Table service: Sophie Bullivant, left Laura Castle and Abi Carter in Shakers
DEATHLY ghost tour host Jamie McKeller picked John Godber’s Teechers Leavers ’22 for his return to directing after 15 years last March.
Fresh from playing an Ugly Sister in panto, McKeller heads back to the Jo Ro with another rotten state-of the-nation Godber comedy, this one a husband-and-wife collaboration with Jane Thornton.
Two cast members from McKeller’s 2023 production return to the Rowntree Players ranks for Shakers, his pantomime co-stars Sophie Bullivant and Laura Castle now being joined by Abi Carter and Holly Smith.
McKeller has plumped for the 1987 version, not the 1994 musical with 50 per cent new material, nor the 2010 edition with a cast of five, nor the 2022 remix, Shakers: Under New Management!.
In the mix: Holly Smith, Sophie Bullivant, Abi Carter and Laura Castle making cocktails in a promotional shot for Rowntree Players’ Shakers
This is Shakers at its most raw, showing its dark Eighties’ roots like a bleach blonde hairdo, but resonating all the more in our age of zero hours contracts and #MeToo.
Like now, Thatcher’s Britain was an era of fears over losing your job and a them-and-us culture of division. Furthermore, some things never change, whether men treating women as meat or the boss demanding his cocktail waitresses show ever more leg.
In this unruly sister to Godber’s boisterous Bouncers, the multi-role-playing template turns the northern nightlife focus from the nightclub door staff to the cocktail bar shakers and stirrers: overworked, underpaid and prone to squabbling in a whirlwind of sticky floors and sticky situations.
Bullivant’s feminist Carol, Castle’s volatile Mel, Carter’s working mum Adele and company newcomer Smith’s brash Niki face the Saturday night shift from hell: seven hours beneath the neon lights, in shirts tied at the waist, black trousers and white pumps.
Laura Castle in a phone conversation in Rowntree Players’ Shakers
Fast, fizzing physical theatre, with minimal props and a minimalist set design of only four bar seats and four mini-bars on wheels in matching colours, is the performance style.
Another Godber trademark is omnipresent too: plenty of direct address to the audience, here concentrated in the stalls seats nearest the stage to lend McKeller’s production an intimate, studio atmosphere.
Mirroring Bouncers, the quartet plays myriad Shakers clientele: four lasses on a 21st birthday bender; leery lads on the pull; two bragging, misogynist TV producers; frantic kitchen staff; the jobsworth loo attendant.
Quick costume changes, jackets on, jackets off, sunglasses, handbags and a multitude of voices delineate characters that tend towards the caricature and the stereotype, especially in the yuppies and the luvvies.
Holly Smith and Sophie Bullivantin multi-role playing mode in Shakers
Like the waitresses’ shift, the workload and the pace is restless, exacerbated by McKeller’s decision to forego an interval, but there is stillness too in the monologues, one for each waitress, more serious in tone each time, culminating in a shuddering finale as downbeat as Teechers’ end-of-term despair.
Teamwork in movement and dialogue is impressively slick under McKeller’s direction, typified by that closing scene, while high energy bursts through individual performances, Castle the pick, as strong and supportive as that name would suggest.
The audience rarely laughs out loud en masse, which could be unnerving for the cast, but McKeller’s company resists trying to force the humour. Good decision.
Instead, Shakers’ poignancy and awkward, sobering truths hit home harder, shaking and stirring us all the more.
Rowntree Players in Shakers, Joseph Rowntree Theatre, York, tonight, 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
In the mixer: Sophie Bullivant, Abi Carter, Holly Smith and Laura Castle in Rowntree Players’ Shakers
YORK ghost-walk host, actor, voiceover artist, filmmaker, tour guide and pantomime villain Jamie McKeller had not directed a play for 15 years when he took the reins for Teechers Leavers ’22 last March.
