Sovereign actors Fergus Rattigan, left, and Sam Thorpe-Spinks, right, with playwright Mike Kenny
HENRY VIII and the murder of a York glazier take top spot in Charles Hutchinson’s pick of July highlights with outdoor cinema on its way too.
Community event of the month: York Theatre Royal in Sovereign, King’s Manor, Exhibition Square, York, July 15 to 30
YORK Theatre Royal’s large-scale community production, York playwright Mike Kenny’s adaptation of C J Sansom’s Tudor-set murder mystery Sovereign, will be staged outdoors at King’s Manor, where part of the story takes place. Henry VIII even makes an appearance.
Two professional actors, Fergus Rattigan’s disabled lawyer Matthew Shardlake and Sam Thorpe-Spinks’ assistant Jack Barak, lead the 120-strong community company of actors, singers, musicians and backstage workers. Tickets update: sold out.
York artist Tom Wilson stands by his artworks in the City Screen Picturehouse cafe bar
Exhibition of the week: Tom Wilson, City Screen Picturehouse café bar, Coney Street, York, until July 29
YORK punk expressionist artist, designer, playwright, theatre director and tutor Tom Wilson is exhibiting his riots of colour at City Screen Picturehouse for the first time with sale proceeds going to MAP (Medical Aid for Palestinians). Thirty-five works are on display, priced at £175 to £700.
“My art looks like an explosion,” says Wilson, whose dynamic abstract artwork is influenced by Kandinsky, Max Earnst, Otto Dix, Outsider art, German Expressionism and Rayonism (Russian Expressionism).
Industrial Revolution, one of Tom Wilson’s works on show at City Screen Picturehouse
Tribute show of the week: Steve Steinman’s Anything For Love, The Meat Loaf Story, York Barbican, tonight, 7.30pm
FOR more than 30 years, Nottingham’s Steve Steinman has toured the world with his tribute to the songs of Jim Steinman and Meat Loaf (real name Marvin Lee Aday). Now he presents his new production, showcasing 25 chunks of Meat Loaf and Steinman’s prime cuts.
Anything For Love combines Steve’s humour and a ten-piece band with such rock-operatic favourites as Bat Out Of Hell, Paradise By The Dashboard Light, Took The Words Right Out Of My Mouth, Dead Ringer For Love and Total Eclipse Of The Heart. Box office: yorkbarbican.co.uk.
The Sixteen: Marking 400th anniversary of the death of composer William Byrd in Sunday’s York Early Music Festival concert at York Minster
Don’t miss atYork Early Music Festival: The Sixteen, York Minster, Sunday, 8pm
THE Sixteen’s 2023 Choral Pilgrimage is inspired by the influence of Renaissance composer William Byrd in an exploration of his life, works and pervading Roman Catholic faith. His legacy is marked by two new compositions by Dobrinka Tabakova, bringing his musical heritage into the modern day.
The premieres, Arise Lord Into Thy Rest and Turn Our Captivity, highlight Byrd’s influence of modern polyphony and showcase The Sixteen choir in a new light. Director Harry Christophers’ programme also features works by Van Wilder, de Monte, Clemens Non Papa and Byrd himself. Box office: 01904 658338 or tickets.ncem.co.uk.
Emily Belcher’s Emily Webb and Frankie Bounds’ George Gibbs in rehearsal for Amerrycan Theatre’s Our Town
American play of the week: Amerrycan Theatre in Our Town, Theatre@41, Monkgate, York, Tuesday to Saturday, 7.30pm plus 2.30pm Saturday matinee
FOUNDER Bryan Bounds directs Yorkshire’s American company, Amerrycan Theatre, in the York premiere of “America’s greatest play”, Thornton Wilder’s Pulitzer Prize-winning 1938 study of mindfulness, mortality and brevity of life, Our Town.
“Wilder’s portrait of life, love and death set in Grover’s Corners, New Hampshire, a fictional New England town at the start of the 20th century, could happen just as easily in Pocklington,” says Bounds. Tracing the romance and marriage of Emily Webb (Emily Belcher) and George Gibbs (Frankie Bounds), Our Town reveals the hidden mysteries behind the smallest details of everyday life. Box office: tickets.41monkgate.co.uk.
Amerrycan Theatre’s poster for the York premiere of Thornton Wilder’s Our Town
Outdoor film event of the week: City Screen Picturehouse presents Movies In The Moonlight, Museum Gardens, York, July 14 to 16, doors, 7.30pm; screenings at sundown, 9.15pm approx
CITY Screen Picturehouse heads outdoors for three films in three nights, kicking off on Friday with The Super Mario Bros Movie, wherein Brooklyn plumbers Mario (Chris Pratt) and brother Luigi (Charlie Day) are transported down a mysterious pipe and wander into a magical new world.
In Mamma Mia! The Movie, next Saturday, Greek island bride-to-be Sophie (Amanda Seyfried) is set on finding out who her father is. In next Sunday’s film, Jaws, Roy Scheider, Robert Shaw and Richard Dreyfuss star as a police chief, marine scientist and grizzled fisherman set out to stop a gigantic great shark that has been menacing the island community of Amity. Box office: picturehouses.com/outdoor-cinema.
The Counterfeit Seventies: Heading to Joseph Rowntree Theatre
Pop nostalgia of the week: The Counterfeit Seventies, Joseph Rowntree Theatre, York, July 16, 7.30pm
IN the wake of The Counterfeit Sixties, here comes, you guessed it, The Counterfeit Seventies, the decade of glam rock, punk, new wave and everything in between. Revisit Slade, Sweet, T Rex, the Bay City Rollers and plenty more, aided by a light show, costumes of the period and archival footage of bands and events from the era. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Sarah-Louise Young in The Silent Treatment. Picture: Steve Ullathorne
Solo show of the week: Sarah-Louise Young in The Silent Treatment, Theatre@41, Monkgate, York, July 16, 7pm
AFTER her celebrations of Kate Bush (An Evening Without…) and Julie Andrews (Julie Madly Deeply), writer-performer Sarah-Louise Young returns to Theatre@41 with the highly personal true story of a singer who loses her voice and embarks on an unexpected journey of self-revelation.
Warning: The show includes themes of trauma and sexual violence. As The Stage review put it, The Silent Treatment is a “a war cry and a message of resilience and hope to anyone who has faced abuse and been made to feel guilty about it”. Box office: tickets.41monkgate.co.uk.
Helen Spencer directing a rehearsal for Joseph Rowntree Theatre Company’s Musicals In The Multiverse. Picture: Jenny Jones
JOSEPH Rowntree Theatre Company’s summer fundraising show, Musicals In The Multiverse, will be their “most ambitious concert production ever”.
Staged at the JoRo on June 29 and 30, this out-of-this-universe show will be directed by Helen Spencer, last seen on that stage in the title role of JRTC’s Hello, Dolly! in February.
“We have some of the best talent York has to offer in our 36-strong cast, so it’s been a joy to cast,” says Helen. “We were delighted after the success of Hello, Dolly! to welcome a lot of new members and this concert is the perfect showcase for the ever-growing JRTC as we invite the Yorkshire community to this epic show.
“It’s our ‘most ambitious’ concert in that it’s the biggest cast we’ve had for a summer show and it’s much more of a production than just a concert: more numbers, more choreography, more cast members, and the concept itself is more ambitious and challenging.”
Introducing the show’s concept, she says: “Musicals In The Multiverse will be an exciting evening of musical theatre favourites with a twist. In the parallel universes of this musical multiverse, you’ll hear the songs that you know and love, but with their traditional presentation turned on its head, so they are different but still recognisable. This means gender swaps, minor to major key swaps, musical style swaps and more!
“The concept came from a conversation among JRTC members about songs they would love to sing but would never get the opportunity to do so in a fully staged musical production, for example due to the gender, age etc of the character in the original setting.
