Next Door But One’s leadership team: creative engagement manager El Stannage, left, producer Joshua Goodman, artistic director Matt Harper-Hardcastle, associate director Kate Veysey and communications coordinator Anna Johnston
HOT off winning two York Enterprise Awards, Next Door But One is launching The Producing Hub to expand its provision of professional development for creative talents in the city.
Over the past year, the York community arts collective has supported 68 performing arts professionals to nurture their skills and achieve career goals through a series of workshops, one-to-one mentoring and by providing micro-commissions for new work, such as the Yorkshire Trios showcase at York Theatre Royal Studio in late-March.
“Seventy-five per cent have started a new project or developed an existing one; 68 per cent have applied for and secured new jobs or commissions; 50 per cent have applied for funding for their work, and have showcased that work too,” says Next Door But One (NDB1) chief executive officer and artistic director Matt Harper-Hardcastle.
“As one participant described their involvement: ‘The biggest impact from engaging in NDB1’s professional development is how much confidence I’ve gained. I’ve since secured further professional work, I have less imposter syndrome and feel like I belong in this industry.
“The experience of working with NDB1 made me feel validated that I have the skill to pursue acting professionally, and what my USP [unique selling point] is in the industry. I’m able to effectively communicate what I can offer the industry and NDB1 has been instrumental in helping me understand this’.”
James Lewis-Knight, artistic director of Clown Space, recipients of Next Door But One support for professional development
Matt reflects: “We’ve always said that NDB1 is a place where creatives can hang their hat. Being a freelance artist can often feel very lonely, isolating and a bit discombobulating,” he says. “We saw this acutely during Covid. As the world started to open up again following the pandemic, we had an influx of local creatives getting in touch for advice.
“Sixty-seven per cent had had a large proportion of their work cancelled; 50 per cent had struggled to secure the same amount of work since; 42 per cent had considered leaving the industry and their chosen career altogether, and 58 per cent have felt a significant disconnection from the industry as a whole. Local freelancers are the lifeblood of NDB1’s work, so we knew we had to do something about it.”
Since those shockwaves of 2021, NDB1 has provided 28 micro-commissions to writers, directors and actors, run three programmes of professional development workshops, a full year’s coaching for emerging companies and countless one-to-ones with York artists to provide bespoke advice and signposting.
“Now we are launching our most ambitious and robust programme of support for creatives through The Producing Hub Next Door But One,” says Matt. “‘It’s a way to pull together and formalise all the responsive support we’ve been providing into something we can really shout about and invite more people into.”
Firstly, backed by funding from City of York Council (through the UK Shared Prosperity Fund) and Arts Council England, over the next year NDB1 will provide producing support for Thunk-It Theatre’s next tour of New Girl and for the company development of Clown Space, the York company run by professional clown James Lewis-Knight and Emily Chattle that specialises in teaching clowning, full mask and physical theatre.
“Clown Space are at a point where they need support with their creative business plans, vision values and funding mechanisms,” says Matt.
Creative 1:1s. Seed Funding.Seminars. Next Door But One has help and advice on hand for York arts talents
Thunk-It Theatre artistic director Becky Lennon says: “We are thrilled to be joining The Producing Hub. We’ve been lucky to be supported by NDB1 since we first began in 2020 and are excited to be co-producing our now Arts Council England-funded production, New Girl, this autumn with the wonderful support from the NDB1 Team.
“The Producing Hub is a great way for us to learn how to produce our own work in a supported professional set-up. We cannot wait to see how we develop with the amazing backing from the team.”
Secondly, in partnership with York Theatre Royal, NDB1’s Opening Doors will return from November 2024 to provide a series of free professional development workshops built from the needs expressed by York creatives.
“We’re also really excited to take our informal one-to-one surgeries and the ‘cuppa catch-ups’ we regularly have with creatives to provide regular opportunities for creatives to sit with members of the NDB1 team and get the advice they need,” says Matt.
NDB1 associate director Kate Veysey adds: “I think it’s down to our approachability, but we regularly have creatives getting in touch to ask our advice on new projects, to look over applications and even just to be a friendly face to artists who are new to the city.
Thunk-It Theatre in New Girl: Receiving Next Door But One support for next tour
“We really see the value in these quick, responsive interventions and happily go offering space, support and coffee, but as a small team ourselves we were reaching capacity.
“From September, however, NDB1 will be offering bookable slots around the city, for York creatives to set the agenda and receive the headspace of our leadership team on whatever is needed.”
This 1:1 service has been made possible with a grant from YOR4Good, partnering with the University of York’s School of Arts and Creative Technologies, and with the support of Explore York library service and Theatre@41, Monkgate.
Kate continues: “We’re excited by this as we can offer seed funding to support creatives to overcome particular barriers to their desired career progression. This could be affording fees for training courses, hiring space to have a table-read of a new script or even covering access costs to take up new opportunities.”
In addition, a casting call is open until September for NDB1’s May 2025 production of How To Be A Kid. “We’ll be casting from new graduates from the past two years, who’ll do a three-week rehearsal process, incorporating professional training as part of a touring production, with advice on, for example, acquiring professional headshots and talking to casting agents,” says Matt.
To stay up to date with these opportunities and to learn how to engage NDB1’s services, creatives are advised to sign up to the mailing list and fill out Expression of Interest forms, available via the website: nextdoorbutone.co.uk.
Double winners: Kate Veysey, second left, El Stannage, Matt Harper-Hardcastle amd Anna Johnston, of Next Door But One, with Warrick Dent, left, from LNER, after receiving the Community Changemaker and Inclusive Business awards at the 2024 York Enterprise Awards. Picture: Alex Holland
Fiona Baistow’s Millie in Next Door But One’s She Was Walking Home
YORK community arts collective Next Door But One’s autumn tour has visited schools, colleges and the Theatre Royal already.
Next comes the university leg: a sold-out 7.45pm performance tomorrow at the University of York, followed by a 7.30pm finale at York St John University on October 25. Fewer than 20 tickets remain on sale at nextdoorbutone.co.uk. Hurry, hurry, book now.
