Tag: Krapps Last Tape

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What’s On in Ryedale, York and beyond. Hutch’s List No. 14, from Gazette & Herald

Mr Willy Wonka, played by Jonathan, in Ryedale Youth Theatre’s Charlie And The Chocolate Factory at the Milton Rooms, Malton

MISSING out on Gary Oldman’s sold-out Krapp’s Last Tape on his York Theatre Royal return? Charles Hutchinson digs up plenty of consolation prizes.

Ryedale musical of the week: Ryedale Youth Theatre in Charlie And The Chocolate Factory, Milton Rooms, Malton, tonight to Saturday, 7.15pm plus 2pm Thursday and Saturday matinees

RYEDALE Youth Theatre brings Roald Dahl’s Charlie And The Chocolate Factory to the Malton stage in a magical adventure that journeys into Willy Wonka’s fantastical world.

Expect stunning performances and enchanting music in a family-friendly production perfect for all ages. Only 100 tickets are still available after sales of 1,200. Box office: yourboxoffice.co.uk/ryedale-youth-theatre.

Inspired By Theatre’s principal cast members in Rent, playing the Joseph Rowntree Theatre, York, from tomorrow

York musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee

YORK company Inspired By Theatre follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance. 

Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Welcome back: Gary Oldman in the York Theatre Royal dressing rooms

York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17

ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: New availability of returns and additional seats on 01904 623568 or at yorktheatreroyal.co.uk.

Abigoliah Schamaun: In pursuit of the “Holy Visa” in Legally Cheeky, on tour at Pocklington Arts Centre

Comedy gig of the week: Abigoliah Schamaun, Legally Cheeky, Pocklington Arts Centre, tomorrow, 8pm

ABIGOLIAH Schamaun thought she had it all; the flat, the career, the life partner. This US transplant was living the American Dream…in London. Then one day, the Wicked Witch of Westminster, told Abigoliah to click her sparkly heels and go “home”. In that moment, everything changed. To lose would mean losing everything. 

Abigoliah’s quest for the Holy Visa began, and the fight was very much on. Legally Cheeky charts her journey in a heart-warming tale of highs, lows, twists and turns as she recounts the year that shook her and partner Tom to the core. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Snake Davis, right, will be teaming up with Stu Collingworth at Helmsley Arts Centre on Friday night

Jazz gig of the week: Snake Davis with Stu Collingworth, Helmsley Arts Centre, Friday, 7.30pm

SAXOPHONIST to the stars Snake Davis will be joined by Hammond organist, composer and vocalist Stu Collingwood for an evening of soul pop and jazz. Davis performs regularly with famous artists at huge venues but is “far happier being himself at Helmsley Arts Centre”.

Collingworth has toured with Tony Christie, Alan Barnes and Elaine Delmar and has a residency at Charts in Newcastle. He and Davis have enjoyed a creative partnership for a decade, fired by a love of melody and groove. Box office: 01439 771700 or helmsleyarts.co.uk.

Aleysha Jade in Curious Investigators at Pocklington Arts Centre on Saturday. Picture: Grant Archer

Family show of the week: One Tenth Human in Curious Investigators, Pocklington Arts Centre, Saturday, 1.30pm

SCRIBBLE and Clipboard have a job to do, sorting out the recycling, but Scribble keeps finding new things to investigate. When she discovers a mysterious egg hidden in the rubbish, the pair needs the audience’s help to rescue an unborn chick. Can you save a mysterious egg from a smashing and what will you discover along the way?

Curious Investigators is a cracking adventure, created in collaboration with engineering experts from Lancaster University, in a delightfully surprising, highly visual show for three to seven-year-olds and their grown-ups, hatched by One Tenth Human. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Wrongsemble in Three Little Vikings, a story of cooperation, bravery and making your voice heard at Helmsley Arts Centre

Children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm

A TRIO of brave little Viking girls saves the day in Leeds company Wrongsemble’s bold and funny adventure story for little rebels by Bethan Woollvin, creator of Little Red and I Can Catch A Monster.  

