Like mother, like son? Susie Blake’s Shirley and Jason Durr’s gangland boss Jonny ‘The Cyclops’ Drinkwater in Torben Betts’s murky comedy thriller Murder At Midnight
TORBEN Betts, once an Alan Ayckbourn protégé at the Stephen Joseph Theatre, is now carving out a niche in savagely dark comic thrillers with “Murder” at play in the title and on stage for touring company Original Theatre.
After the leaden ghost story of Murder In The Dark, set on the Yorkshire Moors, in September 2023, Betts returns to York Theatre Royal – he attended a Q&A on Wednesday – with what director director Philip Franks says is “a difficult play to describe”. “Feydeau, rewritten by Tarantino perhaps,” he settles on in his programme note. Or maybe Joe Orton refracted though Guy Ritchie’s The Gentlemen?
Describing Murder At Midnight as a companion piece to the first part of what is rumoured to be a trilogy, Franks reckons the new play is many things. Murder mystery. Farce. Gangster thriller in the vein of Jez Butterworth or Philip Ridley. Revenge drama. Darkly funny dissection of family life. All true, but frustratingly it ends up is less than the sum of these promising but clunky parts.
What separates Murder At Midnight more from the Miss Marples and Poirot world of crime dramas is the undertow of family drama tugging away beneath the increasingly absurdist violence. As Franks puts it, Murder At Midnight brings together a group of “lost and desperate people looking for love and willing to risk everything for it, even if the search ends in death” (spoiler alert).
Welcome to the swish, all-mod-cons home of southern drug baron and pig farmer Jonny ‘The Cyclops’ Drinkwater (Jason Durr), where Betts gives designer Colin Falconer the challenge of creating five locations in an open-plan design that facilitates quick scene changes in the tradition of farce (but without the usual profusion of doors).
Murder At Midnight director Philip Franks
At Paradise Farm, we see a sitting room, kitchen area, exterior passageway, master bedroom with a giant flamingo print, and Jonny’s man cave, where the back wall is dominated by an homage to his favourite pop star, Robbie Williams.
Cristina (Ukrainian actress Iryna Poplavska in her UK theatrical debut as a Rumanian home help) is in a flap on her phone with petty crook Mister Fish (Callum Balmforth, later to enter dressed as Coco the Clown, later still to reveal his name is Russell). She is trying to put Jonny’s mum, Shirley (Susie Blake) to bed, but Shirley is seeing things (devils mainly) and she may or may not be suffering from dementia.
Cristina’s phone, unlike everyone else’s mobile, only works in the passageway, one of the ways that Betts employs for engineering entrances and exits. He also applies another farce trope, whereby two sets of people are in the spacious house at the same time but unaware of the other.
Unbeknown to The Only Way Is Essex-style girlfriend Lisa (Katie McGlynn), Jonny has arrived home early from a trip and is in the man cave with his henchman, Trainwreck Spencer (Peter Moreton), a “man of unimpeachable character”, he insists, but beholden to a coke habit.
Lisa, meanwhile, has snuck back from a party. A fancy-dress party, which explains why she is dressed as a nun, and heading to the bedroom with her is the “vicar”, Paul (Max Bowden), her bit on the side, who also unbeknown to her, is an undercover cop investigating the murder of Jonny’s first wife, Alex (fed to the pigs apparently). Truly, she was for the chop, you could say.
At your service: Max Bowden’s “vicar” Paul and Katie McGlynne’s “nun” Lisa in Murder At Midnight
Scenes are conducted in parallel, out of sight and hearing of each other, but not for us of course. All the while, Blake’s Shirley has a habit of turning up unannounced and seeing everything. Keep an eye on her; she turns out to be a suffocating mother in the vein of Greek tragedies as Blake gives the most rounded performance.
Betts weaves so many styles and strands into his comedy thriller, even cultural social comment (such as putdowns of Coldplay and class distinction), but without uniting them satisfyingly to find his own voice, and for all seasoned director Philip Franks’ own panache as a comedic actor, the timing is too often off in Act One. Everything has to work just that little bit too hard.
Act Two is slicker, wilder, more violent too, but frankly sillier as it descends into a modern-day Jacobean tragedy with the obligatory pile-up of bodies. There is a nagging feeling throughout that it could and should be so much better. Only Falconer’s set is top notch.
Is Torben Betts getting away with murder, on the evidence of two disappointing plays? Thursday’s matinee was packed, so the answer would appear to be yes. Hopefully, Murder instalment number three will be a killer, however.
