York Art Gallery revels in young rebels of book world in marvel of a mischievous show

Author, illustrator and 2017-2019 Children’s Laureate Lauren Child at the opening of Marvellous & Mischievous: Literature’s Young Rebels at York Art Gallery. Picture: Anthony Chappel-Ross

PIPPI Longstocking. Jane Eyre. Zog. Matilda. Dennis the Menace. A doodling Latin student. All feature in the British Library’s touring exhibition Marvellous and Mischievous: Literature’s Young Rebels, booked into York Art Gallery until June 4.

Showcasing around 40 books, manuscripts and original artwork, this family-friendly show shines a spotlight on rebels, outsiders and spirited survivors from children’s literature spanning more than 300 years.

Drawn from the British Library’s vast collection, Marvellous and Mischievous celebrates cherished characters who break the rules and defy conventions in an invitation for young and old alike to rediscover their storybook favourites and meet new ones in their homes, schools and on journeys.

Bright idea: A child enjoying the activity room at the Marvellous and Mischievous exhibition. Picture: Anthony Chappel-Ross

Among the exhibition highlights are the first British edition of Lucy Maud Montgomery’s Anne Of Green Gables; the first version of George Cruikshank’s coloured illustrations for Charles Dickens’s Oliver Twist, along with artwork for Jacqueline Wilson’s Tracy Beaker (by Nick Sharratt), Lauren Child’s What Planet Are You From, Clarice Bean?, Julia Donaldson’s Zog (by Alex Scheffler), Judith Kerr’s When Hitler Stole Pink Rabbit and Sarah Garland’s Azzi In Between.

Lucy Evans, the British Library’s lead curator for this exhibition, says: “Marvellous And Mischievous is a fun, interactive exhibition all about exploring what makes a young ‘rebel’ in children’s stories.

“They could be a character that resists authority or breaks away from convention. Children’s literature over the past 300 years has shown that rebels come in all shapes and sizes, including children who may struggle to actually rebel and so their quest is more one of survival; these resilient characters are very much part of our story.”

An activity room with a sensory area and play kitchen complements the exhibition, with opportunities for young visitors to create their own rebel tales by dressing up as the Rebel of The School and reflecting on which cause they might back. In addition, they can enjoy a selection of books in a dedicated reading area.

Charlotte Bronte’s original manuscript for Jane Eyre, on display at York Art Gallery. Picture: Charlotte Graham

Fiona Burton, public engagement manager at York Museums Trust, says: “Marvellous and Mischievous is a fun-filled and interactive exhibition, perfect for the whole family. There’s a variety of books on display, and we hope visitors enjoy and feel inspired by their favourite characters, as well as any new ones that they’ll meet along the way.”

Alongside the exhibition, York Art Gallery is offering events and workshops tailored to all ages. Families can unleash their creativity through workshops and activities run in collaboration with Gemma Curry’s Hoglets Theatre, Curious Arts and Cassie Vallance and Janet Bruce’s Story Craft Theatre, purveyors of Wicked Wednesday interactive story-theatre workshops. Make a note, den building with recyclable materials will take place on Earth Day, April 22.

Adults may take part in events such as illustration masterclasses and storytelling workshops, suitable for those looking to develop new skills.

Reading time: A quiet moment with a book amid Literature’s Young Rebels at York Art Gallery. Picture: Antony Chappel-Ross

“York Art Gallery won the [Kids In Museums] Family Friendly Museum Award in 2016 after reopening [following its £8 million refurbishment], and post-pandemic we’re keen to encourage families back into the gallery,” says senior curator Morgan Feely. “For this exhibition, for example, we’re placing the plinths and the labelling lower, with captions for smaller children too.

“Marvellous and mischievous young rebels really appeal to children, and I can’t think of a better young rebel for our times than climate activist Greta Thunberg.”

The exhibition is divided into three sections, each denoted by a colour, yellow for Home, blue for School and green for Journeys. Home, for example, expresses how rebellion often begins in the home, where children may face the challenge of standing up to nasty grown-ups or the need to try to change their circumstances.

Look out too for cut-outs of tropical trees and flying ducks, seats stuck to the walls and bold wallpaper prints, courtesy of the British Library design team.

Act of rebellion: A chance to dress up in the school changing room as a favourite rebel at York Art Gallery. Picture: Charlotte Graham

Myriad rebels are to be spotted from Peter Pan to Heinrich Hoffmann’s The English Struwwelpeter (Shock-headed Peter), David Walliams’s The Midnight Gang to David Roberts’s Dirty Bertie.

In the School Room can be found a John Aggs illustration for Malorie Blackman’s Noughts & Crosses; an animated Dennis the Menace; Charlotte Bronte’s manuscript for Jane Eyre in the most immaculate handwriting and a page from Roald Dahl’s hand-written first version of Matilda, accompanied by one from the type-written sixth version. 

[We await the red pen version from the “sensitivity readers” at Dahl’s publishers with all their huffin’ and Puffin over removing language deemed to be offensive to 2023 sensitivities!).

