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REVIEW: Charles Hutchinson’s verdict on Abigail’s Party at Harrogate Theatre ****

Elvis is in the building: Beverly (Katy Dean) reaches for a Presley platter as the party atmosphere turns ever more awkward in Abigail’s Party. Paul Hawkyard’s Tony, left, and Robin Simpson’s Laurence keep their distance. Faye Seerawinghe’s Angela, seated, left, and Janine Mellor’s Sue, await with trepidation. All pictures: Ant Robling, Robling Photography

Abigail’s Party, HT Rep, Harrogate Theatre/Phil & Ben Productions, at Harrogate Theatre, 7.30pm tonight and tomorrow; 2.30pm, 7.30pm, Saturday. Box office: 01423 502116 or harrogatetheatre.co.uk

HARROGATE Theatre’s HT Rep 2022 season of Three Plays, Three Weeks, One Cast opens with Mike Leigh’s caustic comedy Abigail’s Party, written in 1977, the year of The Queen’s Silver Jubilee and now revived in the year of her Platinum Jubilee.

Director Marcus Romer, Harrogate Theatre’s associate producer, had planned to have the Sex Pistols’ 1977 anthem God Save The Queen seeping through the walls from Abigail’s punk and booze-fuelled party next door, but the events of last Thursday afternoon saw a respectful change to Anarchy In The UK.

Romer has form for Abigail’s Party, having steered York Theatre Royal’s 2005 repertory production. Now the spirit of rep theatre is being repeated in a third such autumn season at Harrogate, the cast piggy-backing from one play to the next, rehearsing Abigail’s Party for a week, and now rehearsing Patrick Hamilton’s Gaslight by day and staging Leigh’s suburban comedy of awkward social-climbing manners by night.

Husband-and-wife strife in Abigail’s Party: Robin Simpson’s Laurence and Katy Dean’s Beverly having a difference of opinion…again

The same process will follow next week, when Paul Hawkyard, Robin Simpson and Janine Mellor will knock John Godber’s Men Of The World into shape in the daytime rehearsal room under Amy Burns Walker’s direction before Harrogate-born Faye Weerasinghe, Simpson, Harrogate pantomime regular Katy Dean, Mellor and Ian Kirkby form co-producer Ben Roddy’s cast each night for Gaslight.

In rep tradition, there is a familiarity to the cast, not only Dean, but also Mellor from the 2019 HT Rep season’s On The Piste and Deathtrap and her dual roles as Dandini and a Snugly Sister in last winter’s Cinderella, while rising star Weerasinghe played the lead in Full English at Harrogate Theatre in June.

York audiences, meanwhile, will need no introduction to Hawkyard and Simpson, whether from Shakespeare’s Rose Theatre or their Mardy and Manky double act in Cinderella at the Theatre Royal last winter. Captain Hook and Mrs Darling await them in All New Adventures Of Peter Pan this winter.

Now put them all together in surely one of the most destructive yet indestructible of English comedies. Your reviewer is yet to see a duff production and Romer’s return to Leigh is another winner.

The quiet and the constant noise: Janine Mellor’s Sue and Katy Dean’s Beverly

It is Katy Dean’s turn to behave appallingly in the Alison Stedman-patented lead role of gauche Beverly, dark haired this time rather than bottle-blonde but still over-dressed for cheese and pineapple-stick nibbles in her fuchsia party dress.

Embroiled in a stultifying game of one-upmanship with dyspeptic, workaholic property-agent husband Laurence (Simpson), their latest playground for point-scoring is a soiree for their new neighbours, taciturn ex-professional footballer Tony (Hawkyard) and nervous nurse Angela (Weerasinghe) in their oh-so Seventies’ North London living room.

Joining them with reluctance written all over her face is Sue (Mellor), banished from her 15-year-old daughter’s party, fretful that it will get out of hand. as it inevitably does.

Leigh depicts a Britain heading towards the acquisitive Thatcherite era of material greed. Already the status-symbol fibre-optic lamps, drinks cabinet and brown sofas are in place in Geoff Gilder’s design.

Faye Weerasinghe’s Angela, left, and Katy Dean’s Beverly, standing, attend to Janine Mellor’s Sue after one too many top-ups

Tensions rise, tempers flare, the polite veneer gradually erodes under the influence as Dean’s monstrous Beverly has her sport at the hands of her guests and mocked husband amid the surfeit of gin top-ups and chain-smoked “little cigarettes”, with her recourse to Donna Summer, Demis Roussos and Elvis records failing to break the awkwardness.

For all her restless noise and surface swagger, the tactless and tasteless Beverly is lonely behind the perma-cigarette haze, frustrated by the absence of bedroom action, empty too, for all her superficial possessions and on-trend kitchen gadgets.  Full of aspiration yet desperation.

Simpson’s Laurence is sullen and sunken in Beverly’s loud, crushing shadow, stewing at his shallow wife’s dismissal of his tentative, self-improving interest in art.

