Tag: Opera International

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More Things To Do in York and beyond as March heralds an outburst of song. Here’s Hutch’s List No. 9 from The York Press

Something to be Smug about: Smug Roberts tops Laugh Out Loud Comedy Club bill today

A CHORUS of song, a clash of operas and an eye for comedy fill Charles Hutchinson’s in-box of entertainment for the week ahead.

Extremely rare chance to see Channel 4 legend: Laugh Out Loud Comedy Club presents Smug Roberts, Russell Arathoon, Oliver Bowler and MC Tony Vino, The Basement, City Screen Picturehouse, York, today, doors 3.30pm for 4pm start

BACK in the day, today’s headline act, Manchester humorist and radio presenter Smug Roberts, released the novelty anthem Meat Pie, Sausage Roll (Come on England, Gi’s A Goal) as Grandad Roberts. Three years earlier, he was discovered by Caroline Aherne when playing his first gig. He has since starred in That Peter Kay Thing, Cold Feet, Phoenix Nights, 24 Hour Party People and Buried.

“Smug is one the great unsung heroes of stand-up comedy and one of comedy’s best-kept secrets,” says promoter Damion Larkin. “His act is a joy to behold. A true superstar, he’s arguably the only non-famous genius among his North West contemporaries, and he’s not very often around in town, so make sure you grab this chance to see him.” Box office: lolcomedyclubs.co.uk.

Opera International in Madama Butterfly, on tour from Ukraine at the Grand Opera House, York

Opera dilemma of the day: Either…Senbla presents Opera International’s tour of Ukrainian Opera & Ballet Theatre Kyiv in Madama Butterfly, Grand Opera House, York, tonight, 7.30pm.

BACK by overwhelming public demand, Opera International director Ellen Kent directs Ukrainian Opera & Ballet Theatre Kyiv in Puccini’s Madama Butterfly, the heart-breaking story of the beautiful young Japanese girl who falls in love with an American naval lieutenant.

Expect international soloists, full chorus and orchestra and exquisite sets, including a spectacular Japanese garden and fabulous costume, not least antique wedding kimonos from Japan. Box office: atgtickets.com/york.

English Touring Opera in rehearsal for The Capulets And The Montagues, playing York Theatre Royal tonight. Picture: Craig Fuller

Or…English Touring Opera in What Dreams May Come, York Theatre Royal Studio, today, 2.30pm; The Capulets And The Montagues, York Theatre Royal, tonight, 7.30pm

ENGLISH Touring Opera return to York Theatre Royal with a brace of Shakespeare-inspired new productions. Mixing puppetry with works by Purcell, Finzi, Amy Beach and Britten, performed by a chamber ensemble, What Dreams May Come draws on hundreds of years of music inspired by and adapted from Shakespeare’s plays and poetry to depict the joys and sorrows of a long life well lived.

The Capulets And The Montagues, Bellini’s gritty re-working of Romeo And Juliet, brings the warring families’ emotional and political struggle to life with devastating power. Soprano Jessica Cale sings the role of Giulietta opposite mezzo-soprano Samantha Price as Romeo. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Stamford Bridge Community Choir: Performing at York Community Choir Festival on March 5. Picture: Murray Swain

Festival of the week: York Community Choir Festival, Joseph Rowntree Theatre, York, tomorrow until March 8, 7.30pm nightly, except 6pm tomorrow, plus  2.30pm Saturday matinee

A FESTIVAL that began in 2016 with only 11 choirs now comprises eight concerts showcasing up to five choirs per night. More than 1,250 singers, including school groups and choirs from Harrogate, Selby and Malton as well as York, will perform diverse music styles from pop to classical.

Among the choirs will be Stamford Bridge Community Choir, who will use Makaton signing in their March 5 performance. Full details of all the choirs and their programmes can be found at josephrowntreetheatre.co.uk/whats-on/all-shows/york-community-choir-festival. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Visible Women company members Caroline Greenwood, left, Linda Fletcher, Helen Wilson and Marie Louise Feeley: Two evenings of monologues for York International Women’s Week

York International Women’s Week (March 3 to 9): Lyrics Of Life by Visible Women, Black Swan Inn, Peasholme Green, York, March 4 and 5, 7.30pm to 9.15pm

VISIBLE Women, a group of “mature female performers” from York, present both well-known and lesser-known monologues over two evenings.