Rachel Price’s testimonial theatre work was first presented as a walking audio tour around York city centre in 2021, then on tour last year, when suggestions that it should visit schools and colleges prompted this autumn’s itinerary.
This season’s performances follow the publication of the National Police Chiefs’ Council’s report, revealing that more than half a million offences against women and girls were recorded in England and Wales between October 1 2021 and March 31 2022 and that violence against women and girls accounts for at least 15.8 per cent of all recorded crime.
Anna Johnston’s Cate
Next Door But One’s website carries the strapline Where Every Story Matters. In this instance, 33 stories from women of different ages living, working and studying in York. “Stories of fear, harassment, suspicion, disappointment, anger, but above all hope…to make sure the right voices are still being heard,” as NDB1’s tour flyer puts it.
From those countless journeys and real-life testimonies, Price has created a series of four monologues, told with the minimum of theatrical tools. Stark lighting; a couple chairs and a white box that can be folded in different way to serve as a seat, a table, a lectern. Sound effects too. That’s all that’s needed. Less is more.
The focus is on the words, always theatre’s greatest asset, and in turn on how they are delivered by Kate Veysey’s cast of Fiona Baistow, Anna Johnston, Mandy Newby and Ceridwen Smith, deputising for one night at York Theatre Royal Studio for Emma Liversidge-Smith, who will return for the university performances.
Mandy Newby’s Jackie
In the wake of statistics highlighting that one in two women feels unsafe walking alone after dark in a quiet street near their home or in a busy public place, She Was Walking Home asks How Do We Keep Women Safe? Note the emphasis on “We”. All of us.
The post-show question-and-answer session revealed that one school had been averse to hosting the play for fear of boys feeling picked on. That school changed its mind and the show’s impact was such that the next lesson was immediately scrapped and replaced with discussions on the issues raised.
At one performance, some boys had laughed initially, even stamped their feet to mimic the footsteps of an approaching man, but that response was born out of a feeling of awkwardness, one that changed as the performance progressed and they realised the need to wise up to women’s experiences and how boys, as much as men, need to be “part of the change” that NDB1 is urging.
Baistow’s Millie is a girl, finishing a work shift, who misses her bus home and decides to risk walking down “Rape Lane”, the quickest route. Why does she do it, you ask? Put yourself in her shoes and ask again. By her harrowing journey’s end, it takes an act of kindness to help her out. What stops such acts being commonplace?
Ceridwen Smith: Stepping in to play lawyer Joanne for one performance only at York Theatre Royal Studio
Jonhnston’s Cate is a student on a night out, quick to leave after an unwanted chat-up, only to be followed by a creep who’s been doing that for a while. The police stop her, to tell her she is being followed. You might well be asking why didn’t they stop him instead? Everyone was asking that afterwards. As ever, the implication is that she is the one to blame. How she dresses. Her manner. Not the men, the pest and the predator. When will that change?
Mandy Newby’s Jackie is older, a mother, who finds herself being picked on and molested by a group of young lads on bicycles. She can’t face telling her daughter, such is her feeling of humiliation.
Urged by a friend, who subsequently sits beside her in the interview room, she goes to the police station; they give her the standard leaflets. Here’s where the work of the Kyra Women’s Project, the York charity that helps women to make positive change in their lives, is so important.
Smith’s Joanne is a lawyer, giving a talk on her experience of being sexually assaulted by two men working in tandem. Her recovery has been gradual, but now she has “joined the conversation”, encouraging women to seek the services of the likes of IDAS (Independent Domestic Abuse Services).
Emma Liversidge-Smith: Resuming her role as lawyer Joanne at the University of York tomorrow and York St John University on October 25
Four shocking cautionary tales, told verbatim from York’s streets as theatre verité; not so much acting as matter of facting. What followed was the best reason for a Q&A: the instant need to be “part of the conversation”, men and women alike.
To quote the flyer once more: “The conversation continues. And the loudest voices call for self-defence classes, rape alarms, trackers and a dress code. The conversation needs to change. The voices of women need to be at the centre, but the responsibility and accountability lies elsewhere.”
That makes She Was Walking Home as important for men to experience as women sharing stories and seeking advice and support. Crossing the road at night, to avoid following a woman, would be a step in the right direction for a start.
Next Door But One’s poster for She Was Walking Home: Countless journeys, 33 real testimonies, 4 women, 1 call to action
Anna Johnston as Cate in Next Door But One’s She Was Walking Home. Picture: James Drury
WHEN York community arts collective Next Door But One first took She Was Walking Home on tour in 2022, the Office for National Statistics (ONS) had just released data on safety in different public settings.
One in two women felt unsafe walking alone after dark in a quiet street near their home or in a busy public place, and two out of three women aged 16 to 34 had experienced one form of harassment in the previous 12 months.
Now, as NDB1 take their revived testimonial-based performance to schools, colleges and universities throughout York and North Yorkshire, as well as to York Theatre Royal Studio tonight (5/10/2023), the need for more conversations around women’s safety and the role we all play in it has been strengthened by a report from the National Police Chiefs’ Council.
It reveals that more than half a million offences against women and girls were recorded in England and Wales between October 1 2021 and March 31 2022 and that violence against women and girls accounts for at least 15.8 per cent of all recorded crime.
Director Kate Veysey in rehearsal for Next Door But One’s She Was Walking Home. Picture: James Drury
First produced as an audio walk around York city centre in 2021, She Was Walking Home is a series of monologues created by writer Rachel Price from the testimonies of women living, working and studying in York.
“This project was initially called into action by the female creatives and participants we work with, who were all having more and more conversations around their own safety after a number of attacks and murders reported in the media,” says director Kate Veysey.
“With each stage of development, it has been the community that has guided us: the audio walk was created from 33 testimonies of local women; the 2022 tour was produced through feedback from listeners who wished to bring their friends, colleagues and social groups to engage in the conversation.
“The resounding message from that audience was the want from parents for their children to see this, for teachers wanting their schools to witness, and young women wanting their male peers to come with them. So that’s what we are doing.”