New to your reviewer, wide-eyed Weerasinghe is outstanding as the effusive, chatterbox nurse Angela, talking ever looser as the gin kicks in, then dancing as out of time as a stopped clock.

Paul Hawkyard’s taciturn Tony on the turn

Hawkyard, meanwhile, maximises minimum words as the humourless Tony, whose imposing demeanour goes from monosyllabic indifference to not-funny wound-up menace to sudden snapping point.

Mellor’s Sue is Leigh’s quiet voice of excruciating middle-class discomfort, stuck in the middle yet desperate to be elsewhere, having to put up with Beverly’s insensitive inquisition about her marriage breakdown and Angela’s well-meant over-fussing.

Very 1977 and yet full of English characteristics that have not changed, and probably never will, Leigh’s writing is as sharp as a punk safety pin, his contempt unconfined for values so anathema to him, his humour merciless and deeply wounding.

Romer squeezes Leigh’s sour lemon to the max, knowing just how far to go for the juiciest bitter comedy when Beverly keeps going too far. One hell of a party, one hell of a play, one hell of a knockout production.

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Here’s Jonny! Weldon joins York Theatre Royal pantomime adventure after landing hush-hush House Of The Dragon role

Jonny Weldon: York Theatre Royal pantomime debut as Starkey in All New Adventures Of Peter Pan

“SOCIAL media sensation” Jonny Weldon is the latest addition to York Theatre Royal’s pantomime cast for All New Adventures Of Peter Pan.

Although he would if he could, he can’t say too much about his character other than his name – Starkey – because writer Paul Hendy is working on the script.

“I know Paul quite well and have worked with him before,” says Jonny. “I don’t doubt we’ll sit down soon and work out the character.”

He can reveal little about his imminent television role too. “It’s very frustrating. I’m not allowed to tweet about it,” explains the actor and sketch humorist, whose videos went viral on Twitter.

He does confirm he will be appearing in the highly anticipated Game Of Thrones spin-off House Of The Dragon, but the series is being kept a closely guarded secret in the run-up to the first episode premiering on August 22 on Sky.

Jonny has “a little part” in the series but that is all he is saying. Even his character is a mystery, although rumoured to be called Samwell.

This summer, he can be found playing one half of Cruella de Ville’s comic henchman double act Casper and Jasper in a musical version of 101 Dalmatians at Regents Park Open Air Theatre in London.

July’s record-temperature heatwave took its toll on performers acting outdoors under the sun. “It was far too hot!” says Jonny. “We were doing shows with heat spaces for ice packs and dressers throwing cold water over us to cool us down.”

Jonny Weldon: Actor, sketch humorist and pantomime star

Nevertheless, doing the show has been “interesting but fun”. “I’ve never worked before at Regents Park, which is just down the road from where I live. It’s nice to work near where you live. It’s a big family show and that kind of theatre is great to do,” he says.

Jonny, who has 16 years in the business to his name, owes his entry into performing to his parents. Not that he had a stereotypical pushy stage mother. “I was a terrible show-off and my mum decided to see if she could harness my need to show off,” he recalls. “She took me to a big national audition – and I got the part.”

At the age of 11, Jonny had landed the role of Michael Banks, one of the children under the care of a flying nanny in the stage musical version of Mary Poppins.

Another West End musical role followed: Gavroche, the boy who dies on the barricade in Les Miserables. Next stop was the National Theatre for Jeanine Tesori and Tony Kushner’s musical, Caroline, Or Change. Soon a place at the prestigious Sylvia Young Theatre School, in Marble Arch, was his.

His local paper wrote a story championing his acting success with the headline Well Done, Weldon! “I loved doing Mary Poppins. I found school boring and it meant I didn’t have to go into school,” Jonny says.

“At that point, I didn’t really have a real understanding of what I was doing. It was just play and fun. I got to die on the barricade [in Les Miserables] – what kid doesn’t like a gory death?

“At no point have I found what I’m doing strange or lost my enthusiasm for performing. I’ve always enjoyed it. There are ups and downs but I’ve never found myself wanting to do anything else.”

Jonny has done theatre aplenty but the past two years have seen him branch out into television with roles in Stephen Merchant’s BBC One series The Outlaws, Channel 4’s Stath Lets Flats and now House Of The Dragon.

Jonny Weldon in the latest poster for York Theatre Royal’s All New Adventures Of Peter Pan

Along the way, he has become, more by accident than design, a “social media sensation”, on account of a succession of viral videos on Twitter. “As with every actor, I was bored and fed up in the lockdowns and decided to create my own sketches about the uphill battle of the life of an actor,” says Jonny.

“I didn’t do much on social before but decided to put it on Twitter. 100,000 people watched and shared and laughed.

“This week I put one out about the Edinburgh Fringe. There are always things like that – an actor has an audition, an actor gets cut from a TV programme or an actor tries to socialise.

“I started to film ones on Zoom with celebrities coming in to play themselves. The likes of Russell Tovey, Tracy-Ann Oberman, the cast of Ted Lasso. It’s just been a very fun and unexpected thing.”

