Travelling players: top row, Ali Azhar and Ulrika Krishnamurti; bottom row, Eddie Mann, left, Dora Rubinstein and Emilio Iannucci, the cast for Around The World In 80 Days
YORK Theatre Royal is going global, visiting all four corners of York in 23 days with its family show Around The World In 80 Days.
After taking the Theatre Royal’s debut Travelling Pantomime to 16 of York’s 21 wards at Christmas, creative director Juliet Forster will be at the helm once more for this summer spectacular.
Juliet’s new circus-themed adaptation of the Jules Verne novel will play four York playing fields from August 6 to 21 before heading home for a finale at York Theatre Royal from August 25 to 28.
“As one of the characters in the play says: ‘If you can’t travel to exciting parts of the globe this summer, don’t despair, we are here to bring the world to you!’,” says Juliet. “That’s the spirit of this production really.
“Many of us are feeling disappointed that there are still a lot of restrictions around travelling this summer, so this show is the perfect opportunity for some armchair tourism – or, rather, picnic-blanket tourism.”
Juliet continues: “Jules Verne’s story is a lot of fun as the characters race against time to complete a full circuit of the Earth, and in this version, fact and fiction also go head to head as real-life investigative journalist Nellie Bly puts in an appearance. It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story, delivering the kind of experience that live theatre does best.”
“It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story,” promises Juliet Forster, director of York Theatre Royal’s Around The World In 80 Days
Forster, who also directed Love Bites, the love letter to live performance that re-opened the Theatre Royal after Covid restrictions eased on May 17, will be joined in the outdoor production team by Sara Perks, designer of the Theatre Royal productions of Everything Is Possible: The York Suffragettes and Brideshead Revisited; movement director Asha Jennings-Grant; composer and sound designer Ed Gray; lighting and sound engineer Mike Redley and assistant director Sam Bond.
Around The World In 80 Days will be staged outdoors on school playing fields at Carr Junior School, August 6 to 8; Copmanthorpe Primary School, August 10 to 12; Archbishop Holgate’s School, August 14 to 16, and Joseph Rowntree School, August 18 to 21, followed by the Theatre Royal home run.
Tree-climbing enthusiast Emilio Iannucci, previously seen at York Theatre Royal in The Book Of Dragons and Hello And Goodbye and at Shakespeare’s Rose Theatre in Romeo & Juliet, Richard lll, Macbeth and A Midsummer Night’s Dream in 2018/2019, will lead the cast as the Ringmaster and Phileas Fogg.
Ali Azhar will play The Clown and Passepartout; Ulrika Krishnamurti, The Trick Rider and Aouda; Eddie Mann, The Knife Thrower and Detective Fox, and York actor Dora Rubinstein, The Acrobat and Nellie Bly.
To add to the international flavour of Forster’s production, Ali Azharis a French-Moroccan actor born in Paris, where he studied classical theatre before further training at Mountview Academy of Theatre Arts, London, and Broadway Dance Centre in New York.
Emilio Iannucci, the son of satirist, writer, director and radio producer Armando Iannucci, is of Italian heritage; Ulrika Krishnamurti is a singer of Indian classical music and this summer Eddie Mann celebrates his tenth year of traveling around the world in 24 hours to settle in Britain after leaving his native New Zealand.
Who’s playing which roles?
As a member of post-punk trio Circus Of Bones, songwriter and multi-instrumentalist Mann has toured Spain, Sweden, the Netherlands, France and Cyprus, as well as Britain five times, and had a residency at Cafe de Paris in, er, London.
Stretching things a little, Dora Rubinstein runs workshops in flexibility, contortion, acrobalance, handstands, and aerial adroitness in York and Leeds.
Looking forward to a summer of globe-trotting in York, Theatre Royal chief executive Tom Bird says: “Following the success of our hugely popular indoors family summer shows, including Swallows And Amazons and The Wind In The Willows, we’re excited to be going outdoors and to all four corners of York with Around The World In 80 Days. This madcap adventure, full of fun and frivolity, is just what we need right now. Enjoy!”
York Theatre Royal in Around The World In 80 Days:
Carr Junior School, August 6, 7pm; August 7, 3pm and 7pm; August 8, 2pm and 6pm.
Copmanthorpe Primary School, August 10, 7pm; August 11 and 12, 3pm and 7pm.
Archbishop Holgate’s School, August 14, 7pm; August 15, 2pm and 6pm; Aug 16, 3pm and 7pm.
Joseph Rowntree School, August 18, 7pm; August 19, 3pm and 7pm; August 20, 7pm; August 21, 2pm and 6pm.
York Theatre Royal, August 25 to 28, 2pm and 7pm. Signed performance: August 26, 2pm.
Suitable for age 7+. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Maurice Crichton, as Dorn, with Elizabeth Elsworth, as Polina, in York Settlement Community Players’ production of Anton Chekhov’s The Seagull at York Theatre Royal Studio in February-March 2020. Picture: John Saunders
THE Love Season will soon set hearts pulsing at York Theatre Royal, where the Step 3 reopening will make its mark with Love Bites: a love letter to live performance and a toast to the city’s creative talent.
More than 200 artists from a variety of art forms applied for £1,000 love-letter commissions to be staged on May 17 – the first day that theatres can reopen after restrictions are lifted – and May 18.
The 22 short pieces selected will be performed each night at 8pm under the overall direction of Theatre Royal creative director Juliet Forster. Each “bite” will take hold for five minutes.
In the first in a series of CharlesHutchPress Q&As,YorkactorMaurice Crichtonhas five minutes to discuss his work, Where Are You Now, You And I?
How did you hear about Love Bites, Maurice?
“I reckon I saw it come up on Facebook and of course via charleshutchpress.”
What is your connection with York?
“I came south from the Glasgow area to university here in the early 1980s and have been here ever since. My three children grew up here. Then in 2009 I got involved in the York amateur theatre scene and theatrical pursuits are now a big part of my life.”
Helen Wilson: Directing Maurice Crichton in Where Are We Now, You And I?. Here she is pictured performing in York Shakespeare Project’s Sit-down Sonnets in the Holy Trinity Church open air in Goodramgate, York
What will feature in your Love Bite, Where Are We Now, You and I?, and why?
“I can tell you it is a solo piece which I have written and that my partner Helen Wilson is going to bring to bear her considerable directing expertise to try to make sure I don’t make a complete fool of myself.
“The brief was simple and clear for a very special occasion. A love letter to light up the YTR stage after such a long period of darkness. I had an immediate and personal response to the brief, which I hope will do justice to the opportunity.
“I was in Anthony Minghella’s Two Planks And A Passion in 2011 in the main house when it was reconfigured in the round. I did a slightly daunting read-through as Pilate for the 2012 Mystery Plays from the main stage to a big audience the following year. But nothing else in that space. So, for lots of reasons, even though it is only five minutes, for me personally it’s going to be a big five minutes.”
So, where are we now, you and I and the rest of us?
“I hope just about OK. I have been very lucky. With any unexpected trauma, it doesn’t really hit home until the danger is past. What has it cost us all? It’s too early to say.”
In lockdown, what have you missed most about theatre?
“Being able to take for granted that it’s alive and well in our city and has a future.”
“What has it cost us all? It’s too early to say,” says Maurice Crichton of living through these pandemic times
What’s coming next for you?
“I’ve done some filming work on a piece called The Whispering House with Damian Cruden (director) and Bridget Foreman (writer), about the Census in Tang Hall and Heworth, in which I play a Swedish immigrant completing the 1911 census.
“His name is Enoch Stanhope, a real person. He lived at Yew Villa, Heworth Village, and had a jewellery shop on Coney Street. I hope the fruits of that work will be released soon.”
“I’m producing another Sonnets production – the sixth – this summer for York Shakespeare Project. Emilie Knight is going to direct and we hope to able to announce dates for this year in an exciting new outdoor venue very soon.
“I’m also working on a little project for York Mystery Plays Supporters Trust to take a guided walk along the route of the medieval Mystery Plays. (YMPST, along with York Festival Trust are staging A Resurrection For York on wagons in the Residence Garden, Dean’s Park, beside the Minster Library on July 3 and 4, directed by Philip Parr.)
What would be the best way to spend five minutes if you had a choice?
“Right now, it would be to ring my Mum’s doorbell in Fife and give her a hug or to make a surprise second visit to my new granddaughter (aged four weeks) in Bath and to bounce little Emma on my knee.”
Tickets for Love Bites cost Pay What You Feel at yorktheatreroyal.co.uk or on 01904 623568.
Love letter to theatre: The reopening season at York Theatre Royal
MUCH ado about nothing but love is promised when York Theatre Royal reopens with two nights of letters from the heart from May 17.
Love Bites will turn the spotlight on the creativity of artists from in and around York, whether poets, performers, singers, dancers or digital artists, who have been commissioned to write love letters celebrating the return to live performances after the easing of the Government’s pandemic restrictions.
More names will be announced nearer the time for the 8pm performances on May 17 and 18, but confirmed already from 200 proposals are Alice Boddy and Leanne Hope’s piece, A Love Letter To Female Friendship, and Japanese-English actor Erika Noda’s semi-autobiographical account of growing up dual heritage, entitled Ai.
Magic trio: writer Bethan Ellis, illustrator Elena Skoreyko Wagner and composer James Cave
Contributing too will be the Magic combination of illustrator and papercut artist Elena Skoreyko Wagner, composer and York Minster choir member James Cave and writer and editor Bethan Ellis, finding magic and meaning in the mundane, and York-based Zimbabwean playwright Butshilo Nleya, who combines words, music and dance in works centred on place, home and the multiplicity of cultures, this time presenting Ekhaya, Love Them Both?.
Juliet Forster, the Theatre Royal’s creative director, says: “Love Bites is really a love letter to live performance, put together by York artists. It’s a celebration of what we have been missing for over a year now: the chance to come together under one roof and share our stories and experiences. There was no one single theatre production that felt enough to mark the reopening of theatres, the lifting of restrictions, so we decided that we needed multiple ones.”
Selecting 20 commissions from more than 200 proposals was “extremely difficult, but really inspiring too,” she reveals. “There are so many talented, inventive, creative people in York – we could have filled the night several times over. The selection of short pieces that you will see on our stage represent a wide range of voices, artforms and approaches to the theme of love, created by both well-established artists and those who are newer to the scene,” she says.
“We hope Love Bites will turn out to be ‘a many-splendored thing’,” says York Theatre Royal creative director Juliet Forster
“Love Bites will explore the idea of love letters, dedicated to people, places, things, actions, occupations and much, much more in a multitude of ways, all presented in five-minute specially commissioned bite-sized chunks. We hope Love Bites will turn out to be ‘a many-splendored thing’”.
After these two nights introduced by Look North alumnus Harry Gration with a Pay What You Feel ticket policy, The Love Season’s focus on human connection, the live experience and a sense of togetherness will embrace solo shows by stage and screen luminary Ralph Fiennes [Four Quartets} and Coronation Street star Julie Hesmondhalgh [The Greatest Play In The History Of The World…]; a new Ben Brown political drama about writer Graham Greene and spy Kim Philby, A Splinter Of Ice, and Swedish playwright August Strindberg’s Miss Julie, transposed to 1940s’ Hong Kong by writer Amy Ng and director Dadiow Lin.
Performances will be presented to socially distanced audiences, adhering to the latest Government and industry Covid-19 guidelines to ensure the safety of staff and audiences with a reduced capacity of 344, but should Step 4 of the roadmap roll-out go ahead as planned on June 21, there is scope for more seats to go on sale for shows later in the season. Over to you, Mr Johnson.
“We’re so chuffed to have Ralph Fiennes coming to York. We can’t believe it,” says Theatre Royal chief executive Tom Bird
Theatre Royal chief executive Tom Bird says: “The last thing we want to do, given our mission and the trouble in keeping theatre alive, is to put up more barriers to people coming, but we have to be Covid-safe, and that’s the bottom line. We did it for the Travelling Pantomime we took around York wards, and we will do it again from May 17.’”
The number one talking point is Ralph Fiennes’s Theatre Royal debut, in six performances from July 26 to 31, directing himself in the world-premiere tour of T S Eliot’s Four Quartets: a solo theatre adaptation of Burnt Norton, East Coker, The Dry Salvages and Little Giddings, a set of poems first published together in 1943 on the themes of time, nature and the elements, faith and spirituality, war and mortality.
Tom says: “The link to bring the show here is James Dacre, artistic director of Northampton’s Royal & Derngate Theatres, who co-produced A View From The Bridge with the Theatre Royal in 2019.
Ralph Fiennes rehearsing T S Eliot’s Four Quartets
“He’s co-producing this tour, helping Ralph put the show together. Ralph is rehearsing in London, opening at the Theatre Royal, Bath, from May 25 and then touring. We’re so chuffed to have Ralph coming to York. We can’t believe it!
“We’re thrilled that Ralph’s show became a possibility for us, and it’s a huge credit to him to recognise the need to support theatre around the country at this time.
“Let’s say it, it’s rare for an actor of his profile and standing to do a regional tour, but he’s seen that he can help to save some incredibly important producing houses, like this one, by doing a tour – and it’s not an act of charity; it’s an important and really exciting piece of work.”
“It’s a huge credit to him to recognise the need to support theatre around the country at this time,” says Theatre Royal chief executive Tom Bird
Tom is delighted by Fiennes’s choice of material too. “There’s a massive tradition of actors doing Eliot poems, like Fiona Shaw doing The Waste Land,” he says. “They lend themselves to performance, and it’s really telling that Ralph has chosen to take Four Quartets on tour at this moment because they’re rooted in life and death; the past and the future; human relationships and a love of place.
“For that reason, it fits into our programme for a season built around love, connection and being rooted in a place. As an American coming to England, Eliot was trying to root himself here by looking for his ancestors in Somerset.”
