This style of pantomime is such an art in itself; how they carry things from year to year while embodying a new character, retaining the essence the audience first loved all those years ago. And it’s an audience where it feels like they are on stage with you.”

*Jake Lindsay, left, and Martin Barrass in a scene from Robinson Crusoe & The Pirates Of The River Ouse at the Grand Opera House. Picture: Charlie Kirkpatrick*

Trained in musical theatre, heavily focused on dance, at CPA Studios in Romford, Jake recalls his early on-stage encounters with Kaler’s dame. “Initially, when he introduced me to the audience at each show, there was genuine fear on my part! Like a father-and-son fear, more respect than fear, but let’s call it fear!” he says. “It was a genuine reaction because Berwick is such a character, but we’ve kept that going over the years.”

A switch to painting and decorating, however, will not be happening. “An apprenticeship is not on the cards but I wouldn’t rule anything out. I’ll try anything,” says Romford-based Jake.

“I’m retraining at the Collective Acting Studio to become a television actor, and I’ve been doing that since Covid. I thought I’d fallen out of love with acting at that time, but as I’ve progressed there’s a lot I want to showcase in different ways.

“Theatre is such a beautiful medium to broaden perspectives, so I’d like to broaden out into writing too, and there are a few projects that I’m exploring at the moment. I’d like to incorporate dance into that: it was my first love, more than acting. I suppose I’m a dancer first and foremost.”

In the meantime, as the pantomime programme reveals, Jake is Berwick Kaler’s understudy as the dame – Dotty Dullaly this time – in Robinson Crusoe. What does his preparation for that role entail?

*Understudying for Berwick Kaler as the dame? “The beard would probably have to go,” says Jake Lindsay*

“In honesty, Berwick’s ability to see what an audience likes in the first few scenes, to gauge and then respond to that, is something that can only be learned from observing him, side of stage,” he says. “Of course, they know each other so well and they have grown together, so it isn’t something that could ever be replicated.

“Prep looks like taking note from the wings and hoping I never have to practise being ready on stage in front of an audience! But knowing the core audience would always be supportive and understanding in that scenario, with a plus being that there isn’t much of a script to learn!”

If the call came to be Dotty, “I would have to give Berwick’s accent a go for a laugh – or perhaps I wouldn’t put people through that, but the beard would probably have to go.”

Robinson Crusoe & The Pirates Of The River Ouse heads for Destiny Island at Grand Opera House, York, until January 6 2024. Box office: atgtickets.com/york.

One last question, Jake

Have you had any memorable understudying experiences?

“Last year, rehearsing for the flying scene, it took a few more of the tech team to get me in the air!”

Copyright of The Press, York

Suzy Cooper’s Polly Dullaly and AJ Powell’s Lovely Jubbly in Robinson Crusoe & The Pirates Of The River Ouse. Berwick Kaler’s dame, Dotty Dullaly, front left, looks on. Picture: Charlie Kirkpatrick

In Focus: Relaxed Performance of Robinson Crusoe & The Pirates Of The River Ouse at Grand Opera House, York, on January 4

AS Christmas Day approaches, many feel rushed, but the new year could be the perfect time to relax and enjoy a pantomime show in a less formal environment.

The Grand Opera House, York, will be holding a Relaxed Performance of Robinson Crusoe & The Pirates Of The River Ouse on Thursday, January 4 at 2pm.

“This year’s panto is popular with all ages but anyone who is very young, new to the theatre environment, or struggles with staying in their seats, may find the Relaxed Performance just the thing,” says Grand Opera House theatre director Laura McMillan.

“The performance, which fits in perfectly with school holidays, enables those who would normally find a trip to the theatre daunting or stressful to come to the show and suits those with an autism spectrum condition, a learning disability or anyone who would benefit from a more relaxed environment.

“Loud bangs are removed, the lighting and sound are adjusted, and everyone is free to move around as they wish. While the environment is more calm, there will still be plenty of panto excitement to enjoy. We also create a chill-out room for anyone who would like to have time out of the auditorium.”

Ahead of this theatre visit, if any audience member would like to be prepared for what to expect, the Grand Opera House can provide a visual story via yorkaccess@theambassadors.com

The parent of a child who visited the pantomime with his school last week said: “As a result of having it [the visual story], our son was able to sit through his first-ever full pantomime today and he loved it so much.

“I can’t explain to you how much that means to him or to us when so many things aren’t accessible and he has so many struggles. For a couple of hours, apparently he was belly laughing, booing and hissing and cheering, and knowing what was going to happen massively reduced his anxiety.”