“We pride ourselves on being an inclusive and welcoming artistic space for all. The concept for this show allows our wonderfully talented and diverse cast to perform songs that explore and celebrate who they are, to push some of the traditional musical theatre boundaries and ultimately honour some of the best musical songs ever written.”
Cast members in an early rehearsal for Joseph Rowntree Theatre Company’s Musicals In The Multiverse. Picture: Jenny Jones
Accompanied by a five-piece band, Helen’s cast will perform a mixture of solos, duets, small group and full ensemble numbers on a set list featuring songs from Les Miserables, Charlie And The Chocolate Factory, Rent, Blood Brothers, Company, Bat Out Of Hell, The Little Mermaid, Jersey Boys, Chicago, Guys And Dolls, Beauty And The Beast, Frozen and Billy Elliot.
“As well as showstopping songs from a whole cast bursting with vocal talent, our strong core of dancers will perform several spectacular featured dance numbers, such as Electricity from Billy Elliot,” says Helen.
“Every song in the show will have at least one twist. Our tagline ‘Expect the unexpected in the multiverse’ is absolutely right. The most basic shift will be from male to female voice, for which we have to change the key. Then we have musical style changes for songs that were classical or musical theatre pieces into jazz or blues numbers.
“There are era swaps too, moving songs contextually into a different era so that the words take on a different meaning. Bring Him Home, from Les Miserables, is moved from 19th century France to Second World War Britain, sung beautifully by Jennie Wogan-Wells as a mother to her son on the front, wanting to bring him home safely.”
In the shift from major key to minor, two Disney numbers change dramatically. “Frozen’s Let It Go, sung by Connie Howcroft, and Little Mermaid’s Part Of Your World, sung by Rachel Higgs, take on a more sinister, evil vibe,” says Helen. “Let It Go becomes a much darker song, less Disney, more jazz.”
Focusing on the gender swaps, Helen says: “Often we’ve not changed the gender within the song, so the sexuality of the song becomes different. For example, Rosy Rowley sings Meat Loaf’s Dead Ringer For Love from Bat Out Of Hell and takes Frankie Valli’s lead vocal in Who Loves You from the musical Jersey Boys.
“That’s one of the things we’ve loved about the rehearsal process: people have the chance to sing songs they now feel comfortable with, so we’re proud of supporting of that aspect of the show, because of the gender diversity in the cast.”
As consultant psychiatrist and JRTC regular Helen swaps Dolly’s red feathers for the director’s hat, she is joined in the production team by musical director Matthew Clare, choreographer Jennie Wogan-Wells and assistant musical director James Ball.
“It’s a formidable new creative team for this adventure,” says Helen. “I have a huge amount of professional experience as a performer, vocal coach and company manager and I’m delighted to be taking the reins for this exciting project.
“Some of his arrangements are absolutely stunning,” says director Helen Spencer of musical director Matthew Clare. Picture: Jenny Jones
“Well known on the York musical circuit as a director, musical director and musician, this is Matthew’s first production with JRTC. However, he has close ties with the cast and the company, and he is most excited to be writing unique and innovative arrangements of some all-time favourites.
“I approached Matthew, who I’d worked with before, as he’s very good at rearranging music and parts and that’s what we needed for this show, altering songs in some way. Some of his arrangements are absolutely stunning, some are challenging to sing: he never does anything easy!”
As for choreographer Jennie, Helen says: “She has been a key figure in JRTC for many years, both on and off the stage, and we’re thrilled to have her experience, energy and vision as the choreographer in the multiverse.
“We’re super-super happy to have Jennie doing it as she’s a really strong dancer in JRTC shows and she’d expressed a wish to get more involved in the choreography. She has the imagination to run with an idea, which is perfect for this show.
“We’ve also been lucky to get some really good dancers so that it’s not just a stand and sing show but has lots of great dancing in it.”
Helen will feature in the show in a “very tiny way”. “I’ll be performing in a fun number from City Of Angels, What You Don’t Know About Women, which is usually sung as a duet, but we’re doing it as a sextet where we’ve changed it from the 1930s to the modern day as a pyjama party for women bitching about men!
“I’m only doing it because I was feeling jealous about not doing anything at all on stage, though I’m a believer in stepping back as the director and giving everyone in the company as much chance as possible to shine,” she says.
“It felt right to do that as we’re determined to have featured parts for everyone, even if its’s just a featured line or a highlighted moment to show what an amazing company we’ve put together.”
Joseph Rowntree Theatre Company in Musicals In The Multiverse, Joseph Rowntree Theatre, York, June 29 and 30, 7.30pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk. All profits go straight back the Joseph Rowntree Theatre.
Making moves: Choreographer Jennie Wogan-Wells in action. Picture: Jenny Jones
Cast List:
Abi Carter; Alex Schofield; Ashley Ginter; Ben Huntley; Catherine Foster; Charlotte Wetherell; Chris Gibson; Connie Howcroft; Dan Crawford-Porter; Ellie Carrier; Helen Barugh; Jack James Fry; Jai Rowley; James Willstrop; Jen Payne; Jennie Wogan-Wells; Jenny Jones; Jono Wells; Kat Dent; Kathryn Lay; Lorna Newby; Meg Badrick; Nick Sephton; Nicola Strataridaki; Pamela Bradley; Rachel Higgs; Richard Goodall; Rosy Rowley; Ryan Richardson; Scarlett Rowley; Steven Jobson; Tessa Ellis; Vanessa Lee and Victoria Beale.
Did you know?
HELEN’S children, Temperance and Laertes Singhateh, aged ten and seven, will be singing in the show. “In When I Grow Up, from Matilda, adults will sing Matilda’s lines and Tempi and Laertes will do teacher Miss Honey’s lines, because the concept is, we’re all children but we happen to grow up,” says Helen. “It realy changes the song doing it this way.”
Did you know too?
HELEN Spencer worked in theatre professionally, touring Europe in her 20s, having studied for a music and drama degree.
She has been a consultant psychiatrist for 12 years since changing her career path. Initially she combined performing with her medical studies but then decided psychiatry should be her focus.
Now she is embracing performing and directing anew. “I love psychiatry, working for the NHS in my job, but part of my well-being is doing music and drama, so it’s good to be doing that too. If I don’t do it, I’m sad,” she says. “Being busy and happy is fine by me.”
Jennie Wogan-Wells: Teacher and Narrator, in rehearsal for York Musical Theatre Company’s Joseph And The Amazing Technicolor Dreamcoat
KATHRYN Addison directs York Musical Theatre Company in Andrew Lloyd Webber and Tim Rice’s ever popular, ever colourful 1968 debut musical at the Joseph Rowntree Theatre, York, from tonight.
From the book of Genesis to the musical’s genesis as a cantata written for a London school choir, Joseph And The Amazing Technicolor Dreamcoat has grown into an iconic musical theatre staple with its story of the biblical journey of Joseph, son of Jacob and one of 12 brothers, and his coat of many colours.
Here husband and wife Jonathan Wells and Jennie Wogan-Wells lead the cast as Joseph and the Narrator respectively.
“I directed it in 2015 with my Year 3 and 4 pupils at Knavesmire Primary School, where there are 120 children in those classes – and they knew all the words,” recalls Jennie of her past involvement at the helm of Joseph.
“Now I’m playing the Narrator – a very important role! – who knits the whole show together. It’s a bit of a dream role for me as my parents had the LP and I remember spinning round and round to Potiphar with my brother in the front room because it gets faster and faster.
“Now I get to play the Narrator, indulging in my childhood dream to be in the show.” What’s more, the choir from Jennie’s school will be singing at the Thursday evening and Saturday matinee performances. (Wigginton Primary School will provide Years 4 to 6 pupils to perform tonight, Friday and Saturday night.)