For full details of The Love Season, go to: yorktheatreroyal.co.uk. Tickets can be booked at yorktheatreroyal.co.uk; on 01904 623568, Monday to Saturday, 12 noon to 3pm, and in person, Thursday to Saturday, 12 noon to 3pm.
Juliet Forster: Leading York Theatre Royal’s creative work and community work
IN the re-shuffle of job titles at the Theatre Royal since the onset of the pandemic, you have upgraded from associate director to creative director. What is the significance of this change, Juliet?
“I’ve taken a shift in responsibilities. As associate director, I was part of the creative team overseeing all the programming, both in-house and touring, as well as heading up our creative work with young people.
“Now I’m focusing specifically on what we create ourselves. We’ve been looking at models of working that have been emerging in other theatres, since Damian [Cruden] left his post as artistic director in July 2019.
“The programme here used to be so much built around our own work with a bit of touring. Now, there are more co-productions and we spread out who’s directing the shows, like they do at the Mercury Theatre in Colchester, for example.
“No longer having an artistic director, under chief executive Tom Bird, we now have a theatre maker as part of the bigger programming team, with producer Tom Freeth and associate artist John R Wilkinson, collaborating together, and I now lead our creative work and our community work.”
Caroline Gruber (Vashti), Maria Gray (Machine 2) and Gareth Aled (Machine 1) in The Machine Stops. Picture: Ben Bentley
AS Covid-19 took its relentless grip, Juliet Forster kept finding her thoughts returning to E M Forster’s The Machine Stops, the stage adaptation she first directed for York Theatre Royal and Pilot Theatre in 2016.
“What was in my head was how we would be struck by it even more under Covid,” she says.
“Over this last year, I have thought about this piece many times as the world around us seemed to grow more and more like the incredible world that E M Forster imagined.
“And it’s even more striking today than it was at the time: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”
This spring, The Machine Stops is starting up all over again, available to watch on a Theatre Royal webcast until April 5. Reactions so far have affirmed Juliet’s own feelings. “People are saying how eerily relevant it is,” she says.
“No windows; no natural day and night; no physical communication”: the life that Kuno (Karl Queensborough) wants to escape in The Machine Stops. Picture: Ben Bentley
E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine.
“That’s what has felt very strange, particularly the lack of human contact: the things that we laughed at in 2016, but now we’re all having to try to avoid each other,” says Juliet.
Adapted by Neil Duffield, The Machine Stops premiered in the York Theatre Royal Studio in May and June 2016 at the outset of a three-venue run and was revived there in February 2017 before embarking on a national tour of nine venues.
Juliet’s stage premiere won the Stage Production of the Year in the 2016 Hutch Awards. “In the year when Phillip Breen directed the York Minster Mystery Plays on the grandest scale and York Theatre Royal re-opened with Bryony Lavery’s new adaptation of Evelyn Waugh’s Brideshead Revisited, it wasn’t the expected big hitters that left the deepest impression,” Hutchinson said in The Press, York.
“Instead, an obscure EM Forster sci-fi work, The Machine Stops, became a play for our times in the hands of the Theatre Royal associate director Juliet Forster and Pilot Theatre in the Theatre Royal Studio.
York Theatre Royal creative director Juliet Forster
“Amid the stench of Brexit and Trump intolerance, here was a cautionary story of science friction and human heart told superbly artistically by a cast of four, writer Neil Duffield and electronic composers John Foxx and Benge with humanity’s worst and best attributes thrust against each other.”
Esther Richardson, Pilot Theatre’s artistic director, shares Juliet’s thoughts on The Machine Stops’ rising resonance: “When we produced The Machine Stops in 2016, it already seemed an eerily prescient piece of work. A story-world in which humans have become isolated from one another and living underground, communicating only through screens, offered an engaging space for reflection on perhaps the pitfalls of how our relationship with technology had been evolving,” she says.
“To be able to explore this in a live theatre space with an audience gathered together in person and with their technology switched off made it all the more dynamic a tale.
“It’s fantastic that, having spent the last year in different forms of isolation and on screens, we have the opportunity to share this great production, which will now sing with new meaning, meeting a new audience in a new context.”
The Machine Stops features a soundtrack composed by John Foxx, electronic music pioneer and founder of Ultravox, and analogue synth specialist Benge. The production was directed by Forster and designed by Rhys Jarman, with lighting design by Tom Smith and movement direction by Philippa Vafadari.
Pilot Theatre artistic director Esther Richardson. Picture: Robert Day
It stars Caroline Gruber as Vashti, Karl Queensborough as Kuno, Maria Gray as Machine/Attendant and Gareth Aled as Machine/Passenger.
Analysing the reasons why The Machine Stops transferred so convincingly to the stage, Juliet suggested in 2017: “When you use human beings to the height of their potential, theatre is at its most interesting; when you realise the incredible ability of human body; but at the same time, you can’t shoehorn that into a play. Here, though, to represent the Machine through movement, it absolutely suited it.
“It also helped that we had the finest soundtrack for a play in living memory, composed by John Foxx and Benge.”
That soundtrack went on to form much of the music on the John Foxx And The Maths album, The Machine, released in 2017 on the Metamatic Records label with artwork by Jonathan Barnbrook, the designer for David Bowie’s last two studio albums, 2013’s The Next Day and 2016’s Blackstar.
Caroline Gruber as Vashti in The Machine Stops. Picture: Ben Bentley
The filmed recording was edited by digital wiz Ben Pugh for its release online, with kind permission granted by the E M Forster estate. “We had taken a three-camera capture of the show in 2016 in the Theatre Royal Studio, when we were thinking of doing a streaming, but we didn’t have permission at the time, but now we do,” says Juliet.
“I asked Ben to do the editing because he’s fantastic at pulling digital theatre shows together, and it works really well on screen.”
The Machine Stops is available to view for free at https://www.youtube.com/watch?v=2PW5yk2G5pE, although York Theatre Royal and Pilot Theatre are asking for donations from viewers, with all contributions being split equally between them.
What was Charles Hutchinson’s verdict in May 2016?
Gareth Aled as Machine 1 in The Machine Stops. Picture: Ben Bentley
The Machine Stops, York Theatre Royal/Pilot Theatre, York Theatre Royal Studio
IN between those two pillars of early 20th century English literature, A Room With A View in 1908 and Howards End in 1910, E M Forster wrote a science-fiction short story, apparently in response to the outpourings of H G Wells.
It was pretty much ignored until being included in an anthology in the 1930s, but now it should take its rightful place alongside the prescient works of Aldous Huxley and George Orwell.
York Theatre Royal associate director Juliet Forster has cherished wishes to present it since 1999, and at last everything has fallen into place in a brilliant re-opening show in The Studio.
Forster and Forster makes for a perfect combination, assisted by her choice of writer, the experienced Neil Duffield; electronic musicians John Foxx and Benge in their first theatre commission, and designer Rhys Jarman, whose metallic climbing frame stage and hexagonal floor tiles could not be more fitting.
Centre stage is Vashti (Caroline Gruber), soft-boned, struggling to walk and wrapped in grey swaddling wraps, as she embraces her new, post-apocalyptic, virtual life run by The Machine, in the wake of humans being forced underground to self-contained cells where everything is brought to you: food, ambient music; lectures; overlapping messages.
John Foxx: Soundtrack hits the right note
No windows; no natural day and night; no physical communication; all you need is at the touch of the screen beside you as technology rules in this dystopian regime. It is the age of the internet, conference calls and Skype, the age of isolation (and the teenage life), foretold so alarmingly accurately by Forster.
In the best decision by Juliet Forster and the writer, they have decided to represent the omnipresent Machine in human form, cogent cogs that slither and slide and twist and turn acrobatically, responding to Vashti’s every request, with an urgent physicality that has you worrying for the health and safety of Maria Gray and Gareth Aled.
Not that The Machine is merely compliant. Just as Winston Smith rebels in Orwell’s 1984, Vashti’s son Kuno (Karl Queensborough), on the other side of the underground world, craves breaking out into the old world above the artificial one, to breathe real air, see the sky, feel the sun on his face, but The Machine will do its utmost to prevent him.
Queensborough’s physical performance, as the desperate Kuno puts himself at risk, is even more remarkable than the gymnastic Machine double act, as he hurls himself around the frames.
Forster’s production has bags of tension, drama, intrigue, and plenty of humour too, especially when Gray and Aled transform into a plane attendant and passenger. Throughout, the Foxx and Benge soundtrack hits the right note, futuristic and mysterious, yet noble too when Kuno makes his move.
Nothing stops The Machine Stops: it is 90 minutes straight through, a story of science friction told superbly artistically with humanity’s worst and best attributes thrust against each other.
From Mr Tumble to…Peter the Clown in Romeo And Juliet: Justin Fletcher does Shakespeare for CBeebies. Picture: CBeebies Presents: Romeo And Juliet
JULIET Forster has cut it as a director of Romeo And Juliet many times. Now she has sliced Shakespeare’s “two the two hours’ traffic of our stage” to 45 minutes, maybe 50, for CBeebies’ show tomorrow morning.
“I did joke about that at rehearsals because my previous production, at Blenheim Palace, ran to three hours and 15 minutes,” says Juliet, York Theatre Royal’s creative director.
She had been lined up for the children’s television production as long ago as December 2019. “Anna Perowne, who has produced the performance, had newly taken over BBC Shakespeare, having worked previously for the Royal Shakespeare Company,” says Juliet.
“It was partly that thing of a new producer looking at it in a new way, wanting to work with a director who would allow more input from the actors.
Evie Pickerill as Juliet in CBeebies’ Romeo And Juliet, Picture: CBeebies Presents: Romeo And Juliet
“She’d found the Shakespeare’s Rose Theatre production of Romeo And Juliet I’d just done at Blenheim that summer, and when we met, we got on immediately. Then, put that together with the fact I’ve done a lot of children’s theatre and plenty of Shakespeare.”
The list runs deep for Romeo And Juliet alone. “In 2005, I did a Family Day at the RSC with children and parents taking part in a Shakespeare workshop,” says Juliet. “I’ve done an interactive version of Romeo And Juliet with some very young children and a youth theatre version at York Theatre Royal.
“I’ve adapted it for five to seven year olds in a way for them to tell the story; I adapted it for a Pilot Theatre production and I’ve directed it with a teenage cast in a play-in-a-week school project I ran with my old company years and years ago in the Midlands.”
Who better, then, to direct yet another variation on Shakespeare’s tragic story of young love and feuding families than Juliet? “We were supposed to record it last May, but the pandemic delayed it until we could kick off working on it again in December,” she says.
Zach Wyatt as Romeo in CBeebies’ Romeo And Juliet. Picture: CBeebies Presents: Romeo And Juliet
CBeebies’ Romeo And Juliet combines Shakespeare’s characters with the additional roles of William Shakespeare himself and a librarian. “What the producer wanted was a good cohort of recognised CBeebies faces and actors, so I watched the other two CBeebies’ Shakespeare shows, A Midsummer Night’s Dream and The Tempest, to see how they were done,” says Juliet.
“We talked about ‘why do a complicated play for such little ones?’, but then we talked about the positive messages in there: the families putting an end to their feud and the importance of not giving in to bad things too easily, instead looking to live in peace and to put a stop to the fighting.
“That made it a show very much for the CBeebies audience, in this case for two to seven year olds…though lots of older children watch it too; they just don’t admit it!”
Juliet worked with Nathan Cockerill on the script, calling on her past experiences of adapting the text. “I looked back at what I’d left in and taken out for the five to seven-year-olds’ script I wrote and fleshed it out from there, also looking at my Pilot Theatre script to see how I’d edited it down for that show,” she says.
Juliet Forster: York Theatre Royal creative director and director of CBeebies Presents: Romeo And Juliet
“Nathan was someone who’d worked with CBeebies before, and we worked on a script knowing that Shakespeare and a companion or companions always feature in a CBeebies Shakespeare show. This time Shakespeare is much more involved.”
Juliet has directed a cast of 15, featuring such CBeebies names as Andy Day, Chris Jarvis, Jennie Dale, Gemma Hunt, Rebecca Keatley and Justin Fletcher, of Mr Tumble fame, as Peter the Clown. Zach Wyatt, from Shakespeare’s Globe, will play Romeo; Evie Pickerill, Juliet.
“We rehearsed it and filmed it at Leeds Playhouse, all done and dusted two weeks ago, with just one day of filming with three runs of the show, making it like a piece of live theatre, though we couldn’t have an audience, of course,” says Juliet.
Joining Forster in the production team were designer Rhys Jarman, renewing their creative partnership from A View From The Bridge and The Machine Stops at York Theatre Royal, choreographer Hayley Del Harrison, lighting designer Will Evans and costume designer Mary Lamb.
The Librarian and William Shakespeare in CBeebies’ Romeo And Juliet. Picture: CBeebies Presents: Romeo And Juliet
“We then rehearsed from March 9, five days, then four days of tech and rehearsals, then filming,” says Juliet. “It was absolutely joyful because we were always keeping the young television audience in mind, how to carry them through such a tricky story.
“To have those experienced CBeebies performers and Shakespeare actors was invaluable. They set the tone. That was part of what was interesting for me as I’ve never made anything specifically for the telly before, but at the same time thinking about making something for a live audience, though that wasn’t the case!
“What we had to do was to get the best ‘blocking’ [the cast’s positions on stage], trying to make it as right as possible for the camera, but still making it very theatrical as Shakespeare is theatre.”
CBeebies Presents: Romeo And Juliet will be shown on CBeebies tomorrow (2/4/2021) at 9.30am and soon after on BBC iPlayer.
Copyright of The Press, York
Jennie Dale as the Nurse in CBeebies’ Romeo And Juliet. Picture: CBeebies Presents: Romeo And Juliet
Caroline Gruber (Vashti), Maria Gray (Machine 2) and Gareth Aled (Machine 1) in The Machine Stops. Picture: Ben Bentley
YORK Theatre Royal and Pilot Theatre’s co-production of The Machine Stops will be available to watch online from tomorrow (23/3/2021) to April 5.