Robinson Crusoe & The Pirates Of The River Ouse has two performances most days of the run until January 6, including a BSL (British Sign Language) interpreted show on Wednesday, December 27 at 5pm and an Audio Described performance on Thursday, December 28 at 1pm.

The Grand Opera House aims to be as accessible and inclusive as possible for all visitors, so that everyone can enjoy live entertainment at the Cumberland Street theatre.

Show details:

Relaxed Performance: Thursday, January 4, 2pm

Show length: Approximately 1 hour 50 minutes, including interval

Box office: Open 90 minutes before the performance

Tickets: atgtickets.com/york

December 7, 2023December 7, 2023

Dame Berwick ready to set sail on his first ever Robinson Crusoe pantomime crusade

*Name that dame: Berwick Kaler will play Dotty Dullaly in his 43rd York pantomime. Picture: Charlie Kirkpatrick*

BERWICK Kaler first performed in a York pantomime in 1977. Now he is 77.

“I feel fit,” says the grand dame, ahead of Robinson Crusoe & The Pirates Of The River Ouse setting sail on Saturday with the usual crew on board. “When I get on stage, I don’t feel any different. I’ve just been doing the flying sequence, and they worry for me, but I was fine. I didn’t think twice about doing it. It felt the same as ever.

“Yes, I do see changes in my dame, but it’s only age.” Physically, however, Dame Berwick has shrunk from his prime panto fighting weight of 11 stone, thinner in the face and legs, wiry of frame, eyes as big as a spaniel’s, as he sits in Dressing Room One at the Grand Opera House for this lunchtime chat.

He breakfasts on porridge, smoked salmon and two poached eggs, but has not recovered any of the two and a half stone he lost in a year when his long-time partner, David Norton, died.

“The doctors have checked me over, and no-one can find anything wrong with me. It’s driving me mad,” says Dame Berwick, who had a double heart bypass operation six years and relies on “Gerry”, his pacemaker, to keep him ticking over.

Not only does he feel fit, but he feels Robinson Crusoe & The Pirates Of The River Ouse is fit too for its public bow this weekend – even if Daniel Defoe’s 1719 tale of adventure and survival is not the easiest fit for pantomime service.

“I’ve never done Robinson Crusoe before,” says writer-director Dame Berwick, who will be appearing in his 43rd year York panto. “It’s not a pantomime; it never has been! But now, yes, it is a pantomime, but I’ve had to mix a lot of ingredients into it because it’s essentially a one-man story – and Man Friday has had to go.

“What was I on to have made that decision to do it,” he asks himself. “But I do like picking at bones to make a show.”

Robinson Crusoe does have York links: born in the city in 1632 to a middle-class upbringing, he set out from here on his travels. That fact alone gave Dame Berwick the bones on which to flesh out his script. “I blame Martin Dodd for the title!” he says, referring to the managing director of UK Productions, producers of the Grand Opera House pantomime for a second year. “He suggested pirates for the show, and so we have the Pirates Of The River Ouse.”

Those pirates will be played by the dance ensemble, while Jake Lindsay, so often the butt of Kaler’s jesting in his gradual graduation from ensemble to character parts over the past decade, will take the title role. “Every year I tell him, ‘go and get another career’ and he never listens,” says Dame Berwick. “Anyway, it’s a while before you see him!”

As ever, Dame Berwick’s regular partners in pantomime are reassembling. “I’m playing Dotty Dullaly, and we’re getting very modernistic as she was married before, to Mr Crusoe. Robinson is her son,” he explains.

“She was going to go on a cruise with Mr Crusoe and Robinson, but at the last minute she was taken ill and it was the last time she saw them. Then she got married to Mr Dullaly, and they had two children: 18-year-old Suzy Cooper [Polly Dullaly] and 16-year-old Martin Barrass [Willy Dullaly]!

*The Ouse crew’s regular front five: David Leonard, left, Martin Barrass, Suzy Cooper, Berwick Kaler and A J Powell. Picture: Charlie Kirkpatrick*
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AJ Powell will be appearing in trademark Brummie mode as Luvverly Jubberly, while inveterate villain David Leonard will revel in the vainglorious name of Narcissus. “He has to come to York to acquire half an amulet before sailing to the Island of Destiny – it’s not called that in the book! – to extract the other half from around Robinson’s neck,” says Dame Berwick.