Among the Rowntree Players’ cast of three for former teacher John Godber’s state-of-the-nation’s-education play were Sophie Bullivant and radio presenter Laura Castle, who now return for another slice of Godber physical theatre, Shakers, this one co-written with his wife, Jane Thornton.
The sister to Godber’s northern nightclub comedy-drama Bouncers, Shakers dives head first into the worst bar in town, where everyone wants to be seen, at the Joseph Rowntree Theatre, York, from Thursday to Saturday.
Here, Sophie’s Carol, Laura’s Mel, company newcomer Holly Smith’s Niki and Abi Carter’s Adele face the Saturday shift from hell. Lights, neon; music, loud; trainers, not allowed. Smart shoes only.
Thornton and Godber expose nightlife both sides of the sticky-floored bar, not only the cocktail-bar waitresses but the clientele too. Here come the girls, the lads, the yuppies and the luvvies, all played by Bullivant, Castle, Smith and Carter.
“I think this play is funnier than Bouncers, though I’ll still be going to Bouncers when it comes to York Theatre Royal in April,” says Jamie, who can draw on his own experiences to make his comparison.
“I’ve done Bouncers three times! I played Judd when I was 21; Les in my late-20s. They were both professional productions; then I was Ralph in my mid-30s in an amateur one at the Westwood Theatre in Scarborough.
“So the idea is, in ten to 15 years’ time, when my panto dame days are done, I’ll finally do Lucky Eric to complete the full Bouncers set!”
Whereas Jamie decided to present Godber’s updated 2022 version of Teechers, he will stick with 1987 vintage Shakers, not the 2022 remix, Shakers: Under New Management!.
“Initially we were looking at doing the final version of Bouncers, quite a grotesque version,” he recalls. “But once I read Shakers, I really wanted to do it, and do the earlier version, which even after more than 30 years still hits hard, when things aren’t necessarily better now…”
… “Things are just different,” says Laura. “This version of the play is a bit more spicy, and I like that!”
She is enjoying renewing her stage partnership with Sophie and teaming up with Abi and Holly too after they were picked from Jamie’s auditions. “Me and Sophie – and Sara [Howlett] – created quite bond in Teechers, and having done Godber before and Godber under Jamie’s direction before, that’s made it slightly easier for the whole cast in rehearsals,” says Laura.
“That gave us a head start as to just how pacy it is. Abi and Holly are super-talented and picked up the style very quickly. They’ve learned things from us, we’ve learned things from them, which has worked out really well.”
Jamie has been struck by Shakers’ abiding relevance, its stark message, for all its humour. “That humour is grotesque and amplified. The piece changes gear very rapidly, but it’s all grounded in the four monologues, one for each of them, that are staged with naturalism, with each speech becoming more serious,” he says.
“Shakers stands up and makes its stand. As a bloke, you find yourself thinking, ‘how do I feel about this?’, and it’s been very interesting to draw on the cast’s own experiences.”
Jamie will restrict the capacity to 100 per performance to lend his production a studio atmosphere in keeping with the play’s roots. “It will help to have the audience close up,” says Laura. “With everyone packed into the front, it will feel busy.” Like in a bar on a Saturday night.
Staging will be minimalist too, in Bouncers tradition, with four mini-bars on wheels on a neon and chrome set. “We’ve made the decision to mime most of the props, apart from a huge blow-up phone, but with little signifiers for the different characters we play, like shades or jackets, or a change of voice. We’ve chosen everything to make an impact.”
This complements the tone of Thornton and Godber’s play. “You won’t feel like you’ve bene lectured! What works is the contrast between being grotesque and comedic one moment, and then we hit you with real truths and that makes Shakers’ impact all the greater,” says Laura.
“Both this play and Teechers end on a downer, but that’s the harsh reality of life. We want you to have a good time but to leave thinking about the message we’ve put across in 80 minutes.”