E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine.
Adapted by Neil Duffield, The Machine Stops premiered in the York Theatre Royal Studio in May and June 2016 at the outset of a three-venue run and was revived there in February 2017 before embarking on a national tour of nine venues.
Forster’s stage premiere won the Stage Production of the Year in the 2016 Hutch Awards. “In the year when Phillip Breen directed the York Minster Mystery Plays on the grandest scale and York Theatre Royal re-opened with Bryony Lavery’s new adaptation of Evelyn Waugh’s Brideshead Revisited, it wasn’t the expected big hitters that left the deepest impression,” Hutchinson said in The Press, York.
“Instead, an obscure EM Forster sci-fi work, The Machine Stops, became a play for our times in the hands of the Theatre Royal associate director Juliet Forster and Pilot Theatre in the Theatre Royal Studio.
Karl Queensborough as Kuno in The Machine Stops. Picture: Ben Bentley
“Amid the stench of Brexit and Trump intolerance, here was a cautionary story of science friction and human heart told superbly artistically by a cast of four, writer Neil Duffield and electronic composers John Foxx and Benge with humanity’s worst and best attributes thrust against each other.”
Move forward to 2021, to the reflective words of director Juliet Forster, York Theatre Royal’s creative director, who says: “Over this last year, I have thought about this piece many times as the world around us seemed to grow more and more like the incredible world that E M Forster imagined.
“And it’s even more striking today than it was at the time: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”
Esther Richardson, Pilot Theatre’s artistic director, says: “When we produced The Machine Stops in 2016, it already seemed an eerily prescient piece of work. A story-world in which humans have become isolated from one another and living underground, communicating only through screens, offered an engaging space for reflection on perhaps the pitfalls of how our relationship with technology had been evolving.
“To be able to explore this in a live theatre space with an audience gathered together in person and with their technology switched off made it all the more dynamic a tale.
Pilot Theatre artistic director Esther Richardson. Picture: Robert Day
“It’s fantastic that, having spent the last year in different forms of isolation and on screens, we have the opportunity to share this great production, which will now sing with new meaning, meeting a new audience in a new context.”
The Machine Stops features a soundtrack composed by John Foxx, electronic music pioneer and founder of Ultravox, and analogue synth specialist Benge. The production was directed by Forster and designed by Rhys Jarman, with lighting design by Tom Smith and movement direction by Philippa Vafadari.
It stars Caroline Gruber as Vashti, Karl Queensborough as Kuno, Maria Gray as Machine/Attendant and Gareth Aled as Machine/Passenger.
The filmed recording was edited by Ben Pugh and will be released online with kind permission granted by the E M Forster estate.
Analysing the reasons why The Machine Stops transferred so convincingly to the stage, Juliet suggested in 2017: “When you use human beings to the height of their potential, theatre is at its most interesting; when you realise the incredible ability of human body; but at the same time, you can’t shoehorn that into a play. Here, though, to represent the Machine through movement, it absolutely suited it.
York Theatre Royal creative director Juliet Forster
“It also helped that we had the finest soundtrack for a play in living memory, composed by John Foxx and Benge.”
That soundtrack went on to form much of the music on the John Foxx And The Maths album, The Machine, released in 2017 on the Metamatic Records label with artwork by Jonathan Barnbrook, the designer for David Bowie’s last two studio albums, 2013’s The Next Day and 2016’s Blackstar.
The Machine Stops will be available to view for free at pilot-theatre.com/webcast, kick-started by the online premiere at 7pm tomorrow. York Theatre Royal and Pilot Theatre welcome donations from viewers, with all contributions being split equally.
What was Charles Hutchinson’s verdict in May 2016?
The Machine Stops, York Theatre Royal/Pilot Theatre, York Theatre Royal Studio
Caroline Gruber as Vashti in The Machine Stops. Picture: Ben Bentley
IN between those two pillars of early 20th century English literature, A Room With A View in 1908 and Howards End in 1910, E M Forster wrote a science-fiction short story, apparently in response to the outpourings of H G Wells.
It was pretty much ignored until being included in an anthology in the 1930s, but now it should take its rightful place alongside the prescient works of Aldous Huxley and George Orwell.
York Theatre Royal associate director Juliet Forster has cherished wishes to present it since 1999, and at last everything has fallen into place in a brilliant re-opening show in The Studio.
Forster and Forster makes for a perfect combination, assisted by her choice of writer, the experienced Neil Duffield; electronic musicians John Foxx and Benge in their first theatre commission, and designer Rhys Jarman, whose metallic climbing frame stage and hexagonal floor tiles could not be more fitting.
Centre stage is Vashti (Caroline Gruber), soft-boned, struggling to walk and wrapped in grey swaddling wraps, as she embraces her new, post-apocalyptic, virtual life run by The Machine, in the wake of humans being forced underground to self-contained cells where everything is brought to you: food, ambient music; lectures; overlapping messages.
Gareth Aled as Machine 1 in The Machine Stops
No windows; no natural day and night; no physical communication; all you need is at the touch of the screen beside you as technology rules in this dystopian regime. It is the age of the internet, conference calls and Skype, the age of isolation (and the teenage life), foretold so alarmingly accurately by Forster.
In the best decision by Juliet Forster and the writer, they have decided to represent the omnipresent Machine in human form, cogent cogs that slither and slide and twist and turn acrobatically, responding to Vashti’s every request, with an urgent physicality that has you worrying for the health and safety of Maria Gray and Gareth Aled.
Not that The Machine is merely compliant. Just as Winston Smith rebels in Orwell’s 1984, Vashti’s son Kuno (Karl Queensborough), on the other side of the underground world, craves breaking out into the old world above the artificial one, to breathe real air, see the sky, feel the sun on his face, but The Machine will do its utmost to prevent him.
Queensborough’s physical performance, as the desperate Kuno puts himself at risk, is even more remarkable than the gymnastic Machine double act, as he hurls himself around the frames.
Forster’s production has bags of tension, drama, intrigue, and plenty of humour too, especially when Gray and Aled transform into a plane attendant and passenger. Throughout, the Foxx and Benge soundtrack hits the right note, futuristic and mysterious, yet noble too when Kuno makes his move.
Nothing stops The Machine Stops: it is 90 minutes straight through, a story of science friction told superbly artistically with humanity’s worst and best attributes thrust against each other.
Why the glum face, Dame Trott (Robin Simpson)? Blame the pandemic yet again as York Theatre Royal calls off the last week of performances of the Travelling Pantomime. Picture: Ant Robling
THE wheels have come off York Theatre Royal’s Travelling Pantomime within touching distance of the final curtain.
The rapid rise in York’s Coronavirus cases has brought the runaway success of the sold-out show to a shuddering halt as the Covid curse strikes yet again.
Despite no recorded transmission of the virus at any performance so far, the Theatre Royal has decided the show must not go on, foregoing the resumption its 70-minutes-straight-through, socially distanced, Covid-secure touring production, having initially added a handful of post-Christmas shows.
The rolling seven-day Covid rate for the City of York Council area in the week to December 23 was 218.4 per 100,000 population, higher than the regional average of 189.1 for Yorkshire and The Humber, and the big-city rates of 172.4 in Sheffield, 190.6 in Bradford and 184.8 in Leeds, but still much lower than the national average for England of 401.9.
The figure is higher than the average of 174.7 for North Yorkshire and 179.1 for East Yorkshire. Most disturbingly, York’s rate his risen steeply since a figure of 65 cases per 100,000 population a fortnight ago, an acceleration to which the influx of rule-breaking Tier 3 visitors and Christmas shoppers is thought likely to have contributed.
Travelling Pantomime director Juliet Forster with writer Paul Hendy, right, and York Theatre Royal chief executive Tom Bird. Picture: Ant Robling
Explaining the decision, Theatre Royal chief executive Tom Bird says: “It is with great regret we have decided that the pantomime will not resume for its post-Christmas performances. This has been a tough decision to make, but we feel it is the right one.
“I pay tribute to the whole of the York Theatre Royal team for producing so many performances under such extraordinary conditions, and their diligence and hard work is borne out by the fact that we have no recorded transmission of the virus at the pantomime.”
After two previews at the Theatre Royal, the Travelling Pantomime team took the show to community venues in Tang Hall, Dunnington, Wigginton, Holgate, Clifton Moor, Elvington, Poppleton, Acomb, Carr Lane, Strensall, Copmanthorpe, Fulford, Heworth and Guildhall, to meet the aim of visiting all 21 wards in the city.
This week’s performances by Josh Benson’s comic turn, Robin Simpson’s dame, Anna Soden’s fairy, Faye Campbell’s hero and Reuben Johnson’s villain would have taken the company close to that target by the December 31 finale.
Well travelled: York Theatre Royal’s Travelling Pantomime cast and crew for performances across a multitude of York wards this month
“The theatre wants to thank the brilliant audiences, who have supported the pantomime in their local venues, and City of York Council, who have helped to distribute over 200 free tickets to families in need on the run-up to Christmas.”
Box-office staff will be in touch with ticket holders for cancelled performances in the next few days. Those shows would have taken place at Moor Lane Youth Centre, Dringhouses, last night; Southlands Methodist Church Hall, Bishopthorpe Road, tonight, and York Theatre Royal, tomorrow and Thursday.
The York Theatre Royal pantomime, co-produced with 2020 pantomime partners Evolution Productioms, will return to the main house for Cinderella from December 3 to January 2 2022.
Now that the Traveling Pantomime van has parked up for the last time, CharlesHutchPress can reveal that each audience’s vote to pick a panto from Dick Whittington, Jack And The Beanstalk and Snow White And The Seven Dwarfs in reality came down to a choice of two.
Courtesy of writer Paul Hendy, each show’s early gag about the Rule of Six ruled out the Seven Dwarfs. “We had to lose one of the dwarfs,” said Robin Simpson’s dame. “Wasn’t Happy!” Boom! Boom!
Brought to its knees: York Theatre Royal’s Travelling Pantomime loses out to the city’s rising Coronavirus cases. No joke for comic turn Josh “Just Joshing” Benson et al. Picture: Ant Robling
YORK’S other pantomime, York Stage’s Jack And The Beanstalk, will continue to run at Theatre @41 Monkgate, unless the Government’s Covid briefing tomorrow pronounces a change in York’s Tier 2 status.
Writer-director Nik Briggs’s show has upcoming performances until January 3 2021 with full details at yorkstagepanto.com. Watch this space for an update tomorrow.
Switched on at all times: Robin Simpson’s joke-generation dame lights up York Theatre Royal’s Travelling Pantomime. All pictures: Ant Robling
REVIEW: York Theatre Royal’s Travelling Pantomime, Jack And The Beanstalk, New Earswick Folk Hall, York, 5/12/2020
NO Rolling Stones show goes by without rock’n’roll’s greatest paleontological survivor, Keith Richards, leaning into his microphone to mumble: “It’s good to be here…it’s good to be anywhere”.
Lo and behold, “It’s great to be here…it’s kind of great to be anywhere,” says York Theatre Royal Travelling Pantomime’s comic turn, Josh “Just Joshing” Benson, at the outset of Saturday evening’s Covid-secure, socially distanced, temperature-tested, bubble-seated pantomime.
How right he is. Saturday was day four of the new dawn of the York Theatre Royal pantomime, the first after 40 years in the wildness of the Dame Berwick Kaler era. Until Covid-19 became the joyless new villain, out to destroy the land of theatre, Cinderella was to have marked the transition from Kaler capers to a new partnership with regular Great British Pantomime Award winners Evolution Productions.
On his knees but not for long: York Theatre Royal’s inexhaustible pantomime comic turn Josh Benson
When invitations to the ball turned to cinders, chief executive Tom Bird, creative director Juliet Forster and Evolution writer-director Paul Hendy decided to tear up the script and compose three new ones instead to take the panto to the people.
Hence it is indeed great to be here, there and everywhere, because, while the Theatre Royal main stage awaits resuscitation in 2021, the Travelling Pantomime will definitely be pitching up at 16 of York’s 21 wards, possibly more if Covid-safe passage can yet be guaranteed to others. At least four more shows are being lined up for after Christmas and a recording of the second-night preview will be made available for streaming soon too.
On Saturday, New Earswick Folk Hall was transformed into a theatre for the first time, creating an impromptu stage with Hannah Sibai’s red-curtained, green-framed travelling theatre frontage and a traditional pantomime backdrop.
It’s all about the bass: York Theatre Royal’s multi-tasking fairy, singing captain and musician Anna Soden
Everything is slimmed down – a cast of five, no ensemble, no live band, no interval, no panto cow, but less just means being more inventive and cramming so much into what we are told will be an hour but stretches gladly well beyond.
Edinburgh Fringe shows work to tight running times, and quality, not quantity, rules here too. To Paul Hendy, that means bottling up the “the essence of panto” and right now, in Covid-19 2020, that essence is Joy.
Once we are introduced not just to Just Josh’s rubber-bodied comic, but also Robin Simpson’s classic dame, Faye Campbell’s modern hero, super-tall Reuben Johnson’s villain and Anna Soden’s trumpet/guitar/bass-playing fairy, we must vote for our choice of show: Dick Whittington, Jack And The Beanstalk or Snow White And The Seven Dwarfs. Seven dwarves, note; there is a knock-out joke a’coming.
Hitting the Jack-pot: Faye Campbell’s super hero in Jack And The Beanstalk
Jack won out on Saturday: Josh becoming, well, Josh, with the daftest streak of blond in his hair since Kevin Petersen pummelled 158 against Australia with a skunk plonked on his bonce in 2005. He is a lovably daft ball of energy, cheeky but not saucy, and if he kept his magic tricks up his sleeve this time, what an asset for the future.