Once upon a time in a Viking village, everything seems to be going wrong. Chickens are disappearing, trees are falling down. When the silly Chieftain will not listen to the three littlest Vikings, can they work together to figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Suitable for age three upwards. Box office: 01439 771700 or helmsleyarts.co.uk.

Mark Druery: Taking part in York Open Studios this weekend

Art event of the month: York Open Studios, Saturday and Sunday, 10am to 5pm

YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.

The Divine Comedy’s Neil Hannon: New album and York Barbican autumn date. Picture: Kevin Westenberg

Gig announcement of the week: The Divine Comedy, York Barbican, October 21

NEIL Hannon will promote The Divine Comedy’s 13th studio album, September 19’s Rainy Sunday Afternoon, on a 16-date autumn tour. Tickets will go on sale on Thursday, April 17 at 10am at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/.

Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions – sad, funny, angry and everything in between – as he “works through some stuff”: mortality, memories, relationships and political and social upheaval. 

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REVIEW: Connecting Voices, Opera North and Leeds Playhouse, 17/10/2020

Beautifully differentiated vowels: Gillene Butterfield as Elle in La Voix Humaine at Leeds Playhouse. Picture: Anthony Robling

Connecting Voices, Opera North and Leeds Playhouse, at Leeds Playhouse, October 17

COLLABORATIONS between Opera North and Leeds Playhouse in recent years have been proving increasingly fruitful.

This latest, a four-show programme in different locations throughout the Playhouse, was just what the doctor ordered: its umbrella title Connecting Voices homed in on the social interactions we have all been craving.

It was designed to “examine the power and expression of the solo voice” and ranged the gamut from pure opera to straight theatre.

Poulenc’s monodrama La Voix Humaine, in the Barber Studio, led the way. In Sameena Husain’s production, Gillene Butterfield poured her heart and voice into Elle’s desperate efforts to repair her faltering romance, using telephones from three different eras.

Plus ça change! She might as well have been on Zoom, so vivid were her emotions, made more so by superb diction and – a rarity among sopranos in my experience – beautifully differentiated vowels.

Annette Saunders’ piano was ideally attuned, blasting out jagged darts whenever Elle listened, calm when she spoke. The two of them combined to notable effect in the nostalgic waltz that follows Elle’s highest outburst.

Riveting voice: Niall Buggy in Samuel Beckett’s Krapp’s Last Tape. Picture: Anthony Robling

Opera North was involved in two of the remaining items. Under its Resonance programme for Black and Asian musicians, Reflections: Dead And Wake explored the Caribbean funerary tradition of Nine-Nights from a specifically Jamaican perspective.

Alongside ethnic choruses, sounding perhaps more African than Caribbean, Paulette Morris caressed her solo songs lovingly. The recurring soundscape of Jamaican voices by the director Khadijah Ibrahiim was not especially intelligible, but certainly added atmosphere.

Among similar non-native sounds was the powerful contribution of the rapper Testament (aka Andy Brooks), in the title role of Orpheus In The Record Shop, injecting much sardonic humour while doubling as composer and writer.

Aletta Collins’ production gradually introduced eight members of the Opera North orchestra and the excellent wordless mezzo of Helen Évora, to bring an optimistic conclusion as bankruptcy loomed. Definitely a tale for our times.

The other riveting voice was that of Niall Buggy, raging and cackling against the dying of the light and his own misspent years in Samuel Beckett’s Krapp’s Last Tape, directed by Dominic Hill. Like the Poulenc, it was written in 1958.

These days, theatre staff are front-line workers too. The small army of stewards here, totally tuned in and extremely helpful, deserve a final word of thanks.                                                   

Review by Martin Dreyer

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Opera North and Leeds Playhouse unite for October season of Connecting Voices

Testament: Leeds rapper, writer and beatboxer commissioned for new piece for Connecting Voices. Picture: Anthony Robling

OPERA North and Leeds Playhouse are collaborating on a celebration of the power and expressiveness of the human voice that will bring audiences back into the Quarry Hill theatre next month for the first time since the March lockdown.