Dahl goes from a nascent Matilda’s “very naughty and not at all nice” hatching of a plot to put itching powder in her classmates’ pants to version six’s more recognisable characteristics of facing up to headmistress Miss Trunchbull and playing pranks on her horrible parents as she challenges adults in charge.

“Dare to be a shining light!”: An inspirational illustration for putative young rebels in the Home room at the Marvellous and Mischievous exhibition. Picture: Anthony Chappel-Ross

For the “tiniest” act of rebellion, seek out the 17th century Latin school textbook with a child’s doodle in the margin.

In the Green Room, journeys in books range from Robert Sabuda’s pop-up design for J M Barrie’s Peter Pan to a Japanese version of Alice In Wonderland in fashionable 1920s’ attire; Yu Rong’s illustration for Qin Wenjun’s Mulan to biographies of Eminent Chinse Woman from George III’s collection.

“What is a rebel?” the exhibition asks. “Is it someone who stands up for their beliefs or likes breaking the rules? Someone who is brave, trying to survive a difficult situation, or just enjoying some mischief?”

All of them, rebels with a cause and applause, as witnessed by diversity of stories writ large on York Art Gallery’s walls and floors.

Marvellous And Mischievous: Literature’s Young Rebels, York Art Gallery, Exhibition Square, York, until June 4. Tickets: yorkartgallery.org.uk. Opening hours: Wednesday to Sunday, 10am to 4pm.

The green room at the Marvellous and Mischievous exhibition: Full of stories of journeys, from Peter Pan to refugees. Picture: Anthony Chappel-Ross

Rumours spread and rebellion rises as York Theatre Royal’s new season makes a stand

The Tragedy Of Guy Fawkes playwright David Reed outside the Guy Fawkes Inn in York. Picture: Matthew Kitchen

“THE theatre has always been a place where rebellion thrives,” says chief executive Tom Bird as York Theatre Royal sets its Rumours And Rebels season in commotion.

Two legendary York figures, Guy Fawkes and the Coppergate Woman, will come to life as the spotlight is turned on those who resist, rebel and stand up to injustice, corruption and persecution this summer and autumn.

“We wanted to talk about opposition and intrigue and how ‘sticking it to the man’ manifests itself, which is often in the form of rumours first,” says Tom. “We knew we were going to be doing this strand of work with rebellion shot through it, but we also wanted a nod to the fact that rebellion can start in a more subtle phase with rumour.

“We already had rebellion in the diary with Guy Fawkes, Julius Caesar and Red Ellen, which all start with ‘talk’, and I was thinking about how you’re naturally quite wary of making heroes of people who are seen as terrorists, so I didn’t want the season to be too on the nose in celebrating rebellion without also saying it’s a complicated business.

“Look at Guy Fawkes; we think of him as a York hero but actually he wanted to blow up hundreds of people.”

Long in the planning for its York Theatre Royal world premiere, York-born writer David Reed’s “explosive new comedy about York’s most infamous rebel”, The Tragedy Of Guy Fawkes, will run from October 28 to November 12, directed by Gemma Fairlie as Monty Python meets Blackadder.

“We’ve had the script since before I came here in December 2017,” says Tom. “David [one third of the The Penny Dreadfuls comedy trio] is a local writer; the script is brilliant and funny, and the pre-sale of tickets is fantastic.”

Co-director Juliet Forster, left, and playwright Maureen Lennon with JORVIK Viking Centre’s model of The Coppergate Lady

Further explaining the Rumours And Rebels season title, Tom says: “The other reason for ‘Rumours’ is the impact of social media, where it feels like we’re surrounded by an unsolicited swirl of rumour that could lead to action, even to direct rebellion, like you saw with Trump’s supporters marching on Capitol Hill.

“Uncurated rumours bother us a lot, and that’s why we’re curating the summer and autumn programme under this title to highlight the importance of curation when news has stopped being that and so many people no longer trust experts.  Theatre is a place for resistance and for celebrating it since Athenian times.”

Standing alongside Reed’s Guy Fawkes tragi-comedy in the season ahead will be Maureen Lennon’s community play The Coppergate Woman, wherein a Valkyrie woman with the answers rises again to move among the people of York, a goddess resisting the havoc wrought by pandemic, from July 30 to August 6.

These in-house productions will be preceded by Northern Stage, Nottingham Playhouse and Royal Lyceum Theatre’s touring production of Red Ellen, Carol Bird’s epic story of inspiration Labour MP Ellen Wilkinson, who was forever on the right side of history, forever on the wrong side of life, from May 24 to 28.

“We’re super-excited about Red Ellen, which had been planned by Lorne Campbell before he left Northern Stage to move to the National Theatre of Wales. After The Ballad Of Johnny Longstaff, this is another unsung political hero to be celebrated by Northern Stage.”

Flicking through the brochure, in Shakespeare’s Globe’s Julius Caesar, on June 10 and 11, the protagonists fear power running unchallenged as Diane Page directs this brutal tale of ambition, incursion and revolution; in Conor McPherson’s Girl From The North Country, from September 5 to 10, the chimes of freedom flash through a story rooted in Bob Dylan’s songs;  in Pilot Theatre’s revival of Noughts & Crosses, from September 16 to 24, the love between Selby and Callum runs counter to the politics of their segregated world.