Emma Liversidge-Smith’s Joanne in She Was Walking Home. Picture: James Drury
People think of York as a safe place to be, says NDB1 creative engagement manager El Stannage, “but as a woman I can tell you it isn’t”. “We collected documentary information both written and conversational, keeping that door open for information for about a month, and it came streaming in,” she says.
“We had plenty to work with, then collected our own thoughts and commissioned Rachel to put those stories together as one tapestry, telling stories of women at different stages of life, their different experiences, whether harassment or abuse, focusing on the impact it’s had on their their lives, the ripples it’s had.
“For the latest tour, we’ve stayed with the original piece of theatre but kept abreast with what’s been happening, and we’ve kept in touch too with IDAS [Independent Domestic Abuse Services] and the Kyra Women’s Project, the York charity that helps women to make positive change in their lives.”
This autumn’s performances in schools, colleges and universities will not only inform students of the lived experience of women in their own communities, but also empower them to make the change now and see the benefits in their own futures; understanding the impact of their actions, ways in which they could intervene, question their own thinking or those of their peers.
Mandy Newby’s Jackie. Picture: James Drury
El says: “We’re really excited to be working with schools [age 14 upwards], colleges and universities this time, after the feedback we got from last year’s public performances that we needed to do that.
“The young people we get to work with in our participation programmes are bright, forward thinking and actively seeking ways to play a part in the growing world around them, so for us it just makes sense to bring this conversation to them, as they are the next generation to make change.
“But also, real change can only happen when the full community listen up and play their part too. That’s why we’re hosting public performances in the evenings at the same schools, colleges and universities, so that parents, carers, siblings, friends, teachers and other local residents can join in the same vital conversation.”
Through the autumn tour of this all-female production, performed by a cast of Fiona Baistow, Anna Johnson, Emma Liversidge-Smith and Mandy Newby, the mission will be to amplify the voices of York women, while also prompting conversations around where responsibility and accountability lies for their safety.
Fiona Baistow’s Millie in a scene from She Was Walking Home. Picture: James Drury
“Since the original walk, listened to by almost 800 people, there have been further attacks and murders of women, and still the rhetoric seems to be skewed towards rape alarms, trackers, self-defence classes and dress codes being the solution,” says NDB1 artistic director Matthew Harper-Hardcastle. “We needed to continue and challenge this conversation. The invitation is to come and watch but also to think.”
One audience feedback quote on NDB1’s website is particularly illuminating. “I like to think I’m aware of these issues and as a man have been ultra-conscious that just being on the same street can heighten anxiety,” it reads.
“This performance made me cry, but it’s such an important way to foster change, I left feeling that if more men could see and engage with it, we might just be able to smash that ‘block of granite’.”
Next Door But One’s She Was Walking Home is on tour until October 27 with student performances complemented by public performances at York High School, Malton School, York College, Scarborough TEC, York Theatre Royal Studio tonight at 7.45pm, University of York, October 20 at 7.45pm and York St John University, October 25 at 7.30pm. Box office details: www.nextdoorbutone.co.uk
Next Door But One founder and artistic director Matt Harper-Hardcastle. Picture: Esme Mai
NEXT Door But One may be new to Art Council England’s National Portfolio, but this York community interest company (CIC) has been a familiar, welcoming face to many in the community for ten years.
When Arts Council England announced its £446 million investment in 990 organisations each year from 2023 to 2026, to “bring art, culture and creativity to more people in more place across the country”, six York organisations were given funding, alongside such big hitters as the Royal Opera House and Royal Shakespeare Company.
Maintaining their previous NPO status are York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre, while Next Door But One (NDB1) and Explore York/York Explore Library and Archive both join for the first time.
“It might sound bizarre, but it’s OK if people haven’t heard of us yet,” says NDB1 founder and artistic director Matt Harper-Hardcastle. “We’ve been busy in residential settings, youth centres, pub courtyards and even the odd portable cabin or two – making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them.
“People have always come first, and profile second. But now becoming an NPO allows us to shout louder about our work and reach out to even more people.”
Set up by Matt in 2013, the applied theatre company cum community arts collective began by using improvisation to tell the stories of women’s groups, Muslim families and people new to York.
“Soon our storytelling was being used to make research for the Joseph Rowntree Foundation and enabling City of York’s training programmes to be more engaging and accessible,” he says.
Ceridwen Smithin Next Door But One’s production of The Firework Maker’s Daughter. Picture: James Drury
“Our original productions were then showcased at York Disability Pride, the Great Yorkshire Fringe and York’s Dead Good Festival. From 2016, we’d honed our model of co-production and created partnerships with Camphill Village Trust, The Snappy Trust, York Carers Centre and Converge, to name a few.
“In the last year, we engaged more than 600 participants and 2,000 audience members. Something that, as a part-time team of five, we’re incredibly proud of.”
At the height of the Covid pandemic, NDB1’s activity went up by 61 per cent. “This was due to our community partners turning to us and saying ‘Can you help keep our communities connected and creative?’,” says creative producer El Stannage.
“So, we made digital performances for neurodivergent young people, online Forum Theatre to support the wellbeing of adults with learning disabilities and ran three online theatre courses for adults accessing mental health services, LGBTQ+ teenagers and unpaid carers.
“The need for our work has not decreased, even once lockdown restrictions were lifted, and that’s why we applied to be an NPO; to sustain our increased programme and to reassure our community groups that we’re still going to be there for them.”
This work’s impact on the York community has been acknowledged with formal recognition and awards from the Lord Mayor of York, the Archbishop of York and as a finalist in the Visit York Tourism Awards for “Innovation and Resilience”.
Anne Stamp, service manager at The Snappy Trust, is delighted that NDB1 are to become an NPO, helping to continue their long-standing collaboration. “Next Door But One is a much-needed service in York: a great resource for many and a service that helps to provide children and young people with a wider range of experiences, enabling them to learn, grow and have fun,” she says.
NDB1 are finalising their plans for 2023 but are working already on revivals of performances that toured to their fellow NPO, York Explore, including The Firework-Maker’s Daughter and Operation Hummingbird, as well as expanding their professional development offer for local performing arts professionals that originally produced Yorkshire Trios at The Gillygate pub in April 2021; the first live, in-person performances that year in York once lockdown restrictions were lifted.