“You can’t do anything with the real story of Robinson Crusoe, so I’ve introduced magical elements, like a book of spells that Robinson is in control of. Since he was shipwrecked on the island, he’s been made into an idol, but Narcissus, whose mother was a good witch, who never wanted him to get his hands on that book, is determined to force Robinson into the Tomb of Destiny to retrieve it.”

Echoes of Aladdin’s Cave and the arch antagonist Abanazar in Aladdin, you ask. “There are hints of Aladdin, hints of Sinbad The Sailor, in there, but it’s not a copy of them. It’s my new twist on them,” he says.

After Dick Turpin Rides Again and The Adventures Of Old Granny Goose, Dame Berwick is enjoying creating his third Grand Opera House panto. “Why keep doing it? I don’t need to do it, and I’ve told my agent I don’t want do to TV, films and stage shows any more. I’ve done all that. Just panto,” he says.

“I’m not a writer but I have to say I quite like the process of writing. Would I miss panto? Yes. I’d just be sitting at home with the dogs watching rubbish TV, which would be bliss, but I prefer to be doing this.”

Familiarity breeds content that suits long-serving company and York Pantomime (Berwick Kaler) Appreciation Society devotees alike. “It’s the only pantomime where you can get away with in-jokes, as it’s the audience that laughs, not the actors, because they’ve been following us for so long,” says Dame Berwick.

“We are five performers who know each other inside out; we can talk on common ground; we know how to work together; I know what to write for them all, though it gets more difficult over the years! I could bring others into the cast but no, this is a staunchly loyal group that has served York so well, doing great deeds in the world of panto.”

The core team remains intact, but Dame Berwick has had to adapt to the age of cancel culture. “Up to the last couple of years I wrote with a sense of humour that we’d had since I can remember, where nothing was taken as an insult to anyone,” he says. “But lately, if anyone said, ‘oh that’s a bit naughty’, I’d have to say, ‘no, I wrote it in innocence’.

“The last two years I’ve learned that it’s a lot safer if we laugh at ourselves on stage, taking the mickey out of each other, but that does take away from a lot of things that worked before and that’s a shame. There still has to be a shock element to comedy.

“I’ve always found that people come away from our shows saying, ‘I didn’t expect your panto to be so different from all the others’. You still have to have ‘he’s behind you’ in there, but come on, let’s keep surprising people.”

Contemplating the future, Dame Berwick says: “I’m not going to announce my retirement. I’ll just go quietly, whenever. I’ve had my big send-off already [after 40 years at the Theatre Royal]

“When they announce the next Grand Opera House pantomime, it will either be with us or without us.”

Robinson Crusoe & The Pirates Of The River Ouse, Grand Opera House, York, December 9 to January 6 2024. Box office: atgtickets.com/york.

Copyright of The Press, York

December 15, 2022December 15, 2022

REVIEW: Dame Berwick Kaler in The Adventures Of Old Granny Goose, Grand Opera House, York, until January 8 2023 ***

*Flagging, but not flagging: York pantomime dowager dame Berwick Kaler in regal attire for The Lambton Worm song sheet, from County Durham, at the Grand Opera House. All pictures: David Harrison*

THIS is as much The Misadventures Of Old Granny Goose as The Adventures of the aforesaid ageing old bird.

Berwick Kaler and his ex-York Theatre Royal gang are back together, re-grouping like The Rolling Stones or the Friends cronies to recall the old hits – Berwick and a dummy, Berwick flying (twice), Berwick and a pool with powers that take years off his dame and, above all, Berwick going off-piste, off script – for the faithful.

Those moments, at liberty to ad-lib, are the ‘misadventures’, the ones that most delight, Berwick wandering off to the stage apron to take in the audience with mischief in his eyes, Berwick apologetically and rough-handedly correcting his misplaced stage spot, Berwick making a political jibe, Berwick winding up his fellow regulars and teasing his ensemble newbies.

What’s fresh this year? The Grand Opera House, the comeback dame’s adopted panto home for a second year, has undergone a refurbishment, new seating et al; the panto has new producers, UK Productions, overseeing costumes (an upgrade on last year), set design (standard panto scenery, smart, proficient, no York detailing) and lighting (hi-tech with a dash of pop-concert glitz).

