Sam Hird: Singing Sondheim with Pick Me Up Theatre
ROYAL College of Music student Sam Hird returns home to York to join his father Mark Hird in the Pick Me Up Theatre company for Sondheim We Remember at Theatre@41, Monkgate, York, from March 27 to 30.
Taking part too in this celebration of New York composer and lyricist Stephen Sondheim will be director Helen ‘Bells’ Spencer, Susannah Baines, Emma Louise Dickinson, Alexandra Mather, Florence Poskitt, Andrew Roberts, Catherine Foster, Nick Sephton and Matthew Warry.
Planned originally for 2020 before Covid intervened – and Sondheim’s death on November 26 2021 at the age of 91 – Pick Me Up’s show features music from his Broadway shows, film scores and TV specials. Tickets for the 7.30pm evening shows and 2.30pm Saturday matinee are on sale at tickets.41monkgate.co.uk.
Pick Me Up Theatre’s company of singers for Sondheim We Remember
Pick Me Up will make a swift return to Theatre@41 with a second Sondheim show, his 1984 musical collaboration with playwright and director James Lapine, Sunday In The Park With George, from April 5 to 13.
Inspired by Georges Seurat’s pointillist painting Sunday Afternoon On The Island Of La Grande Jatte, the musical follows Seurat (played by Adam Price) in the months leading up to the completion of that famous work.
Seurat alienates the French bourgeoisie, spurns his fellow artists and neglects his lover Dot (Natalie Walker), not realising that his actions will reverberate over the next 100 years.
Performances will start at 7.30pm on April 5, 6 and 9 to 13, plus 2.30pm on April 6, 7 and 13. Box office: tickets.41monkgate.co.uk.
Picture pose: Pick Me Up Theatre’s Emma-Louise Dickinson, as Celeste, adds to the scene in Georges Seurat’s painting Sunday Afternoon On The Island Of La Grande Jatte, the inspiration for Stephen Sondheim and James Lapine’s musical Sunday In The Park With George
Tony Froud: Directing York Shakespeare Project’s rehearsed reading of the rarely performed Edward III
PHASE Two of York Shakespeare Project begins with a staged rehearsed reading of Edward III upstairs at the Black Swan Inn, Peasholme Green, York, on February 7.
This rarely performed 1592 history play is now widely accepted as a collaboration between William Shakespeare and Thomas Kyd, replete with its celebration of Edward’s victories over the French, satirical digs at the Scots and depiction of the Black Prince.
Rehearsed February readings will be a regular part of YSP’s broadened remit to include work by the best of Shakespeare’s contemporaries, alongside a second staging of all his works, over the next 25 years.
Tony Froud’s cast will be led by Pick Me Up Theatre luminary Mark Hird in the title role. “At short notice, I’ve been able to bring together a strong cast that mixes YSP stalwarts, such as Liz Elsworth and Emma Scott, with new faces to us, such as Mark,” says Tony.
Hird’s King Edward will be joined by Elsworth’s Derby and Queen Philippa; Scott’s Gobin de Grey, Villiers, Frenchman 3 and Captain; Ben Thorburn’s Prince Edward; Nell Frampton’s Warwick and Salisbury; Bill Laverick’s Audley and Messenger and Stuart Lindsay’s Lodowick, Frenchman 4 and King David.
Mark Hird: Cast as King Edward in Edward II, his York Shakespeare Project debut
In the company too are: Sally Mitcham’s William Montague, Jon Copland, Herald 1, Frenchman 2 and Earl Douglas; Joy Warner’s Squire, Artois and Frenchman 1; Tom Jennings’s Herald 2 and Prince Charles; Jodie Fletcher’s Herald 3, Lorraine, Mariner and Messenger 2; Harry Summers’ King John and Lara Stafford’s Prince Philip and Countess Salisbury.
“It will be a one-night-only show, following the pattern of Ben Prusiner’s season of John Fletcher comedies and Jim Paterson’s A Midsummer Night’s Dream, which showed the impressive quality of performance that can be achieved in a short time by a good cast,” says Tony.