Jonny will carry on making videos but, given that he is busy with work, he will do it “as and when I want to”. Long term, he hopes to work on “something bigger than just social media”, explaining: “I want to try and create my own stuff and a vehicle for myself in television. I write relentlessly and am constantly trying to make bigger work for myself and having meetings about that.”

After 101 Dalmatians concludes, he will film a TV show, and once more he has to be hush-hush over what lies in store. “I’ll probably be in trouble if I say anything as I don’t think the show is going out until next year,” he reasons.

Come November, Jonny will start rehearsals for creative director Juliet Forster’s third York Theatre Royal pantomime, All New Adventures Of Peter Pan, joining the already confirmed Maddie Moate, from CBeebies, and three returnees Faye Campbell, Robin Simpson and Paul Hawkyard. The actor playing Peter Pan will be announced next.

Playing Starkey will be Jonny’s latest panto credit after such roles as Will Scarlett in Robin Hood, Jack in Jack And The Beanstalk and Muddles in Snow White twice. Add to that a week in Canterbury in the comic role after an asbestos-related problem forced his show at St Albans Arena to close mid-season. But that’s another story.

Jonny Weldon will star in All New Adventures Of Peter Pan at York Theatre Royal from December 2 to January 2 2023. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Follow Jonny on Twitter:  @jonnyyweldon

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After turning Ugly in Cinderella, Robin Simpson and Paul Hawkyard’s double act reunites for Theatre Royal panto Peter Pan

Paul Hawkyard as the “the tall, dark and incredibly handsome Captain Hook” – as he puts it – in York Theatre Royal’s Peter Pan

AND then there were three. Not only the already confirmed Faye Campbell will be returning to the York Theatre Royal pantomime but so too will Robin Simpson and Paul Hawkyard, the award-nominated Ugly Sisters double act from Cinderella.

Completing his hattrick of Theatre Royal pantos after 2020’s The Travelling Pantomime and 2021-2022’s Cinders, Simpson will play Mrs Smee – effectively the dame role – while Hawkyard will take to the dark side as the villainous Captain Hook.

Calls aplenty had grown for Simpson and Hawkyard’s pantomime chemistry to be sparked up anew in the third Theatre Royal and Evolution Productions collaboration, particularly after their riotous sisterly double act as Manky and Mardy in Cinderella was nominated  for Best Ugly Sisters in the 2022 UK Pantomime Association’s Pantomime Awards.   

Mrs Smee: A new panto role for dame Robin Simpson in All New Adventures Of Peter Pan at York Theatre Royal

Glory be, they will be reunited in creative director Juliet Forster’s production of All New Adventures Of Peter Pan, performing once more alongside Campbell, last winter’s Cinderella.

Hawkyard, who previously showed York his Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream at the Eye of York in 2018, is chuffed to have hooked the role of Hook. “Robin and I kept getting mobbed last year in York, so we’ve had to change our identity this year. Manky and Mardy are back in the wardrobe, and the hook is being sharpened and polished as we speak,” he said.

“I’m so looking forward to playing one of the most famous and evil villains ever – the tall, dark and incredibly handsome Captain Hook, the original pirate king.”

Robin Simpson’s Manky, left, and Paul Hawkyard’s Mardy in their Ugly Sisters double act in Cinderella last winter

Simpson added: “I’m delighted to be returning to York Theatre Royal for my third pantomime there. I’m also very excited to be back on stage with Paul Hawkyard. He’s a very funny guy and I’m so glad that my ‘sister’ from last year is able to return. Can’t wait.”

Simpson first gave York his Dame in The Travelling Pantomime, touring to community venues in multiple York wards for socially distanced performance in December 2020, before turning Ugly in Cinderella.

He and Hawkyard previously worked together in both A Midsummer Night’s Dream and Macbeth in Shakespeare’s Rose Theatre’s first year in York.

Making an ass of himself: Paul Hawkyard’s Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream in York in July 2018

In late-March, book in hand at first, he stepped into the melancholic role of Jacques at very short notice in Northern Broadsides’ York Theatre Royal run of As You Like It, later filling in for Covid-enforced cast absences in further dates on the tour.

Previously he toured the country with the Halifax company as Benedict in Much Ado About Nothing. Hawkyard, meanwhile, has been filming the new series of Channel 5’s All Creatures Great And Small, set in Yorkshire.

Campbell starred in The Travelling Pantomime tour as The Hero and Dick Whittington, then took on the title role in Cinderella last winter. Come December, she will be Elizabeth Darling in All New Adventures Of Peter Pan, scripted by Evolution Productions’ co-founder, Paul Hendy.

Faye Campbell: Returning for her third York Theatre Royal pantomime

Joining Campbell, Simpson and Hawkyard will be CBeebies’ favourite Maddie Moate, the first name out of the panto hat, who will be flying into the Theatre Royal to play mischievous fairy Tinkerbell in the family-friendly pantomime adventure.