“We met last year in York Settlement Community Players’ production of Terence Rattigan’s Separate Tables, which had good parts for older women,” says York theatre group member Helen Wilson. “But as most playwrights are male, plays tend to be male dominated, so here we are doing our own thing!

“There are still not enough plays giving women of our age a platform. As Visible Women, we want to redress the balance. Let’s move this forward. Come along for an evening of entertainment for a good cause.”

Material by Alan Bennett, Joyce Grenfell and York playwright Sara Murphy, winner of the first Script Factor in York, will feature. Box office: email basicbafmaw@gmail.com or pay on the door. Proceeds from ticket sales (£7 each) will be donated to York Women’s Counselling (yorkwomenscounselling.org).

Rob Auton: One in the eye for comedy at The Crescent, York, on March 5

The eyes have it:  Rob Auton: The Eyes Open And Shut Show, Burning Duck Comedy Club at The Crescent, York, March 5, 7.30pm; Leeds City Varieties Music Hall, May 3, 7.30pm

“THE Eyes Open And Shut Show is a show about eyes when they are open and eyes when they are shut,” says surrealist York/Barmby Moor comedian, writer, artist, podcaster and actor Rob Auton. “With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut…thinking about what makes me open my eyes and what makes me shut them.” Box office: York, thecrescentyork.com; Leeds, 0113 243 0808 or leedsheritagetheatres.com.

Fíonna Hewitt-Twamley in Myra’s Story, a tragic tale of a middle-aged homeless alcoholic struggling to survive on the streets of Dublin, on tour at the Grand Opera House, York

Charity support of the week: Fíonna Hewitt-Twamley in Myra’s Story, Grand Opera House, York, March 4, 7.30pm

DIRECT from the West End, Irish playwright Brian Foster’s four-time Edinburgh Fringe hit, Myra’s Story, tells the turbulent, tragic tale of a middle-aged homeless alcoholic struggling to survive on the streets of Dublin as she begs from passers-by on Ha’penny Bridge.

Performed by Fíonna Hewitt-Twamley, this show will benefit Restore, the York charity that provides accommodation and support to those who would otherwise be homeless. The charity will be on hand to collect donations. Box office: atgtickets.com/york.

Queenz: On song in Drag Me To The Disco at the Grand Opera House, York

Drag show of the week: Queenz, Drag Me To The Disco, Grand Opera House, York, March 5, 7.30pm

JOIN the gals for “an electrifying, live vocal, drag-stravaganza, where Dancing Queenz and Disco Dreams collide for the party of a lifetime”, created and produced by David Griego. Flying their rainbow-coloured flag high in the sky, Bella Du-Ball, Dior Montay, Candy Caned, Billie Eyelash and ZeZe Van Cartier serve up sass, singalongs and a message of love, equality and acceptance.

Craig Colley, alias Billie Eyelash, says: “Drag queens really do come in all shapes and sizes, but if you want to see some hilarious, stupidly talented, beautiful and of course humble ones, Queenz really is the show for you.” Age guidance: 14 plus. Box office: atgtickets.com/york.

Gorka Marquez and Karen Hauer: On Speakeasy terms at York Barbican

Dance spectacular of the week: Karen Hauer and Gorka Marquez, Speakeasy, York Barbican, March 6, 7.30pm

STRICTLY Come Dancing professionals Karen Hauer and Gorka Marquez follow up Firedance with new show Speakeasy on their biggest tour so far. Expect exhilarating live music and breathtaking choreography as they unlock the door to an undercover world of elegance and iconic dance flavours. 

From the clandestine New York Speakeasy to the sultry Havana dance floors and from the burlesque cabaret clubs of the mid-1900s to the glittering mirror balls of Studio 54, this “delicious dance experience” serves up Mamba, Salsa, Charleston, Foxtrot and Samba moves.  Box office: yorkbarbican.co.uk. Also taking to the Yorkshire dance floor at Hull City Hall, March 5; Sheffield City Hall, March 9, and Bradford St George’s Hall, March 15.