“They’re obsessed with it! We practise every lunchtime, and yes, they’ve learnt all the colours in the dreamcoat! It’s nice because parents and teachers remember it from their own childhood, and now, for the children, it will be the first time they’ve been on a stage away from the school.”
Director-choreographer Kathryn Addison was born in the year that Joseph made its debut (1968). “It started as a 15 to 20-minute school musical, so look how it’s grown since then,” she says.
Passion project for Kathryn Addison: Directing York Musical Theatre Company’s production of Joseph And The Amazing Technicolor Dreamcoat
It changes again in her hands: rather than 12 brothers, it becomes a story of a family: brothers and two sisters (although credited as brothers). “It’s not an issue. We still acknowledge the brothers who have ‘not turned up’ – and we’ve been really lucky in the casting. We’ve neither had to drag people in and nor would we have wanted to,” she says.
“I was in York Shakespeare Project’s all-female Henry V, and it isn’t about gender. It takes gender out of it. It’s not about male/female but who’s right for a role and what can they bring to it?”
Kathryn is “staying true to the spirit of Joseph”. “That’s really important,” she says. “I think Lloyd Webber is a bit ‘Marmite’, but like every writer or composer, there are things you like, things you don’t.
“I feel this musical has an innocence that allows people to really enjoy it as a company show, and it’s felt like a company in rehearsal. It feels tight and there’s a collective will. There’s been no egos in the rehearsal room and nor will there be any on stage.”
The cast of 23 will be complemented by 21 children from Knavesmire Primary and 17 from Wigginton Primary at this week’s performances. “It’s just fun for all of us,” says Jennie.
“If you’re enjoying it on stage, then the audience are going to enjoy it too. Rehearsals have been great fun and I’ve really looked forward to them.”
Nothing delights more than Pharaoh’s Song Of The King: the Elvis one, performed this week by newly married Anthony Gardner. “There’s no point trying to make it anything else than it is: some Elvis impersonator going down to sing on the Scarborough sea front!” says Kathryn. “So you recognise that and crack on with it! Let’s bring out that style as director/choreographer.”
Jennie says: “Kathryn has a clear vision, with room for nice little mood changes and quirks, and it’s great to have that freedom within it. It’s got great balance.”
It all adds up to a show that appeals to children and adults alike. “Everyone enjoys themselves, and it’s rare in being a show that brings people to the theatre that don’t normally go. It’s always nice to do that, for people to realise that theatre is open for them.”
A contemplative moment for Jonathan Wells’s Joseph in the reherarsal room
Jennie is enjoying performing alongside husband Jonathan’s Joseph. “It’s been lovely to do the show together, though we’ve done that before, but we’ve never been principals together before,” she says.
“The Narrator is the framework of the show. It’s that whole thing of me telling the story to the children, so it’s a busman’s holiday really.
“During the rehearsal weeks, I can switch off more than him. He’s always humming the tunes, singing in the car, but it’s very much our life at the moment. We’re going to be bereft when it finishes, but it’s been really lovely as I’ve been able to rehearse at home with him.”
Kathryn has her own fond memory of bygone Joseph performances. “I did the show with my dad, playing Jacob, more than 30 years ago. That really tugs at my heartstrings, but also I’m at the stage when being on stage is quite hard work, and I’ve done a lot of directing and choreographing, though this show is much harder to direct than I’d first given it credit for because it’s sung through,” she says.
“But I love the show. It’s a passion project, and to be able to work with a group of people on a community project, where it’s all about the whole company working together, has been a really positive process for me.
“From the start, I’ve seen this story as being based in Yorkshire; these farmers in the 1920s/1930s, with a bit of a Peaky Blinders vibe to it. They were a nasty bunch to their brother! So we travel from the Yorkshire farms to Scarbados and that sea front, our Las Vegas!
“When I think of Joseph and Scarborough, I think of Mark Herman’s film of Little Voice, with the lights on the sea front at night. And a casino; that’s where I see Pharaoh.”
As for the Technicolor Dreamcoat of the title: thank you to Ripon Amateur Operatic Society for providing wardrobe services.
York Musical Theatre Company in Joseph And The Amazing Technicolor Dreamcoat, Joseph Rowntree Theatre, York, 7.30pm tonight until Saturday plus 2.30pm Saturday matinee (sold out). Ticket update: limited availability for tonight and tomorrow; last few for Friday and Saturday.Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Flying Scotsman VR: The virtual reality experience at the National Railway Museum to mark the steam locomotive’s 100th birthday
AS Flying Scotsman meets virtual reality, Charles Hutchinson goes full speed ahead to keep you on the right track for entertainment by rail, on land or indoors.
New attraction of the week: Flying Scotsman VR, National Railway Museum, York
THE new virtual reality experience at the NRM celebrates Flying Scotsman in the iconic steam locomotive’s centenary year, taking visitors on a journey back in time and around the world, bringing the golden age of rail travel to life.
Commissioned by the Science Museum Group and developed in collaboration with Figment Productions and Sarner International, the experience uses free-roaming VR headsets to provide a multi-sensory experience that includes an understanding of how steam locomotion works from inside the boiler. Admission to the NRM is free but a charge does apply for Flying Scotman VR. Booking is advised at railwaymuseum.org.uk.
Steve Cassidy: Back among friends at the Joseph Rowntree Theatre
York stalwart of the week: Steve Cassidy Band, Joseph Rowntree Theatre, York, Sunday, 7.30pm
THE Steve Cassidy Band and friends perform a selection of rock, country music and ballads, combining something old with something new.
York singer, guitarist and songwriter – and former headmaster – Steve recorded in the 1960s with York-born composer John Barry and pioneering producer Joe Meek. Tomorrow night he is joined by his band members and guests at his favourite theatre. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Midge Ure: Synths in synch in Band Electronica concert of two Ultravox albums in full
Retro gig of the week: Midge Ure & Band Electronica, The Voice And Visions Tour, Grand Opera House, York, Sunday, 7.30pm
ON 2019’s The 1980 Tour, Midge Ure & Band Electronica revisited Ultravox’s Vienna album and Visage’s debut LP. Now, on his twice-rearranged follow-up tour, Voice And Visions, Ure marks the 40th anniversary of Ultravox’s synth-driven, experimental Rage In Eden and Quartet albums. Box office: atgtickets.com.york.
Space exploration: A spaceman lands in York in Lincoln Ligthfoot’s playfully surreal art at the Grand Opera House
Art talk of the week: Lincoln Lightfoot, Grand Opera House, York, Thursday, 6pm
YORK Open Studios 2023 artist Lincoln Lightfoot presents a 90-minute Grand Opera House Creative Learning artist talk and workshop to complement his ongoing exhibition in the Cumberland Street theatre’s box office.
In his retro art, Lincoln explores surrealist concepts reminiscent of the absurdist poster art that captured the Fifties and Sixties’ B-movie fixation with comical science-fiction disasters, but now played out on the 21st century streets and landmark buildings of York. Tickets: atgtickets.com/york.
Gary Meikle: Expressing his loathing of stupid questions in 2.5 comedy show at York Barbican
Likely to cause a stir: Gary Meikle, 2.5, York Barbican, Friday, 8pm
SCOTTISH comedian Gary Meikle returns to York Barbican with his third live show, or 2.5 as he calls it. Top professionals and industry people may have advised him not to be so crude or edgy, but “as a kid growing up in the care system, I was told that I’d be either dead or in jail by the time I was 30, so I tend not to listen to others and do things my way,” he says.
In a “continued celebration of me being me” in defiance of cancel culture, Meikle discusses equality between the sexes, medication side effects, his loathing of stupid questions and “how our ancestors were idiots”. Box office: yorkbarbican.co.uk.