Rowntree Players in Shakers, Joseph Rowntree Theatre, York, March 14 to 16, 7.30pm and 2.30pm Saturday matinee.Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Jamie McKeller’s Cassandra, Marie-Louise Surgenor’s Fairy Carabosse and Michael Cornell’s Miranda performing I Know Him So Well in Rowntree Players’ Cinderella. Picturee: Angela Shaw, York Camera Club
UNLIKE Cinders, you will not go to the ball…unless you have acquired a ticket already. Cinderella has sold out, reward for the ever-rising pantomime pizzazz of Howard Ella’s community capers.
Cinderella may be the most popular of all pantos, but it is the most difficult to write, he contends, on account of the need to fit in so much. “The story is so loved, so full of plot points and favourite moments, it’s very hard to put your own spin on things,” Ella says in the programme notes.
Then add “the breaking of panto norms”: the dame making way for two Ugly Sisters, baddies rather than goodies to boot. Regular dame Graham Smith decided to take a year’s sabbatical, and in his stead comes the new double act of Jamie McKeller, last winter’s Sheriff of Nottingham, re-booted as Cassandra, and Michael Cornell as Miranda, both shaving off their beards but still with a hint of stubble to go with their trouble-making in matching costumes.
Gemma McDonald: Even busier as co-writer as well as show-steering Buttons in Cinderella. Picture: Angela Shaw, York Camera Club
They know each other from bygone days, and they work in step as pleasingly as Layton and Nikita’s Strictly Charleston last Saturday.
Typically spot-on casting by Ella, who has a new writing partner by his side too in Gemma McDonald, the Players’ long-serving daft lass with the auburn bubble-perm clown’s hair and rouge cheeks.
Still on delightfully dimwit duty as Buttons, she carries the heaviest comedy load as usual, leading the slapstick shenanigans in tandem with the Ugly Sisters in the hotel spa, breaking down the fourth wall to bond with the audience, ragging them when they are too slow to respond.
Ella suggests that Buttons is “really the story lead”, and McDonald’s ever-energetic, ever-cheeky performance backs that up.
Sara Howlett’s Cinderella and Laura Castle’s wave-wanding Fairy Flo in Cinderella
The writers were keen to avoid the danger of Cinderella’s traditional story feeling dated while wanting to be respectful to tradition too: hence Prince Charming and Dandini still being played by women, on the one hand, but Barry Johnson’s Baron Hardup owning the rundown Hotel Windy End (cue bottom burp gags from Buttons and corrections on the pronunciation), on the updated other.
This is very much a Yorkshire Cinderella, playing to its York setting at every opportunity. Radio presenter Laura Castle, so impressive in John Godber’s Teechers at the JoRo in March, makes for a feisty, no-nonsense Fairy Flo, while Teechers’ co-star Sophie Bullivant brings personality to the often dry role of Dandini, especially enjoying her switch with Hannah King’s thigh-slapping Prince Charming.
King’s singing is as strong as ever, not least in partnership with Sara Howlett’s resolute Cinderella in the ensemble number Omigod (a splendid lift from Legally Blonde The Musical). Marie-Louise Surgenor’s Fairy Carabosse takes the singing honours, first in It’s All About Me, then in Three Evil Dames with McKeller and Cornell.
Fill that stage! Rowntree Players in an ensemble routine from Cinderella. Note the pun-named plumber on the backdrop. Picture: Angela Shaw, York Camera Club
Johnson’s Baron, Geoff Walker’s lackey Flunkit and Jeanette Hunter’s Queen of Hearts, the Prince’s mother, bring bags of experience and panto panache to these support roles; Bernie Calpin completes a trinity of fairies, and Ami Carter’s exuberant choreography finds the principal dancers, senior chorus and young teams in boisterous form.
Highlights? Cinderella’s transformation scene with Fairy Flo, unicorn-powered carriage et al, is a picture indeed, and what better way to open Act Two than with McDonald leading the show’s best ensemble routine, Flash Bang Wallop What A Picture, followed by Cinderella, Prince Charming and the ensemble revelling in Shut Up And Dance. The hits keep coming with Fairy Carabosse, Cassandra and Miranda sending up I Know Him So Well.