“All NPOs must go into a negotiation phase with Arts Council England until early 2023, but for now what Next Door But One are saying is, ‘We are here and we can’t wait to continue working with communities across York or meet new people for the first time, and create together,” says Matt.
Artistic director Matt Harper-Hardcastle answers CharlesHutchPress’s questions on what lies ahead for Next Door But One, York’s community arts collective
Next Door But One artistic director Matt Harper-Hardcastle making a point in rehearsal as actress Emma Liversidge-Smith looks on
From Harrogate Theatre to Pocklington Arts Centre and English National Opera, venues and companies have suffered blows in Arts Council England’s National Portfolio awards for 2023-2026. What were the factors that meant Next Door But One NDB1) was selected as one of the new recipients in a climate where ACE talked of “levelling up” in its allocations?
“While we’re delighted to receive the NPO support, we are equally devastated for our peers across the industry who did not receive the support they had hoped for.
“We see us receiving the funding as validation for our community-driven approach, which makes our work inclusive and relevant to those we serve, while also taking on the responsibility to support our peers and create partnerships with those who aren’t part of the portfolio, so we can all continue to deliver our equally valuable work.”
York has come out of the NPO awards with tails up: York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre retaining NPO status; Next Door But One and York Explore Library and Archive joining for the first time. What does that say about the health and diversity of arts provision in York?
“I think we’ve known for a long time just how much the city is steeped in arts a culture, and as you suggest, this goes towards celebrating that – and what a diversity of offerings York will have over the coming three years.
“From central building-based theatres, to touring companies, music, museums, libraries and a nimble participatory company like us, there really is going to be something for everyone, and we’re proud to be contributing to that collective.”
What are the benefits to NDB1 of acquiring NPO status?
“The main benefit for us is sustainability. Over the years, we’ve been able to do what we do by working hard on securing project grant funding, but this can become time consuming and resource heavy.
James Lewis Knight, left, as Jimmy and Matt Stradling as James in Next Door But One’s Operation Hummingbird. Picture: James Drury
“Knowing that we have our core funds secured for three years means we can really invest in current delivery while also having more headspace to think strategically about how we continue even further into the future.
“On the day we got the funding announcement [November 4], I phoned or emailed every partner we work with to tell them ‘We will still be here for you’ and that’s what it really means to us to become an NPO.”
Being a participatory arts and community-focused performance organisation gives you a different profile to other arts organisations in the city. All that with a part-time team of five. Discuss…
“It does, and I think that’s the real joy of the portfolio, particularly in York. We’re part of this great network of arts and culture creators, all approaching it from different angles, which should mean that everyone in York can access the things they want in a way that works for them.
“There can be a mistake when there are lots of organisations doing similar things into viewing it as ‘competition’, when it’s not. It’s complementary and collaborative. In fact, we’ve already had many discussions and meetings with fellow NPOs to see how we can support one another; how our work can go to their venue or how our participatory approach can strengthen a certain one of their projects.
“As for the part-time team, it’s great to have stability in our roles, which means we can grow both in terms of impact and by working with more York freelancers on upcoming projects.
“Even though it’s a full-time passion, we see our ‘part-timeness’ as a real strength; among our team we have those that in other areas of their working week are arts and mental health programme managers, music specialists, campaigners and directors of other theatre companies. All that additional skill and insight is really welcomed into NDB1.”
Is this the key: “Making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them. People have always come first, and profile second”?
“Yes, we pride ourselves on meeting people where they are, in terms of geography but also in terms of experience and aspiration. So, whether that is taking performances to community libraries or residential gardens, or workshops to children’s centres and support groups, we go to where we’re needed, connect and create together.
First orders: Next Door But One’s Yorkshire Trios reopened outdoor theatre in The Gillygate pub garden after lockdown restrictions were lifted. Picture: James Drury
“This can often mean we don’t inhabit large, prolific buildings or that our work has huge visibility, but as long as we remain meaningful to those we do engage, then that’s what counts to us. And being an NPO will enable us to sustain this work while also reaching out to new communities and asking them what they want from us.”
Within the York community, you involve people who would not otherwise participate in the arts. Discuss…
“Well, rather than saying ‘We have this thing and you need to get involved’, we approach it the other way around by saying ‘We know about theatre, you tell us how you want that to work for you’.
“For example, our programme of Forum Theatre came about through communities of people with learning disabilities, their support staff and family wanting safe yet productive ways of exploring independent living.
“So, we worked with members of The Snappy Trust and Camphill Village Trust to gather the tricky situations that they wanted to explore, trialled the format with them, evaluated together and now this has become an embedded process and programme of engagement.
“This has been the same with us using storytelling and performance skills to increase the self-confidence of unpaid carers wanting to apply for volunteering and employed work, or offering online creative writing sessions to keep LGBTQ+ young people connected and openly exploring topics important to them.
“Our approach is for the community to identify what they want, and then our responsibility is to shape the theatre with them to meet that goal.”
Lastly, Matt, put some flesh on the bones of what you have planned for next year…
“So, as every NPO now must do, we’re in a negotiation phase until the end of January 2023 to confirm the first year of plans with ACE, but in short, both programmes of Forum Theatre for people with disabilities will continue and increase, as will our training course in Playback Theatre for adults with mental ill health.
“We’ll also be remounting our 2021 production of Operation Hummingbird with York Explore, creating new audiences with our adaptation of The Firework-Maker’s Daughter, building on our relationships with schools and universities with a new tour of She Was Walking Home and supporting a cohort of local performing arts professionals with a series of mentoring and skills-based workshops.”
She Was Walking Home: the back story
“We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience,” saysKate Veysey, associate director of Next Door But One
PROMPTED by the kidnap and murder of York-born Sarah Everard in March 2021, Next Door But One mounted a city-centre audio walk last year, in response to “the reaction from women in our community and the unfortunate subsequent attacks and murders”.