In Focus: York Late Music presents Trifarious: Roger Marsh At 75, today, 1pm; Elysian Singers, Arvo Pärt At 90, today, 7.30pm, both at Unitarian Chapel, St Saviourgate, York

Trifarious: Marking Roger Marsh At 75 with this afternoon’s concert

YORK Late Music celebrates the music of Roger Marsh, a major contributor to the music and academic life during his time as Professor of Music at the University of York (1989 – 2019).

The programme includes works by Luciano Berio and Toru Takemitsu, who both have had a strong influence on his music, alongside pieces by two of his former students, Tom Armstrong and David Power.

Roger is coming over from France to hear this Roger Marsh At 75 concert.

Programme: Roger Marsh: Ferry Music; Tom Armstrong: The Chief Inspector Of Holes; David Power: Six De Chirico Miniatures – first performance; Toru Takemitsu: A Bird Came Down The Walk; Luciano Berio: Wasserklavier; Luciano Berio: Erdenklavier, and Roger Marsh: Easy Steps.

Here are Roger’s programme notes for the two works:

Ferry Music (1988) – for clarinet, piano and cello. This trio is composed around material originally invented for a music theatre piece Love On The Rocks – a piece concerning the mythical Charon, who poled the dead across the river into Hades. 

The piece is in five short movements, and the ferry takes approximately eight minutes to complete the crossing. For today’s performance the cello part has been rewritten for viola by Tom Armstrong.   

Easy Steps (1987) – for solo piano. The title Easy Steps may be misleading.  For the performer there is nothing easy aboutthis piece, some passages requiring a level of virtuosity which the Associated Board mayfind difficult to quantify. 

Rather the title has to do with the structure of the piece –alternating sections, horizontally then vertically conceived, increasing in complexity byeasy steps. 

Elysian Singers: Celebrating Arvo Pärt At 90 tonight. Picture: Linda Dawson

Elysian Singers: Arvo Pärt At 90

AS the great Estonian composer Arvo Pärt turns 90 this year, the Elysian Singers celebrate his enormous contribution to choral music over the last half century. York Late Music includes two of his most substantial unaccompanied pieces, alongside works by Baltic and American composers who were influenced by him.

Programme: Arvo Pärt: Nunc Dimittis; Ola Gjeilo: Ubi Caritas; Eriks Esenvalds: The Heavens’ Flock; Morten Lauridsen: Madrigali; Eric Whitacre: When David Heard; David Lancaster: Of Trumpets And Angels – first performance, and Arvo Pärt: Seven Magnificat Antiphons

Here is David Lancaster’s programme note for Of Trumpets And Angels:

THIS new is a setting of John Donne’s Holy Sonnett XIII (What if this present were the world’s last night). This text contemplates the possibility of the current moment being the end of the world – something we may have all considered in recent days!

With this in mind, he focuses on the image of Christ crucified, questioning whether or not he should be afraid. He observes Christ’s tears and the blood from his wounds, wondering if such a compassionate figure could ever condemn him to damnation.

In the sestet, Donne seeks to atone for his earlier sins, in particular his love for ‘profane mistresses’, recognising the fallacy of making judgements based on outward appearance alone, and concluding that a beautiful appearance (like that of Christ) is indicative of a compassionate and merciful mindset.

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How Ellen Kent defies Russian war to keep Ukrainian Opera on tour, heading for York

Ukrainian Opera and Ballet Theatre Kyiv in Ellen Kent’s production of La Boheme for Opera International

OPERA International director Ellen Kent returns to the Grand Opera House, York, tomorrow and on Saturday to present the Ukrainian Opera & Ballet Theatre Kyiv in Puccini’s La Boheme and Madama Butterfly.

As ever, the insurgence of President Putin’s Russian forces into Ukraine – now past its third anniversary – has presented Ellen with logistical challenges to bring the Kyiv singers and musicians from Eastern Europe to British shores, but emotional challenges too.

“Last year, the wife of Vasily, the orchestra director, was killed in their flat by one of Putin’s bombs” she says. “Vasily had gone shopping with his daughter and they came back to find  her dead. He only recognised her in the rubble by her hair.

“He said: ‘I promise I will come on tour, but please let me bury my wife first’. Can you imagine what these people are having to go through? And yet he still came on tour.

“They are such proud people, and I almost feel Ukrainian myself, having worked with them since 2001, when I started with Odessa Opera. How can Trump and Putin meet without Volodymyr Zelensky? It’s completely undemocratic. Why are we so frightened of America? Because they are so powerful? If they leave Zelensky out of discussions, how outrageous is that?” [Editor’s note: Ellen was speaking on February 20.]