Simpson, on loan from Huddersfield’s Lawrence Batley Theatre, is the penniless but pun-full, mirthful Dame Trott, reaching for both a cuppa and the gin; Johnson, all in black with a dash of red to match his Russian accent, is a Flesh Creep with an amusingly dismissive air and a mischievous hint of Borat.
Campbell’s Jack must fight the old prejudices against girls being fit for purpose for heroic tasks while keeping the name Jack. Soden’s rapping, funky, blue and pink-haired Fairy is more likely to hit the bass line than wave a wand, as flashy as her lit-up boots.
Kill-joy: Reuben Johnson’s Flesh Creep in Jack And The Beanstalk
Juliet Forster directs with momentum, brio and thrills rather than frills, complemented by Hayley Del Harrison’s fun, compact choreography and musical director James Harrison’s rapid-fire bursts of high-energy songs.
Yes, there is a beanstalk and a Giant called Pundemic. Above all, York Theatre Royal have hit the jackpot with Paul Hendy’s script-writing prowess, love of a double-act routine and a knowingly contrived, convoluted path to a pay-off line.
He handles the pandemic crisis with a success rate to make the Government jealous, throwing in topical references galore with witty, often unpredictable Pandemime punchlines, but nothing insensitive in such traumatic times.
Writer Paul Hendy: Bottling the essence of pantomime, labelled with joy
A magazine title slapstick to-and-fro between Benson and Simpson is already a contender for panto scene of the year, and if there are jokes for adults, Hendy favours a Gilbert O’Sullivan song title, rather than adult material or in-jokes.
Pantomime 1, Pandemic 0, the Travelling Pantomime triumphs on its already sold-out run to December 23. Hendy will be back next winter for the full Evolution to roll out; Benson is due to return to the Victoria Theatre panto in Halifax next Christmas, alas, but his Theatre Royal day will surely come, even if he can’t magic his way out of that one.
YES, YES, YES! York children’s entertainer, magician and actor Josh Benson celebrates the opening of York Theatre Royal’s Travelling Pantomime, wherein he plays the comic’s role. Picture: Ant Robling
THIS is a sentence that could not have been foreseen at the outset of 2021: all performances of York Theatre Royal’s Travelling Pantomime have sold out.
This was the year when the first Theatre Royal and Evolution Productions co-production of the post-Dame Berwick Kaler era should have been Cinderella, but Covid-19 cancelled all invitations to the ball.
Instead, in a tempestuous year like no other for theatre at large, the Theatre Royal vowed that if audiences could not come to the theatre, then now was the time to take theatre to the people.
Permitted by the Government’s Covid-secure regulations to “go to work” to rehearse behind closed doors through Lockdown 2, creative director Juliet Forster’s Travelling players have now been given the green light for the December tour by York’s Tier 2 status.
Time for a cuppa: Josh Benson, the comic, and Robin Simpson, the new York Theatre Royal dame, in the Travelling Pantomime. Picture: Ant Robling
Preview performances last night and tonight on a pop-up stage at the Theatre Royal – the first shows inside the St Leonard’s Place building since the March shutdown – will warm up comic Josh Benson, dame Robin Simpson, fairy Anna Soden, hero Faye Campbell and villain Reuben Johnson for socially distanced shows in Covid-secure church halls, village halls, community centres, schools, a reading room and even an hotel.
Chief executive Tom Bird is delighted the show can go ahead, or, more precisely, each show’s audience choice from three pantomimes penned by Evolution Productions’ Paul Hendy: Dick Whittington, Jack And The Beanstalk and Snow White.
“A huge amount of work has gone into the Travelling Pantomime already, organising everything with the venues, and it’s great that every show has sold out, so people are really interested in getting back to seeing shows,” he says.
“The plan was to tour to all 21 York wards, and it’s touch and go whether we’ll do that, but we’ve added Strensall – sold out already! – to take the total to 16 and we’re still in negotiations with others.
York Theatre Royal creative director and Travelling Pantomime director Juliet Forster, chief executive Tom Bird and Evolution Productions director and pantomime writer Paul Hendy
“The venues have to be right, we have to be sure they are Covid-safe and that’s quite a challenge in some venues, but we’re still hopeful of adding a few more.”
For those unable to see a live performance, the Theatre Royal will be filming tonight’s preview on the Theatre Royal main stage for streaming from a date yet to be confirmed.
Tom watched the tech rehearsal last Friday, as the treading of boards returned to the Theatre Royal. “The whole atmosphere felt heavy with emotion,” he says. “After the year we’ve all had, it must be like a shop opening again or a pub landlord re-opening.
“Just seeing the lights on and watching Juliet directing, it’s so exciting to be back, not yet back as we knew it before, but at least we’re back. Being on home turf for the first game of the season feels good.”
Lights on again at last: York Theatre Royal prepares for last night’s first preview of the Travelling Pantomime. Picture: Livy Potter
Tom believes the early decision to mount a Travelling Pantomime in a year of so much uncertainty has proved judicious. “We felt basically that for a number of reasons getting out and about was the best way to go this year. We know that transport can be complicated in the pandemic, so it’s best to keep the shows local,” he says.
“We could have done shows to 344 people with social distancing at the Theatre Royal, and that would have been completely legal, but we still felt the Travelling Pantomime was the best thing for now, showing a generosity of spirit to the city.
“Mounting a Christmas show was always going to be a logistical Everest in 2020, whether at the Theatre Royal or on the road, but it just felt crucial to do it. It’s so important for us, it truly is, because you want to give people a laugh but also to remind people that we are here.”
Rehearsals have been joyful, even under the shadow of the pandemic. “Juliet has really enjoyed it; the creative team have really enjoyed it, and we have a good mix of actors, some comparatively new to pantomime, some who’ve done zillions.
Ready to travel: York Theatre Royal Travelling Pantomime players Robin Simpson (the dame), Faye Williams (the hero), Reuben Johnson (the villain), Anna Soden (the fairy) and Josh Benson (the comic). Picture: Ant Robling
“Every week in rehearsals and every second day during the production run, they’re being Covid-tested, which does put everyone at east. It costs quite a lot, but it’s absolutely been worth it.”
Tom has had to oversee a pandemic-blighted year when ticket income all but dried up until the Travelling Pantomime; the neighbouring De Grey Rooms lease was not renewed, and 16 redundancies had to be made.
In October, the Theatre Royal was awarded £230,000 from the Government’s Culture Recovery Fund to help the theatre until March, having earlier received £196,493 from Arts Council England’s Emergency Response Fund in July to cover the fallow months until September.
The latter grant will facilitate the Theatre Royal looking to the future, with Tom taking on the new title of chief executive, replacing his executive director tag. “It’s more for ease of messaging within the system. It’s just for tidying things up,” he says. “Nothing more than that.”
“Mounting a Christmas show was always going to be a logistical Everest in 2020, whether at the Theatre Royal or on the road, but it just felt crucial to do it,” says chief executive Tom Bird
Juliet Forster switches from associate director to creative director. “I’m not the world’s biggest fan of ‘associate’ titles, especially when Juliet is absolutely crucial to the theatre – she’s been with the Theatre Royal for 13 years.”
After focusing on Pop Up On The Patio festival and the Traveling Pantomime since summer, now Tom and the artistic planning team, including producer Thom Freeth and artistic associate John Wilkinson, are turning their attention to re-opening the Theatre Royal.
“Over the past few weeks we’ve started to arrive at a position where we’re formulating a way of re-opening with social distancing, as we’ve been in receipt of funds [from the Culture Recovery Fund],” says Tom.
“We don’t yet have a date in mind, but we’re planning to open maybe sooner than the spring. We’ll get through the pantomime first and then make an announcement not long after that.”
For full details on the York Theatre Royal Travelling Pantomime itinerary, go to yorktheatreroyal.co.uk.
Just Joshing: York entertainer and magician Josh Benson larks around on the York Theatre Royal stage as rehearsals begin forThe Travelling Pantomime. Picture: Anthony Robling
REHEARSALS are underway for York Theatre Royal’s Travelling Pantomime, the neighbourhood show that will tour to all 21 wards in York.
Culture Secretary Oliver Dowden’s confirmation that theatre rehearsals could continue behind closed doors during Lockdown 2, despite all entertainment venues being closed from November 5, has facilitated director Juliet Forster bringing the cast together for sessions in the Covid-secure billiards room in the De Grey Rooms.
“It was a huge relief,” says Juliet, the Theatre Royal’s associate director. “We anticipated he would because he’d said film and TV rehearsals wouldn’t stop, but he hadn’t mentioned theatre at that time, so there was that awful feeling of not knowing, but it was great when the news came out at 9pm that night.”
Welcoming the cast of Robin Simpson, entertainer and magician Josh Benson, actor-musician Anna Soden, Reuben Johnson and Faye Campbell, chief executive Tom Bird says: “We’ve put Covid safety measures in place and will be carefully following Government guidelines over the weeks ahead, but we’re thrilled that we can carry on with our plans to take our pantomime out to the people of York this year.”
Revised dates – moved to a later start after Lockdown 2 was announced – are now in place for a run from December 3, with more to be added. The preview night on a pop-up theatre on York Theatre Royal’s main stage on December 3 will be filmed for broadcast so anyone who misses out on a ticket can still enjoy the show, co-produced by York Theatre Royal and new pantomime partners Evolution Productions.
“Be assured, one way or another, York Theatre Royal’s Travelling Pantomime will be coming to you,” says Tom.
“Panto really benefits from the input of the live audience, so that’s why it was always our intention to do the recording in front of an audience,” says Juliet.
York Theatre Royal associate director Juliet Forster and chief executive Tom Bird with Paul Hendy, producer of pantomime partners Evolution Productions
Joined in the production team by Pop-Up On The Patio designer Hannah Sibai, choreographer Hayley Del Harrison and musical director James Harrison, Juliet will be working on not one, but three 70-minute pantomimes written by Evolution producer Paul Hendy for each audience to vote whether to see Jack And The Beanstalk, Dick Whittington or Snow White.
Three pantomimes? Plenty to rehearse there, Juliet?! “It’s do-able, and thanks to the Government, we have a bit more rehearsal time now,” she says.
A cast of only five will help too. “Because we’re working on a small touring stage, it wouldn’t have made sense to do a big-sized show with a dance ensemble,” says Juliet. “You may lose some spectacle, but in terms of story-telling, chatting with Paul [writer Paul Hendy], we decided that having just the five key characters intensifies the story, investing in each character’s journey.”
Actor and writer Reuben Johnson will play Fleshcreep and Ratticus Flinch, the villain’s roles, after working previously with Juliet last year, appearing as the thoroughly decent Marco in the Theatre Royal’s autumn production of Arthur Miller’s A View From The Bridge.
“It was quite a different show from doing a panto!” he says. “We met on Skype to talk about it, and it’s a perfect chance to work on something fun in such dark times.”
“Reuben has such comedic funny bones, which you wouldn’t have seen in A View From The Bridge, but even there he mined a few comic moments,” says Juliet. “Sometimes you get someone in your head when you read a script, and they keep coming back into your head, like Reuben did, even though I think of him as a very serious actor. Some of my best casting has come that way.”
“I’m trying to find the humour and likeability of the villain, which really contradicts the audience’s thoughts and expectations,” says Reuben Johnson as he prepares to play Fleshcreep and Ratticus Flinch. Picture: Anthony Robling
Reuben may be a pantomime debutant but says: “I’m a theatre fan in general. I love Shakespeare, new plays, physical comedy, pantomime. Panto wouldn’t normally be number one, but I enjoy all theatre and we do need some big fun right now.”
Reflecting on taking on the villain’s role, he says: “I’ve played baddies quite a bit, and what I like to think I can bring to them, when playing stereotypical villains, is trying to find the humour and likeability of that character, which really contradicts the audience’s thoughts and expectations about that person.
“When I watched them as a child, I often thought that bad guys were hilarious to be around, very rowdy, exciting. Now I’ve got the chance to go to town with it in pantomime.”
One rule of acting asserts that you do not have to sympathise with the characters you play, but you should at least empathise with them. “As long as you know your motivation, it’s how you then go about playing the villain,” says Reuben.
“In pantomime, you’ll want to hear people both laughing at you and with you. It’s that love/hate thing.”
Robin Simpson was last seen on the Theatre Royal stage in Northern Broadsides’ Much Ado About Nothing in May 2019 and has Theatre Royal credits to his name in The Railway Children, The Wind In The Willows, Pinocchio and Pygmalion.
This winter he returns in the juiciest of all pantomime parts, the Dame, a role he has played for the past three years at the Lawrence Batley Theatre, Huddersfield. “This time feels very different because of the current situation and the nature of the show,” says Robin, who played Dame Dolly in Jack And The Beanstalk, Widow Twankey in Aladdin and Nanny Fanny in Sleeping Beauty.
“We didn’t mine that name for any humour, I can assure you! We were all very grown up about it, weren’t we!”
“It’s like being the best kind of party host,” says Robin Simpson, summing up the joy of playing the dame in York Theatre Royal’s Travelling Pantomime. Picture: Anthony Robling
Defining the dame’s importance to pantomime, Robin says: “It’s like being the best kind of party host, being welcoming, over the top, ebullient, everyone’s friend, which is so nice to play.”
In dame tradition, from Dan Leno to Berwick Kaler, he has settled on his distinctive persona. “If you’ve got something that works, if it ain’t broke, don’t fix it,” Robin says of the upcoming prospect of playing three variations on Dame Dolly next month.
“My dame is like Bugs Bunny, Elmer Fudd and Daffy Duck rolled into one! There won’t be any variation, except trying to remember who I’m playing each time, with the different frocks denoting the character.
“It’s very much a case of the dame generally being a working-class single mother, with numerous children; hard working, straight talking and funny. I’m sort of basing it loosely on northern women when I was growing up. That Ena Sharples character [in Coronation Street], gossiping over the wall; that matriarch; that Les Dawson send-up with Roy Barraclough.