“The rehearsed reading puts a great emphasis on the language, so do come along to meet some colourful characters and hear some fabulous language in a plot that will take you from London to Calais via Northumberland and Crecy.”
Tickets for the 7.30pm performance cost £5 on the door or at eventbrite.com/e/edward-iii-tickets-518511741577.
Meanwhile, preparations are well under way for Dr Daniel Roy Connelly’s debut YSP production of Richard III at Friargate Theatre, Lower Friargate, York, from April 26 to 29. Auditions are in their “final phase”.
Sanna Jeppsson in noblewoman Viola’s guise as young actor Thomas Kent. Picture: Matthew Kitchen
SHAKESPEARE In Love was a film about theatre, as much as it was about love. Now it is a play about theatre, with even more theatre in it, more Marlowe as well as Shakespeare, as much as it is still about love.
It makes perfect sense to transfer the period rom-com from screen to its natural bedfellow, the stage, and who better than Lee Hall to effect that transition.
For the north-eastern mining and dancing drama Billy Elliot, he adapted his own screenplay; this time, he makes merry with Tom Stoppard and Marc Norman’s boisterous and romantic script for John Madden’s 1999 award-winner, ruffing it up to the neck in Shakespeare in-jokes, but not roughing up its sophisticated wit.
Robert Readman: Producer, set designer and builder, costume guru and thespian, playing hammy Elizabethan actor Ned Alleyn. Picture: Matthew Kitchen
Pick Me Up Theatre’s always quick-off-the-mark founder, Robert Readman, was typically speedy to pick up the rights to Shakespeare In Love for the York company’s tenth anniversary, whereupon a series of spot-on decisions were made.
First, appoint Bard buff and Pick Me Up ace card Mark Hird to direct the rollicking romp. Second, bring George Stagnell back to the York stage to play the title role. Third, talent-spot Swedish-born Sanna Jeppsson in York Settlement Community Players’ The 39 Steps (even when it fell at the first step, called off through cast illness after one night last November).
Four, utilise Readman’s skills, not only as producer and designer/builder, but also his dormant love of performing. When you need a thick slice of ham to play larger-than-life Elizabethan actor Ned Alleyn, “prince of the provinces”, who you gonna call? Why, Mr Readman, of course, tapping into his inner plummy Simon Callow.
Sanna Jeppsson’s Viola de Lesseps and George Stagnell’s Will Shakespeare mutually admire his newly quilled lines in Shakespeare In Love. Picture: Matthew Kitchen
Readman has conjured an end-on, raised stage built for the outdoors, but no less suited to the John Cooper Studio’s black box, with its echoes of Shakespeare’s Globe or the Rose; decorative flowers; curtains to cover amorous going-ons behind, and traps for hasty exits and entries.
Ensemble cast members sit beside the stage apron, watching the action when not involved. On a mezzanine level, musical director Natalie Walker and Royal College of Music student Tom Bennett are playing Paddy Cunneen’s gorgeous score.
Hird’s company looks the Elizabethan part too, Readman’s costume brief requiring hires from the Royal Shakespeare Company, no less, as well as York Theatre Royal and Leeds Playhouse, plus ear studs and earrings aplenty (for the men).
Ian Giles’s Henslowe and Andrew Roberts’s Ralph. Picture: Matthew Kitchen
Praise too for Emma Godivala and York College’s work on hair, fake moustaches and make-up, especially for Jeppsson when taking the guise of young actor Thomas Kent.
The make-up for the men is deliberately heavy, in keeping with Shakespeare’s day, but everything else is conducted with a delightfully light touch under Hird’s direction, where the next scene chases the previous one off the stage, such is the gleeful urgency to crack on with such a cracking plot replete with cross-dressing, swordplay and backside-biting puppetry (courtesy of Elanor Kitchen’s Spot the Dog).