Original Theatre in Murder At Midnight, York Theatre Royal, today at 7.30pm, tomorrow, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Susie Blake’s Shirley and Jason Durr’s Johnny ‘The Cyclops’ in Torben Betts’s Murder At Midnight at York Theatre Royal. Picture: Pamela Raith
A NEW crime caper and a ghost story, a clash of the blues and a Tommy Cooper tribute make their mark in Charles Hutchinson’s diary.
Deliciously twisted crime caper of the week: Original Theatre in Murder At Midnight, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
ON New Year’s Eve, in a quiet corner of Kent, a killer is in the house in Torben Betts’s comedy thriller Murder At Midnight, part two of a crime trilogy for Original Theatre that began last year with Murder In The Dark, this time starring Jason Durr, Susie Blake, Max Howden and Katie McGlynn.
Meet Jonny ‘The Cyclops’, his glamorous wife, his trigger-happy sidekick, his mum – who sees things – and her very jittery carer, plus a vicar, apparently hiding something, and a nervous burglar dressed as a clown. Throw in a suitcase full of cash, a stash of deadly weapons and one infamous unsolved murder…what could possibly go wrong? Box office: 01904 623568 or yorktheatreroyal.co.uk.
Alexandra Mather’s Polly Peachum in York Opera’s The Beggar’s Opera at The Citadel in York. Picture: John Saunders
Opera of the week: York Opera in The Beggar’s Opera, The Citadel, York City Church, Gillygate, York, tomorrow to Saturday, 7.30pm
YORK Opera stage John Gay and Johann Christoph Pepusch’s 1728 satirical ballad opera The Beggar’s Opera in an immersive production under the musical direction of John Atkin and stage direction of Chris Charlton-Matthews, with choreography by Jane Woolgar.
Watch out! You may find yourself next to a cast member, whether Mark Simmonds’ Macheath, Adrian Cook’s Peachum, Anthony Gardner’s Lockit, Alexandra Mather’s Polly Peachum, Sophie Horrocks’ Lucy Lockit, Cathy Atkin’s Mrs Peachum, Ian Thomson-Smith’s Beggar or Jake Mansfield’s Player. Box office: tickets.yorkopera.co.uk/events/yorkopera/1793200.
Natasha Jones, left, and Florrie Stockbridge in Clap Trap Theatre’s Blindfold at Helmsley Arts Centre
Ghost story of the week: Clap Trap Theatre in Blindfold, Helmsley Arts Centre, tomorrow, 7.30pm
RYEDALE company Clap Trap Theatre’s cast of Natasha Jones, Florrie Stockbridge and Cal Stockbridge presents Blindfold, a ghost story by BAFTA-nominated North Yorkshire playwright and scriptwriter Tom Needham.
In 1914, two boyhood friends went to fight for their country but only one came back. After the war, the surviving soldier and his sister encounter an old friend who was being haunted by the ghost of a young man in a blindfold. Now, 100 years later, the discovery of letters re-awakens the ghost. Who is he and what does he want? Piece by piece, the lives of the long dead are brought to life and heartbreaking truths begin to emerge. Box office: 01439 771700 or helmsleyarts.co.uk.
Heidi Talbot: Introducing new album Grace Untold at NCEM
Folk gig of the week: Heidi Talbot, Grace Untold UK Tour, National Centre for Early Music, York, tomorrow, 7.30pm
IRISH folk singer Heidi Talbot returns to the NCEM stage to preview her November 21 album Grace Untold, a collection of songs based around Irish goddesses and inspirational women.
This is an album rooted in personal experience and collective lore as Heidi pays tribute to female strength, focusing on legendary figures and the unsung heroines within her own family. Box office: 01904 658338 or necem.co.uk.
Just like him: Daniel Taylor in the guise of Tommy Cooper at Milton Rooms, Malton
Tribute show of the week: Daniel Taylor Productions presents The Very Best Of Tommy Cooper (Just Like That), Milton Rooms, Malton, Friday, 7.30pm
PRODUCED and performed by award-winning West End and Unbreakable star Daniel Taylor, this 90-minute tribute show has the blessing of the Tommy Cooper Estate.
Recapturing the mayhem and misfiring magic of one of Britain’s best-loved entertainers, Taylor gives you a glimpse into the life of the comedy giant, celebrating his best one-liners, dazzling wordplay and celebrated tricks, including Glass/Bottle, Dappy Duck, Spot the Dog and Jar/Spoon. Box office: 01653 696240 or themiltonrooms.com.
Riverdance: The New Generation celebrates the 30th anniversary of the Irish dance phenomenon at York Barbican
Dance show of the week: Riverdance, 30th Anniversary Tour, York Barbican, Friday to Sunday, 7.30pm plus 2.30pm Saturday and Sunday matinees
VISITING 30 UK venues – one for each year of its history – from August to December 2025, the Irish dance extravaganza Riverdance rejuvenates the much-loved original show with new innovative choreography and costumes, plus state-of-the-art lighting, projection and motion graphics, in this 30th anniversary celebration.