Guy Masterson: One actor, 69 roles in Dylan Thomas’s Under Milk Wood at Theatre@41
Tour de force of the week: Guy Masterson, Under Milk Wood, Theatre@41, Monkgate, York, Friday, 7.30pm
CELEBRATING the 70th anniversary of Under Milk Wood, Olivier Award winner Guy Masterson portrays one day in the life of Llareggub, a fictional town by the sea somewhere in Wales, as he assiduously conjures up all 69 of Dylan Thomas’s ebullient inhabitants in a feat of memory and physical virtuosity.
Complemented by Matt Clifford’s soundscape, Under Milk Wood is bawdy and beautiful, sad and sensual and, through the music of language, leaves indelible, unforgettable images of humanity. Masterson, Richard Burton’s nephew by the way, has clocked up more than 2,000 performances, from Swansea to the West End, Trinidad to New Zealand, over 30 years. Box office: tickets.41monkgate.co.uk.
Jessica Steel: Showcasing debut album Higher Frequencies at The Crescent
Made of Steel: Jessica Steel, The Crescent, York, May 7, 7.30pm
YORK powerhouse singer Jessica Steel performs her October 2022 debut album, Higher Frequencies, in full for the first time.
A fixture at Big Ian Donaghy’s A Night To Remember charity concerts at York Barbican, hairdressing salon boss Jessica made the album with songwriter-producer Andy Firth, late of the Britpop band The Dandys. “There’s an interesting contrast between uplifting music and sad lyrics throughout the album, as well as a recurring theme of finding hope through adversity,” she says. Box office: thecrescentyork.com.
Lloyd Cole: First York gig in 23 years
Commotion incoming: Lloyd Cole, York Barbican, October 17
LLOYD Cole will team up with former Commotions compadres Blair Cowan and Neil Clark at York Barbican for the only Yorkshire gig of his 17-date autumn tour to showcase his 12th solo album, On Pain, set for release on June 23.
On his first York appearance since a solo show at Fibbers in May 2000, Cole will play two sets, the first acoustic, the second, electric with the band. Box office: lloydcole.com/live or yorkbarbican.co.uk.
In Focus: Tim Crouch, Truth’s A Dog Must To Kennel, York International Shakespeare Festival, York St John University Creative Centre, tonight, 8pm
Tim Crouch: King Lear and a virtual reality head set combine in Truth’s A Dog Must To Kennel at York International Shakespeare Festival. Picture: Stuart Armitt
TIM Crouch’s 2022 Edinburgh Fringe First winner plays the York International Shakespeare Festival after visiting New York and playing a London season.
Taking on the character of The Fool, Shakespeare’s King Lear meets stand-up comedy meets the metaverse as Crouch dons a virtual reality headset to explore Lear in a post-pandemic world and interrogate theatrical form and the essence of live performance.
“It’s reductive to say I have a favourite Shakespeare play: King Lear. They’re all great but I have a relationship with this play that goes a little deeper,” says the Bognor Regis-born experimental theatre maker, actor, playwright and director, whose work rejects theatrical convention, especially realism, and invites audiences to participate in each performance’s creation.
“I played Lear at university [Bristol] at a King Lear Symposium at Ferrara in northern Italy, at the age of 20, which is a little young! I then directed a 90-minute production for the Royal Shakespeare Company ten years ago.”
The play contains everything, he contends. “Complex relationships. Love. Madness. Families. Obscene wealth and the hypocrisy of wealth. Towards the end, Lear becomes a socialist champion. He has this moment of enlightenment, realising that everything on top of that is superfluous,” says Tim.
“This egotistical figure has his power removed, his ego removed, discovering compassion in the truest sense.”
Tim then refracted King Lear through the Covid shroud of the past three years. “I also saw Lear in Trump and in some degree in Boris Johnson, seeing the world governed by egomaniacs, of which Lear is an example,” he says.
“Or like Succession [the television series about a wealthy family at war], where Brian Cox plays this grotesque maniacal figure. It’s Rupert Murdoch really!”
Tim views King Lear through the eyes of The Fool. “He doesn’t have a name; he’s slightly mysterious, he’s depressed and he leaves before the end of the play, before anyone has been killed,” he notes.
“He just disappears, and I’m fascinated by people leaving, just getting up and going, so I dramatise his moment of departure in this show.”
“What would a contemporary Shakespearean Fool be? I think it would be Stewart Lee,” says Tim Crouch
Tim exposes King Lear through a modern lens. “I don’t know what’s gone wrong with the world. Maybe it was always this way, but there are these deep schisms that are dividing the world. Men like Trump,” he says. “Playing this show in New York was extraordinary! Over here, there is civil war in Brexit, just as there is civil war in Lear’s family.”
Experiencing theatre only digitally during the pandemic has had an impact on his show too. “As a theatre maker, my passion for live theatre was exacerbated by lockdown when you could only watch theatre online,” says Tim.
“’Live theatre’ is tautological because, to me, theatre is only live, whereas in the pandemic, we had an image of theatre that was only on a screen, so that prompted me to put on a virtual reality headset at times in this play.”
What happens then? “The conceit of this piece is that I take The Fool back to the point of his departure, and now he will witness his exit, the blinding of Gloucester and what I think is the most powerful scene in theatre ever: the Dover cliffs scene where the blinded Gloucester’s imagination is brought into play through his son’s act of imagination, saving his father,” says Tim.
“Theatre is an adult form of imagination, taking us to a different place and learning from that journey, but keeping us safe while doing that. Shakespeare’s lines are very precise; they are an invitation to see what I see through language, to then narrate The Fool’s return through this middle-aged bald guy [Tim is 59] in a headset, that people will experience through their ears.”
Stand-up comedy features in Tim’s performance too. “That’s partly a nod to The Fool, wondering wondering ‘what would a contemporary Fool be’? I think it would be Stewart Lee, a comedian who doesn’t have an agent and does no social media,” he says.
“I don’t claim to be a stand-up but use the form to say things about the experience of being together in a room. When we’re in the same place at the same time, just look at how brilliant and transformative we can be through using our mind, our body, our imagination.
“But theatre is increasingly becoming the preserve of the wealthy, though the imagination dematerialises that, not succumbing to any socio-economic structure. Children have the greatest imagination, but sadly that then gets replaced with wanting to be TV stars and wanting to make money.”
Assessing the “international” in the York International Shakespeare Festival, Tim says: “The thing that I’m endlessly inspired by is that Shakespeare does and yet doesn’t exist in his plays when there’s now a thirst for autobiographical and biographical plays, which limits them.
“Whereas there’s a quality to his work and to the work of many playwrights of that time who didn’t nail their colours to one mast and can be interpreted by each age, nationality and culture. There’s an objectivity to these plays that requires whoever does a production to find themselves in them – which should be the case with every play, I think.”
Can they lift the curse? Perri Ann Barley and Chris Hagyard as the barren Baker’s Wife and Baker in NE’s Into The Woods. All pictures: David Richardson
INTO The Woods go York musical theatre company NE as they present Stephen Sondheim’s wickedly witty musical at the Joseph Rowntree Theatre, York, from April 25 to 29.
The New York composer and lyricist rooted his 1987 Broadway show in the Brothers Grimm stories, in a grown-up twist that cast a new light on such familiar fairy-tale frequenters as Cinderella, Jack of Beanstalk fame, Rapunzel and Little Red Riding Hood, but this is no time for pantomime.
Instead, with a book by James Lapine, the story is centred on the Baker and the Baker’s Wife, a childless couple seeking to lift the curse placed on them by a once-beautiful witch.
