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York on Flood alert…for second instalment of Radio Mystery Plays on Sunday morning

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.

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How Rory and Rosy recorded their remote roles for the York Radio Mystery Plays

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.

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Mystery solved! In the lockdown year 2020, when the streets have no plays, York Mystery Plays take to the radio in June

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.

Copyright of The Press, York

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York Theatre Royal and BBC Radio York team up for York Radio Mystery Plays

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.

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York Theatre Royal sets up Collective Arts to keep you busy, arty and digital at home

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.

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York Theatre Royal postpones Margaret Atwood’s The Penelopiad until 2021

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.

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Are some lives worth more than others, ask Out Of Character in new play Less Than Human at York Theatre Royal Studio

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.

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Evolution, not revolution, heralds new age of pantomime at York Theatre Royal

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.