Creative director Juliet Forster said: “We are absolutely delighted to welcome back Robin, Paul and Faye for this year’s pantomime. They were all hugely popular with our audiences in Cinderella last year and we can’t wait for them to return to our stage in these fabulous new roles.”

Further casting will be revealed in coming months, first up the imminent announcement of who will be Peter Pan.

All New Adventures Of Peter Pan will run from December 2 2022 to January 2 2023. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

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All the world’s a stage for Robin Simpson in Northern Broadsides’ As You Like It, but for one week only at York Theatre Royal

As You Like It: All the world’s a stage for Robin Simpson’s melancholic Jacques in Northern Broadsides’ touring production for one week only at York Theatre Royal

YORK Theatre Royal pantomime favourite Robin Simpson is “very pleased and slightly scared” to be stepping into the shoes of Jacques for this week and this week only in Northern Broadsides’ comedy As You Like It.

Last seen on the York stage as Manky in an Ugly Sister double act with Paul Hawkyard’s Mardy in Cinderella – more of which in a moment – storyteller, panto dame and actor Robin will be taking over from Adam Kashmiry, performer, experimental mover, drag artist, storyteller and queer activist.

“Come and watch me muck it up!” says Robin on his Twitter feed. “All the world’s stage etc…”

After a week when a Covic outbreak among the cast scuppered all the Broadsides performances at the Stephen Joseph Theatre, Scarborough, all the world will be Robin’s stage from tomorrow at York Theatre Royal.

In the Halifax company’s “diverse cast of 12 fabulous northern actors”, Simpson will be playing the melancholic, cynical Jacques, who is bestowed two of Shakespeare’s most celebrated soliloquies, including the aforementioned “All the world’s a stage, and all the men and women merely players”.

Jacques’s sentiment leads to director Laurie Sansom’s exploration of the endless possibilities of a world where “gender roles dissolve and assumptions are turned on their head in this celebration of the crazy power of love to change the world and the sheer joy of live performance”.

That sheer joy of live performance emanated from Simpson and Hawkyard’s riotous sisterly double act in Cinderella, co-produced by York Theatre Royal and partners in pantomime Evolution Productions, leading to their nomination for Best Ugly Sisters in the UK Pantomime Association’s Pantomime Awards 2022.

As you bike it: Robin Simpson’s Manky and Paul Hawkyard’s Mardy in York Theatre Royal’s Cinderella, now nominated for Best Ugly Sisters in the UK Pantomime Association’s Pantomime Awards 2022

Directed by Juliet Forster and scripted by P:aul Hendy, Cinderella also has been nominated for Best Pantomime (500 to 900 seats).

Further nominations of CharlesHutchPress note go to York actor, magician and comedian Josh Benson for Best Comic for Joshin’ Josh in Imagine Theatre’s Jack And The Beanstalk at Halifax Victoria Theatre and to Joyce Branagh for Best Director for Harrogate Theatre’s Cinderella, after taking on the in-house production in the wake of regular director and co-writer Phil Lowe passing away unexpectedly last October.

During the 2021/2022 season, 46 judges saw 207 pantomimes across England, Scotland, Wales and Northern Ireland, travelling from Aberdeen to Aylesbury, Belfast to Bognor and Cardiff to Canterbury.

The awards ceremony will take place on Tuesday, April 19 at the Trafalgar Theatre in London’s West End,  hosted by veteran panto dame Christopher Biggins.

Meanwhile, Northern Broadsides’ gender-fluid As You Like It plays York Theatre Royal from tomorrow (23/3/2022) until Saturday at 7.30pm nightly plus 2pm, Thursday, and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Further Yorkshire performances will follow at Leeds Playhouse, May 17 to 21; The Viaduct Theatre, Halifax, June 9 to 18; CAST, Doncaster, June 21 to 25, and Harrogate Theatre, June 28 to July 2. Box office: Leeds, 0113 213 7700; Halifax, 01422 849 227; Doncaster, 01302 303959; Harrogate, 01423 502116.

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Ain’t nothing like their dames? Now Robin Simpson and Paul Hawkyard team up as lovably hateful stepsisters in Cinderella

All revved up to read the riot act: Robin Simpson’s Manky, left, and Paul Hawkyard’s Mardy know how to make an entrance in Cinderella at York Theatre Royal

DIRECTOR Juliet Forster first noted Robin Simpson and Paul Hawkyard’s stage chemistry when they played two of the Rude Mechanicals in her Shakespeare’s Rose Theatre production of A Midsummer Night’s Dream in York in July 2018.

Now York Theatre Royal’s creative director has cast them us unruly stepsisters Manky and Mardy in Cinderella.

Both have dame roles in their panto locker, Robin last year donning the frocks for the Theatre Royal’s Travelling Pantomime, having appeared in the Lawrence Batley Theatre panto in Huddersfield in the past few years.

“I was never under contract though; it was always just a case of them giving me a call early in the year, so it was a very free and easy arrangement,” he says.