Subsequently, it was expanded by Rachel Price into a live adaptation this spring, performed by a cast of four women at York Explore on May 5, Theatre@41, Monkgate, on May 20, The Gillygate pub, May 26, and University of York, June 14.
“She Was Walking Home aims to put the focus on the voices of local women, but not the responsibility or accountability for their safety,” says NDB1 associate director Kate Veysey.
Last year, for the first time, The Office for National Statistics (ONS) released data on how safe people feel in different public settings. One in two women felt unsafe walking alone after dark in a quiet street near their home, or in a busy public place, and two out of three women aged 16 to 34 experienced one form of harassment in the previous 12 months.
Cast member Anna Johnston in the rehearsal room for She Was Walking Home
“Behind every one of these statistics is a true story of harassment, abuse, rape or even murder – a life changed forever,” says Kate. “We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience.”
She Was Walking Home takes the form of a series of monologues created from the testimonies of women living, working and studying in York. “We created this production in response to the heart-breaking murder of Sarah Everard and the understandable shock and uncertainty it caused in our local community,” says Kate.
“We wanted to amplify the voices of local women, while also prompting conversations around where responsibility and accountability lies for their safety. Since the original audio walk, listened to by almost 800 people, there have been further attacks and murders of women, including Sabina Nessa and Ashling Murphy, and still the rhetoric seems to be skewed towards rape alarms, trackers, self-defence classes and dress codes being the solution. We needed to continue and challenge this conversation.”
The 2022 tour to libraries, pubs, theatres and universities in May and June aimed to “bring this very real issue home with the experiences encountered on the very streets that make up York. “The invitation was to come and watch, listen, but also to think ‘What is it that I can do in making the women in our community safer?’,” says Kate.
Cast member Emma Liversisdge-Smith with Next Door But One artistic director Matt Harper-Hardcastle alongside her
Alongside the touring performance, Next Door But One have created a digital pack for schools and community groups, including a recording of the performance and a workbook containing prompts for debate and conversations that will lead to change.
“As a company, we want the theatre we make to be as useful as it can be; a tool that supports people in the ways they need,” says creative producer El Stannage.
“The tour reached different communities through the venues we visited, but equally the digital pack can be used to evoke conversations now, for change that will be seen into the future; empowering girls to report experiences of abuse and harassment and raising awareness of how boys and young men can be better allies in keeping women safe, for example.”
Watch this space for details of the upcoming performances in 2023.
Next Door But One’s tour poster for She Was Walking Home
Next Door But One: Opening doors to support York’s performing arts freelancers
IT is no secret that the arts haves been hit hard by the Covid-19 pandemic.
As many theatres roll out their plans to “Build Back Better”, York community arts collective Next Door But One are focusing their support on the city’s freelancers, delivering another series of free professional development workshops.
Various UK surveys throughout the Covid pandemic have highlighted how seven out of ten parents and carers, nearly two thirds of disabled practitioners and 70 per cent of those who identify as being from a socioeconomically disadvantaged background are thinking they will need to leave their careers in the creative industries.
Next Door But One artistic director Matt Harper-Hardcastle
“These figures are extremely concerning for a number of reasons” says Next Door But One’s artistic director, Matt Harper-Hardcastle. “Not only is our own team created from these different artists, but without the correct continued investment, the arts risks taking huge steps backwards in respect of access, representation and diversity.
“As a small theatre company, dependent on the skilled freelancers within York, it is important we look after our people.”
Last year, Next Door But One ran their first programme of professional development, funded by Arts Council England, for 27 performing arts professionals, offering workshops on fundraising, facilitation, directing and scriptwriting, as well as group mentoring sessions and networking opportunities.
Next Door But One’s Opening Doors: Offering professional mentoring support
“Ninety per cent of participants on this programme had lost most of their freelance work, were struggling to secure new opportunities or had considered a change in career,” says associate director Kate Veysey.
“From our previous cohort, we supported many to secure future employment and to raise funds for their own projects (notably £50,000 in Develop Your Creative Practice funding through Arts Council England).
“But the overriding feedback was on the importance of Next Door But One creating a new network for participants to support one another through the difficult time of the pandemic. A network which is still helping people flourish.”
Next Door But One associate director Kate Veysey
Next Door But One are now mounting a similar programme, Opening Doors, that hopes to do just that, says Matt. “If people need some direction, or support on what they should do next, or what might be possible for them; that’s what we hope to offer,” he reasons.
Opening Doors will begin this month (February 2022), funded by the City of York Council, York Centre for Voluntary Services and Make It York, and Next Door But One are looking for individuals to register their interest if engagement in this programme would be of use to them.
“The process is quick and open to any performing arts professional, from new graduates, emerging or re-emerging artists, or those who just need support to get back on their desired track, based in or around York,” says Matt.
Workshops. Mentoring. Networking. Next Door But One are opening doors for York’s arts community
“Some workshops will be in person, at the company’s new home of The Gillygate pub, in Gillygate, while others will be virtual and will be run by industry leading directors, producers, fundraisers, casting directors and playwrights.”
To register your interest, go to www.nextdoorbutone.co.uk or if you have any questions about the professional development programme, send an email to kate.ndb1@gmail.com.
If you are reading this, are thinking of registering your interest, but are still unsure, here is what one of last year’s participants said: “
Erika Noda: “A true and honest account of what it can be like for someone of dual heritage in a predominantly white city” in her Love Bite, Ai
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 third in a series of CharlesHutchPress Q&As,Japanese English actor Erika Noda has five minutes to discuss her Love Bite, Ai, her semi-autobiographical debut solo writing project.
How did you hear about Love Bites, Erika?
“I work as a youth theatre assistant at York Theatre Royal and heard about Love Bites from Kate Veysey, the director of youth theatre. I then went online and looked it up straightaway.”
What is your connection with York?
“I was born in York and lived here most of my life. My family, on my mum’s side, can be traced back generations in the city. I know my four-times great grandad came to York from Rosedale and was a nightwatchman before he became a police sergeant and lived with his family in Micklegate Bar.”
What will feature in your Love Bite, Ai, and why?