They will co-produce Connecting Voices: six new and existing 40-minute pieces of live performance staged safely and Covid-securely in four areas of the Playhouse, played over three weekends in October, fusing classic and contemporary theatre on themes of isolation and connection, resilience and reflection 

Leeds rapper, writer and world record-holding beatboxer Testament has been commissioned to explore the power of the solo voice within a communal space and the relationship between performer and audience, while freelance artists Matthew Eberhardt and Khadijah Ibrahiim will be devising new work together with musicians, poets, actors and young people 

Running from October 2 to 17, Connecting Voices will mark the reopening of Leeds Playhouse six months after lockdown began by “partnering with the wider arts industry to find new and innovative ways of reintroducing audiences to live theatre, in a safe and secure environment, contributing to the life and vibrancy of the Leeds city region”.

Orpheus In The Record Store, written by Testament and directedby Aletta Collins, will fuse spoken word and beatboxing with players from the Orchestra of Opera North in a collaboration in the Quarry Theatre that gives the Greek myth of Orpheus a contemporary Yorkshire twist.

“I’m so excited to be back at Leeds Playhouse with Opera North, especially after this turbulent period,” says Testament. “To be commissioned to create a new piece of work is a massive honour.

“The Playhouse was one of the first organisations to take a chance on me as a theatre maker and it feels like home; their help and support has been invaluable to my growth as an artist.  And only last year I got to work with Opera North as an artist on their Resonance programme, which opened my eyes to new possibilities as a composer.”

Looking forward to live performances returning to Leeds Playhouse, Testament says: “There is much to say and share right now, and I passionately believe theatre has an almost spiritual role in making the direction we wish to go in as a society tangible.

“I can’t wait to be back in front of an actual audience – being together enjoying worlds that we make together in those moments of live connection.”

Khadijah Ibrahiim: Writing and directing Reflections: Dead And Wake for Connecting Voices

What can next month’s audiences expect? “Right now, I’m in the lab creating, pushing buttons, and I’ve got something planned as a beatboxer that has never been like this way before,” says Testament. “I am also super-excited about connecting with Opera North musicians:  we are planning to take the crowd on an epic journey with music, spoken word and live theatre.”

Playing alongside Orpheus In The Record Store will be topical re-awakenings of two pieces from 1958 that present characters isolated from others and struggling to connect again through technology.

The first is Irish playwright Samuel Beckett’s monologue Krapp’s Last Tape, to be performed by Niall Buggy in the Bramall Rock Void, directed by Dominic Hill.  This will be counterpointed by Francis Poulenc’sshort opera La Voix Humaine, performed by Opera North soprano Gillene Butterfield in the Barber Studio, directed by Leeds Playhouse’s Sameena Hussain.

In the Courtyard Theatre, each of the three weekends will see a different and newly devised piece of work from Leeds spoken-word artist Khadijah Ibrahiim and two pieces by freelance director Matthew Eberhardt, whose credits include Opera North’s Street Scene.

They will work  with singers, actors, young people and musicians, including classically-trained singer Keertan Kaur Rehal, Amy J Payne and stalwart Playhouse actor Robert Pickavance, to create contemporary responses to the themes of remembrance, collaboration and the act of storytelling.

James Brining, artistic director at Leeds Playhouse, says: “Re-opening the Playhouse after six months of enforced closure and being separated from each other has made us value even more than before the act of live performance and what that means. 

“Our beautifully refurbished building provides us with many opportunities to safely welcome audiences and artists back into the Playhouse.  Connecting Voices is a carefully curated programme exploring isolation and connection, resilience and reflection, as well as the relationship between performer and audience member in a shared space.”

Brining is delighted to be working once again with Leeds company Opera North. “We’re pooling our resources to help the city of Leeds to get back on its feet and bring joyous and powerful communal shared experiences back to the lives of its citizens,” he says. 

“As we head into our 50th year at this challenging time, it’s vital that we reconnect with audiences and communities and collaborate with bold and diverse voices from across the region. We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again.”