“There’s lots of love there, but she’s also as hard as nails, and you don’t see that much anymore, but hopefully it’s still recognisable. But ultimately with the dame, she comes on stage as a bloke in a dress who tells jokes.”
Lockdown in March turned the lights out on stages across the country but both Johnson and Simpson have sought to keep busy. “I’ve done OK,” says Reuben. “Fortuitously for me, I write as well, doing spoken-word, so I’ve got by on that, with a few little acting jobs as well, but I’ve been craving getting back to work on a stage and that’s not been possible until now. Returning to the rehearsal room has been like a dream.”
Robin, who is also a storyteller, working in schools, libraries and museums all over the country, says: “I don’t want to complain too much because I know people have been going through worse. I’ve worked online, recording stories, learning skills like how to record and creating little films and kids’ stories on Facebook Live for Oldham Libraries,” he says.
York actor-musician Anna Soden, who will play Fairy and Sea Captain and a multitude of musical instruments in The Travelling Pantomime. Picture: Anthony Robling
“I think there’s merit in recording shows as I can reach places I couldn’t do with live performances for the library service, though you’ll never beat the ‘liveness’ of a show.”
Juliet rejoins: “It all comes back to the shared experience.” “That’s what we’re all desperate for,” says Robin.
“That’s why we couldn’t let go of the need to do a Theatre Royal pantomime this Christmas, even when we knew we weren’t going to be able to open the theatre,” says Juliet. “The prospect of not doing a panto felt wrong.
“We’d talked about community touring and rural touring, and our research told us that audiences would feel more comfortable going to a show locally with their neighbours, rather than coming to the theatre with people from all over the place.
“That’s why we decided to take something so synonymous with Christmas out of the theatre into York’s community centres, church halls and schools for families to have some festive fun with Paul’s shows that are really warm, funny for all ages, packed full of good characters and not innuendo.”
For tickets, dates and more details for The Travelling Pantomime, go to yorktheatreroyal.co.uk.
Here, there and everywhere: York Theatre Royal’s poster for The Travelling Pantomime
YORK THEATRE ROYAL’S TRAVELLING PANTOMIME schedule of performances. Confirmed so far:
December 2: Members-only preview, York Theatre Royal (pop-up theatre on main stage).
December 3: Preview, York Theatre Royal (pop-up theatre on main stage).
December 4: Tang Hall Community Centre, 4.30pm and 7pm.
December 5: New Earswick Folk Hall, 4.30pm and 7pm.
December 8: The Reading Room, Dunnington, 7pm.
December 9: Wiggington Recreation Hall, 7pm.
December 10: St Barnabas Primary School, Holgate. Afternoon school performance; public
Performance, 6pm.
December 11: Clifton Church Hall, 4.30pm and 7pm.
December 12: Elvington Village Hall, Wheldrake, 4.30pm and 7pm.
December 13: The Poppleton Centre, 4.30pm and 7pm.
December 15: Acomb Parish Hall, 7pm.
December 16: Carr Junior School. Afternoon school performance; public performance, 6pm.
December 18: Copmanthorpe Methodist Church Hall, 4.30pm and 7pm.
December 19: Clifton Green Primary School, 4.30pm and 7pm.
December 20: York Pavilion Hotel, 4.30pm and 7pm.
December 22: Heworth Christ Church, 4.30pm and 7pm.
December 23: Archbishop Holgate’s School, 4.30pm and 7pm.
Additional venues to be confirmed.
Brushing up on his role: Josh Benson goes to work at York Theatre Royal
Tickets cost £10 for adults, £5 for children, with a maximum party size of six people in a household or support bubble.
Up to 25 per cent of tickets will be made free of charge to families in need this Christmas.
Capacity at some venues is small. Tickets are available on a first-come, first-served basis to anyone living in a York city ward.
Did you know?
TRAVELLING Pantomime musical director James Harrison was musical supervisor/director for Evolution Productions’ award-winning 2019-2020 pantomime, Cinderella, at Sheffield Lyceum Theatre. He was awarded the Best Music prize at the Great British Pantomime Awards.
Please note: York Theatre Royal’s planned 2020/21 pantomime, Cinderella, will not go to the ball until next winter.
Pledge Ahead is just the ticket for audiences to support York Theatre Royal “at this critical time”
YORK Theatre Royal is launching Pledge Ahead, an initiative that asks audiences and the wider community for financial support, seven deeply wounding months into the Coronavirus arts crisis.
The pledge will take the form of buying vouchers that can be exchanged later for theatre tickets once the still-closed building re-opens. More details can be found at yorktheatreroyal.co.uk.
Launching the scheme, executive director Tom Bird said: “Lots of people have been asking what they can do to help the theatre at this critical time.
“By pledging ahead, our audiences can continue to support us while our building is closed and look forward to using their vouchers as soon as we are able to re-open our doors and welcome everyone back.”
The plea comes “at this critical time” when the Theatre Royal has revealed it has cut its permanent staff by one third – seven voluntary redundancies and nine staff made redundant – after extensive consultations.
In a further cost-cutting measure, the Theatre Royal also has confirmed it will not be renewing its lease of the neighbouring De Grey Rooms, home to rehearsals, workshops, staff offices and the below-stairs costume store, as well as weddings, parties, award ceremonies and performances in the glorious ballroom.
“It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future,” says executive director Tom Bird
The “hand-back” will be completed this week after 11 years of renting the Grade 2-listed neo-classical Victorian building from York Conservation Trust.
The costume hire business will be re-located and will re-open in January; further announcements are awaited on exactly where, along with long-term plans for rehearsals, workshops and staff rooms once the Theatre Royal can re-open.
Bird said: “We have been forced to take some very difficult cost-saving decisions. It has been a devastating time for everyone involved but the theatre will survive and we are now looking ahead and planning for the future.”
Along with the redundancies, many more staff have taken cuts in hours and wages, to ensure the theatre survives, and the Government’s soon-to-disappear furlough scheme has played its supportive part too.
However, 89 per cent of York Theatre Royal’s annual income is generated through selling tickets and from associated revenue streams, such as the bars and café, from the tens of thousands of people who come through the doors of a theatre that underwent a £6.1 million redevelopment completed in 2016.
The Theatre Royal – the longest-running theatre in England outside London – reopened on April 22 that year with a new roof, an extended and re-modelled front-of-house area and a refurbished, reconfigured and redecorated main auditorium, with major improvements to access and environmental impact too.
Decked out: Hannah Sibai’s design for York Theatre Royal’s Pop-Up On The Patio festival in August
Since the Covid-enforced closure in March, the Theatre Royal has reduced its costs “significantly”, the redundancies being the most draconian step so far.
“Like almost everywhere in British theatre, we have sadly had to reduce our team in order for the Theatre Royal to survive and provide a theatre for the community.
“There was zero ambiguity that it might have to happen, but all theatres are in this situation and I’m pleased that we have not closed any department, so we maintain producing expertise across the staff.”
Since lockdown, performances have been restricted to a Pop-Up On The Patio festival of 12 shows by diverse York performers on the Theatre Royal terracing from August 14 to 29, with a maximum audience of 35 at each show.
Cinderella shall not go to the ball this winter on the main stage, but instead the Theatre Royal and new pantomime partners Evolution Productions have announced the Travelling Pantomime, starring York magician, panto comic turn, actor and children’s entertainer Josh Benson.
The dates are yet to be announced, but the small-scale tour will visit sports centres, social clubs, halls and community centres in all 21 wards in York in December and January.
Pantomime this way: Josh Benson is full of beans as he looks forward to leading the York Theatre Royal Travelling Pantomime to Holgate, Heworth and 19 more destinations besides. Picture: Anthony Robling
At each socially-distanced, Covid-secure performance, the audience will vote whether to watch Aladdin, Jack And The Beanstalk or Dick Whittington, all scripted by Evolution director and producer Paul Hendy and directed by Theatre Royal associate director Juliet Forster.
Meanwhile, the Theatre Royal expects to learn on Monday (October 5) whether its bid for a grant from the Government’s £1.57 billion Culture Recovery Fund has been successful…or not.
The theatre received £196,493 from Arts Council England’s Emergency Fund to help to cover July to September 30’s costs, and the latest grant application is “not a million miles from that figure,” confirmed Bird.
“The problem with an old building that’s so huge and hard to heat is that it costs £475,000 a year just to keep it open, without staffing, to cover heating, lighting, water and safety.
“Under Covid restrictions, things like the patio season and Travelling Pantomime are our direction of travel right now.
The team behind the York Theatre Royal Travelling Pantomime: Theatre Royal associate director Juliet Forster, executive director Tom Bird and Evolutions Productions director, producer and writer Paul Hendy
“It’s been brilliant to have done the patio shows and we’re totally over the moon with how that went; it was terrific giving local artists the chance to perform. Now we’re looking at further options for outdoor shows in York until it’s viable and safe to be back indoors.
“But we’re always mindful of the risk of a local lockdown, and the main task is to safeguard the future of the theatre and that’s going well but it’s a big fight.”
The Culture Recovery Fund grant, if approved, would cover October to March 31. “It’s a little bit more about recovery this time,” says Bird. “Last time, the ACE grant was about ‘What do you need right now not to collapse?’.
“We have interpreted the guidance for a grant in the best way we can and we hope the Department of Culture, Media and Sport and the Arts Council will see fit to support us in the best manner possible.”
Today, by the way, is Creative Performance Protest Day, a rallying call to “to highlight the Government’s failure to support the performing arts sector throughout the Covid-19 pandemic”.
Trafalgar Square, London, at midday will be among the focal points of a campaign whose urgency has been heightened by Chancellor Rishi Sunak’s new Job Retention Scheme not accommodating freelance arts workers in its definition of “viable” jobs.
Not just Josh: York comic and magician Josh Benson and Patricia the cow team up to to go on the road with the York Theatre Royal Travelling Pantomime. Picture: Anthony Robling
CINDERELLA, you shall not go to the ball, because no pantomime will run at York Theatre Royal this Christmas. There will, however, be three Theatre Royal pantomimes this winter instead. Yes, three.
Rather than the traditional transformation scene of pumpkin and mice into carriage and horses, this Covid-enforced conversion will be a switch from the still-shut St Leonard’s Place building to the York Theatre Royal Travelling Pantomime.
In tandem with new pantomime partners Evolution Productions, this pop-up enterprise will take the Theatre Royal on the road to every neighbourhood in York – all 21 wards – during December and January.
Each location, ranging from community halls to social clubs and sports centres, will be Covid-secure, adhering to Government guidance for staging socially distanced performances with capacities ranging from 35 to 50, and at each show, the audience members can vote for whether they want to see Dick Whittington, Jack And The Beanstalk or Aladdin.
The Travelling Pantomime retains the previously announced Cinderella triumvirate of Theatre Royal executive director Tom Bird, who oversaw the breaking of the chain from 41 years of Dame Berwick Kaler pantomimes, associate director Juliet Forster as director and award-winning Evolution director and producer Paul Hendy as the writer, who will pen three scripts with York references aplenty.
“We believe that Evolution are the most exciting pantomime company in the country right now,” says York Theatre Royal executive director Tom Bird
Their first big signing is the pocket-sized bundle of York energy Josh Benson, magician, children’s entertainer, actor and Corntroller of Entertainment at York Maze, who had signed up for a further two years as the daft-lad comedy turn in the Halifax Victoria Theatre pantomime after his debut in Beauty And The Beast last winter.
Once confirmed that Victoria devotees would not be amused by Jack And The Beanstalk this winter, however, Josh was available to play his home city, and fresh from performing his Just Josh magic show at the Theatre Royal’s Pop-Up On The Patio festival, he quickly came on board for the panto road show.
‘I’m so chuffed to be able to play a part keeping York’s panto tradition alive, in a year where it feels like the majority of traditions have pretty much gone out the window,” says Benson. “What’s really special for me personally is the ‘full circle’ that’s happened, having actually started my professional career with York Theatre Royal, aged ten, in their 2007 panto Sinbad The Sailor.
“It’ll be so great to be back home for Christmas this year, finding a way to spread some panto joy amongst the current craziness.”
Details of venues, performance times and further casting – possibly a cast of five, but more likely four, local actors – will be released in the coming weeks.
A sign of the panto times: Josh Benson prepares to travel all over York in December and January
Tom Bird, who has experience of mounting travelling shows when executive producer at Shakespeare’s Globe in London, says: “Our Travelling Pantomime will be a rip-roaring Christmas treat for the whole family. Audiences can expect hilarity and chaos, music and magic as our amazing actors visit every corner of York.
“It’s called the York Theatre Royal Travelling Pantomime because it does exactly what it says on the tin and will travel to every York neighbourhood. It’ll be a small-scale show with a cast of four or five, where we’ll do whatever we need to do to meet the Government guidance at that time.
“We want it to be this generous offer to each community, where the audience gets to choose between three pantomimes, which gives scope for even more comedy. It’s quite a challenge for the designer [yet to be confirmed], having to design a set for three shows, but still having to taking the audience into another world.”
Bird is delighted that the Travelling Pantomime will still mark the debut of the new Theatre Royal and Evolution partnership. “We believe that Evolution are the most exciting pantomime company in the country right now: they won the Best Panto award again [for750 to 1,500-seat theatres] for Cinderella at Sheffield Lyceum in the 2020 Great British Pantomime Awards,” he says.
“Their pantomimes are dynamic, they’re electric, they’re funny and fabulous, and they’re not snooty, and Evolution are a belting company. I remain convinced that we’ll have one of the best pantomimes in the country when we do Cinderella in 2021 and, in the meantime, we have this exciting opportunity this winter.
Pantomime partnership: York Theatre Royal associate director Juliet Forster and executive director Tom Bird with Evolution Productions producer Paul Hendy
“It’s great that Paul is writing the three scripts: his writing for pantomimes is graceful and funny and his shows are not blue, just good fun, and they’ll have a local flavour too.”