“A true and honest account of what it can be like for someone of dual heritage in a predominantly white city. With the Black Lives Matter movement and the escalation of hate crimes against East and Southeast Asian people this past year, it made me think about my own experiences of microaggression and racism, as well as the importance of self-acceptance and self-love.
“It’s important to bring awareness to microaggression because many people are unknowingly hurting others through their words and actions.”
What has been the best and the worst about growing up with dual heritage?
“I’d say the worst part is the racist comments and microaggressions. Through doing this project, I’ve come to realise how deeply emotionally affected I am by what people have said or done.
“It’s so degrading and belittling, it’s like a pin stabbing you in the heart; it hurts but you can survive if it happens once or twice, but if it keeps happening over and over eventually you collapse and you don’t know if you’ll get up again.
“Some of the best things about being dual heritage, for me, is that I’ve been immersed in different cultures since I was born. I was two years old when I first went to Japan and was eating with chopsticks from the age of eight.
“I love how it enables me to understand other people’s experiences and ways of life. I’ve also been fortunate that I’m able to travel and experience other parts of the world and cultures for myself.”
In lockdown, what have you missed most about theatre?
“I miss being on stage and taking theatre to those who may not usually get the opportunity to experience it. After graduating from East 15 Acting School I co-founded a theatre company that specialised in creating sensory shows and workshops for children and young people with complex needs.
“We had planned to tour in Summer 2020 but due to the pandemic it had to be cancelled and an online digital story was created instead.
“I miss the adrenaline rush and feeling of having just done a performance and how rewarding it can be. I also miss watching theatre and being transported to another world.”
What’s coming next for you?
“In terms of acting and creating, I don’t have any set plans yet, but I’ll be keeping an eye out for the next opportunity. Also, I’m working at an immersive art gallery that’s been closed due to lockdowns and now it’s able to open so I expect I’ll be busy there this summer.”
What would be the best way to spend five minutes if you had a choice?
“Other than watching Love Bites, I would have a brew and a catch-up with my friends because I haven’t seen them in ages.”
Tickets for Love Bites cost Pay What You Feel at yorktheatreroyal.co.uk or on 01904 623568.
Mandy Newby: Stand-out turn in Weirdo in Next Door But One’s Yorkshire Trios. Picture: James Drury
Review: Next Door But One in Yorkshire Trios, The Gillygate pub, Gillygate, York, April 23 and 24 2021
LIVE theatre has returned to York. Yes, you read that right.
For the first time since York Stage brought a Covid-enforced early end to their pantomime run of Jack And The Beanstalk on December 30 at Theatre @41, Monkgate, actors have taken to a York stage for two nights of pub theatre…in the spring open air.
Where once a tent would suffice for shows by Alexander Flanagan Wright’s company, now The Gillygate publican Brian Furey has installed a wooden-framed outdoor performance area in the beer garden.
Socially distanced tables with allocated seating and an outdoor bar were complemented by Covid-secure measures: pub staff in face masks to take and deliver drink and food orders; Next Doors But One organisers in black and red masks designed in company livery; the programme in e-programme mode, available online only.
Next Door But One, the York community arts collective directed by Matt Harper-Hardcastle, with input from associate and project manager Kate Veysey and creative producer El Stannage, originally hoped to present Yorkshire Trios: 15 Local Creatives, 5 Short Performances, 1 City, inside The Gillygate in early January until Lockdown 3 put a red pen through those plans.
Instead, backed by Arts Council England funding, NDB1 kept the creatives busy with two months of online professional skill- development sessions and mentoring until the Step 2 reopening of pubs’ outdoor hospitality provided the opportunity to perform.
Project manager Kate Veysey, Next Door But One director Matt Harper-Hardcastle and creative producer El Stannage at the Friday night performance of Yorkshire Trios
A day’s warm weather added to the weekend mood as the Friday audience settled in. Behind them were those who were only here for the beer, but rather than putting up a To Beer Or Not To Beer dividing line, and asking anyone to pipe down, everyone just raised a glass to being allowed to gather in a pub garden after the long winter’s hibernation.
Today, Next Door But One have issued a Let Us Know What You Thought email, asking attendees for Audience Feedback by “sparing a few minutes to complete our short survey so we can build and improve on the event”.
CharlesHutchPress is happy to oblige in the analysis of an evening “themed around Moments Yet To Happen, wherein trios of actors, directors and writers brought theatre-starved York a fistful of short stories of laughter, strength, dreams and everything in between: an optimistic carousel operator; a neighbour with a secret; a poet inviting us into her world; a Jane McDonald fan on a soapbox, and a delivery driver full of wanderlust;.
Taking part were the quintet of trios: actor Miles Kinsley, director Nicolette Hobson and writer, Anna Johnston, staging One More Time We Go; Christie Barnes, Fiona Baistow and Jenna Drury, unmasking Kelly Unmasked; Mandy Newby, Joe Feeney and Dan Norman presenting Weirdo; Emily Chattle, Libby Pearson and Lydia Crosland, making a point in Motormouth, and Nicki Davy, Becky Lennon and Rachel Price, asking And How Are Your Goats Keeping?.
On Friday night, one actor, Nicki Davy, from Leeds, had to be elsewhere (for acting work reasons, hurrah), meaning we missed out on answering the goat welfare question.
The poster for Yorkshire Trios at The Gillygate pub as live theatre sparked into life again
Anyway, here is the survey. Question 1: What did you think of the quality of the performances you saw? Rate from 1 for Poor to 5 for Excellent.
One play, Weirdo, was indeed excellent in darkly humorous, unpredictable, intriguing writing by Norman (the discovery of Yorkshire Trios), offbeat direction by Cosmic Collective Theatre’s Brighton-bound Feeney and deadpan execution by Mandy Newby, the most experienced actor on view, as the weird woman with the even weirder smell emanating from her home.
Kingsley, newly back north from completing his training at the Central School of Speech and Drama, had the difficult task of opening the show, not as the warm-up act but straight in at the deep end, side on under a flat cap, in Johnston’s lingering memory play, One More Time We Go, that demanded more assertiveness in performance under Hobson’s direction.