Ella gained Tommy Cannon’s permission to reprise a Cannon & Ball slapstick classic, as Cinderella, Cassandra and Miranda push, pull and drag each other off a wall while striving to sing a romantic ballad. Howlett, McKeller and Cornell look exhausted from all their exertions, the audience cheers rising with each tussle.
Spot the difference: Jamie McKeller’s Cassandra and Michael Cornell’s Miranda in matching costumes as things turn Ugly for the shopaholic sisters in Rowntree Players’ Cinderella. Picture: Angela Shaw, York Camera Club
The costume team of coordinator Leni Ella, Andrea Dillon, Jackie Holmes and Claire Newbald adds fun and flair to the finery, while set designers Howard Ella, Anna Jones, Paul Mantle and Lee Smith turn their hands to all manner of scenes with aplomb.
Musical director James Robert Ball’s band fires up pop hits and musical favourites alike with dynamic delivery, aided by fellow keyboard player Jessica Viner providing the musical orchestrations with her customary zest.
Difficult to write? Maybe, but Ella and McDonald’s setpiece-driven Cinderella is a joyous, riotous start to the York pantomime season.
Performances: 7.30pm plus 2pm Saturday matinee, all sold out. Box office for returns only: 01904 501935.
Travelling by unicorn: Sara Howlett’s Cinderella, aboard her carriage, heads for Prince Charming’s ball
Classrooom comedy: Sara Howlett, left, Laura Castle and Sophie Bullivant in rehearsal for Rowntree Players’ production of John Godber’s Teechers Leavers ’22
ACTOR, voiceover artist, filmmaker, tour guide, pantomime villain and York ghost-walk host Jamie McKeller is turning his hand to directing.
More precisely, he is reacquainting himself with the director’s seat after a 15-year hiatus, at the helm of former teacher John Godber’s 2022 update of Teechers, his state-of-education play originally commissioned by Hull Truck Theatre for £100 in 1984.
Why now, Jamie? “I did the Rowntree Players’ pantomime last Christmas [playing the Sheriff of Nottingham in Babes In The Wood] and had a great time. Afterwards, Howard [Ella, the director] said, ‘we’re doing Teechers next’, and I thought, ‘Ooh, it’s been a while since I directed, I fancy doing that’. So, I pitched for it, and later that week the committee said yes.”
Jamie’s production of Teechers Leavers ’22 opens at the Joseph Rowntree Theatre, York, on Thursday with an all-female cast – YorkMix radio presenter Laura Castle as Gail, Joseph Rowntree School drama teacher Sophie Bullivant as Salty and Rowntree Players regular Sara Howlett as Hobby – in keeping with Godber’s revised version for Hull Truck Theatre’s 50th anniversary last year.
Gail-force: Laura Castle as Gail in Teechers Leavers ’22
In Godber’s play within a play, they adopt multiple roles as the trio of Year 11 school leavers put on a valedictory performance, inspired by their new drama teacher but hindered by myriad obstacles and classroom poltics that vex playwright and pupils alike.
Jamie is no stranger to fellow Yorkshireman Godber’s work, both on and off stage. “I’ve been in Bouncers twice, as Judd and Les, but I’m still too young for Lucky Eric, so there’s time yet for that,” says Scarborough-born Jamie, who is 42.
“I was Salty in Teechers and did Lucky Sods in 2004, and I’ve already directed Teechers once in Scarborough in 2003 and Bouncers once too.”
In fact, whether in his university days at Hull University from 1998 or when studying Performance: Theatre at York St John University from 2006 to 2008 or working his way through Terry Pratchett stories at the YMCA Theatre in Scarborough, when doing his BTEC in theatre, he has directed more than 20 productions.
Class act: Sara Howlett’s Hobby
“But it’s now been a long time since I last directed a play. Not counting my self-directed shows that I took to the Edinburgh Fringe for five years, the last one was Danny King’s The Pornographer Diaries in 2008, here in York at Friargate Theatre, but originally I always wanted to be a director more than an actor,” says Jamie.