Bird is quick to stress that the Travelling Pantomime shows should not be seen as a Covid-necessitated compromise. “It’s a massive logistical enterprise, taking a show to all 21 York wards,” he says. “I have a history of doing shows like this, taking small-scale projects around the world for Shakespeare’s Globe.
“It really does give a project an artistic energy when you face logistical challenges, like we are in the face of the Coronavirus pandemic.
“Taking the Travelling Pantomime into the York communities is very direct, I hope it’s very democratic and it acknowledges the virus because there may be people that might not want to go into town on a bus but will go round the corner from their home to see a show.”
Bird is delighted to have snapped up the comedic, mischievous nuttiness of Josh Benson. “We’re very excited to have Josh in the show. When we saw him on the patio doing his Just Josh show, we thought, ‘this is exactly what we need’. He’s warm, he’s very engaging, he’s local and he’s loved by people in York, and he’ll help to shape the shows.
“I would really love to be involved in suggesting ‘how about this or how about that?’ for the shows,” says Josh Benson, as full of beans as ever
“It’s also important, coming out of the old panto into the new era, that we should make our pantomime a show for families and Josh helps us to do that.”
Looking forward to leading the Theatre Royal pantomime in his home city, Benson says: “It’s been said of me, ‘if you turn Josh upside down, it says ‘Made In York’, and it’ll be lovely to be in York this winter because I don’t really want to be anywhere else in this strange year.
“I’d signed for one year for the Victoria Theatre panto in Halifax and they then offered me for four more in the comic role, effectively taking over from Neil Hurst, who’d done it for five years before me, and I said, ‘let me do another two’, but when Jack And The Beanstalk had to be postponed, the Travelling Pantomime feels a lovely thing to be able to do and a real honour too.
“It’s nice to be part of a new beginning for the Theatre Royal pantomime, which I think will be great. What’s good for me is that I can dip my toe in a York panto and they can do the same with me.”
He believes it is important to spread his talent wherever possible when still on a learning curve at 22. “This summer aside, I usually do the whole season at York Maze, so you could have too much of a good thing if I do the winter season as well in panto, doing the same jokes and routines!” he reasons. “I’m very much playing the long game, working up to going to the Edinburgh Fringe with a solo show.”
Benson will have to learn not one, but three pantomime scripts. “But that’s a hugely exciting thing to be doing: a choice of three shows each performance. Tom [Bird] did that at the Globe too, and what’s clever about it is that it’ll have a rough-and ready-feel to it, like a village-hall panto, but as Tom has said, it’ll still be a York Theatre Royal panto, with the award-winning Paul Hendy writing it.
“His writing for pantomimes is graceful and funny and his shows are not blue, just good fun, and they’ll have a local flavour too,” says Tom Bird of Paul Hendy’s award-winning pantomimes
“As a pop-up panto, you can open it in that rough-and-ready style, in a conversational tone, so it’s different from the very start, with me going out there as Josh, just like with the kids’ parties I do, jumping up on stage and just talking, whereas normally with a panto in a theatre, the audience are looking at the stage, thinking, ‘Go on, impress me’.”
Doing three shows throws up extra comedic possibilities too for the comic turn with the potential for daft-lad confusion. “I love the idea that I can go, ‘Right, Dick…Jack…I mean, Aladdin’, so suddenly you’re doing that ‘times three’ thing,” he says.
Benson is restlessly creative – he had written and prepared a drive-in show for York Maze, should owner “Farmer Tom” Pearcy have decided to re-open his attraction this summer post-lockdown – and so he will not merely be turning up to rehearsals for the Travelling Pantomime.
“I would really love to be involved in suggesting ‘how about this or how about that?’ for the shows, so I’m going to meet Juliet [director Juliet Forster] in September to talk about it,” he says.
In the meantime, he will keep busy with children’s party magic shows in gardens – whatever the “Rule of Six” permits – after a multitude of lockdown shows on Zoom and Facebook.
Tickets for York Theatre Royal’s Travelling Pantomime will go on sale in November. Oh, and Cinderella, you shall still go to the ball, the glittering party merely postponed from 2020/2021 to 2021/2022.
The box-office team will be in touch with ticket holders with the option of moving tickets to next year, cancelling the booking or donating some or all of ticket cost to York Theatre Royal. Ticket holders are being asked NOT to contact the box office, whose reduced team will contact them as quickly as possible in coming weeks.
Joshing around: Josh Benson in his Just Josh magic and balloon show
Just Josh? Just who is Josh Benson? Let him introduce himself:
“HAVING not conventionally trained in anything, 22-year-old ‘Josh of All Trades, Master of None’ is winging his way through the entertainment industry. But don’t tell his mum…she thinks he’s at university studying for a proper job!
As an actor, Josh’s credits include playing Little Ernie in the award-winning BBC Morecambe and Wise biopic Eric & Ernie; being hit by a car in BBC1’s Casualtyand a cameo in Monroefor ITV. He played Tommo in Gary Barlow and Tim Firth’s Calendar Girls musical The Girls from 2015 to 2017, both in the world premiere at Leeds Grand Theatre and The Lowry, Salford, and at the Phoenix Theatre in London’s West End.
A huge part of Josh’s work is at York Maze, where he is the Corntroller of Entertainments – genuine job title – for the summer season. There, he writes, manages and co-hosts three live-action experiences: a stage show, tractor trailer ride and pig racing. This role has sprung from Josh being a professional children’s and family entertainer for the past seven years, having proudly entertained at hundreds of children’s parties and events, on cruises and in shows.
He is a professional close-up/stage magician and comedian, having performed four seasons of The Good Old Daysat Leeds City Varieties Music Hall, later taking his act down to the Big Smoke for Players Music Hall and the Cockney Sing-Alongat Charing Cross Theatre and Brick Lane Music Hall respectively.
Eric and Little Ernie: Josh Benson in sunshine-bringing dance mode alongside a statue of Eric Morecambe when he landed the role of young Ernie Wise in the BBC’s Eric & Ernie in 2010
As a “grown-up”entertainer, Josh last year debuted his first one-man cabaret evening, It’s Not The Joshua Benson Show/Josh Of All Trades, a two-act show of all his “pointless yet entertaining” skills. This show tours the UK constantly, “whenever it can fit in between everything else”!
In pantomime, Josh’s career began in 2007, at the tender age of ten, among the babbies and bairns in York Theatre Royal’s Sinbad The Sailor. He was lucky enough to more festive fun in 2008 for Dick Turpin and in 2011 returned to York Theatre Royal as John Darling in Peter Pan,part of the In The Round summer season.
Christmas 2018 saw Josh’s panto comic debut as Buttons in Cinderellaat the Pomegranate Theatre, Chesterfield, and last year he took over as comic at the Victoria Theatre, Halifax, for Beauty And The Beast.
He was due to return there this year for Jack And The Beanstalk, now postponed until 2021. He is delighted – and feels incredibly lucky! – to have been offered the fantastic alternative of York Theatre Royal’s Travelling Pantomime for the winter season.”
Director Juliet Forster, second from right, top row, in a Zoom rehearsal for The Flood, part of this summer’s York Radio Mystery Plays
TODAY is Corpus Christi Day, the day when the York Mystery Plays were first performed on wagons on the city streets from dawn until dusk in mediaeval times.
The Covid-19 pandemic scuppered any chance of a wagon production this summer, however, so instead the 2020 Mystery Plays are taking to the airwaves.
Instalment two of the four-part series will be aired on the Sunday Breakfast Show with Jonathan Cowap on BBC Radio York, partners to York Theatre Royal in this debut audio collaboration.
The York Radio Mystery Plays form part of York Theatre Royal’s Collective Acts, a programme of “creative community engagement” set up in response to the St Leonard’s Place building being closed under the Covid-19 strictures.
“The York Mystery Plays are part of the DNA of this city,” says director Juliet Forster, whose production began last weekend with Adam And Eve. “In lockdown, these plays seem exactly the right choice to pick up, find a new way to create, communicate afresh and encourage one another.”
Juliet, incidentally, previously co-directed Anthony Minghella’s Two Planks And A Passion at the Theatre Royal in July 2011, a play set around a performance of the York Mystery Plays on Corpus Christi Day in midsummer 1392.
This time, she and writer husband Kelvin Goodspeed have adapted Mystery Play texts for the radio series, drawing on material dating back to the 1300s, first resurrected after a long, long hiatus for the Festival of Britain in 1951.
Working remotely from home, a cast of 19 community and professional actors has recorded the 15-minute instalments that continue with The Flood Part 1 on June 14, The Flood Part 2 on June 21 and Moses And Pharaoh on June 28.
“When we went into lockdown, Tom [Bird, the Theatre Royal’s executive director] kept saying we ought to try to do something with the Mystery Plays, and I suggested that we should do radio plays,” recalls Juliet.
“But I’d never done a radio broadcast, so I contacted Radio York and said ‘let’s do this together’.”
Under the partnership that ensued, the Theatre Royal has chosen the texts, sourced the scripts, recruited the actors and provided the music, while BBC Radio York sound engineer Martin Grant has mixed the recordings, splicing them together into finished crafted instalments.
“Making these radio plays in lockdown has probably been the most challenging thing I’ve ever worked on,” says director Juliet Forster
Ed Beesley has provided composition, sound design and foley artist effects. Madeleine Hudson, musical director of the York Theatre Royal Choir, has given the choir and cast songs to perform.
In choosing the plays, Juliet says: “The ones that make for the most fun are the ones around Noah’s flood, but they are also about a family in isolation for 40 days, maybe falling out with each other, so there are parallels with what’s happening now.
“Then there’s the positive ending, which would be good, and that sense of starting again, so it was the perfect choice.”
The Flood, Parts 1 and 2 were picked initially for a spring pilot show, but then the BBC decided to build a series around the Corpus Christi Day tradition in June, and so two more plays were added: Adam And Eve and Moses And Pharaoh.
“I’d already started working on Adam And Eve and thought about doing a Nativity play, but in our conversations with Radio York, they then talked about wanting to keep the series going, with the possibility of four Nativity plays at Christmas and four for Easter based around the Crucifixion,” says Juliet.
“So, I thought, ‘I’ll stick with Old Testament stories’, and I’d done the Moses and Pharaoh story for The Missing Mysteries with the York Theatre Royal Youth Theatre in 2012.
“It’s a play about a desire for freedom to get out, which again relates to now: that need to breathe, to get to the other side, but there’s also that moment where they dare not go out, where they stay behind closed doors, so that really is like now. That feeling of living in fear.”
As for Adam And Eve, again the Genesis story is a resonant one. “They were living in this paradise but then lost it, facing hardship and their own mortality, which we’re all facing now,” says Juliet.
“That sense of not knowing paradise is what you have until it’s gone; also that role of being guardians but always wanting that little bit more, when instead we need to be more environmentally friendly.”
In choosing the cast, Juliet says: “I knew I wanted to involve a mixture of professional and non-professional actors from York, and straightaway I thought of casting Paul Stonehouse as God. He’d been in Two Planks And A Passion and had gone on to gain a professional contract for radio plays for the BBC.
A scene from Two Planks And A Passion, co-directed by Juliet Forster at York Theatre Royal in July 2011
“I knew Mark Holgate from directing him in A Midsummer Night’s Dream in the first year of Shakespeare’s Rose Theatre in York. He has a lovely Yorkshire voice and I knew he’d turned part of his house into a mini-sound studio to do voiceover work.
“I cast him as Noah, and the next role that came into my head was Rosy Rowley for Mrs Noah. She was so amusing in that role in the 2012 Mystery Plays and she brings such an instinctive intelligence to the text.
“I ended up with a cast where I’d worked with almost all of them before, thinking how they all might fit in.”
One exception was Taj Atwal, a recommendation by Tom Bird. “She grew up in York, played Rita in Rita, Sue And Bob Too at the Theatre Royal in November 2017 and was back self-isolating in the city, so she’s playing Eve in Adam And Eve and 3rd Daughter in The Flood instalments,” says Juliet.
In keeping with Covid-19 social-distancing rules, the production required the actors to record their lines on a smart phone from home, having done collective rehearsals for each play over the Zoom conference call app.
“It might depend on the day of the week you ask me, but I would say that making these radio plays in lockdown has probably been the most challenging thing I’ve ever worked on,” says Juliet.
“Normally, when I’m in a rehearsal room, I like to guide, but not be too instructive, not telling them exactly what to do; it’s more flexible that way, whereas with this project, there was no chance to do that as we were all rehearsing in isolation, gathering on Zoom, rather than in a room.
“When it came to the recordings, done alone at home, on a number of occasions, I would send a note by email or phone them to say ‘could you re-do that line with more of this or more sense of that?’.
“On top of that, I had to get my head around each play, thinking about how they needed to be adapted for radio recordings and what did I want I want to get out of the project. All the actors have been so generous, knowing how difficult it would be to do a production in these circumstances, so it’s been a real challenge but also really exciting.”
So much so, Juliet would welcome the opportunity to do further Mystery Plays radio recordings. “But first we’ll see what the response is to the first series…” she says.
That series rolls on this weekend. If you missed Adam And Eve, would you believe it, in addition to the early-morning broadcasts on Jonathan Cowap’s Sunday show, the radio plays can be heard on BBC Sounds at bbc.co.uk/sounds.
Rory Mulvihill experiments with recording the role of Satan in the shower of his Naburn home, by torchlight, with the script stuck to the wall
THE first instalment of the York Radio Mystery Plays will be aired on BBC Radio York’s Sunday Breakfast Show this weekend.
Aptly starting at the beginning with Adam And Eve, this audio collaboration between York Theatre Royal and the BBC station comprises four 15-minute plays, continuing with The Flood Part 1 on June 14, The Flood Part 2 on June 21 and Moses And Pharaoh on June 28.
Under the direction of Theatre Royal associate director Juliet Forster, who has adapted the mediaeval texts with writer husband Kelvin Goodspeed, a cast of 19 community and professional actors has recorded the episodes, each working remotely.