For the first time, John McColgan directs “the New Generation” of Riverdance performers, none of them born when the show began. Box office: yorkbarbican.co.uk.
The poster for Them Heavy Souls’ blues revue at Kirk Theatre, Pickering
Blues gig of the week: Them Heavy Souls, Kirk Theatre, Pickering, Saturday, 7.30pm
MARK Christian Hawkins, top session guitarist for 30 years, is a gun for hire stepping out of the shadows with his British blues rock revue show, featuring stage and screen actress Lucy Crawford on vocals (last spotted playing Miss Prism in York company’s Pop Your Clogs Theatre’s The Importance Of Being Earnest).
Playing music from the golden era of 1966 to 1975, Them Heavy Souls capture the power and magic of Led Zeppelin/Jimmy Page, Cream/Eric Clapton, Yardbirds/Jeff Beck, Humble Pie/Peter Frampton and Peter Green’s Fleetwood Mac, delivered with vintage guitars, amplification and a nod to improvisation. Box office: 01751 474833 or kirktheatre.co.uk.
Alex Hamilton: Leading his blues trio at Helmsley Arts Centre
The other blues gig of the week, on the very same night: The Alex Hamilton Band, Helmsley Arts Centre, Saturday, 8pm
GUITARIST Alex Hamilton is joined in his blues/rock/Americana trio by father Nick Hamilton on bass and Martin Bell on drums. He combines melodic rock vocals, hard-hitting lyrics and a heart-felt guitar technique, as heard on his albums Ghost Train, Shipwrecked and On The Radio, as well as in concert venues around the world. Box office: 01751 474833 or kirktheatre.co.uk.
Gunn in for you: Steve Gunn promotes his two 2025 albums at The Band Room this weekend. Picture: Paul Rhodes
Moorland gig of the week: Steve Gunn, The Band Room, Low Mill, Farndale, North York Moors, Saturday, 7.30pm
STEVE Gunn, the ambient psychedelic American singer-songwriter based in Brooklyn, New York, made his name as a guitarist in Kurt Vile’s backing band, The Violators. His myriad magical influences include Michael Chapman, Michael Hurley and John Fahey.
This weekend he will be showcasing his second album of 2025, Daylight Daylight, out on November 7 on No Quarter, as well as his first fully instrumental album, August’s Music For Writers. Box office: 01751 432900 or thebandroom.co.uk.
On being Normal: Henry Normal discusses himself at Helmsley Arts Centre
Normal service resumed: Henry Normal, The Slideshow, Helmsley Arts Centre, Sunday, 8pm
THE Slideshow, as poet, film and TV producer/writer Henry Normal explains, is a multi-MEdia spectacular with the emphasis on the “me” in his celebration of his “meteoric rise to z celebrity status”, together with his joyous and inevitable slide into physical and mental decline.
Expect poetry, photos, jokes, music, dance, song, circus skills, costume changes, props and stories, exploring where Normal went wrong in life, plus lessons you can learn from his mistakes, in his live performed memoir with cautionary verse. For tickets for this adventure into understanding the human condition from the inside, go to: helmsleyarts.co.uk.
Susie Blake’s Shirley in Torben Betts’s comedy thriller Murder At Midnight: “She has a carer, because she has dementia – or has she? Is she, in fact, just having a lovely time?”. Picture: Pamela Raith
ORIGINAL Theatre follow up the 2023-24 tour of Murder In The Dark with another new Torben Betts comedy thriller, Murder At Midnight.
In the cast once more, on her return to York Theatre Royal from October 21 to 25, will be Susie Blake, as Shirley, joined in Philip Franks’ cast of TV familiar names by Jason Durr’s Jonny ‘The Cyclops’, Max Bowden’s Paul and Katie McGlynn’s Lisa – and a character intriguingly called Trainwreck.
On New Year’s Eve, in a quiet corner of Kent, a killer is in the house. Keep an eye on notorious gangster Jonny ‘The Cyclops’; his glamorous wife; his trigger-happy sidekick; his mum, who sees things; her very jittery carer, plus a vicar who is hiding something, and a nervous burglar dressed as a clown.
Throw in a suitcase full of cash, a stash of deadly weapons, one infamous unsolved murder, and what could possibly go wrong in Betts’s “dark-humoured murder mystery with a difference, adding up to one house, seven suspects and a murder at midnight?