“We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again,” says Leeds Playhouse artistic director James Brining

Richard Mantle, Opera North’s general director, says: “Connecting Voices is a compelling exploration of the power of the human voice and the profound desire to establish meaningful ties out of experiences of isolation and loss.

“We are delighted that we are able to begin the process of welcoming audiences safely back to live performance through this collection of work in partnership with Leeds Playhouse.

“Connecting Voices brings together voices spoken and sung from across the city and wider region, and we are especially thrilled to be collaborating with such a diverse and talented group of freelance artists, singers, musicians, poets and directors who all share artistic ties to both Opera North and to Leeds Playhouse.

“Now, more than ever, it is apparent how strongly intertwined the artistic and cultural community in our region is, and how important collaboration will be in ensuring a vibrant future for the arts and audiences across the city.”

Please note, in line with Government guidelines, audiences will be of limited capacity with social distancing and temperature checking will be conducted too. Tickets will go on sale to Leeds Playhouse’s Supporters’ Club, Playhouse Pass holders and Opera North Patrons from Monday, September 14 and on general sale from 12 noon on Tuesday at leedsplayhouse.org.uk and on 0113 213 7700.

Connecting Voices: the full programme

Krapp’s Last Tape, by Samuel Beckett, directed by Dominic Hill

A 69-year-old man listens to the voice of his 39-year-old self. Looking back on his loves, failures and losses, Krapp rewinds through his life with humour and heartache. A classic Beckett play, both punchy and personal.

Performances: October 2, 9 and 16, 8pm; October 3, 10 and 17, 3.30pm and 8pm,
Bramall Rock Void, Leeds Playhouse.

Humour and heartache: Niall Buggy in Krapp’s Last Tape. Picture: Robert Workman

La Voix Humaine, by Francis Poulenc, directed by Sameena Hussain

A devastating short opera exploring the pain and fear of rejection in the rawest fashion. Through the lone voice of the woman, Poulenc expresses the full range of human emotion with a score of caressing warmth and intimacy. This powerful one-woman performance will be sung in English.

Performances: October 2, 9 and 16, 6pm, and October 3, 10 and 17, 1.30pm and 6pm, Barber Studio, Leeds Playhouse.

Orpheus In The Record Store, by Testament, directed by Aletta Collins

Orpheus is alone, playing tunes in his record shop. When an old friend arrives, music and stories collide as the ancient and contemporary merge. Testament takes inspiration from the classical Greek myth in a show that fuses spoken word and beatboxing with classical music from the Orchestra of Opera North.

Performances: October 2, 9 and 16, 9pm, and October 3, 10 and 17, 4.30pm and 9pm, Quarry Theatre, Leeds Playhouse.

Reflections: Dead And Wake, written and directed by Khadijah Ibrahiim

Experience a Jamaican “Nine Night” with literary activist and theatre maker Khadijah Ibrahiim. This thought-provoking performance explores Caribbean rituals around death through poetry, music and ghost [duppy] stories, featuring turntablist DJ NikNak and Paulette Morris. The event also includes performers from the Sunday Practise with their creative response to living through the last six months.

Performances: October 16, 7pm and October 17, 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

Reflections on La Voix Humaine, directed by Matthew Eberhardt

Take your seat on the stage of the Courtyard Theatre, look out into the auditorium and witness actors and musicians explore themes of isolation and connection, of resilience and reflection, through words both spoken and sung. This is a contemporary reflection on Poulenc’s La Voix Humaine and can be enjoyed either alongside the original piece or independently.

Performances: October 2 at 7pm and October 3 at 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

Reflections on Krapp’s Last Tape, directed by Matthew Eberhardt

Relish the power and expression of the solo voice from the stage of the Courtyard Theatre in this celebration of the return of live performance. An actor and a musician collaborate, filling the auditorium with words and music that reflect upon the themes of Samuel Beckett’s monologue Krapp’s Last Tape.

Performances: October 9 at 7pm and October 10 at 3.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.

The running time for each Connecting Voices performance is 40 minutes.