The most resonant piece in Covid times was Kelly Unmasked, Drury’s study of a woman, newly diagnosed in her 30s as autistic, trying to come to her own terms with a lockdown being experienced by unaware, socially distanced others all around her. It was stressful, as much as distressing watching Barnes’s on-the-wire poet Kelly, when director Baistow needed to extract more variety in her acting tropes.
Friday night ended with Abba dance moves, Jane McDonald cheerleading, a very northern no-nonsense feminist ultra and a soapbox that just didn’t quite wash. Not Macbeth’s tale told by an idiot, full of sound and fury, signifying nothing, so much as a torrid tale told by a “Motormouth” devoid of self-awareness and an off-switch, signifying not enough, for all the energy of writer Crosland, director Pearson and actor Chattle.
In a nutshell, this was a night that swung erratically between 2 and 5 on the scorecard, but with consistently good-quality sound and lighting.
Kinsley amiss: Miles KInsley needed more assertiveness in his show-opening performance. Picture: James Drury
Question 2. Did you enjoy the performances being outdoors in a pub setting? Rate from 1 for Not At All to 5 for Very Much.
Yes and no. It was good to feel alive again in the company of actors, but noises off from the tables at the back, while entirely tolerable under present circumstances of outdoors being the only place to drink right now, would be distracting at future performances if the beer garden is to become a garden of artistic delights. So, 3 out of five for now.
Question 3: Do you feel the bitesize performance pieces suited the pub setting? Again, 1 for Not At All; 5 for Very Much.
Yes, because, like the next round, there was always another one coming down the line pretty pronto. That said, the original idea of promenade performances around the interior of the pub would have worked that much better. So, another 3 out of 5.
Question 4: How did you find the quality of the food and drink available during the performance. Same score grades.
Excellent, attentive service. Genial welcomes from Brian and Matt. White wine for the ladies went down very well. Blackcurrant cordial for the teetotal reviewer was totally entente cordial indeed. Didn’t nibble, so no quibble on that score. 5/5
Poet cornered: Christie Barnes as Kelly in Kelly Unmasked. Picture: James Drury
How did you find the COVID safety measures put in place for the performance? Same score grades.
As with last summer’s Park Bench Theatre at Rowntree Park, last autumn’s socially distanced shows in The Round at the Stephen Joseph Theatre, Scarborough, York Stage’s pantomime at Theatre @41, Monkgate, and York Theatre Royal’s Travelling Pantomime, the Covid-safety measures were meticulously carried out.
As before, the message to the Government is, yes, the arts needs your support, but you should trust the arts to run events with the utmost professionalism, whatever the circumstances. The Gillygate, 5/5. The Government: could do better.
Would you be interested in attending a similar performance to Yorkshire Trios in the future?
Outdoors? Yes, but with the provisos mentioned above. Indoors, yes. The Gillygate has always been a good home to theatre.
As for the content, there is promise here and further opportunities should be encouraged.
Is there anything else you’d like to tell us about your experience that might help us shape future events?
This review has run to 1,207 words already. Enough said, surely?!
Plenty to say for herself: Emily Chattle’s Motormouth in Yorkshire Trios at The Gillygate pub beer garden. Picture: James Drury
Three cheers: Yorkshire Trios actors, writers, directors and project organisers are all smiles as they gather for a Zoom session
LIVE theatre will burst into life in York for the first time since December 30 when Next Door But One presents Yorkshire Trios in The Gillygate pub’s new outdoor seating area on April 23 and 24.
“The sun is beginning to shine, the days are getting longer, and lockdown restrictions are easing, so we’re inviting you to a production that brings you everything 2021 has been missing so far,” says Matt Harper-Hardcastle, the York community arts collective’s artistic director, who had to postpone the original “mini-promenade” shows planned for inside Brian Furey’s pub in Gillygate in January.
“The plan was that people could get a drink and move around the pub to see the five solo performances, but once lockdown was announced, we thought we’d wait to see what transpired, keeping it on a low heat, but still wanting to do it as soon as possible, when it could be a springboard for the 15 creatives involved to get back out there working again.
“Then Brian [Furey] got in touch to say he’d been building a gazebo structure to make it feasible for him to reopen the pub, but if we could put lighting in, it could double as a performance space too.
15 Local Creatives, 5 Short Performances, I City: Next Door But One’s poster for Yorkshire Trios at The Gillygate
“We could have waited to June, but this felt a brilliant opportunity to come back together now. It feels a really big step now, when two years ago, rocking up to a pub for a show would have felt perfectly normal.”
Themed around Moments Yet To Happen, trios of actors, directors and writers will bring to theatre-starved York a quintet of short stories of laughter, strength, dreams and everything in between: a neighbour with a secret; a delivery driver full of wanderlust; an optimistic carousel operator; a poet inviting us into her world and a Jane McDonald fan on a soapbox.
Actor Mandy Newby, director Joe Feeney and writer Dan Norman will stage Weirdo; Nicki Davy, Becky Lennon and Rachel Price, And How Are Your Goats Keeping?; Emily Chattle, Libby Pearson and Lydia Crosland, Motormouth; Christie Barnes, Fiona Baistow and Jenna Drury, Kelly Unmasked, and Miles Kinsley, Nicolette Hobson, Anna Johnston, One More Time We Go.
“From the hearts of Yorkshire creatives, told in the heart of the city and into yours, Yorkshire Trios is here to remind you of the talent and stories that our community holds,” says Matt, ahead of next week’s 7.30pm performances, supported by Arts Council England funding.
Next Door But One artistic director Matt Harper-Hardcastle and Anna Johnston, writer of the Yorkshire Trios short play One More Time We Go, pictured in pre-pandemic times
“From humour to drama, sentimentality to the bizarre, an evening of Yorkshire Trios will have something for everyone…and there’s a drink included in the price!
“We all know the feelings of being stuck indoors, longing to go to the pub and catch up with our friends. Well, Yorkshire Trios has all of that and more. What better way to mark the latest phase of the Government’s Roadmap than being sat with your friends and family in The Gillygate pub’s beer garden, watching five original, locally produced and completely relatable short performances?”