Every performance on tour climaxes with a show of support for Ukraine. “We bring out the Ukrainian flag and a great big banner at the end, when we sing the Ukrainian national anthem accompanied by the whole orchestra,” says Ellen.

A scene from Ellen Kent’s Opera International production of La Boheme, featuring the Ukrainian Opera and Ballet Theatre Kyiv, on tour at the Grand Opera House, York

“All the audience rise to their feet without being prompted. It’s very emotional and a wonderful end to the opera. It’s a very, very moving experience and the audience love it, as it adds an extra level to the performance – and I’ve never had so many nice letters.

“We are the only company touring over here from Ukraine, which is significant, just as it was in 2001, but it’s even more so now.  I’ve even received medals in Ukraine as the first person to bring Ukrainian performers into the UK.”

Aside from 2020-2021, when Covid intervened, Ellen has continued to tour Ukrainian productions for more than two decades. “But this tour is probably the most difficult of my life – it’s been a bl**dy nightmare,” says the veteran director, who will turn 76 in April.

“We bring them, through the war, out of Ukraine into Moldova on buses, to stay in Air B&Bs and hotels for a month of rehearsals in November and December, and then they return to Ukraine till the end of January, when they come across the border to Krakow, from where we fly them over here.”

Ellen continues: “We’ve faced challenges every single day. Serious problems. We get the necessary permission to bring the men on tour, but any man aged over 25 has to fight in the war; any man under 25 doesn’t, but there are exceptions, like if they are working for the big opera houses, they are exempt over 25 too.

“It’s a right palava as it has to go through the Minister of Culture to get permission, but the thing that makes me nervous is that we heard there were gangs going round in vans, kidnapping men to round them up to fight, and I was terrified that would happen to our men.

Opera director Ellen Kent

“It’s been very stressful, with changes of rules all the time, with a change of Minister of Culture, and we’ve had to deal with the Minister of Defence too.”

Ellen and Opera International have faced these difficulties for three years. “We know the process, but it’s beset with problems, and the new Minister of Culture is from the military. It’s got more and more military, which is inevitable.”

There has been a resulting impact on the Opera International tours. “Sometimes my orchestra could be bigger and I have to use a lot of young men because of the situation,” says Ellen. We’re getting younger and younger musicians now, perhaps a little younger than we would normally have.”

Nevertheless, Opera International resolutely keeps on touring,  with three productions this time, Verdi’s La Traviata completing the line-up, with international soloists aplenty: Korean soprano Elena Dee,  Ukrainian soprano Viktoria Melnyk, Ukrainian mezzo-soprano Yelyzaveta Bielous, Georgian tenor Davit Sumbadze and Armenian tenor Hovhannes Andreasyan.

“I’ll be coming up for the York performances, to remind me of my days when I was a young actor, performing at York Theatre Royal in the days of Richard Digby Day [artistic director from 1971 to 1976],” says Ellen. “Happy days!”

Senbla and Opera International present Ukrainian Opera and Ballet Theatre Kyiv in La Boheme, tomorrow, 7.30pm, and Madama Butterfly, Saturday, 7.30pm; both sung in Italian with English surtitles (CORRECT). Box office: atgtickets.com/york.

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Ellen Kent directs Ukrainian Opera & Ballet Theatre Kyiv in La Bohème and Madama Butterfly at Grand Opera House in February

The Ukrainian Opera & Ballet Theatre Kyiv’s La Bohème

THE Ukrainian Opera & Ballet Theatre Kyiv will perform Puccini’s La Bohème on February 3 and Madama Butterfly the following night at the Grand Opera House, York.

Senbla presents these Ellen Kent touring productions for Opera International with a traditional style of staging, beautiful sets and costumes, international soloists, chorus and full orchestra.

Ukrainian soprano Alyona Kistenyova, Korean soprano Elena Dee and French soprano Olga Perrier are the tour soloists for La Bohème, Puccini’s romantic but tragic operatic tale of the doomed, consumptive Mimi and her love for a penniless writer.