“Again it’s nuts!” says Susie. “It’s brand spanking new, not a direct sequel. A comedy-thriller, a really black comedy, and funnily gruesome. It all takes place in a modern, swish house in Kent, the sort of place that might be called ‘nouveau riche’ when I was a child. It’s owned by a drugs baron called Jonny ‘The Cyclops’, who’s surrounded by lots of different and eccentric characters, including mine. There are surprises galore.”
“I love York, so I’m glad to be back,” says Susie Blake. “There are three places I particularly love coming back to on tour: Cheltenham, Norwich and York. They’re all very theatrical”. Picture: Michael Wharley
Not least Susie’s new character, Shirley. “She’s very different from Murder In The Dark [when Susie was cast as farmer’s wife/religious zealot Mrs Bateman]. I’m playing the drug baron’s mother in this one. I can’t think of anything more different. How delicious!” she says. “It’s like being back at drama school, when you’re able to do all sorts of different roles.
“Shirley has come from extremely humble beginnings, and now her son is supporting her, so she has everything she wants. She has a carer, because she has dementia – or has she? Is she, in fact, just having a lovely time? She’s certainly forgetful, but then so am I, and I’m not demented!”
Shirley is “a lot of fun to play”. “She’s created a monster, her son. She hates all his girlfriends; she has this fixation on him; she’s possessive and yet not affectionate. She’s never touchy-feely,” says Susie. “Her son says she never hugs anyone – maybe because she had a troubled past.”
Susie is enjoying teaming up with Philip Franks and Original Theatre again. “I love working with Pip [Philip] and it’s wonderful that Original Theatre loves to promote Torben’s plays,” she says.
“So it was an easy decision to come back for the next one. Working with Original Theatre feels a bit like rep in the old days, there’s an immediate feeling of trust. They really look after you.
“I’m playing the drug baron’s mother in this one. I can’t think of anything more different,” says Susie Blake. Picture: Pamela Raith
“That’s what’s so nice in the rehearsal room, where I’m never anxious and Philip’s notes are so beautifully clear – but you ignore his notes at your peril!”
Susie’s character has the full name of Shirley Winifred Beryl Drinkwater. “Torben is very good at names, and sometimes, if he’s asked to re-write something, he’s had to change the name, because they’re very important to him,” she says. “Maybe he gets that from Alan [Sir Alan Ayckbourn], when he started out doing plays at the Stephen Joseph Theatre.”
In rehearsal, Philip has encouraged tragedy to be cheek by jowl with comedy in the cast’s performances. “You also have that in Shakespeare and in panto, for goodness sake! In Shirley’s case, there is this madness where she sees the devil and also sees the devil in her son.”
Susie, 75, has collaborated with such comedic talents as Victoria Wood, Russ Abbott and Lee Mack in her long-running career. “I wish I could call them collaborators!” she says. “The thing about great comedians is that they’re often very clever and academically brilliant, whereas I consider myself a more old-fashioned jobbing actor.
“But acting teaches you to be a good listener, so I’ve always been a good foil. Every great comedian needs a reliable straight man. When I first worked with Philip Franks, it was on a production of Kafka’s Dick by Alan Bennett. I remember telling him that I wasn’t very educated, and he said, ‘well you bring the talent and I’ll bring the education’. I loved that.”
Susie Blake, Jason Durr and Max Bowden in the tour poster for Torben Betts’s Murder At Midnight, booked into York Theatre Royal from October 21 to 25
Suzie is happy to back on the road again, suitcase in hand. “The joy of it is that I love exploring different parts of the country armed with my National Trust card and Art Pass. I’ll be carefully planning my itinerary around every venue,” she says.
“I’m 75 now, so in a sense it’s getting physically harder, and my patience is always tested by the railways. When I was younger that was never an issue. But fortunately I’m a Buddhist, which helps me stay calm.
“I love York, so I’m glad to be back. There are three places I particularly love coming back to on tour: Cheltenham, Norwich and York. They’re all very theatrical.”
There could a further return to York in the pipeline. “It’s going to be a ‘Murder’ trilogy by Torben, so there’s another one to come – and of course I’m on board for all three!” says Susie.
Original Theatre in Murder At Midnight, “keeping you guessing until midnight” at York Theatre Royal, October 21 to 25, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Niall Ransome, left, Olivia Onyehara, Dave Hearn and Lucy Keirl in the Stephen Joseph Theatre’s even better 2023 revival of The 39 Steps. Picture: Tony Bartholomew
THE 39 Steps has enjoyed a happy association with Yorkshire, first in North Country Theatre founder Nobby Dimon and Simon Corble’s initial stage concept of taut thriller and comic release.
Next came Patrick Barlow’s frantically fast-moving yet unflappable West Yorkshire Playhouse adventure with seeds sown in the earlier show.