In keeping with Covid-19 social-distancing rules, the production required the cast members to record their lines on a smart phone from home, having done collective rehearsals for each play over the Zoom conference call app.
Among the cast are Rory Mulvihill and Rosy Rowley, Rory reprising his role as Satan from the York Millennium Mystery Plays in York Minster in 2000, this time in Adam And Eve; Rosy returning to Mrs Noah in The Flood, a no-nonsense role she first played in the 2012 York Mystery Plays in the Museum Gardens.
“It’s a first for me, doing a radio play,” says Rory, a leading light of the York Light Opera Company for 35 years and a Mystery Plays stalwart too, not least playing Jesus Christ in 1996.
Hades in red: Rory Mulvihill as Satan in the York Millennium Mystery Plays in York Minster in 2000. Copyright: York Mystery Plays/Kippa Matthews
“But I did do a radio recording after the Blood + Chocolate community play in 2013: World War One At Home, done for the BBC, with each local radio station doing its own series.
“But my radio claim to fame – and this should be the title of my autobiography! – is ‘I Was Andy Kershaw’s Weatherman’!
“He once had the graveyard slot of Radio Aire on a Sunday night, with just him and me in the studio, so I had to copy down the weather forecast and read it out on the hour.”
Rehearsing on Zoom has been a novel experience. “I find it a bit strange, video conferencing. I first had a couple of sessions with York Light, and it’s enjoyable but I felt like I was watching Celebrity Squares or Blankety Blank, except that I was on it!”
Juliet tried to “normalise the rehearsals as much as possible”, despite the reliance on technology. “I thought it could be a sterile experience if we were just reading it, but once I was confident with the lines, I decided, ‘let’s look up, get a rapport going’, but the first time I tried doing that with Taj Atwal, I looked up…at Taj’s epiglottis on the screen! She was in the middle of the biggest yawn!” recalls Rory.
“That’s the effect I have on people! If there’s a moral to this story, it is to take Zoom on the chin and accept the way it works.”
Juliet Forster:Associate director of York Theatre Royal and director of the York Radio Mystery Plays
Rory was late to join his first Zoom rehearsal. “They could all hear me but I couldn’t hear them, and by the time I started, they’d decided it should be 14th century Yorkshire vernacular, rather than RP [Received Pronunciation], but I didn’t know that.
“I’m a Leeds lad born and bred, but not I’m not like a Sean Bean Yorkshireman! Anyway, when I played Jesus in 1996 I did very much a Yorkshire accent, whereas for Satan in 2000, I was ‘well spoken’ to contrast with Ray Stevenson’s Jesus.
“In the end, Juliet decided she wanted to try different versions, one ‘better spoken’, one with a Yorkshire accent, and she then settled on the Yorkshire Satan.”
There was another adjustment needed. “The Mystery Plays are declamatory because they were meant to be shouted off the top of a wagon in the streets, so everyone could hear them, especially this ‘pantomime villain’ Satan, who’s not understated in any way,” says Rory.
“That was one of the things that needed to change for the radio, so after my first effort, Juliet said, ‘maybe tone it down a little’!”
Rory experimented with doing his first recordings in his shower at his Naburn home, thinking it would be an ideal insulated sound booth. “Living in the country, the bird song is beautiful and loud, and I suppose it’s a garden of Eden, and I thought the shower would be quiet,” he says.
Zoom for manoeuvre: A remote rehearsal for The Flood in the York Radio Mystery Plays, with Rosy Rowley (Mrs Noah), second from left , middle row, and director Juliet Forster, top row, second from right
“I stuck my script on the wall and had to use torchlight because I couldn’t have the extractor fan on, but when Juliet heard the recordings, she said it was a tinny noise, bouncing off the wall, so she rejected them!
“I had to do them sitting at my desk in the end, with Julia saying it didn’t matter if there was a bit of birdsong in the background!”
Rory can foresee the Theatre Royal and BBC Radio York rolling out further episodes. “I can really see the potential in this: a situation almost like the York Shakespeare Project, where you do all the canon,” he says.
“But Juliet has to be consistent. We can’t have anyone else playing Satan. I’d be most upset!!”
As with Rory, Rosy faced challenges in choosing the right time and location for the recordings for her role in The Flood Part 1 and 2.
“Living in a busy street and having teenagers in my house, I ended up rehearsing in the garden shed and having to record at two in the morning in my bedroom in the attic as it’s quiet up there,” she says.
Rosy Rowley: Saying “Yes” to playing Mrs Noah for a second time
Collective rehearsals by Zoom were “pretty normal, apart from not being in the same room, as we worked on breaking down the script, but it was just after lockdown started and lots of us had just been furloughed, so that felt a little strange,” says Rosy.
Recording solo and remotely was “lonely, having to record on your own with no voice to respond to”. “So, you had to imagine how someone would have said a line, or try to remember how they had said it in rehearsal, and Juliet would ask you to record lines in different ways for her to choose from, so it was a fragmented process.” says Rosy.
Recording a song remotely with Madeleine Hudson, musical director of the York Theatre Royal Choir, presented another unusual experience. “Maddy tried to get us to sing together for the recording but we had to deal with time legs because of working on separate equipment!” Rosy reveals.”Not easy when you needed to have two phones, one for listening to the backing track, and another for recording your vocals.”
She is delighted to be taking part in the radio recordings. “I’m passionate about the York Mystery Plays, having done the 2012 production and been involved in the Waggon Plays,” she says. “So, I was going to miss them not being done on the streets this summer, but it’s great to have this chance to air them on the radio.”
Playing Mrs Noah is not the only role that Rosy has taken on in lockdown while on furlough. “I’ve become a Covid-19 testing volunteer at the Poppleton testing site,” she says. “I saw an advert and thought that would be a good thing to do, so me and my daughter Imogen [a third-year BSc Fashion Buying and Merchandising student at the University of Manchester] signed up to do part-time volunteering, two days on, two days off.
“We had half a day’s training, partly to learn about PPE [Personal Protective Equipment], to be sure we were fully prepared, as well as learning how to do swabs – and it is rather invasive putting swabs up someone’s nose.”
Rosy had expected to be working eight-hour shifts, but instead it had been “quite quiet”. May it please become quieter still.
Note that in addition to the June broadcasts on Jonathan Cowap’s Sunday show on BBC Radio York, the York Radio Mystery Plays can be heard on BBC Sounds at bbc.co.uk/sounds.
Zoom in the room: A rehearsal for The Flood for the York Radio Mystery Plays by the remote wonders of 2020 lockdown technology, with director Juliet Forster, top row, second from right, and Rosy Rowley (Mrs Noah), middle row, second from left
YORK Theatre Royal and BBC Radio York are collaborating to bring the York Mystery Plays to life on the airwaves next month.
Four instalments will be presented as audio versions on the Sunday Breakfast Show with Jonathan Cowap on successive weekends from June 7, the Sunday before Corpus Christi Day on June 11: the day since mediaeval times when the plays were performed on wagons on the city streets from dawn until dusk.
Working remotely from home, a cast of 19 community and professional actors has recorded the 15-minute instalments, Adam And Eve, The Flood Part 1, The Flood Part 2 and Moses And Pharaoh, under the direction of Theatre Royal associate director Juliet Forster.
“The York Mystery Plays are part of the DNA of this city,” she says. “The longevity of these potent plays clearly demonstrates how vital the collective act of storytelling is, and how much we need to explore and reflect together on our experiences and understanding of the world.
“We’re determined to keep doing this in spite of the lockdown. So, these plays seem exactly the right choice to pick up, find a new way to create, communicate afresh and encourage one another.”
Juliet, incidentally, previously co-directed Anthony Minghella’s Two Planks And A Passion at the Theatre Royal in July 2011, a play set around a performance of the York Mystery Plays on Corpus Christi Day in midsummer 1392.
This time, she and husband Kelvin Goodspeed have adapted Mystery Play texts for the radio series, drawing on material dating back to the 1300s first resurrected after a long, long hiatus for the Festival of Britain in 1951.
Juliet Forster: York Theatre Royal artistic director and director of the 2020 York Radio Mystery Plays
The York Radio Mystery Plays now form part of York Theatre Royal’s Collective Acts, a programme of “creative community engagement” set up in response to the St Leonard’s Place building being closed under the Covid-19 strictures.
“When we went into lockdown, Tom [Bird, the Theatre Royal’s executive director] kept saying we ought to try to do something with the Mystery Plays, and I suggested that we should do radio plays,” recalls Juliet.
“But I’d never done a radio broadcast, so I contacted Radio York and said ‘let’s do this together’.”
Under the partnership that ensued, the Theatre Royal has chosen the texts, sourced the scripts, recruited the actors and provided the music, while BBC Radio York sound engineer Martin Grant has mixed the recordings, splicing them together into finished crafted instalments.
Ed Beesley has provided composition, sound design and foley artist effects. Madeleine Hudson, musical director of the York Theatre Royal Choir, has given the choir and cast songs to perform.
In choosing the plays, Juliet says: “The ones that make for the most fun are the ones around Noah’s flood, but they are also about a family in isolation for 40 days, maybe falling out with each other, so there are parallels with what’s happening now.
“Then there’s the positive ending, which would be good, and that sense of starting again, so it was the perfect choice.”
Voice of an Angel: Christie Barnes recording her role remotely from home for Adam And Eve, the opening instalment of the York Radio Mystery Plays
The Flood, Parts 1 and 2 were picked initially for a spring pilot show, but then the BBC decided to build a series around the Corpus Christi Day tradition in June, and so two more plays were added: Adam And Eve and Moses And Pharaoh.
“I’d already started working on Adam And Eve and thought about doing a Nativity play, but in our conversations with Radio York, they then talked about wanting to keep the series going, with the possibility of four Nativity plays at Christmas and four for Easter based around the Crucifixion,” says Juliet.
“So I thought, ‘I’ll stick with Old Testament stories’, and I’d done the Moses and Pharaoh story for The Missing Mysteries with the York Theatre Royal Youth Theatre in 2012.
“It’s a play about a desire for freedom to get out, which again relates to now: that need to breathe, to get to the other side, but there’s also that moment where they dare not go out, where they stay behind closed doors, so that really is like now. That feeling of living in fear.”
As for Adam And Eve, again the Genesis story is a resonant one. “They were living in this paradise but then lost it, facing hardship and their own mortality, which we’re all facing now,” says Juliet.
“That sense of not knowing paradise is what you have until it’s gone; also that role of being guardians but always wanting that little bit more, when instead we need to be more environmentally friendly.”
In keeping with Covid-19 social-distancing rules, the production required the actors to record their lines on a smart phone from home, having done collective rehearsals for each play over the Zoom conference call app.
Rory Mulvihill experiments with recording the role of Satan in the shower of his Naburn home, by torchlight, with the script stuck to the wall
Among the cast are Rory Mulvihill and Rosy Rowley, Rory reprising his role as Satan from the York Millennium Mystery Plays in York Minster in 2000, this time in Adam And Eve; Rosy returning to Mrs Noah in The Flood, a role she first played in the 2012 York Mystery Plays in the Museum Gardens.
Rory experimented with recording in his shower as his sound booth in his Naburn home. “I Blu-Tacked my script on the wall and had to use torchlight because I couldn’t have the extractor fan on, but when Juliet heard the recordings, she said it was a tinny noise, so she rejected them!
“I had to do them at my desk in the end, with Julia saying it didn’t matter if there was birdsong!”
“Choosing the right time and location for the recordings was a challenge,” says Rosy. “Living in a busy street and having teenagers in my house, I ended up rehearsing in the garden shed and having to record at two in the morning in my bedroom in the attic.
“It was lonely having to record on your own with no voice to respond to, so you had to imagine how someone would have said a line.”
Hear the results from June 7. Note that in addition to the broadcasts on Jonathan Cowap’s Sunday show, the radio plays can be heard on BBC Sounds at bbc.co.uk/sounds.
A rehearsal on Zoom for the York Radio Mystery Plays
YORK Theatre Royal and BBC Radio York are collaborating in lockdown to bring the York Mystery Plays to life on the airwaves next month.
Four instalments will be presented as audio versions on the Sunday Breakfast Show with Jonathan Cowap on successive weekends from June 7, the Sunday before Corpus Christi Day on June 11: the day since mediaeval times when the plays were performed on wagons on the city streets from dawn until dusk.
Working remotely from home, a cast of 19 community and professional actors has recorded the instalments, Adam And Eve, The Flood Part 1, The Flood Part 2 and Moses And Pharaoh, under the direction of Theatre Royal associate director Juliet Forster.
Juliet, incidentally, previously co-directed Anthony Minghella’s Two Planks And A Passion at the Theatre Royal in July 2011, a play set around a performance of the York Mystery Plays on Corpus Christi Day in midsummer 1392.
She and husband Kelvin Goodspeed have adapted Mystery Play texts for the radio series, drawing on material dating back to the 1300s first resurrected after a long, long hiatus for the Festival of Britain in 1951.
Ed Beesley, who would have been working on Juliet’s postponed production of Margaret Atwood’s The Penelopiad, has provided composition, sound design and foley artist effects.
Juliet Forster: York Theatre Royal associate director and director of the York Radio Mystery Plays
Madeleine Hudson, musical director of the York Theatre Royal Choir, has given the choir and cast songs to perform.
“The York Mystery Plays are part of the DNA of this city,” says Juliet. “They belong to the people of York and have brought people together to create, perform, watch, laugh and cry since the 14th century.
“The longevity of these potent plays clearly demonstrates how vital the collective act of storytelling is and has always been to human beings, and how much we need to explore and reflect together on our experiences and understanding of the world.
“We’re determined to keep doing this in spite of the Coronavirus lockdown. So, these plays seem exactly the right choice to pick up, find a new way to create, communicate afresh and encourage one another with.”