The Ukrainian Opera & Ballet Theatre Kyiv’s Madama Butterfly

Bohemian art, a brass band, snow effects and Muzetta’s dog will feature in the tale of Parisian love and loss, noted for such arias as Your Tiny Hand Is Frozen, They Call Me Mimi and Muzetta’s Waltz, sung in Italian with English surtitles.

Dee, Kistenyova and Ukrainian mezzo-soprano Natalia Matveeva return in Kent’s Madama Butterfly, winner of the Best Opera Awards in the Liverpool Daily Post Theatre Awards.

Madama Butterfly’s heart-breaking story of the beautiful young Japanese girl who falls in love with an American naval lieutenant will be staged with exquisite sets, including a Japanese garden, and costumes topped off by antique wedding kimonos from Japan. Among the highlights will be Humming Chorus, One Fine Day and Love Duet.

Both 7.30pm performances will be sung in Italian with English surtitles. Tickets are on sale at atgtickets.com/york or on 0844 871 7615.

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Bohemian Paris, snow machines and a dog combine in Ellen Kent’s La Bohème

Ellen Kent’s production of La Boheme: lighting up the Grand Opera House, York, on March 20

OPERA producer and director Ellen Kent returns to the Grand Opera House, York, with a brace of Puccini productions next week.

Under the Opera International umbrella, she presents La Bohème on March 20 and Madama Butterfly the following night, with sopranos Elena Dee, from Korea, and Alyona Kistenyova, from Odessa National Opera, billed for the 7.30pm performances, subject to cast changes.

Ukrainian tenor and former military pilot Vitalii Liskovetskyi, from the Kiev National Opera, will be reprising his role as Rodolfo in La Bohème; Spanish tenor Giorgio Meladze, who sang with José Carreras in 2014, plays Pinkerton in Madama Butterfly; Moldovan baritone Iurie Gisca will be singing Marcello in La Bohème.

Soprano Marina Tonina takes the role of Musetta in La Bohème and both productions will feature a full chorus, orchestra and sumptuous sets and be sung in Italian with English surtitles.

Set in the backstreets and attics of bohemian Paris, La Bohème tells the tragic tale of the doomed romance of consumptive seamstress Mimi and penniless Rodolfo.

Madama Butterfly’s heat-breaking story of the beautiful young Japanese girl who falls in love with an American naval lieutenant, with entirely predictable consequences in the world of opera, will be staged with a Japanese garden and antique wedding kiminos.

Tickets are on sale on 0844 871 3024 or at atgtickets.com/york.

Look out for the dog in Ellen Kent’s La Boheme next week

Here, Ellen Kent answers questions on her 2020 production of Puccini’s opera of love and loss, La Bohème, a touring show inspired by Ellen reading George Orwell’s Down And Out In Paris.

What can the Grand Opera House audience expect from your production, Ellen?

“I like to provide shows at a very high level and I like large productions, so the feel is very much of a big show.

“I try to put everything into it, from the sets to the artists on the stage, and I like to add things. For example, with La Bohème, I have these fabulous visuals. I’m a very visual director and producer, so I give audiences the whole package.

“The overall experience is of something that is very beautiful, with gorgeous and spectacular sets. The curtain goes up and, depending on the opera of course, I want the audience to feel the ‘Wow’ factor. The sets have got to be beautiful and I like to wrap something visually stunning around the plot.”

How are you staging La Bohème?

“It’s set in the French Impressionist period, so my sets reflect that. For instance, I’ve gone for a beautiful Chagall and Renoir feel and it’s quite stunning. You get this beautiful French Impressionist flavour and everything is done to serve that, so when you look at it, it’s a bit like an Impressionist painting.

“I like to dress my sets, so in La Bohème, for instance, Act One is set in an attic and it’s got all these wonderful rooftops, as if they’ve been painted by one of the great French artists.

“Then I like to add something more realistic, so you have this sort of Impressionist painting but we’ve also got windows lit up and we have smoke coming out of a few of the chimneys.

“I’ve got a human skeleton – though not a real one of course – which I’ve dressed with a hat and a scarf. We also have a dog on stage; a brass band; snow machines; a carnival effect; the cafe with waiters running around, a market stall.

“I want the audience to feel the ‘Wow’ factor ,” says opera producer and director Ellen Kent

“The whole thing is a visual feast and I always like to draw on the period an opera is set in. I do have an Eiffel Tower, which of course was built later, but that’s a bit of poetic licence.” 