Rebecca Jackson’s Cinderella
Venturing into the woods three days before the rise of a blue moon, they must search for the ingredients that will reverse the spell: a milk-white cow, hair as yellow as corn, a blood red cape and a slipper of gold. Here they will encounter the fairy-tale folk, each on a quest to fulfil a wish.
The tale will be narrated by NE director Steve Tearle, who also takes on a second role as “the Mysterious Man”. “We chose to do Into The Woods as a tribute to the late Stephen Sondheim. It’s a very different show, which I was lucky enough to see on Broadway in the 1990s, though I missed the star turn, Bernadette Peters, as she was on her day off!” he says.
“I loved it! It was so, so funny. High camp comedy really! I put it on the backburner to do, but a couple of years ago we applied for it – before Sondheim died in November 2021 – and we were meant to be doing it last year.
Ali Butler Hind and Morag Kinnes as the Ugly Sisters, Florinda and Lucinda
“We’re so happy we now are as it’s a fantastic musical comedy for all ages with its wonderfully inventive re-telling of some of the Brothers Grimm stories, where Sondheim was thinking, ‘let’s bring out the child in the adult’. Being a family-driven company, it fits in perfectly with our actors from six years old.”
Steve’s New York trip has influenced his production. “When thinking about the set design, I took inspiration from the original Broadway version,” he says. “I wanted the audience to feel like they were also inside the woods, so we’re using rainbow colours and various styles to bring the woods to life.
“Befitting such an epic musical, we have an amazing set design and fabulous costumes, designed by award-winning Ashington fashion designer Paul Shriek, which we’ve managed to buy second-hand for our show. The finesse to Adam Kirkwood’s lighting is phenomenal too.”
Ready to climb the beanstalk: Jack Hambleton’s Jack
The cast plays its part in setting the scene. “We have more than 50 people in the show, and the ensemble really are the set, becoming the woods, so the woods are interactive. It’s a movable set that changes as the show moves through the three simultaneous stories that blend together,” says Steve.
“We’re making the set a lot more personable to the Joseph Rowntree Theatre, making it ‘fit’ the theatre and more experiential, so that everyone there will feel part of the woods.”
Steve’s show will be knocking down theatre’s ‘fourth wall’, the imaginary barrier between cast and audience, several times. “The Narrator has his own posse of children in the ensemble, and they work with him in these fabulous break-out moments, like when we stop the show when he loses the book or he freezes everybody because he’s in control of everything.
Steve Tearle: Director, Narrator and Mystery Man
“That’s like pantomime, but it’s all done with more serious overtones as – spoiler alert! – the show does feature deaths, as well as blood pouring out of a slipper, a toe being cut off and a heel shaved off. We’ll use a sausage for the toe and ham for the heel!”.
Chris Hagyard and Perri Ann Barley lead the NE cast as the Baker and Baker’s Wife, while Pascha Turnbull casts a spell on the audience as the Witch whose curse is the cause of the culinary couple’s woes. Rebecca Jackson plays Cinderella with Sam Richardson as her Prince; Molly Surgenor and Missy Barnes share the role of Little Red Riding Hood; Juliette Brenot is Rapunzel, with Kristian Barley as her Prince.
Further principal roles go to Ryan Richardson as the Wolf; Jack Hambleton, aptly, as Jack; Melissa Boyd as Jack’s Mother; Effie Warboys as Sleeping Beauty and Elizabeth Farrell as Snow White Farrell. “Helen Greenley may be the smallest member of our NE team but she’s playing what you might say is the biggest role,” says Steve. “She’s the Giant’s wife, wearing these massive platforms.”
Missy Barnes’s Little Red Riding Hood
Steve is as proud of his cast as ever. “There are no professionals in the show; we do it for the love of theatre, and we just embrace people and what their capabilities are. We have cast members in the ensemble who have hearing difficulties and are partially sighted,” he says.
“I like to think we give opportunities that other companies wouldn’t give, and we love encouraging confidence among our young performers. We very much wanted to have them in the cast; some had never heard of Sondheim, but they definitely love him now!”
NE [once short for New Earswick, the company’s origins, but now denoting New & Exciting] present Stephen Sondheim’s Into The Woods, Joseph Rowntree Theatre, York, April 25 to 29, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or at josephrowntreetheatre.co.uk
Out come the hockey sticks in rehearsal for Flying Ducks Youth Theatre’s Crush: The Musical
FLYING Ducks Youth Theatre stages the northern premiere of Maureen Chadwick and Kath Gotts’s 2015 comedy drama Crush: The Musical at the Joseph Rowntree Theatre, York, from Thursday to Saturday.
This week’s production will be the York company’s first book musical since Jenna Dee Howlett joined as director and chair in 2018. “We’re so excited to finally be putting on the show,” she says.
From the team behind Bad Girls: The Musical comes an outrageously fun, subversive musical set in 1963 in the Dame Dorothea Dosserdale School for Girls, an establishment with a proud tradition of fostering free spirits from all walks of life.
What a crushing blow when the new headmistress turns out to be a tyrant with strict Victorian values. Top of her hit list are two sixth-formers accused of “unnatural behaviour” – the “crush” of the title – in the Art Room.
Hope is revived, however, by a glamorous games mistress known as Miss Givings. Cue hockey sticks to the fore in an all-out battle to save the school and the course of true love.
“Although set in the 1960s, Crush delivers a storyline that tackles important subjects of our modern-day society, delivering humour and satire too,” says Jenna Dee of Chadwick’s pastiche of girls’ school stories such as Enid Blyton’s Malory Towers and Ronald Searle’s St Trinian’s books.
Pupil power rules: The Dame Dorothea Dosserdale School for Girls schoolgirls stage their protest in a Flying Ducks’ rehearsal for Crush: The Musical
“It explores themes of female empowerment, love is love, and fighting for what you believe in, while celebrating and subverting the traditional schoolgirl fiction genre.
“It’s a smashing musical comedy with lashings of charm, team spirit, a catchy score to have you toe-tapping in your seats and dazzling dance routines to keep you entertained from beginning to end. This is a terrific, all-round musical for the whole family, performed by a talented young cast, in this coming-of-age show.”
Picking stand-out musical numbers, Jenna Dee says: “Navy Knicks is a strong company number lead by Miss Givings, encouraging the girls to stay positive, ‘put on their Navy Knicks, pick up their hockey stick’, and fight for what they believe in!
“It’s Not Fair is a comedic, self-pitying outcry from the school ‘snitch’ Brenda Smears, who wants nothing more but to moan about why she doesn’t fit in, much to the other girls’ amusement.
“Run Away/Stay, the closing number of Act One, is by far one of the most musically challenging numbers, but shows the talent and hard work the girls have put in over the past few months.
“With more than eight overlapping character and ensemble parts, and four transitions throughout the number, it’s sure to leave you going into the interval wanting to know what’s coming next.”
Brolly good show: Flying Ducks Youth Theatre cast members in a colourful umbrella routine in Crush: The Musical
Taking over Flying Ducks from Stephen Outhwaite in 2018, Jenna Dee runs the Ducks group for ages 11 to 18 alongside her sister Sara Howlett, who trod the JoRo boards herself only last week in Rowntree Players’ production of another teenage classroom drama, John Godber’s Teechers Leavers ’22.
Jenna Dee has opened up new classes – Quacks and Ducklings – for ages four to ten that consist of fun drama-based games, scene and character work, singing, movement and dance.
Sessions strive to encourage individuality, self-expression and creativity while helping to build confidence and teach performance skills in a safe, friendly environment.
“The groups have gone from strength to strength with more than 120 members across all sessions,” says Jenna Dee. “After two successful musical variety performances at the Joseph Rowntree Theatre, This Is Me in 2019 and No Day But Today in 2022, they’re so excited to be bringing a northern premiere to the stage this week with Crush: The Musical.