Barlow’s spiffing version has since played here, there and everywhere, first given Stephen Joseph Theatre comedic top spin by artistic director Paul Robinson in June 2018.
Five summers on, Robinson revisits that slick, playful jaffa of a show, with the promise of 39 new gags, one for each step, to supplement the elegance, eloquence and elasticity of this dapper and dastardly clever whodunit.
Niall Ransome is back from 2018, in the same role (make that multiple roles) but now called Clown 1, rather than Man. Significantly, he teams up with fellow Mischief maker Dave Hearn, duly mining the hugely popular Mischief brand for dextrous feats of physical comedy rooted in a battle of wits and will against chaos and catastrophe.
York audiences have experienced Hearn’s manic craft already this year in Original Theatre’s three-hander account of HG Wells’s The Time Machine, another comedy vehicle steered by a short-handed cast in a race against time.
On that occasion, in a play within a play conceit, his assertive, egotistical Dave Wells was in such a hurry, he wore tracksuit trousers and trainers.
This time, in a play with a novel and a film within it, Hearn is playing more of an old-fashioned, cigarette-card matinee idol, Richard Hannay, side-parting in his immaculate haircut, side splitting in his comic clambering on the Forth Bridge, reminiscent of a Harold Lloyd or Buster Keaton. Suspense in suspension.
This is but one of a series of scenes that re-creates setpieces from The Master’s movies, complemented by pastiches and references to other Hitchcock classics, with new additions among those 39 new jokes.
The novel is John Buchan’s The Thirty-Nine Steps; the film is Alfred Hitchcock’s 1935 British spy thriller, based loosely on Buchan’s serialised 1915 work. Barlow and in turn Robinson marry the two together, gravely serious in replicating the tone and dramatic peaks of both against all logical odds, while finding comedy at every opportunity without turning everything into a stiff upped-lipped send-up.
This is Hearn’s skill too, serving Hannay’s dispirited mien first and foremost before the John Cleese school of alarm-bell comedy bursts through. Dashing and upright, yes, with pipe and pencil-slim moustache, but newly returned to his lonely Portland Place abode, he is tired of life and its mounting pile of problems. Feeling anything but alive in 1935. Suicidal even.
What he needs is…a night at the theatre (don’t we all, especially one like this!), only for a much bigger problem to ensue once there. Not only must he navigate his way through the hairpin bends of Buchan’s book and Hitchcock’s film, but now too he finds himself murder suspect number one when a mysterious German woman, Annabelle Schmidt (Olivia Onyehara), dies in his arms after insisting on leaving the London Palladium by his side, desperate to impart vital information.
In a moment typical of the comic invention in Hearn’s performance, he extricates himself from beneath the dead weight of the woman’s body by using the knife in her back as a lever.
Hannay must hot-foot it to Scotland by train. On his fluttering jacket tail are policemen, secret agents and assorted women, all delivered with elan by Ransome and Lucy Keirl’s Clown combo, parading accents and exaggerated characters stride by stride, sometimes side by side.
What cracking casting in Ransome making his return in tandem with Keirl, who is as delightful as she was in Nick Lane’s Cinderella at the SJT last winter.
Onyehara, a familiar name to Yorkshire credits lists from her work with Pilot Theatre, Shakespeare’s Rose Theatre, Hull Truck and York Theatre Royal, is terrific too. Not only as anguished Annabelle, but also as femme fatale Pamela and shy but far from retiring Scottish farmer’s wife Margaret, each drawn to the cut of Hannay’s jib.
Ever straight as Geoffrey Boycott’s bat at North Marine Road, Hearn’s narrator Hannay takes on whatever is thrown at him, defying the need to lead the story-telling with such limited resources, improvising emergency props and scenery, chalking up those extra gags amid the comic carnage.
Robinson’s 2023 company applies even quicker sleight of hand to Barlow’s spinning plates of verbal wit, theatrical anarchy, satirical savvy and visual panache, somehow pulling off their Hitchcock homage without a hitch.
Simon Slater’s sound design, compositions and nods to swing tunes play their part too, as do Helen Coyston’s fabulous, fun costumes and set design, stretched by Robinson’s direction beyond the SJT stage to the aisles and director’s box too.
Look out for the ushers blocking the exits at one particularly urgent moment. Even the theatre is against Hannay! Make sure you too are trapped in his breathless, befuddled world before this month is out. Box office: 01723 370541 or sjt.uk.com.
Be prepared to be amazed by time travel: Dave Hearn, left, and a shocked Michael Dylan and Amy Revelle in Original Theatre’s The Time Machine. Picture: Manuel Harlan
Original Theatre in The Time Machine, York Theatre Royal, today at 2.30pm and 7.30pm.Box office: 01904 623568 or yorktheatreroyal.co.uk.