Last Christmas, the Huddersfield panto was cancelled, and so Robin was able to continue an association with York Theatre Royal that began with The Little Mermaid in 2005 by appearing in Juliet and Evolution Productions’ writer-producer Paul Hendy’s first collaboration, the Travelling Pantomime. 

Robin Simpson in York Theatre Royal’s Travelling Pantomime last winter

“It was a lovely script and such a lovely show to do, when we were all so happy to be in that situation of being able to perform when so many places were in Tier 3, but there we were in Tier 2, taking every day as a blessing, testing every other day, but still worrying that it would be shut down or that someone would test positive,” he says.

“We were always living on a knife edge, but we got through most of the run and we had such a blast because people were delighted they could see a show again and were so happy to see their children enjoying themselves.”

Lawrence Batley Theatre’s creative team changed with a new chief exec coming in; likewise, York Theatre Royal was looking to move on from Berwick Kaler’s 40-year damehood.  

“Both theatres were starting afresh, and with me facing a choice, I thought it would be a good time for me to move on, as they could start with a clean slate at Huddersfield, and performing in York always feels like coming home,” says Robin, who lives in Slaithwaite, near Huddersfield.

“York Theare Royal is such a wonderful theatre and I’ve done so many shows on that stage. I think York is the city I’ve worked in the most, playing at the National Railway Museum and Shakespeare’s Rose Theatre as well.”

Paul Hawkyard, standing somewhat taller and wider than Robin at 6ft 2, was born and raised in Leeds, and, as chance would have had it, he had just moved back to Yorkshire after many years of living down south when the opportunity to appear alongside him in Cinderella came about.

Paul Hawkyard as Bottom in Juliet Forster’s production of A Midsummer Night’s Dream for Shakespeare’s Rose Theatre in York in 2019

“We’d loved being in the Scottish play [Macbeth] and A Midsummer Night’s Dream together in 2018,” he recalls. “Robin played the Wall in ‘the Wall Play’, I played Bottom, and we’d bring the show to a stop on numerous occasions, getting told to stop doing that!

“We were neighbours in the dressing room and got on so well, putting the world to rights, waiting for our cues, scrambling to the stage, so it’s lovely to be doing this show together.”

Actor and wildlife artist Paul has shed four stones since first playing Bottom. “I got diabetes and I packed in everything after that. I started the Blenheim Palace production in 2019 at one size and ended it at another. I don’t think the costume lady was very pleased!” he says of his fitness regime. “I started doing boxing workouts again and I’m no longer in the diabetic range.”

Paul subsequently left behind Bordon, Hampshire, for a new beginning in Selby. “Covid kicked in hard, and that was a big factor in deciding to return north. It meant I could come back because a lot of auditions are done on Zoom now, so you’re in a position where you don’t have to live in or near to London,” he says.

“I had a look around a lot of areas in Yorkshire and settled on Selby. I’d only been there once before, but I just wanted to be somewhere near York, as I love the place, and Selby is just down the road. I saw the house and that was it!”

Weight loss, house move, and now Paul has become engaged too, to Nicola Filshie. “I decided to marry the girl I’ve known for 26 years, who lives in Glasgow, so I spend a time a lot of time going up there. We’ve worked together a few times, and now we’ll be marrying next October,” he says.

Double trouble act: Robin Simpson and Paul Hawkyard’s comic tour de force as things turn ugly for Cinderella’s stepsisters at York Theatre Royal

Paul contacted Juliet Forster before making the move to Selby. “I said I was moving to Yorkshire and it would be lovely to see her, asking her to keep me in mind if anything came up.” 

Lo and behold, up came the Ugly Stepsister partnership with Simpson in Cinderella. “We are very different,” says Paul. “He’s quietly brilliant and I’m very loud!” 

Making his professional debut in pantomime, he first played Simple Simon in a Pantoni Productions show in his early 20s and has since appeared as Buttons, assorted dames and even the villainous Abanazar out in Dubai.

By comparison, Robin has always played dame. “Maybe a lot of dames see themselves as appealing to the adults, with the comedian turn for the children, but I’ve never thought of it like that. You have to appeal to everyone. I don’t want to alienate children,” he says.

Somehow, this even applies when playing the outwardly unappealing, antagonistic stepsisters Manky and Mardy. Robin and Paul may enter each time to ever more raucous jeering, but they are lovably absurd, boastful villains, mean but funny. “Aren’t we brilliant?” they jest. They are, as it happens!

COVID UPDATE 23/12/2021

NO performances of Cinderella from December 23 for a week after a Covid outbreak among cast members. Provisionally, the production will resume on December 30, with two extra performances being added to the run that ends on January 2. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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REVIEW: Charles Hutchinson’s verdict on Cinderella at York Theatre Royal ****

Rev-olution: Robin Simpson and Paul Hawkyard’s ugly, brash, “aren’t-we-brilliant” sisters, Manky and Mardy, herald the new dawn for pantomime at York Theatre Royal. Oh, and yes, they are brilliant!