“This was supposed to be their debut book musical in 2020, but the pandemic got in the way, so with a brand-new talented cast of 30, an impressive set and a fantastic live band, they’re ready to show York what they have to offer.”
Crush writer Maureen Chadwick, co-founder and creative director of Shed Productions, created and wrote the hard-hitting television dramas Waterloo Road, Footballers’ Wives and Bad Girls; composer and lyricist Kath Gotts has credits for Bad Girls: The Musical and The Realness.
Flying Ducks Youth Theatre in Crush: The Musical, Joseph Rowntree Theatre, York, March 23 to 25, 7pm plus 2pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Flying Ducks Youth Theatre’s poster for Crush: The Musical
Flying Duck Youth Theatre’s credits for Crush: The Musical
Director and choreographer: Jenna Dee Howlett and Sara Howlett
Assistant director: Stephen Outhwaite
Musical director: Jessica Viner
Set design: Stephen Outhwaite
Stage manager: Paul Mantle
Costume: Ange Nemeth and Claire Newbold
Set builders: Sam Seago, John Pidcock and Paul Mantle
Set artwork: Anna Jones
Props: Stephen Outhwaite and Angela Day
Band: Jessica Viner and Gill Boler, keyboards; Kate Maloney, woodwinds; Christian Topman, bass; Mike Hampton, drums.
A scene from the tech rehearsal for Flying Ducks Youth Theatre’s Crush: The Musical
The future, here they come: Amy Revelle, Dave Hearn, centre, and Michael Dylan in Original Theatre’s The Time Machine. Picture: Manuel Harlan
THE week ahead is so crammed with clashing cultural highlights, Charles Hutchinson wishes you could climb aboard a time machine.
Find time for: Original Theatre in The Time Machine, York Theatre Royal, Tuesday to Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
DAVE Hearn, a fixture in Mischief Theatre’s calamitous comedies for a decade, takes time out to go time travelling in John Nicholson and Steven Canny’s re-visit of H G Wells’s epic sci-fi story for Original Theatre.
“It’s a play about three actors who run a theatre company and are trying to put on a production of The Time Machine, with fairly limited success,” says Hearn. “But then a big event happens that causes the play to spiral out of control and my character [Dave] discovers actual time travel.” Box office: 01904 623568 or yorktheatreroyal.co.uk.
Curtains At Village Gallery, by Suzanne McQuade, marks the final exhibition at Simon and Helen Main’s art space in Colliergate, York
Farewell of the week: The Curtain Descends, Village Gallery, Colliergate, York, until April 15
AS the title indicates, The Curtain Descends will be the last exhibition at Village Gallery after 40 exhibitions showcasing 100-plus Yorkshire artists in five and a half years. “The end of the shop lease and old age creeping up has sadly forced the decision,” says gallery co-owner Simon Main.
Ten artists have returned for the farewell with work reduced specially to sale prices. On show are watercolours by Lynda Heaton, Jean Luce and Suzanne McQuade; oils and acrylics by Paul Blackwell, Julie Lightburn, Malcolm Ludvigsen, Anne Thornhill and Hilary Thorpe; pastels by Allen Humphries and lino and woodcut prints by Michael Atkin. Opening hours are 10am to 4pm, Tuesday to Saturday.
Singer PP Arnold: From The First Cut Is The Deepest to Soul Survivor, her autobiography is under discussion at York Literature Festival
Festival of the week: York Literature Festival, various venues, today until March 27
HIGHLIGHTS aplenty permeate this annual festival, featuring 27 events, bolstered by new sponsorship from York St John University. Among the authors will be broadcasters David Dimbleby and Steve Richards; political journalist and think tank director Sebastian Payne (on The Fall of Boris Johnson); The League Of Gentlemen’s Jeremy Dyson; Juno Dawson, thriller writer Saima Mir and York poet Hannah Davies.
On Music Memoir Day at The Crescent, on March 18, at 1.30pm American singer PP Arnold delves into her autobiography, Soul Survivor, at 1.30pm. At 4pm, writer/broadcaster Lucy O’Brien discusses her new book, Lead Sister: The Story Of Karen Carpenter, and the challenges of writing a biography. Go to yorkliteraturefestival.co.uk for the full programme.
Too hot to handle: Strictly’s Gorka Marquez and Karen Hauer in Firedance at the Grand Opera House, York
Hot moves amid the weekend chill: Gorka Marquez and Karen Hauer in Firedance, Grand Opera House, York, Sunday, 5pm
STRICTLY Come Dancing stars Gorka Marquez and Karen Hauer reignite their chemistry in Firedance, a show full of supercharged choreography, sizzling dancers and mesmerising fire specialists.
Inspired by movie blockbusters Baz Luhrmann’s Romeo & Juliet, Moulin Rouge, Carmen and West Side Story, Marquez and Hauer turn up the heat as they dance to Latin, rock and pop songs by Camilla Cabello, Jason Derulo, Gregory Porter, Gipsy Kings and Jennifer Lopez. Box office: atgtickets.com/york.
Suede: First appearance at York Barbican in a quarter of a century
Gig of the week: Suede, York Barbican, Wednesday, 7.45pm
ELEGANT London rock band Suede play York Barbican for the first time in more than 25 years on the closing night of their 2023 tour. Pretty much sold out, alas, but do check yorkbarbican.co.uk for late availability.
Last appearing there on April 23 1997, Brett Anderson and co return with a set list of Suede classics and selections from last September’s Autofiction, their ninth studio album and first since 2018. “Our punk record,” as Anderson called it. “No whistles and bells. The band exposed in all their primal mess.”
Sloane danger: Ben Weir’s psychopathic Sloane, left, playing siblings Kath (Victoria Delaney) and Ed (Chris Pomfrett) off each other in rehearsal for York Actors Collective’s Entertaining Mr Sloane
Debut of the week: York Actors Collective in Entertaining Mr Sloane, Theatre@41, Monkgate, York, Wednesday to Saturday, 7.30pm plus 2.30pm Saturday matinee
DIRECTOR Angie Millard launches her new company, York Actors Collective, with Joe Orton’s controversial, ribald comedy Entertaining Mr Sloane, the one that shook up English farce with its savage humour in 1964.
Living with her father, Dada Kemp (Mick Liversidge), Kath (Victoria Delaney) brings home a lodger: the amoral and psychopathic Sloane (Ben Weir). When her brother Ed (Chris Monfrett) arrives, the siblings become involved in a sexual struggle for Sloane, who plays one off against the other as their father is caught in the crossfire. Box office: tickets.41monkgate.co.uk.
Classrooom comedy: Sara Howlett, left, Laura Castle and Sophie Bullivant in rehearsal for Rowntree Players’ production of John Godber’s Teechers Leavers ’22
Education, education, education play of the week: Rowntree Players in Teechers, Joseph Rowntree Theatre, York, Thursday to Saturday, 7.30pm plus 2.30pm Saturday matinee
FAMILIAR to York’s streets at night as ghost-walk guide and spookologist Dr Dorian Deathly, actor Jamie McKellar is directing a play for the first time since 2008, at the helm of Rowntree Players’ production of former teacher John Godber’s state-of-the nation, state-of state-education comedy Teechers.
Updated for Hull Truck’s 50th anniversary celebrations as Teechers Leavers ’22, Godber’s class warfare play within a play features a multi role-playing, all-female cast of Laura Castle, Sophie Bullivant and Sarah Howlett as Year 11 school leavers Salty, Hobby and Gail put on a valedictory performance, inspired by their new drama teacher. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
David Ford: Songs and stories at The Crescent
The robots are coming: David Ford, Songs 2023, The Crescent, York, Thursday, 7.30pm
EASTBOURNE singer-songwriter David Ford might play solo stomps with loop machines and effects pedals or backed by a swish jazz trio or with a string quartet attached. Not this time.