SORRY, there isn’t much time left. Either for CharlesHutchPress to write this review after a truly madly deeply busy week spent in the darkness of theatres and gig venues. Or for you to read it or see The Time Machine before it leaves town forever.
Oh, for a time machine to have made time e x p a n d. Anyway, no time to delay. This is “father of science fiction” H G Wells’s The Time Machine. Or rather it is and it isn’t.
It is based loosely – clinging by its finger nails, more like – on Wells’s 1895 debut full-length sci-fi novel, the one where the Time Traveller invents a device for travelling through time on a journey to the year 802,701.
Herbert George Wells, by the way, used his time well, so well that he wrote more than 50 novels and dozens of short stories, while his non-fiction output took in works of social commentary, politics, history, science, satire, biography and autobiography.
Ah, but he didn’t write The Time Machine, A Comedy, instead the madcap work of Steven Canny, once associate director of Complicite, and John Nicholson, artistic director of Peepolykus, fellow specialists in absurdist, absurdly funny comedies.
In a compressed nutshell, three actors run a theatre company that’s trying to put on a production of The Time Machine, but with fairly limited success. “Limited” in the sense that Hearn, Amy Revelle and Michael Dylan keep veering wildly from Wells’s intention to travel to the end of the Earth’s life to reflect on our own.
A big event happens that causes the play to spiral out of control as Hearn’s character, also called Dave, discovers actual time travel. Spoiler alert.
Everything stops for tea but not for long for Amy Revelle and Dave Hearn in The Time Machine. Picture: Manuel Harlan
Like in Hearn’s exploits for Mischief Theatre for the past decade, comedy rules all in the desire to get to the end, no matter what mishaps, detours, distractions befall the performance, within the structure of a play within a play, where the actors’ own world permeates the text.
In this case, Hearn is playing Dave Wells, HG’s assertive, egotistical great-great grandson, who wants to tell HG’s sci-fi tale, and is in such a hurry to do so, he is wearing tracksuit trousers and trainers.
But then so too are Amy, the “sensible” one who just wants to sing Cher songs at every opportunity, and Irishman Michael, a lovable science geek who’s having something of a meltdown day. Science fiction meets science friction as they are always on the cusp of falling out.
A door (vital to all farces), a chaise longue, dapper Victorian costumes, a theatrical knife prop, sounds off stage and repetition, repetition, repetition, all add to the fun and games.
“This is a show that laughs in the face of despair and insists on shining light in gloomy times,” says director Orla O’Laughlin (who even has a ‘laugh’ in her surname).
It does do exactly that, while also finding room for audience participation (on and off stage), show tunes, a mischievous nod to Derren Brown, explorations of the fourth dimension, and the “science bit” as Hearn turns into a boffin lecturer. Heck, sometimes, even HG’s story strives to get back on track amid the madness and the mayhem, as all’s Wells that ends well.
This is ‘metatheatre’, to use a pretentious word, but it is often ‘megatheatre’ too, judging by the excited reaction of the matinee school party in the dress circle.
Time and space is running out. What are you waiting for? Why are you still reading this? There’s no time like the present to see The Time Machine. Now.
The future, here they come: Amy Revelle, Dave Hearn, centre, and Michael Dylan in Original Theatre’s The Time Machine. Picture: Manuel Harlan
THE week ahead is so crammed with clashing cultural highlights, Charles Hutchinson wishes you could climb aboard a time machine.
Find time for: Original Theatre in The Time Machine, York Theatre Royal, Tuesday to Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
DAVE Hearn, a fixture in Mischief Theatre’s calamitous comedies for a decade, takes time out to go time travelling in John Nicholson and Steven Canny’s re-visit of H G Wells’s epic sci-fi story for Original Theatre.
“It’s a play about three actors who run a theatre company and are trying to put on a production of The Time Machine, with fairly limited success,” says Hearn. “But then a big event happens that causes the play to spiral out of control and my character [Dave] discovers actual time travel.” Box office: 01904 623568 or yorktheatreroyal.co.uk.
Curtains At Village Gallery, by Suzanne McQuade, marks the final exhibition at Simon and Helen Main’s art space in Colliergate, York
Farewell of the week: The Curtain Descends, Village Gallery, Colliergate, York, until April 15
AS the title indicates, The Curtain Descends will be the last exhibition at Village Gallery after 40 exhibitions showcasing 100-plus Yorkshire artists in five and a half years. “The end of the shop lease and old age creeping up has sadly forced the decision,” says gallery co-owner Simon Main.