Cinderella, York Theatre Royal/Evolution Productions, runs at York Theatre Royal until January 2 2022. Box office: 01904 623568 or at yorktheatreroyal.co.uk

THIS is a new age for the York Theatre Royal pantomime, both an Evolution and a revolution, and the earlier start and finish to the shorter production run is only part of the story.

On Tom Bird’s watch as chief executive, the Theatre Royal has decided to look to the future with a new pantomime broom ushered in by (kitchen maid) Cinderella after last year’s Covid-enforced detour into a Travelling Pantomime around the city wards.

Enough has been said of the toxic finale to Dame Berwick Kaler’s unique, unrepeatable era. Let’s focus, instead, on what’s rosy in the new panto garden, cultivated by the award-laden Evolution Productions’ partnership with the Theatre Royal.

Faye Campbell’s Cinderella and the ensemble in Cinderella

The seeds were sown with last winter’s witty, snappy, pretty, compact Travelling Pantomime, written by Evolution’s astute director, Paul Hendy, directed by Theatre Royal creative director Juliet Forster and choreographed with bags of character by Hayley Del Harrison.

This team re-assembles for Cinderella, bringing along two of last winter’s panto players, Faye Campbell, for the title role, and Robin Simpson, who switches from dame to a rumbustious double act with big, boisterous Paul Hawkyard as scary-bikers Ugly Sisters Manky and Mardy. The beards may have gone since the press launch day, but they are still unmistakably two blokes in shock-frocks.

Forster knew they had chemistry from playing two of the Rude Mechanicals – Hawkyard was Bottom, by the way – in Shakespeare’s Rose Theatre’s riotous comedy A Midsummer Night’s Dream in York. Now they form a rouge-and-ready, rowdy partnership, each as funny as the other, with fabulously over-the-top couture, and their Strictly Come Dancing send-up of clunky, hair-in-their-eyes hosts Tess and Claudia is a scream.

Max Fulham’s Buttons with his very cheeky monkey, Gordon

Campbell, meanwhile, looks even more at home on the big stage than she did in the community halls and sports centres last December, with her radiant smile, family audience appeal, sassiness, dance moves and soulful voice for Cinderella.

Appealing to families has been put at the forefront of the Theatre Royal’s panto mission, and while that might seem obvious, given pantomime’s traditional audience, it does need bolstering to build a new following. Producer Hendy and director Forster have dipped into commercial panto’s usual resources, but not in a cloying way.

Ever-so-amiable Andy Day, from CBeebies, is a canny pick for Dandini, often a straight-bat role, but here full of fizz, playful humour and natural rapport. Likewise, ventriloquist Max Fulham arrives in York with a 2020 Great British Pantomime Award in his pocket for Best Speciality Act and a very cheeky monkey called Gordon on his arm, who says everything that Fulham is thinking but wouldn’t get away with uttering.

A shoe? Bless you. CBeebies’ Andy Day, centre, with Benjamin Lafayette’s Prince Charming and Max Fulham’s Buttons

Fulham, as fresh faced and dimple cheeked as Michael McIntyre, is a music-hall classicist yet inventive in his ventriloquism partners (not only Gordon, but a fly and a pedal bin too), and he is both quick thinking and dexterous, juggling four skills at once at one point. His Buttons shines from start to finish; a big future lies ahead of him.

Benjamin Lafayette has just made his professional bow after Mountview Academy as Othello at the Mill Theatre, Dublin. From such a heavyweight tragedy, he switches with handsome grace and charm to Prince Charming, a very contrasting role but one he plays with a lovely lightness of touch, matched by his singing.

Sarah Leatherbarrow’s forever-enthusiastic Fairy Godmother gleefully overcomes the impediment of her left leg being in a protective boot, with her rapper’s delight in her rhyming couplets, to complete a strong principal cast, highly individual yet good team players too.

Hop to it: Sarah Leatherbarrow’s Fairy Godmother, defying her protective boot

Hendy and Forster introduce a second speciality act, the Duo Fusion aerialists, to accompany Campbell and Lafayette’s romantic ballad to breathtaking effect; the climactic first-half transformation scene is spectacular, and only the opening and closing screen presence of an animal-loving, BBC Radio 2 presenter from Liverpool feels like an unnecessary concession to glitzy modern pantoland. The novel variation on the time-honoured ghost scene is far more rewarding.

Even with a running time of two hours 35 minutes (including the interval), there is not a wasted moment in Hendy’s script, with its combination of puns, social comment, romance, slapstick, knowing nods to panto tropes, crisp storytelling and sheer love of making you laugh. 

Forster’s direction enhances all these winning ingredients, full of pace, energy, visual delight and verbal dexterity, while Harrison’s choreography bursts with life, fun and even funkiness in a series of familiar pop songs, with the ensemble playing their part to the full.

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolution Productions’ producer, director and writer Paul Hendy

Musical director Stephen ‘Stretch’ Price enjoys plenty of interplay with the cast, while guitarist Luke Gaul has his moment in the solo spotlight. Helga Wood’s costumes are at their best for the Ugly Sisters, except for the wobbly hats; Phil Daniels and Michelle Marden’s set designs are solidly reliable, rather than full of inventive originality or beauty, but that is mere background detail. 