Yorkshire Trios underpins the values of Next Door But One (NDB1) as a theatre company. “Buying a ticket to attend Yorkshire Trios is about more than watching theatre, it’s about our local community” says associate and project manager Kate Veysey, York Theatre Royal’s youth theatre director.
“It’s backing the wealth of creative talent in York, it’s supporting a local hospitality business at the centre of the city and it’s taking those small but manageable steps to reconnect people with one another and the wider community.”
“Yorkshire Trios is taking those small but manageable steps to reconnect people with one another and the wider community,” says project manager Kate Veysey
The 15 Yorkshire creatives at the heart of this NDB1’s project were recruited at the end of 2020, but after the imposition of Lockdown 3 from January 5 put a stop to that month’s performances, the collective talents of Newby, Feeney, Norman, Davy, Price, Lennon, Crosland, Pearson, Chattle, Drury, Barnes, Baistow, Johnston, Kinsley and Hobson have been kept busy and creative through a series of online professional development sessions.
“We know how difficult it has been for many professionals in the arts to stay engaged in their creative practice during lockdown, with many feeling disconnected from the industry and in need of opportunities to stretch themselves and keep them going” says creative producer El Stannage.
“For more than two months, we’ve provided skills development and mentoring sessions, meaning that now our 15 creatives are even more equipped to bring their best to the performances within Yorkshire Trios, and we cannot wait to share that with audiences.”
Matt emphasises the importance of Yorkshire Trios to all those involved. “It’s had that feeling of ‘this is what was needed’: someone saying, ‘we believe in you, and, yes, we want to use your talents’,” he says.
Trio-mendous! When three’s a crowd…in a good way for York writers, actors and directors
“It’s been wonderful having 15 people sharing their skills and having that belief that ‘you belong, you haven’t been forgotten; there’s still a place for you when you’ve been told your work is not viable’.”
Looking ahead, Matt says: “We’ll be recording the performances too, so that anyone who still doesn’t feel safe to attend or has any vulnerabilities stopping them, we can stream it to them at a later date, with more info on that following the live performances.”
Next Door But One presents Yorkshire Trios outside at The Gillygate pub, Gillygate, York, on April 23 and 24 at 7.30pm. The performances are Covid safe and therefore with a socially distanced limited capacity, with tickets being sold as ‘tables’ of up to six individuals from a maximum of two households.
For more information and ticket details, go to: nextdoorbutone.co.uk/Yorkshire-Trios.php.
Harvey Harrison, aged eight, taking part in a York Theatre Royal Youth Theatre online session at home in York
YORK Theatre Royal’s Youth Theatre is back in action…online, complete with scavenger hunts and kitchen discos.
The St Leonard’s Place building remains closed under Lockdown 3 strictures, ruling out the usual face-to-face sessions there, but here comes Zoom to lift any feelings of doom and gloom for participants in one of the North’s largest youth theatres.
Youth Theatre membership takes in 150 children and young people from across York and the surrounding areas, divided into ten age groups spanning five to 19, with each group working towards developing skills and experience in a variety of theatre disciplines.
Five groups for the older members began in November but had to be moved online after the first session in response to the second lockdown.
“These proved really successful,” says Julian Ollive, head of creative engagement. “Face-to-face contact with our young people, being in the same space, working collaboratively and creatively, is really what we’re about and what we value. Unfortunately, this new lockdown has thwarted our ability to go live but we’re going ahead with running our classes online again.”
Julian continues: “In a time of great uncertainty, we believe it’s important to begin the process of coming back to a ‘normal’, which, for us, is working directly with children and young people in our community.
Martha and Wilf in an age five to eight group session on Zoom with practitioner Fiona Baistow, assistant Fiona and mentor Katherine
“Although we would have loved to welcome back our members face to face, we’re excited by the creative challenges and opportunities that working online will bring.”
Youth Theatre director Kate Veysey says: “Offering youth theatre online gives us new opportunities to connect with the young people in different ways. We feel this is even more important at a time when they have additional pressures on them.
“The chance to connect, to work with their friends and make new ones, and be creative together, is fantastic.
“It’s been really wonderful welcoming back our young people to youth theatre, as well as some new members. In our first week back, we’ve had scavenger hunts, kitchen discos and props and costumes from everyone’s homes. It’s a joy to work together.
“Our practitioners are relishing the challenge of making our online delivery as exciting and vibrant as our live sessions have been in the past until we can safely offer these again.”
The 14 to 19 age group is rehearsing the play Tuesday for NT Connections, a digital festival that brings together groups from around the country, this year remotely. In light of the festival going online, rehearsals are applying options within this format, such as breakout rooms to work on separate scenes, using props and making sound effects from home sources to support the text.
York Theatre Royal Youth Theatre’s 14 to 19 company working on the play Tuesday for the NT Connections festival
Among those joining in the new 2021 sessions from home in York is eight-year-old Harvey Harrison, pictured above, whose mother Hayley says: “Harvey has been a member of Youth Theatre for just over two years and in that time the activity has brought him a huge amount of pleasure.
“It’s been a fantastic creative outlet for a child who is often, socially anyway, quite reserved and he has developed a new-found bravery and sense of poise. The physical thrill he gets from the performance opportunities is perfectly complemented by his quiet and growing confidence.”
In part inspired by the impact of taking the York Theatre Royal Travelling Pantomime to community venues last month, the Theatre Royal is planning to move the Youth Theatre further out into the community once restrictions allow.
Friargate Meeting House and New Earswick Folk Hall will then host groups throughout the week, as well as the Youth Theatre continuing to work in spaces at the Theatre Royal.
“We’re excited by the prospect of continuing the reach into our community, so positively felt and received through the Travelling Pantomime,” said Julian.
Visit yorktheatreroyal.co.uk for more information on joining York Theatre Royal Youth Theatre and applying online for a Y card, the new youth membership scheme. The card costs £5 and provides notifications when spaces in the youth theatre become available, invitations to games sessions and tasters, discounted membership rates on tickets, events and much more.