Ten artists have returned for the farewell with work reduced specially to sale prices. On show are watercolours by Lynda Heaton, Jean Luce and Suzanne McQuade; oils and acrylics by Paul Blackwell, Julie Lightburn, Malcolm Ludvigsen, Anne Thornhill and Hilary Thorpe; pastels by Allen Humphries and lino and woodcut prints by Michael Atkin. Opening hours are 10am to 4pm, Tuesday to Saturday.
Singer PP Arnold: From The First Cut Is The Deepest to Soul Survivor, her autobiography is under discussion at York Literature Festival
Festival of the week: York Literature Festival, various venues, today until March 27
HIGHLIGHTS aplenty permeate this annual festival, featuring 27 events, bolstered by new sponsorship from York St John University. Among the authors will be broadcasters David Dimbleby and Steve Richards; political journalist and think tank director Sebastian Payne (on The Fall of Boris Johnson); The League Of Gentlemen’s Jeremy Dyson; Juno Dawson, thriller writer Saima Mir and York poet Hannah Davies.
On Music Memoir Day at The Crescent, on March 18, at 1.30pm American singer PP Arnold delves into her autobiography, Soul Survivor, at 1.30pm. At 4pm, writer/broadcaster Lucy O’Brien discusses her new book, Lead Sister: The Story Of Karen Carpenter, and the challenges of writing a biography. Go to yorkliteraturefestival.co.uk for the full programme.
Too hot to handle: Strictly’s Gorka Marquez and Karen Hauer in Firedance at the Grand Opera House, York
Hot moves amid the weekend chill: Gorka Marquez and Karen Hauer in Firedance, Grand Opera House, York, Sunday, 5pm
STRICTLY Come Dancing stars Gorka Marquez and Karen Hauer reignite their chemistry in Firedance, a show full of supercharged choreography, sizzling dancers and mesmerising fire specialists.
Inspired by movie blockbusters Baz Luhrmann’s Romeo & Juliet, Moulin Rouge, Carmen and West Side Story, Marquez and Hauer turn up the heat as they dance to Latin, rock and pop songs by Camilla Cabello, Jason Derulo, Gregory Porter, Gipsy Kings and Jennifer Lopez. Box office: atgtickets.com/york.
Suede: First appearance at York Barbican in a quarter of a century
Gig of the week: Suede, York Barbican, Wednesday, 7.45pm
ELEGANT London rock band Suede play York Barbican for the first time in more than 25 years on the closing night of their 2023 tour. Pretty much sold out, alas, but do check yorkbarbican.co.uk for late availability.
Last appearing there on April 23 1997, Brett Anderson and co return with a set list of Suede classics and selections from last September’s Autofiction, their ninth studio album and first since 2018. “Our punk record,” as Anderson called it. “No whistles and bells. The band exposed in all their primal mess.”
Sloane danger: Ben Weir’s psychopathic Sloane, left, playing siblings Kath (Victoria Delaney) and Ed (Chris Pomfrett) off each other in rehearsal for York Actors Collective’s Entertaining Mr Sloane
Debut of the week: York Actors Collective in Entertaining Mr Sloane, Theatre@41, Monkgate, York, Wednesday to Saturday, 7.30pm plus 2.30pm Saturday matinee
DIRECTOR Angie Millard launches her new company, York Actors Collective, with Joe Orton’s controversial, ribald comedy Entertaining Mr Sloane, the one that shook up English farce with its savage humour in 1964.
Living with her father, Dada Kemp (Mick Liversidge), Kath (Victoria Delaney) brings home a lodger: the amoral and psychopathic Sloane (Ben Weir). When her brother Ed (Chris Monfrett) arrives, the siblings become involved in a sexual struggle for Sloane, who plays one off against the other as their father is caught in the crossfire. Box office: tickets.41monkgate.co.uk.
Classrooom comedy: Sara Howlett, left, Laura Castle and Sophie Bullivant in rehearsal for Rowntree Players’ production of John Godber’s Teechers Leavers ’22
Education, education, education play of the week: Rowntree Players in Teechers, Joseph Rowntree Theatre, York, Thursday to Saturday, 7.30pm plus 2.30pm Saturday matinee
FAMILIAR to York’s streets at night as ghost-walk guide and spookologist Dr Dorian Deathly, actor Jamie McKellar is directing a play for the first time since 2008, at the helm of Rowntree Players’ production of former teacher John Godber’s state-of-the nation, state-of state-education comedy Teechers.