Typified by the glorious chaos of Fulham, Simpson and Hawkyard’s Disney-picture slapstick routine,  everyone is having a ball in Cinderella, setting a high benchmark for 21st century pantomime at its best.

In another break with last-night tradition, we even know the name of next year’s Theatre Royal & Evolution panto collaboration already: Peter Pan. That one will surely fly too.

Review by Charles Hutchinson

Romantic pursuit: Benjamin Lafayette’s Prince Charming, accompanied by the York Theatre Royal pantomime ensemble
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York Theatre Royal and Evolution panto team raring to go with dynamic Cinderella

York Theatre Royal’s pantomime cast and ensemble arrive for the first day of rehearsals for Cinderella

AFTER last winter’s resourceful response to Covid restrictions with the Travelling Pantomime, York Theatre Royal’s panto returns to the main house for Cinderella from tomorrow (3/12/2021).

This will be the second co-production with the award-garlanded Evolution Productions, whose director and producer, Paul Hendy, has again written the script for Juliet Forster’s cast.

In the company will be CBeebies’ Andy Day (Dandini); Faye Campell (Cinderella) and Robin Simpson (Sister) from the Travelling Pantomime cast; Paul Hawkyard (the other ugly Sister); comedian and ventriloquist Max Fulham (Buttons); Benjamin Lafayette (Prince Charming) and Sarah Leatherbarrow (Fairy Godmother).

“We’ve been looking forward to this moment for a long time now,” says creative director Juliet Forster. “It feels very emotional to be working with a full cast, rehearsing back in the De Grey Rooms.

“We had a great time taking the Travelling Pantomime around the city last Christmas, but, oh my word, it’s just lovely to be back inside the theatre and to give a massive Theatre Royal welcome to Evolution.”

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolutions Productions’ Paul Hendy

After the exit of the gang of five, Berwick Kaler, David Leonard, Suzy Cooper, Martin Barrass and A J Powell, to the Grand Opera House, Forster’s pantomime cast has more of a diverse look, typical of her work. “I’ve almost always been able to do that with my casting because, in a lot of ways, I like to reflect the world we live in.

“For me, it’s more dynamic that way, and it was a policy with me before it became an Arts Council thing.”

Juliet believes the new Theatre Royal pantomime will appeal to a family audience and be marked by warmth. “That warmth will come from the performers, Paul’s script and from myself directing it,” she says.

“That’s not something you can manufacture. You have to feel it and encourage it, and the number one thing I learned from doing the Travelling Pantomime was the need to work with a cast that’s really funny and warm. When you get that mixture, you have a wonderful bond with the audience.”

Juliet adds: “I learned a lot from last year’s show being my first panto. Even though I’d done a lot of children’s shows, comedies and farces, pantomime is very much its own form, and I acquired a lot of respect for Paul’s panto-writing skills.

Andy Day: From CBeebies to Cinderella . Picture: Ant Robling

“The other thing I learned, and another big reason for wanting to do it again, was Hayley Del Harrison’s choreography, which was so playful and individual. I loved how she worked with each cast member really individually to bring out their character in their dancing.

“Hayley is back this year, and we’re doing more of that way of working – and we have the ensemble back too. Again, it was a big learning curve for me that dance can not only be beautiful and spectacular in panto but playful and fun too, and that’s something Hayley really brings out.”

Writer-producer Paul Hendy is delighted by the casting too. “It’s not by accident,” he says. “It’s done with this in mind: more than anything we want to appeal to a family audience. That’s my driving force.

“The cast must have that appeal; they must be talented, and they have to have that youthful energy to make the audience go, ‘wow, this is a great show, a different show from the norm’, mixing those qualities with spectacle and comedy. They’re all the ingredients that make a good panto.”

Paul acknowledges the “big reputation” of York Theatre Royal’s pantomime built up over Berwick Kaler’s four-decade damehood. “It’s very significant. Berwick helped to really establish York as a pantomime city, and we will carry that on but with a different flavour. I have every confidence in what we do, and we think people will say, ‘oh yes, we love this show too’,” he says.

York Theatre Royal’s pantomime cast members at the September launch day for Cinderella. Picture: Ant Robling

“There is definitely room for two large-scale pantomimes in this city. People will come and see this show for what it is, done with a lot of love and care, done in a bespoke way for York audiences. If people want high quality, they will enjoy this show.”

After the positive response to the Travelling Pantomime, audiences can expect more of the same, but more of it!  “I was so pleased and proud to be associated with last year’s show. Cinderella will be in that style but on a much bigger scale, with that humour, that spirit, that connectivity with the audience.

“It’s also ‘meta-theatre’ with a knowing awareness to it: it’s that thing of everyone knowing it’s not just Andy Day playing Dandini, but it’s Andy Day from CBeebies playing Dandini. It works better when everyone knows it.”