Under the partnership between the Theatre Royal and BBC Radio York, the sourcing of the scripts, recruitment of actors and provision of music has been done by the theatre.
In keeping with the social-distancing rules, the production required the actors to record their lines on a smart phone from home, having done collective rehearsals for each play over the Zoom conference call app.
Juliet then selected the recordings to be sent to BBC Radio York sound engineer Martin Grant for mixing and splicing together into finished crafted instalments.
BBC Radio York’s acting editor, Anna Evans, says: “It’s a privilege to work with York Theatre Royal and members of the city’s community to retain the tradition of the York Mystery Plays. During such uncertain times, it’s important that we can help maintain this cultural experience in a different way and I am so proud of what the teams have achieved in such difficult times.”
The York Radio Mystery Plays form part of York Theatre Royal’s Collective Acts, a programme of “creative community engagement” taking place while the St Leonard’s Place building is closed under the Covid-19 strictures.
Special thanks are extended to the York Mystery Plays Supporters Trust and the Guild of Media Arts for supporting this project.
In addition to the broadcasts on Jonathan Cowap’s Sunday show, the York Radio Mystery Plays can be heard on BBC Sounds at bbc.co.uk/sounds.
Christie Barnes recording her part as Angel in Adam And Eve
The cast for Adam And Eve is:
God: Paul Stonehouse
Eve: Taj Atwal
Adam: Kane Hutchinson
Satan: Rory Mulvihill
Angel: Christie Barnes
The Flood Parts 1 & 2:
God: Paul Stonehouse
Noah: Mark Holgate
Noah’s wife: Rosy Rowley
1st Son: Joe Feeney
2nd Son: Stan Gaskell
3rd Son: Matthew Dangerfield
1st Daughter: Charlotte Wood
2nd Daughter: Fiona Baistow
3rd Daughter: Taj Atwal
Moses And Pharaoh:
Pharaoh: Paul Mason
1st Counsellor: Maurice Crichton
2nd Counsellor: Claire Norman
Moses: Andrew Squires
God: Paul Stonehouse
1st Youth: Christie Barnes
2nd Youth: Oliver Joseph Brooke
1st Egyptian: Matt Simpson
2nd Egyptian: Rachel Price
Rory Mulvihill experiments with recording his role as Satan in his shower cubicle by torchlight with his script stuck to the wall
Actors
Paul Stonehouse (God): Credits include Macbeth, A Midsummer Night’s Dream, Shakespeare’s Rose Theatre, Blenheim Palace.
Rory Mulvihill (Satan): Credits include many leading roles for York Light Opera Company in more than 35 years as a member; a long association as a performer in the York Cycle of Mystery Plays; York Theatre Royal community productions including Two Planks And A Passion, In Fog And Falling Snow and Everything Is Possible: The York Suffragettes.
Christie Barnes (Angel): A core member of Out Of Character Theatre Company. Recently performed in Less Than Human and A View From The Bridge at York Theatre Royal, directed by Juliet Forster.
Andrew Squires (Moses). Actor and musician based in York, recently at York Theatre Royal in A View From The Bridge. Other theatre credits include: Uneasy Dreamers at Greenwich Theatre, Mr Brown’s Directions at Burton Constable, Time Out Of Mind at Greenwich Theatre, Democracy Of Oaks at The Fan Museum, London.
Mark Holgate (Noah). Credits include Twelfth Night, Hamlet, Macbeth, A Midsummer Night’s Dream, Shakespeare’s Rose Theatre, York
Rosy Rowley (Noah’s wife). Reprising the role of Noah’s Wife from the 2012 production of the York Mystery Plays. Other credits include Blood + Chocolate, In Fog And Falling Snow, Everything Is Possible: The York Suffragettes,York Theatre Royal.
Joe Feeney (1st Son). Credits include Heaven’s Gate, Cosmic Collective Theatre.
Charlotte Wood (1st Daughter). Credits include For the Fallen, Everything Is Possible: The York Suffragettes, In Fog And Falling Snow, York Theatre Royal; Kiss Me Kate, Joseph Rowntree Theatre Company.
Maurice Crichton (1st Councillor). Came to York as a student, qualifying as a solicitor in the city. He has been performing in amateur productions here for ten years, mostly with York Shakespeare Project and York Settlement Community Players.
He has strong links with the York Mystery Plays and played Pilate in The York Mystery Plays, 2012, Herod in York Minster Mystery Plays, 2016, and Soldier 1 in The Crucifixion on the Butchers’ wagon in 2018. He is secretary of the York Mystery Plays Supporters Trust.
Let’s play: York Theatre Royal is encouraging theatre activities at home while everyone is in the grip of lockdown limbo
YORK Theatre Royal is to run the Collective Arts programme of “creative community engagement” during the Coronavirus pandemic shutdown.
The St Leonard’s Place theatre is planning a series of digital activities and events to bring together York’s creative community of all ages until the building reopens.
Associate
director Juliet Forster says: “We’re all finding the current circumstances
challenging and are missing the joy of social gatherings, external stimuli and
shared experience.
“But
challenges can also be a great spur to creativity, and we’re really keen to
find as many ways as possible to bring people together, to inspire creative
responses and enjoy what we make together.”
Juliet Forster: York Theatre Royal associate director
One
activity up and running already and open to all is the Lockdown Legends
Challenge, a weekly creative project that invites people to submit responses to
challenges such as filming one-minute plays (week one), designing costumes (this
week) and creating production model boxes (coming next).
A
new challenge is released every Monday morning on the theatre’s social media
channels and submissions are then posted on these channels during the week.
The Theatre Royal is also adapting the delivery of the nationally recognised Arts Award, now to be undertaken from a home setting. The new guide is specially designed to be used by children and young people aged five to 25 years old, supported by their parents/guardians, to keep them busy, engaged and inspired by the arts at home.
Another
project aimed at engaging young people during this time is the Coronavirus Time
Capsule. Working with a group of 20 young people, week by week the Theatre Royal
will create a cumulative video time capsule, recording teenage experiences
during the Covid-19 pandemic.
York Theatre Royal : Out of bounds but stretching the boundaries of theatre. Picture: Matthew Holland
“The
Coronavirus Time Capsule is a new international project run by Company Three
and youth theatres across the world will be taking part and making capsules of
their own,” says Juliet.
In
addition, the Theatre Royal is organising the In Focus photography competition,
open to all ages and abilities who are invited to send in their photos that
show the realities of life in Coronavirus Britain.
The
deadline for submissions is Friday, May 8. All entries will then be judged by a
team from the theatre’s photography group.
Over the next few weeks, York Theatre Royal will release
more projects and opportunities to take part in. All details on how to be
involved can be found on the theatre’s website, yorktheatreroyal.co.uk.
Balancing act: York Theatre Royal postpones The Penelopiad until 2021 but that enables “a little more dreamtime” for the creative team
YORK
Theatre Royal’s summer production of Margaret Atwood’s The Penelopiad has been
postponed.
Originally in the 2020 diary for July 10 to 25, associate director Juliet Forster’s show will be staged in 2021 instead on dates yet to be confirmed.
Uncertainty
surrounding the Coronavirus pandemic is holding up pre-production work by Forster’s
creative team.
Juliet Forster: York Theatre Royal associate director, directing The Penelopiad
Juliet says:
“The joy of Atwood’s work is that it doesn’t date, so although we are
disappointed that we have to postpone our production of The Penelopiad, I know
it will be just as relevant and exciting to stage this wonderful play in
2021.
“And on
the upside, for the creative team involved, having a little more dreamtime on
this story will only make the final staging of it all the more spectacular!”
Written
by the Booker Prize-winning author of The Handmaid’s Tale and 2019’s The
Testaments, The Penelopiad tells the story of Odysseus’ wife Penelope and the
Trojan Wars from her point of view.
Writer Margaret Atwood
Ticket
holders will be contacted by the Theatre Royal box office in the coming weeks.
Juliet Forster, left, directing rehearsals for Out Of Character’s Less Than Human
SOMETHING strange is happening,
something disturbing, say York company Out Of Character in Less Than Human,
this week’s production at the York Theatre Royal Studio.
After their sold-out November 2017 show about Victorian freak shows and mad doctors, Objects Of Terror, they are collaborating once more with the Theatre Royal, whose associate director, Juliet Forster, again directs the new piece.
Out Of Character’s publicity artwork for Less Than Human
Less Than
Human plays out against the backdrop of Planet Earth having less to give but
its inhabitants
taking more. In this struggling world of diminishing resources, humanity is
forced to wrestle with the true cost of survival. What does it mean to be
truly human? Are some lives worth more than others? Who decides who lives and
dies? A question that suddenly has a new urgency and prescience amid the
rise of Coronavirus.
As evolving technologies offer new
forms of “human being”, is there still hope for a bright future…or do some
people have to pay the price, the play asks.
Out Of Character in rehearsal for Less Than Human
Out Of Character’s company of artists and
performers brings together people who use or have used mental health services.
Their bold, creative and darkly comedic approach to making theatre aims to stir
both the mind and the heart.
The company won the Excellence in
Equality and Cultural Diversity Prize at the 2018 York Culture Awards. Audiences
on social media have described their work as compelling, deeply affecting,
intense, beautiful, clever, articulate, challenging, powerful, poignant and
thought-provoking.
Out Of Character cast members in a tug-of-war scene in Less Than Human
Out Of Character’s previous shows included Tales From Kafka in July 2010, Henry IV in May 2012 and More Tales From Kafka in November 2014.
Less Than Human runs from Thursday to Saturday (March 12 to 14) at 7.45pm nightly. Tickets cost £10, concessions £8, on 01904 623568 or at yorktheatreroyal.co.uk.
New pantomime partnership: York Theatre Royal associate director Juliet Forster and executive director Tom Bird with Evolution Productions producer Paul Hendy,
THE new age of pantomime at York
Theatre Royal will involve Evolution rather than revolution.
For the first panto of the post-Berwick
Kaler era, the Theatre Royal is teaming up with award-winning pantomime producers
Evolution to present Cinderella.
The show dates will be December 4 to
January 10 2021, an earlier start and finish than the December 7 to January 25
run for Sleeping Beauty, Dame Berwick’s last pantomime as co-director and writer
after a 41-year association with the Theatre Royal.
Cinderella will be directed by Theatre
Royal associate director Juliet Forster, who directed Shakespeare’s comedy A
Midsummer Night’s Dream for Shakespeare’s Rose Theatre in York in 2018 and Arthur
Miller’s A View From The Bridge in the Theatre Royal main house last September,
as well as children’s shows aplenty.
Juliet Forster, who will direct York Theatre Royal’s pantomime, Cinderella
The script will be written by Evolution
co-founder and producer Paul Hendy in tandem with York-born comedy writer and
podcaster David Reed, who has returned to his home city and will provide
additional material.
The cast is yet to be announced but
will not be a star vehicle, with variety acts and blossoming pantomime talent
and a “York flavour” likely to be to the fore instead. The set designer, not
confirmed yet, will be charged with creating magical transformations and glittering
sets to complement the “stunning songs and side-splitting laughs”.
Formed in 2005 by Paul Hendy and Emily
Wood, Evolution Productions present “bespoke pantomimes of epic spectacle and
hilarity” for the Lyceum Theatre, Sheffield; Marlowe Theatre, Canterbury; The
Hawth Theatre, Crawley; Garrick Theatre, Lichfield; Theatre Severn, Shrewsbury;
Alban Arena, St Albans; Octagon Theatre, Yeovil, and Grove Theatre, Dunstable,
now joined in a co-producing partnership by York Theatre Royal.
Juliet Forster and Theatre Royal
executive director Tom Bird were exhilarated by Evolution’s 2019-2020 pantomime
for Sheffield Theatres, starring long-running dame Damian Williams in
Cinderella at the Lyceum.
Paul Hendy’s script from that hit show will
provide an early template for Reed to set to work on giving it a York branding,
with Cinderella’s rags-to-riches story being switched to this historic city in
a “new pantomime for everyone”.
Evolution producer Paul Hendy: co-writer of Cinderella at York Theatre Royal
Executive
director Bird says: “We are
over the moon to be creating a spectacular new pantomime for the people of York:
one that’s tailor-made for the whole family, while honouring the pantomime
traditions that our audiences love so much.
“Our recipe includes two of the most
exciting voices in our city, David Reed and Juliet Forster, together with Emily
Wood and Paul Hendy, the finest makers of pantomime in the country – a
fairytale combination.”
Bird continues: “This phenomenal team
will give the York Theatre Royal pantomime a new lease of life with a fresh,
family friendly, fun-filled approach to the story of Cinderella. It’s a
pantomime for the new decade, set with pride in our amazing city.”
Evolution Productions has built a
reputation for superior, bespoke pantomimes with the emphasis on high-quality
production values, strong casting and funny scripts, twice winning Pantomime of
the Year at the Great British Pantomime Awards.
Producer and writer Hendy says: “Emily
and I are absolutely thrilled to be working with York Theatre Royal on this
year’s pantomime. We are huge fans of the theatre and we’re looking forward to
collaborating with Tom and his brilliant team to produce a wonderful, family-friendly
pantomime with spectacular production values, a superbly talented cast,
and a genuinely funny script.”
Ticket prices will remain the same as
for 2019-2020. Family tickets and Sunday shows are being introduced, as well as
schools and groups discounts so that “everyone can go to the ball”.
Theatre Royal members’ ten-day priority booking opened today; members’ five-day priority booking on February 8; 9am in person at the box office, 10am online and phone booking. General booking opens on February 13; same times as above. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Meanwhile, Berwick Kaler’s first pantomime
at his new York home, the Grand Opera House, will be Dick Turpin Rides Again, with
writer, director and revived dame Kaler being joined by regular cohorts Martin
Barrass, David Leonard, Suzy Cooper and AJ Powell for Qdos Entertainment’s
panto partnership with the Ambassador Theatre Group.