Updated for Hull Truck’s 50th anniversary celebrations as Teechers Leavers ’22, Godber’s class warfare play within a play features a multi role-playing, all-female cast of Laura Castle, Sophie Bullivant and Sarah Howlett as Year 11 school leavers Salty, Hobby and Gail put on a valedictory performance, inspired by their new drama teacher. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
David Ford: Songs and stories at The Crescent
The robots are coming: David Ford, Songs 2023, The Crescent, York, Thursday, 7.30pm
EASTBOURNE singer-songwriter David Ford might play solo stomps with loop machines and effects pedals or backed by a swish jazz trio or with a string quartet attached. Not this time.
For 2023, Ford has taken the rare decision to keep it simple, leave most of the crazy machines at home, play some of his favourite songs and share stories about where they came from. Oh, and he’ll be bringing his new DIY toy, a drum robot. Beat that. Box office: thecrescentyork.com.
Tuesday’s seated Crescent gig by The Go-Betweens’ Robert Forster, promoting his new album The Candle And The Flame, has sold out by the way.
Because he cared: Comedian Bilal Fafar reflects on working in a care home for the very wealthy in Care at Theatre@41, Monkgate
Caring comedian of the week: Burning Duck Comedy Club presents Bilal Zafar in Care, Theatre@41, Monkgate, York, March 19, 8pm
WANSTEAD comedian Bilal Zafar, 31, is on his travels with a new show about how he spent a year working in a care home for very wealthy people while being on the minimum wage.
Fresh out of university with a media degree, Bilal was dropped into the real world, where he was given far too much responsibility for a 21-year-old lad who had just spent three years watching films. Box office: tickets.41monkgate.co.uk; age limit,18 and over.
In Focus: Anders Lustgarten’sThe City And The Town, at Stephen Joseph Theatre, Scarborough, March 15 to 17
Gareth Watkins as Magnus in Anders Lustgarten’s The City And The Town. Picture: Karl Andre
LONDON playwright and political activist Anders Lustgarten’s new play, The City And The Town, heads to the Yorkshire coast next week.
This funny, eclectic drama brings a fresh perspective to the political divides and problems facing Great Britain and Europe today.
By way of contrast to those schisms, the tour involves a hands-across-the-water partnership: a co-production by Riksteatern, the national touring theatre of Sweden, and Matthew Linley Creative Projects in association with Hull Truck Theatre.
Lustgarten’s play tells the story of brothers Ben and Magnus. Ben, a successful London lawyer, returns home for his father’s funeral after 13 years away, only to be confronted not only by family and old friends, but also by uncomfortable truths about the past, present and future of the provincial community and family he grew up in and left behind for the metroplis.
Lustgarten, by the way, is the son of progressive American academics and read Chinese Studies at Oxford: in other words, he is an internationalist (and an Arsenal supporter to boot).
Directed by Riksteatern artistic director Dritero Kasapi, The City And The Town features Gareth Watkins as Magnus, Amelia Donkor as Lyndsay and Sam Collings as Ben, with set design by Hannah Sibai and lighting design by Matt Haskins.
Amelia Donkor’s Lyndsay in The City And The Town. Picture: Karl Andre
Kasapi is at the helm of his first UK production since Nina – A Story About Me And Nina Simone. “Even from the very first draft Anders sent us, I knew that this was a play I wanted to direct,” he says. “In fact, I’d go as far as saying it’s the play I’ve wanted to direct for a very long time.
“By exploring the rise of the right, Anders is looking at something that is happening all over Europe. But this is not just a political play, it’s also a humane one. It explores the question of if and how we belong to society, what can happen when we lose that connection and how we perceive our common history as a society.”
Kasapi was educated as a stage director at the Faculty of Dramatic Arts in Skopje, Macedonia, but since the early years of his professional life he has been engaged as a cultural organiser.
From 2015 to 2018, he was the deputy artistic director at Kulturhuset Stadstetern in Stockholm. He took up his present post in November 2018.
The City And The Town follows such Lustgarten plays as Lampedusa (Hightide/Soho Theatre), The Seven Acts Of Mercy (Royal Shakespeare Company), The Secret Theatre(Shakespeare’s Globe) and The Damned United (Red Ladder/West Yorkshire Playhouse, 2016, turning Brian Clough’s 44 days as Leeds United manager in 1974 into a Greek tragedy).
The City And The Town began its UK tour at Hull Truck on February 10 and 11 and has since played Northern Stage, Newcastle, Wilton’s Music Hall, London, Mercury Theatre, Colchester, and Norwich Playhouse before its Scarborough finale. It will then transfer to Sweden for an autumn tour.
The City And The Town, Stephen Joseph Theatre, Scarborough, March 15 to 17, 7.45pm plus 1.45pm Thursday matinee.Box office: 01723 370541 or www.sjt.uk.com