Why is La Bohème so beloved?

“With [Jonathan Larson’s American musical] Rent basing itself on La Bohème, for example, people use Puccini’s operas as benchmarks to build modern musicals on, which shows how strong the stories and themes in his operas are.

“The music is beloved because it’s so great and La Bohème is my personal favourite because you have this poignant story wrapped around this fabulous music. There’s something rather special about Puccini’s scores and the stories that go with them are very well constructed. Some of what the characters sing is heart-rending, and people love tragedy.

“La Bohème is a very sad little story and it’s got Puccini’s wonderful music and moments of great poignancy. There’s something about the violins that brings up those goosebumps and goes straight to your soul.

“It also has a lot of comedy, which I like to bring out. Opera should be giving you the whole deal – wonderful music, gripping storylines – and these two really deliver.” 

How does La Bohème fit into the timeline of Puccini’s work?

“Like Verdi, he started off with these great Biblical-style operas, such as Turandot, for instance. They’re big storylines, not necessarily personal dramas. Then everything changed around the 1830s, when realism and domestic storylines became fashionable.

“Puccini jumped on to the bandwagon. La Bohème is about a domestic tragedy and it is complete realism. It’s about very poor people living in the deprived parts of Paris: these artisans and poets starving in garrets and living in mindless poverty.” 

Has Rent opened up La Bohème to new audiences?

“Yes. I tend to take a musical theatre approach to operas, with lavish visuals, and I get a lot of people coming to the shows who haven’t been to an opera before but they’ve seen big musicals like Miss Saigon or Rent. I firmly believe in opening up opera to the masses.” 

Your production will be sung in Italian with surtitles, rather than in English. Does that reflect the purist in you?

“I can’t stand operas in English! I am a purist in that regard; you start putting them into English and the whole sound changes. Puccini wrote with Italian vowels, and when you’re singing, you need that Italian in the voice, instead of clipped British intonations. “And, of course, surtitles open opera up to the masses and they’re much better than just having a synopsis in the programme.

“We do that too, but the actual words used are poetic and moving. The librettos are extremely good pieces of writing and you get all this emotion coming out of the words, matched by the emotion coming out of the music. You put those two together and the audience gets a much better experience.” 

” I can’t stand operas in English!” says Ellen Kent. “I am a purist in that regard; you start putting them into English and the whole sound changes “

What first sparked your love of opera?

“I was born in India to a colonial father and my mother was known as the queen of amateur operatics in Bombay. My mother loved producing and putting on shows – and they were really good, actually.

“She managed to put me into every single opera from about the age of four. I’d be dressed in these wonderful costumes and I loved it. Then we moved to Spain and we’d go see all the – rather bad – travelling operas.

“That said, from the age of six, I declared I wanted to be a film star. Eventually, after my father had retired, I enrolled at Durham University to do a degree in Classics to appease him because he insisted ‘You’ve got to have some academic education’.

“I don’t regret doing that degree now because it’s given me a wonderful background for all the operas I’m doing. After I finished my degree, I went to the Bristol Old Vic Theatre School, trained as an actress, singer and dancer, because although I got a place at the Royal Academy of Music to go be an opera singer, I decided it was too narrow a field.” 

What happened after you left theatre school?

“I went on to acting and musicals and was putting on European children’s theatre when Rochester City Council, who were among the people funding me, asked me to put on a children’s show in Rochester Castle gardens.

“I don’t know where these notions come from, but I found myself saying, ‘I don’t think that’s really suitable but opera might work’. So, that’s how it all started, with an outdoor production of Nabuccoin 1992 to 7,000 people.

“I remember the sun sinking over the River Medway with all these people having picnics. We had champagne tents, candelabras, the whole works, and I thought, ‘this is what I want to do. It’s fantastic. I’m going to do opera’. Since then, it’s been a series of wonderful adventures.” 

Why is it important to take opera to regional theatres?

“I’m quite an instinctive person so, although I never really thought it through, I just knew audiences in the regions would be hungry for opera. And why go to London when you have these wonderful sites – these outdoor arenas and lovely big theatres – all around the country?

“I felt that half the population didn’t know how wonderful these works were and I’ve never changed my concept of it. The regions are where these shows need to be.”

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