For 2023, Ford has taken the rare decision to keep it simple, leave most of the crazy machines at home, play some of his favourite songs and share stories about where they came from. Oh, and he’ll be bringing his new DIY toy, a drum robot. Beat that. Box office: thecrescentyork.com.
Tuesday’s seated Crescent gig by The Go-Betweens’ Robert Forster, promoting his new album The Candle And The Flame, has sold out by the way.
Because he cared: Comedian Bilal Fafar reflects on working in a care home for the very wealthy in Care at Theatre@41, Monkgate
Caring comedian of the week: Burning Duck Comedy Club presents Bilal Zafar in Care, Theatre@41, Monkgate, York, March 19, 8pm
WANSTEAD comedian Bilal Zafar, 31, is on his travels with a new show about how he spent a year working in a care home for very wealthy people while being on the minimum wage.
Fresh out of university with a media degree, Bilal was dropped into the real world, where he was given far too much responsibility for a 21-year-old lad who had just spent three years watching films. Box office: tickets.41monkgate.co.uk; age limit,18 and over.
In Focus: Anders Lustgarten’sThe City And The Town, at Stephen Joseph Theatre, Scarborough, March 15 to 17
Gareth Watkins as Magnus in Anders Lustgarten’s The City And The Town. Picture: Karl Andre
LONDON playwright and political activist Anders Lustgarten’s new play, The City And The Town, heads to the Yorkshire coast next week.
This funny, eclectic drama brings a fresh perspective to the political divides and problems facing Great Britain and Europe today.
By way of contrast to those schisms, the tour involves a hands-across-the-water partnership: a co-production by Riksteatern, the national touring theatre of Sweden, and Matthew Linley Creative Projects in association with Hull Truck Theatre.
Lustgarten’s play tells the story of brothers Ben and Magnus. Ben, a successful London lawyer, returns home for his father’s funeral after 13 years away, only to be confronted not only by family and old friends, but also by uncomfortable truths about the past, present and future of the provincial community and family he grew up in and left behind for the metroplis.
Lustgarten, by the way, is the son of progressive American academics and read Chinese Studies at Oxford: in other words, he is an internationalist (and an Arsenal supporter to boot).
Directed by Riksteatern artistic director Dritero Kasapi, The City And The Town features Gareth Watkins as Magnus, Amelia Donkor as Lyndsay and Sam Collings as Ben, with set design by Hannah Sibai and lighting design by Matt Haskins.
Amelia Donkor’s Lyndsay in The City And The Town. Picture: Karl Andre
Kasapi is at the helm of his first UK production since Nina – A Story About Me And Nina Simone. “Even from the very first draft Anders sent us, I knew that this was a play I wanted to direct,” he says. “In fact, I’d go as far as saying it’s the play I’ve wanted to direct for a very long time.
“By exploring the rise of the right, Anders is looking at something that is happening all over Europe. But this is not just a political play, it’s also a humane one. It explores the question of if and how we belong to society, what can happen when we lose that connection and how we perceive our common history as a society.”
Kasapi was educated as a stage director at the Faculty of Dramatic Arts in Skopje, Macedonia, but since the early years of his professional life he has been engaged as a cultural organiser.
From 2015 to 2018, he was the deputy artistic director at Kulturhuset Stadstetern in Stockholm. He took up his present post in November 2018.
The City And The Town follows such Lustgarten plays as Lampedusa (Hightide/Soho Theatre), The Seven Acts Of Mercy (Royal Shakespeare Company), The Secret Theatre(Shakespeare’s Globe) and The Damned United (Red Ladder/West Yorkshire Playhouse, 2016, turning Brian Clough’s 44 days as Leeds United manager in 1974 into a Greek tragedy).
The City And The Town began its UK tour at Hull Truck on February 10 and 11 and has since played Northern Stage, Newcastle, Wilton’s Music Hall, London, Mercury Theatre, Colchester, and Norwich Playhouse before its Scarborough finale. It will then transfer to Sweden for an autumn tour.
The City And The Town, Stephen Joseph Theatre, Scarborough, March 15 to 17, 7.45pm plus 1.45pm Thursday matinee.Box office: 01723 370541 or www.sjt.uk.com
Classrooom comedy: Sara Howlett, left, Laura Castle and Sophie Bullivant in rehearsal for Rowntree Players’ production of John Godber’s Teechers Leavers ’22
ACTOR, voiceover artist, filmmaker, tour guide, pantomime villain and York ghost-walk host Jamie McKeller is turning his hand to directing.
More precisely, he is reacquainting himself with the director’s seat after a 15-year hiatus, at the helm of former teacher John Godber’s 2022 update of Teechers, his state-of-education play originally commissioned by Hull Truck Theatre for £100 in 1984.
Why now, Jamie? “I did the Rowntree Players’ pantomime last Christmas [playing the Sheriff of Nottingham in Babes In The Wood] and had a great time. Afterwards, Howard [Ella, the director] said, ‘we’re doing Teechers next’, and I thought, ‘Ooh, it’s been a while since I directed, I fancy doing that’. So, I pitched for it, and later that week the committee said yes.”
Jamie’s production of Teechers Leavers ’22 opens at the Joseph Rowntree Theatre, York, on Thursday with an all-female cast – YorkMix radio presenter Laura Castle as Gail, Joseph Rowntree School drama teacher Sophie Bullivant as Salty and Rowntree Players regular Sara Howlett as Hobby – in keeping with Godber’s revised version for Hull Truck Theatre’s 50th anniversary last year.
Gail-force: Laura Castle as Gail in Teechers Leavers ’22
In Godber’s play within a play, they adopt multiple roles as the trio of Year 11 school leavers put on a valedictory performance, inspired by their new drama teacher but hindered by myriad obstacles and classroom poltics that vex playwright and pupils alike.
Jamie is no stranger to fellow Yorkshireman Godber’s work, both on and off stage. “I’ve been in Bouncers twice, as Judd and Les, but I’m still too young for Lucky Eric, so there’s time yet for that,” says Scarborough-born Jamie, who is 42.
“I was Salty in Teechers and did Lucky Sods in 2004, and I’ve already directed Teechers once in Scarborough in 2003 and Bouncers once too.”
In fact, whether in his university days at Hull University from 1998 or when studying Performance: Theatre at York St John University from 2006 to 2008 or working his way through Terry Pratchett stories at the YMCA Theatre in Scarborough, when doing his BTEC in theatre, he has directed more than 20 productions.
Class act: Sara Howlett’s Hobby
“But it’s now been a long time since I last directed a play. Not counting my self-directed shows that I took to the Edinburgh Fringe for five years, the last one was Danny King’s The Pornographer Diaries in 2008, here in York at Friargate Theatre, but originally I always wanted to be a director more than an actor,” says Jamie.
“I’d like people to become aware of me as a director as I’d forgotten the passion I had for it, and it’s where I feel most at home, cooking up ridiculous visuals in my head – so working with these three actors has been an absolute dream.”
6ft tall Jamie is a familiar cloaked figure on the streets of York at night, in the guise of spookologist Doctor Dorian Deathly, ghost tour guide for the award-winning Deathly Dark Tours, but he has a posse of guides to call on, enabling him to take time away from his “night job”, whether to do panto last winter or be at the helm of Teechers.
His enthusiasm for play and cast alike is writ large. “What I really like about Godber is that he’s always prefaced his scripts by saying, ‘make it work for your cast, make it work for the times, because if you don’t update it, it will be a museum piece,” says Jamie.
Match play: Sophie Bullivant’s Salty
“We’re delighted to be doing the 2022 version, where we’ve kept the politics, but eased back on the Covid material, as we’ve lived through it, though it’s still there in the dialogue, but just not at the forefront.”