The last word goes to Juliet, who says: “It feels right to start the new era at the Theatre Royal with Evolution with Cinderella, the best known of all pantomimes, but also a pantomime without a dame, to give the transition time, not wanting someone to have to step into Berwick’s shoes straightaway, out of respect for him, but with a gradual progression to the future in mind.”

Cinderella runs at York Theatre Royal from tomorrow (3/12/2021) to January 2. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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Who’s who in York Theatre Royal’s pantomime Cinderella? Meet the cast…

O, happy Day: CBeebies presenter Andy Day will play Dandini in York Theatre Royal’s Cinderella

CBEEBIES presenter Andy Day will be joined by Travelling Pantomime familiar faces Robin Simpson and Faye Campbell for York Theatre Royal’s homecoming pantomime, Cinderella.

Presented in tandem with perennial panto award winners Evolution Productions, creative director Juliet Forster’s production will run from December 3 to January 2: an earlier start, shorter run and much earlier last night than past main-house pantos.

Day, who will play Dandini, joined CBeebies in 2007, since when he has presented animal and nature programmes, whether tackling dinosaurs, investigating baby animals and going on safari.

Sister act: After his Dame Trott in the Travelling Pantomime, Robin Simpson will be back in York as one of the sourpuss Sisters

Nominated for a Children’s BAFTA award for best presenter in 2009, he has pantomime history, appearing in the CBeebies annual televised panto, as well as playing the Genie in Aladdin, Dandini in Cinderella, Muddles in Snow White and Billy Goose in Mother Goose.

Day is no stranger to director Forster, by the way, having been in the cast for her 50-minute CBeebies Presents: Romeo And Juliet, screened on April 2 and available subsequently on BBC iPlayer.

Day fronts his own live band, Andy And The Odd Socks, who once again will be launching Odd Socks Day for Anti-Bullying Week in schools up and down the country alongside the Anti-Bullying Alliance, a charity for whom Andy is a patron.

Look who’s back: Faye Campbell moves on from The Hero in York Theatre Royal’s Travelling Pantomime to the title role in Cinderella this winter

Faye Campbell will take the title role in Cinderella after playing The Hero in Jack And The Beanstalk and Dick Whittington in the Theatre Royal’s Travelling Pantomime in 16 York wardslast December.

Actor-storyteller Robin Simpson will be returning too, following up his Dame Trott last winter on the back of a three-year damehood at the Lawrence Batley Theatre, Huddersfield. For Cinderella, he will form an (Ugly) Sister double act with Paul Hawkyard.

Comedian and ventriloquist Max Fulham, set to shine as Buttons, has played leading comedy roles in pantomimes throughout the UK, being voted Best Speciality Act in the 2020 Great British Pantomime Awards for his Washee in Aladdin at Bromley’s Churchill Theatre. 

Award-winning ventriloquist Max Fulham: Making his York Theatre Royal debut as Buttons

Fulham has created his own comedy series, Drivel Pedlar, for his You Tube channel. Next summer, he will head to Australia to play Muddles in Snow White at the new Sydney Coliseum.

Forster’s cast for the first main-house Theatre Royal pantomime since the Dame Berwick Kaler reign will be completed by Benjamin Lafayette’sPrince Charming and Sarah Leatherbarrow’sFairy Godmother.

Written by Evolution producer Paul Hendy, the Theatre Royal’s Cinderella will relocate the timeless rags-to-riches story to York, as the stage “comes to sparkling life with magical transformations, glittering sets, stunning songs and side-splitting laughs”.

Sister double act: Paul Hawkyard as the other Sister, teaming up with Robin Simpson in Cinderella

Audiences should expect a ”brand-new pantomime for everyone with the promise of a truly epic spectacle and heaps of hilarity”, directed by Forster, who was at the helm of both the Travelling Pantomime’s tour of community venues and this summer’s Around The World The World In 80 Days, her circus-themed adaptation of Jules Verne’s novel that visited four York school playing fields in 16 days before a Theatre Royal finale last week.

Chief executive Tom Bird says: “We’re over the moon to be creating a spectacular new pantomime for the people of York – one that’s tailor-made for the whole family, while honouring the pantomime traditions that our audiences love so much.

“The phenomenal team will give the York Theatre Royal pantomime a new lease of life with a fresh, family friendly, fun-filled approach to the story of Cinderella, set with pride in our amazing city.”

York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolution Productions producer and writer Paul Hendy

Evolution Productions, started by Emily Wood and Hendy in 2005, have built a reputation for superior, bespoke pantomimes with the emphasis on high-quality production values, strong casting and highly humorous scripts. Two-time winners of Pantomime of the Year at the Great British Pantomime Awards, they are the team behind Sheffield Theatres’ “extraordinarily successful” panto at the Lyceum Theatre.

Hendy says: “Emily and I are absolutely thrilled to be working with York Theatre Royal on Cinderella. We’re huge fans of the theatre and we’re looking forward to collaborating with Tom and his brilliant team to produce a wonderful, family-friendly pantomime with spectacular production values, a superbly talented cast and a genuinely funny script.”

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.