*Unspeakable dummy: Berwick Kaler’s Mrs Plum Duff and Martin Barrass’s Jessie try to work a truculent Boris Johnson in the ventriloquism scene in The Adventures Of Old Granny Goose*

What else? Lovely fairy lights adorning the proscenium arch; a welcome revamp of the stock ghost scene with beds disappearing and reappearing and a host of ghosts; puppy-keen Jake Lindsay’s upgrade to a more prominent role as Jakey Lad, still the butt of Berwick’s putdowns after a decade in the ranks.

And what’s more? The three lads in the dance ensemble (Spencer Hardy, Elliot OJ Hutchinson and dance captain Samuel Lithco) aping Matthew Bourne’s all-male chorus in a brief burst of Swan Lake, plus ensemble debuts for Leeds-trained Lucy Churchill and Niamh Hendron, and a new intake of children from York Stage School for babbies’ sweetness in ensemble scenes.

What’s old this year? The Grand Dame, of course, sending himself/herself up at 76, aware that unlike his character, Mrs Plum Duff, the Granny Goose of the title, he cannot turn back panto-time by taking a magical pool dip.

Instead, the drama-queen dame mock-collapses at the end of big number Barmy Girl in mock-exhaustion, play acting as he demands to be helped up. He adamantly says he can’t deliver his lines any faster when urged to do so and deliberately turns his balletic flight landing into an inelegant tumble.

*Old Mother Goose steps: David Leonard’s Lucifer Nauseus, centre, AJ Powell’s Brum Stoker, left, and Suzy Cooper’s Cissy, second from right, in a song-and-dance routine with ensemble Villagers*

What’s the (lack of!) plot this year? Well, no, Berwick hasn’t lost the plot, but it’s brief. Or, correction, devilish David Leonard’s dandy villain, the goose-fearing Lucifer Nauseus, says it is. He has to find a fairy. That’s it. The plot.

Well, like on an allotment, there’s plot aplenty, or at least by writer-director Berwick’s infamous plot-resistant standards, there is. But yes, in essence, the villain must find a fairy to do his evil bidding for him. Oh, and the dame has to be under the misconception that the Goose is a dog.

What ticks over this year? Kirsty Sparks’s choreography; Rob Thorne’s band, and especially Berwick’s double act with comic fall guy Martin Barrass (dippy son Jessie Plum Duff), partner in the ghost scene, The Lambton Worm song sheet, and rocking-chair ventriloquism routine with Boris Johnson as the dummy.

That Tory old boy scene defines the dip in madcap mayhem since peak Kaler years, being laboured (not Laboured, unlike this pun), where it needs to make more of Johnson’s blustering vocal schtick and boot him with sharper barbs about his mendacious character.

*Old Granny ghost: Jake Lindsay and a friendly ghost at play*

What works best this year? No surprises. Leonard’s fab-u-lous vainglorious villainy, with his devil’s swishing tail that turns into a phone, his stage-vamping swagger, that Shakespearean lead thespian voice and his comic timing. Everything done with aplomb amid the Plum Duffs.

His rendition of Lou Reed’s Perfect Day with first Suzy Cooper, then AJ Powell, is the show’s comic high point, anything but a perfect day, but witty and physically funny too.

What about Cooper and Powell this year? On good form, principal gal Suzy doubling up as both a classic Fairy and plummy Cissy Plum Duff, who is all doe-eyed over Powell’s would-be novelist, Brum Stoker (the pick of Kaler’s cast names for 2022).

What’s missing this year? The film; the water splosh scene; old-school physical slapstick; topical references (save for yesterday’s men, Johnson and Matt Hancock), and an animal costume for Barrass.

Helping hands: A play-acting Berwick Kaler’s no longer super-annuated Mrs Plum Duff needs a lift from Elliot OJ Hutchinson’s Villager, left, and Jake Lindsay’s Jakey Lad after the dame’s big musical number

What replaces them? The jousting banter between the familiar players; the greater emphasis on song and dance (Leonard going from one song immediately into another); the comforting constant sense of nostalgia for Dame Berwick devotees.

The Adventures Of Old Granny Goose does not lay a golden egg of cracking comedy but is more of a curate’s egg, sunny side up at times, flat as a pancake on occasion. There is more than enough for the loyal legions, not enough for new converts.

“We’ve never, ever taken you for granted,” said Dame Berwick at the finale, both grateful and hopeful of a return. After all, this Kaler – and his goose – on the loose is not the oldest dame in town this Christmas.

A certain Sir Ian McKellen’s Caroline Goose, aged 83, is in residence in Mother Goose at the Duke of York’s, London, from tonight (15/12/2022) until January 29, then on tour until April 1.