Godber’s impassioned belief in the importance of the arts in the curriculum hits home with Jamie, from past experience. “The resources at York St John were being shrunk all around me. The Chapel theatre was closed in 2006, just before I went there, to become a conference hall, and I ended up rehearsing my last play there in my garden and then staging it in the quad at York St John as a sort of protest. That struggle for facilities still resonates with me,” he says.
“I make my living out of performing, but after a ghost walk tour, I’ve been asked ‘what else do you? Don’t think you should have a proper job?’. There’s still that dismissive attitude towards creativity as an occupation.”
On a positive note, Jamie loves the musicality in Godber’s writing. “When you get it right, it’s almost like Shakespeare, where if you see it performed poorly it’s an unpleasant experience, but it can be wonderful. That’s the same with Godber, which is why we’ve done lots of work on the rhythm and tempo,” he says.
Jamie McKeller’s other fella: Teechers director in his guise as Doctor Dorian Deathly, spookologist and ghost-walk host
Selected from open auditions, Castle and Bullivant are making their Rowntree Players debuts alongside Sara Howlett. “We wanted to find three actors that would instantly gel,” says Jamie. “We weren’t looking for the greatest actors, but the best combination, and they turned out to be great actors too!
“Having these three together, they’ve definitely bonded and become friends as well, meeting outside rehearsals and running their lines. They really care about getting it right and doing it well.
“The way it’s written, it requires a heightened style of performance, where you need to fill it with physicality too – and they’ve really put in the hard work for such a physically demanding play where they never leave the stage.”
Rowntree Players in Teechers Leavers ’22, Joseph Rowntree Theatre, York, March 16 to 18, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
One question for John Godber
Playwright John Godber
What were the biggest changes/themes you had to include in this reimagined version of Teechers, John?
“OBVIOUSLY, the language has changed, teenagers now have a whole new vernacular which had to be incorporated to make the characters seem real and authentic.
“I also changed the drama teacher character from male to female. Quite simply this is because when I wrote the play, I based that character on myself and my experience as a drama teacher.
“But now I have two daughters – one of whom [Martha] is an actress, the other [Elizabeth] has a PHD in gender studies – so I thought it’d be interesting to make that character female. Also, and this may have just been a coincidence, but many of the teachers I spoke to were women, so it made sense to write it as a female role.
“The impact of the pandemic is also a big theme as I feel it put the whole education system – and its failings, especially for working-class students – under a microscope. Digital poverty is a huge issue now and students not being able to access the internet via a computer or phone during lockdown meant for many – they couldn’t access their education for a major portion of those two years.
“The repercussions of this are huge – isolation, loss of communication skills, diminishing attention spans. However, I truly believe that harnessing the power of storytelling – whether that’s through writing or acting – is a way of overcoming these problems, which is another reason the arts should be a priority now more than ever and why this particular story resonates so much still today.”
BBC Young Chorister of the Year Award winner Naomi Simon: Singing at the York Community Choir Festival on March 11
NAOMI Simon, 2022 winner of the BBC Young Chorister of the Year Award, has agreed to sing at her home city’s Community Choir Festival on March 11 at the Joseph Rowntree Theatre, York.
Naomi, 16, was a chorister at York Minster before taking up a scholarship at Rugby School to pursue her love of music. She is the daughter of JoRo Theatre patron Frances Simon, a speech and drama coach in York.
Joining Naomi will be a fellow BBC finalist, soprano-singing Bootham School pupil Sam Brophy. Each will sing solos before they perform a duet together.
From the age of seven, Sam has sung in choirs across the country, and now that his family lives in York, he sings in the York Minster Choir. Last December, he was the soprano soloist for Walking In The Air at the York Minster performance of Carrot Productions’ The Snowman.
York Community Choir Festival was started by JoRo trustee Graham Mitchell seven years ago. From small beginnings, the event has grown to a format of 33 choirs of all ages and singing styles performing in eight concerts over seven days.
“In a little coup for the event, the organising group is absolutely thrilled that Naomi and Sam are able to perform a short set for us on the final Saturday of the week-long festival,” says Graham, the Jo Ro’s community engagement director.
“Naomi’s performance in the BBC live final displayed a wonderful maturity and understanding of the carol that she chose to sing, Mary, Did You Know?, which wowed the three judges.
“Naomi has a busy schedule and we’re extremely fortunate that she can be in York when the festival is on. The festival itself is a celebration of music making regardless of age, ability or genre.
“Any choir based in the York area can apply to join in. This year, in addition to the vast range of adult choirs, we’ll have two primary school choirs performing in different concerts and about 100 pupils from Huntington School will sing in four different choirs run by the school – all on the Thursday night alongside three adult choirs. “
Graham adds: “The variety of song, genre and singing styles is absolutely marvellous and there’ll be no repetition in any concert. To confirm the variety of music on offer, on the night Naomi and Sam will be singing, we’ll have the York Philharmonic Male Voice Choir, ladies’ close harmony group Track 29, the mixed voices of The Celebration Singers and Robert Wilkinson Primary Academy.”
“The whole world of music will be on stage with at least four choirs performing in every concert. Show tunes, pop, folk, world music, classical, gospel, close harmony, blues and jazz will all feature.
“From primary school choirs to young adult choirs, adult choirs to pensioner-only choirs, singing in male, female or mixed voice choirs, the festival is a celebration of how people come together to make music and have fun.
“Pensioners choir The Rolling Tones and York Wellbeing Choir, for example, are both aimed at enjoyment and combating loneliness.”
Tickets for this fundraising event for the JoRo Theatre’s Raise The Roof appeal are available at £6 to £10 at josephrowntreetheatre.co.uk or on 01904 501935 during opening hours.
“The festival is a celebration of how people come together to make music and have fun,” says organiser Graham Mitchell
Who is singing and when at the York Community Choir Festival
Harry Summers: Title role in York Shakespeare Project’s Richard III this spring
REHEARSALS are under way for Richard III, the first production of York Shakespeare Project’s phase two.
Dr Daniel Roy Connelly’s cast will be led by Harry Summers in the winter-of-discontent role of Richard Duke of Gloucester/Richard III.
Further roles will go to Rosy Rowley, Duke of Buckingham; Miranda Mufema, Lady Anne; Emily Hansen, Queen Margaret; Andrea Mitchell, Queen Elizabeth; Frankie Hayes, Duchess of York/Sir William Catesby; Matt Simpson, Duke of Clarence, and Jack Downey, Sir Richard Ratcliffe.
Clive Lyons will play Lord Hastings; Michael Peirce, Young York/Lord Grey/Murderer; Nell Frampton, Prince Edward/Rivers; Frank Brogan, King Edward IV/Stanley; Thomas Jennings, Sir James Tyrell; Nick Jones, Earl of Richmond; James Tyler, Archbishop, and Anna Kedge, Marquis of Dorset.
Dr Daniel Roy Connelly: Making his York Shakespeare Project debut as director of Richard III
As was the case when YSP began its 20-year mission to present all 37 of the Bard’s works with the 2002 production of Richard III at the Joseph Rowntree Theatre, so Richard III will be the opening play once more, this time at Friargate Theatre, Lower Friargate, York from April 26 to 29.
A newcomer to York, theatre director, actor, poet, professor and former British diplomat Dr Connelly is at the helm after directing in places as diverse as Shanghai, Rome, America and the Edinburgh Festival. He will refract Richard’s turbulent tale of politics, power and corruption through today’s lens.
Richard III will be one of two YSP productions at the 2023 York International Shakespeare Festival, along with Liz Elsworth’s semi-staged version of Shakespeare’s narrative poem The Rape Of Lucrece.
YSP begins a new chapter in 2023 with a 25-year project to stage not only those plays again, but also the best works by his Elizabethan and Jacobean contemporaries.