The only slowness is in the pace of lines coming to Shakespeare’s quill, surrounded by the company of actors awaiting the next play of his still fledgling career, outshone by dashing, daring Kit Marlowe (Adam Price), amusingly providing his young friend (Stagnell’s Will) with all his best lines.
Adam Price’s devil-may-care Kit Marlowe has a word with George Stagnell’s Will, in desperate disguise for his safety at this juncture. Picture: Matthew Kitchen
Theatre bosses Henslowe (Ian Giles) and rival Richard Burbage (Tony Froud) are vying for Shakespeare’s services; theatre backer “The Money” Fennyman (Andrew Isherwood) keeps applying the financial squeeze, often with menaces; Tilney (Neil Foster), the supercilious Lord Chamberlain with the insufferable killjoy manner of Malvolio, is determined to shut down theatres, whatever excuse he can find.
Queen Elizabeth (Joy Warner) wants a dog to have its day in every play; Guy Wilson’s John Webster just wants a chance; Shakespeare needs a muse. Enter Jeppsson’s Viola de Lesseps, alas promised to the ghastly Lord Wessex (Jim Paterson) against her wishes. Viola is banned from the stage under the rules, but takes the dangerous step of performing as Thomas Kent, and what a performer he/she is.
Viola’s amusing West Country Nurse (Beryl Nairn) becomes the template for that very character in Romeo & Juliet, and as Shakespeare’s work in progress changes from comedy to tragedy, Alleyn plays Mercutio, fabulously outraged at being killed off so early.
Sam Hird, left, and Tom Bennett, from the Royal College of Music, on song in Shakespeare In Love
Shakespeare In Love gives us a developing play within a play, and while it helps to have some knowledge of Shakespeare, Christopher Marlowe, Burbage et al, it echoes Blackadder in having such fun with a period setting and re-writing history, here imagining how Romeo & Juliet and in turn Twelfth Night may have emerged.
What’s more, Stagnell and Jeppsson are a delight in the swelling love story, as well as in delivering Shakespeare’s lines when called on to do so.
Terrific performances abound around them, especially from Price, Isherwood, Paterson and Wilson, a young talent with a gift for physical comedy in the Marty Feldman and Tony Robinson tradition, while Warner’s cameos as Queen Elizabeth are a joy too.
To cap it all, Sam Hird and Tom Bennett’s performance of an Elizabethan ballad is beautiful, typical of a swashbuckling performance that is a palpable hit in every way. If you love theatre, this play is why you do. If you don’t, go anyway and be converted. Tonight until Friday’s shows have sold out but tickets are still available for 2.30pm and 7.30pm on Saturday at tickets.41monkgate.co.uk.
Pen pals:George Stagnell’s Will Shakespeare and Sanna Jeppsson’s Viola de Lesseps in Pick Me Up Theatre’s Shakespeare In Love. All pictures: Matthew Kitchen Photography
YORK company Pick Me Up Theatre mark their tenth anniversary with a rollicking celebration of the joys of theatre, Shakespeare In Love.
Adapted for the stage by Billy Elliot writer Lee Hall from Tom Stoppard and Marc Norman’s screenplay for the Oscar-winning 1999 film, the Elizabethan love story will be performed under the direction of Bard buff Mark Hird at Theatre@ 41, Monkgate, from tomorrow (1/4/2022) to April 9.
First staged by Sonia Friedman Productions in the West End with Cheek By Jowl’s Declan Donnellan in the director’s chair in 2014, Hall’s play was snapped up for its York premiere by Pick Me Up’s ever-alert founder, artistic director, designer and producer, Robert Readman (who will be making a rare appearance as actor Ned Alleyn).
“When Robert got the rights, I read it, and straightaway I thought, ‘my god, it’s brilliant’, with Stoppard and Norman as the starting point for the fantastic script, and Lee Hall then transforming it into a great piece of theatre,” says director Mark Hird.
“Anyone who thinks this Shakespeare In Love will be just the film on stage, it’s absolutely not. It’s so theatrical, and that makes it such a joy to put on. That’s what so special about it: it’s a love letter to theatre as well as being a great love story.