“I’d like people to become aware of me as a director as I’d forgotten the passion I had for it, and it’s where I feel most at home, cooking up ridiculous visuals in my head – so working with these three actors has been an absolute dream.”
6ft tall Jamie is a familiar cloaked figure on the streets of York at night, in the guise of spookologist Doctor Dorian Deathly, ghost tour guide for the award-winning Deathly Dark Tours, but he has a posse of guides to call on, enabling him to take time away from his “night job”, whether to do panto last winter or be at the helm of Teechers.
His enthusiasm for play and cast alike is writ large. “What I really like about Godber is that he’s always prefaced his scripts by saying, ‘make it work for your cast, make it work for the times, because if you don’t update it, it will be a museum piece,” says Jamie.
Match play: Sophie Bullivant’s Salty
“We’re delighted to be doing the 2022 version, where we’ve kept the politics, but eased back on the Covid material, as we’ve lived through it, though it’s still there in the dialogue, but just not at the forefront.”
Godber’s impassioned belief in the importance of the arts in the curriculum hits home with Jamie, from past experience. “The resources at York St John were being shrunk all around me. The Chapel theatre was closed in 2006, just before I went there, to become a conference hall, and I ended up rehearsing my last play there in my garden and then staging it in the quad at York St John as a sort of protest. That struggle for facilities still resonates with me,” he says.
“I make my living out of performing, but after a ghost walk tour, I’ve been asked ‘what else do you? Don’t think you should have a proper job?’. There’s still that dismissive attitude towards creativity as an occupation.”
On a positive note, Jamie loves the musicality in Godber’s writing. “When you get it right, it’s almost like Shakespeare, where if you see it performed poorly it’s an unpleasant experience, but it can be wonderful. That’s the same with Godber, which is why we’ve done lots of work on the rhythm and tempo,” he says.
Jamie McKeller’s other fella: Teechers director in his guise as Doctor Dorian Deathly, spookologist and ghost-walk host
Selected from open auditions, Castle and Bullivant are making their Rowntree Players debuts alongside Sara Howlett. “We wanted to find three actors that would instantly gel,” says Jamie. “We weren’t looking for the greatest actors, but the best combination, and they turned out to be great actors too!
“Having these three together, they’ve definitely bonded and become friends as well, meeting outside rehearsals and running their lines. They really care about getting it right and doing it well.
“The way it’s written, it requires a heightened style of performance, where you need to fill it with physicality too – and they’ve really put in the hard work for such a physically demanding play where they never leave the stage.”
Rowntree Players in Teechers Leavers ’22, Joseph Rowntree Theatre, York, March 16 to 18, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
One question for John Godber
Playwright John Godber
What were the biggest changes/themes you had to include in this reimagined version of Teechers, John?
“OBVIOUSLY, the language has changed, teenagers now have a whole new vernacular which had to be incorporated to make the characters seem real and authentic.
“I also changed the drama teacher character from male to female. Quite simply this is because when I wrote the play, I based that character on myself and my experience as a drama teacher.
“But now I have two daughters – one of whom [Martha] is an actress, the other [Elizabeth] has a PHD in gender studies – so I thought it’d be interesting to make that character female. Also, and this may have just been a coincidence, but many of the teachers I spoke to were women, so it made sense to write it as a female role.
“The impact of the pandemic is also a big theme as I feel it put the whole education system – and its failings, especially for working-class students – under a microscope. Digital poverty is a huge issue now and students not being able to access the internet via a computer or phone during lockdown meant for many – they couldn’t access their education for a major portion of those two years.
“The repercussions of this are huge – isolation, loss of communication skills, diminishing attention spans. However, I truly believe that harnessing the power of storytelling – whether that’s through writing or acting – is a way of overcoming these problems, which is another reason the arts should be a priority now more than ever and why this particular story resonates so much still today.”