Where there’s a quill, there’s a way: George Stagnell’s Will Shakespeare at work
“Anyone who comes to the play who loves theatre will leave with a great big smile on their face at all the theatrical allusions. Lee Hall has put even more theatre aficionado jokes in there.”
Shakespeare In Love delights in the love story of struggling young playwright Will Shakespeare (played by George Stagnell) and feisty, free-spirited young noblewoman Viola de Lesseps (Sanna Jeppsson), his greatest admirer, who helps him to overcome writer’s block and becomes his muse.
She will stop at nothing, even breaking the law and dressing as a boy actor to appear in his next play, whereupon, in this turbulent world of mistaken identity, ruthless scheming and backstage theatrics, Will’s love for Viola quickly blossoms, inspiring him to write his breakthrough romantic drama, Romeo and Juliet.
“Basically, you have Will Shakespeare right back in the early days of his career, having done Titus Andronicus, Two Gentlemen Of Verona and Henry VI, but he’s not yet had a big hit,” says Mark.
“All Marlowe’s plays are being bigger hits at the time, and in fact there’s a lot more of Kit Marlowe in the play than there was in the film,” says George.
“The play what I wrote”: George Stagnell’s Will shows his latest work to Sanna Jeppsson ‘s Viola
“But the love story is still at the heart of the play, and it’s as beautiful on stage as it was in the film, but there’s now a lot more changes of energy, moving back and forth from the chaotic rehearsals, and all the fun that goes with that, interspersed with the love story,” says Mark.
Sanna first saw the film on Swedish TV with Swedish subtitles before moving to Britain and has watched it again since landing her role as the ground-breaking Viola. “She’s a very brave woman, doing something that was forbidden at the time; something she wouldn’t be allowed to do, being in a space she wouldn’t have had access to as herself, having to take the guise of a boy actor, Thomas Kent,” she says.
“Being on stage, feeling so alive for the first time, I can connect with that. I remember going on a backstage tour of Mamma Mia!, and then getting to go out on to this amazing stage and looking at all those seats, and wanting to be on there performing.
“That’s what I bring with me when Viola comes on as Thomas Kent, knowing she shouldn’t be there, and normally could only imagine the audience looking at her.”
“I always like to go on stage before a show, when the auditorium is empty,” says George. “When it’s quiet and no-one’s there, you take the space in and imagine how it will erupt with life. It’s like the calm before the storm.”
Mark adds: “There’s something about an empty theatre: you can feel the presence of the ghosts of all those who have been there before.”
Sanna rejoins: “A theatre is a space where anything can happen, that moment of magic and then it’s gone.”
George Stagnell’s Will and Sanna Jeppsson’s Viola in disguise as young actor Thomas Kent
George has focused on playing young Will Shakespeare, not the feted Bard. “Pretty much since day one, I’ve had to come in not thinking ‘this is William Shakespeare’,” he says. “I don’t want to have that mentality of thinking about who he became, but to see him as this young man trying to find his way through a very complicated time in history, in the early days of his writing, when there was a lot of history that we don’t know and a lot of conjecture.”
Mark concurs: “That’s what’s so gorgeous about this piece. We all think we know about Shakespeare, but here we are watching a three-dimensional character called Will.”
Sanna had studied Shakespeare “a little bit at school, but not in its original language”, when growing up in Molkom, but when she lived out her long-held dream of moving to London in 2013, she attended the International College of Musical Theatre, rather than focusing on classical theatre.
“Almost every other person in London is an actor, which makes it hard there, and so I moved to York in 2019, where I now work as a civil servant for the Ministry of Justice, sitting on in trials sometimes.”
From courtroom dramas, Sanna’s attention now switches to courtship dramas on stage.
Pick Me Up Theatre in Shakespeare In Love, Theatre@41 Monkgate, York, April 1 to 9, 7.30pm, except April 3 and 4; 2.30pm, April 2, 3 and 9 . Box office: tickets.41monkgate.co.uk.