In Frantic Assembly’s reimagined 21st century Othello, from October 18 to 22, Othello faces a barrage of racial persecution in Shakespeare’s tragedy of paranoia, sex and murder; the year ends with the Theatre Royal’s third pantomime collaboration with Evolution Productions, where Peter Pan joyously stands up to the tyranny of time, from December 2 to January 2.

York Theatre Royal chief executive Tom Bird

Delighted to welcome Shakespeare’s Globe, Tom says: “I left the Globe to move here, and as the Roman Quarter project gets underway in Rougier Street, we were interested in doing a Roman-themed work.

“We’d known for a while this would be a rebellion season, and the Globe knew we were keen to link up with them, so they gave us a couple of options. National companies are getting really good at that, and it’s great to have the Globe back for the first time since they did Henry VI.”

Tom says the season fell into place partly through the stars aligning. “If Frantic Assembly’s Othello is on tour, you take it,” he says. “It fitted perfectly with our own choices of Guy Fawkes and [York company] Pilot Theatre reviving Sabrina Mahfouz’s adaptation of Malorie Blackman’s Noughts & Crosses.

“The first tour did really well, there’s since been the TV series, and it’s a story really loved by young audiences as a Romeo & Juliet for the 21st century. It’s a no-brainer to bring it back.”

Bringing a “big show” to York Theatre Royal is not easy, says Tom, given the seating capacity of 750, but that does not deter him from seeking to do so. Take the double Olivier Award-winning West End and Broadway hit Girl From The North Country, written and directed by The Weir playwright Conor McPherson.

He reimagines the songs of Bob Dylan in a universal story of family and love set in the heartland of America in 1934, when a group of wayward souls cross paths in a time-weathered guesthouse in ‘nowheresville’ [Duluth, Minnesota]. As they search for the future and hide from the past, they find themselves facing unspoken truths about the present.

“God we had to fight to get it but I’m seriously glad we did,” says Tom. “It premiered at The Old Vic and it’s one of the best shows I’ve ever seen. Bob Dylan had been badgered for years about doing a jukebox musical, and he said, ‘only if it’s a bit weird’. Luckily, he was involved in Conor getting to do it.

Girl From The North Country: “Doing a Conor McPherson on a Bob Dylan jukebox musical”

“It’s a marriage made in heaven! He does a Conor McPherson on a Bob Dylan jukebox musical: it’s an incredible, haunting story with a cast of odd characters you’d find travelling on a Greyhound bus, when you gather all this eccentricity in America and you can’t escape them, set to Dylan’s songs.

“Everyone knows Bob Dylan songs are sung better when Dylan doesn’t sing them, and for this show, they take a genuine cross section of songs from across his career, not only the Sixties.”

Among further highlights, York Stage will make their Theatre Royal debut in a 40th anniversary production of Howard Ashman and and Alan Menken’s musical Little Shop Of Horrors, from July 14 to 13, and Original Theatre will present Susie Blake as Miss Marple in Rachel Wagstaff’s new adaptation of Agatha Christie’s The Mirror Crack’d, from October 4 to 8.

“I’d been a bit worried whether a murder mystery is still what people want as we’ve seen that move from drawing-room plays to musicals in audience tastes, but The Mirror Crack’d has gone like a train at the box office,” says Tom.

Summing up the philosophy behind Rumours And Rebels, he concludes : “It’s not easy to have a themed season when we put on such diverse work here, but when we see ways to do seasons with connected themes we will do it, like the Theatre Royal did with seasons focusing on Yorkshire and women before I came here.

“By having a theme, hopefully it will encourage people to see more plays in the season having enjoyed one.

“Overall, for me, what we’re eliminating from York Theatre Royal is the middle-of-the-road. When we bring in touring shows, we might as well go ‘big’, bringing in new audiences; when we produce plays, we’re going to do new work like The Tragedy Of Guy Fawkes and The Coppergate Woman, not Chekhov’s The Cherry Orchard, which might be my favourite play but wouldn’t get an audience.”

For the full programme and tickets details for Rumours And Rebels at York Theatre Royal, go to: yorktheatreroyal.co.uk. Box office: 01904 623568.

Copyright Of The Press, York

Susie Blake as Miss Marple in Agatha Christie’s The Mirror Crack’d

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

Out go Peter Pan and panto play, in comes Luke Adamson, digital stream filmmaker

Luke in the mirror: Luke Adamson as Fanny Wood in his film Five Minutes With Fanny

NORTH Yorkshire actor Luke Adamson is responding to theatre’s lockdown mothballing by setting up a subscription streaming service for his work.

“As the theatres are closed, I’m taking my creativity online to try and earn a living by creating Luke Adamson TV, featuring all-new content written and created by myself.

“In December alone, I’ve created three short films and live-streamed my panto play, Oh No It Isn’t!, and there’ll be at least two new films coming in January.”

Subscriptions to Luke’s streaming service start from only £5 per month and you can sign up at https://www.patreon.com/lukeadamson.

Luke had been playing Tootles in OVO and Maltings Theatre’s Peter Pan – the play, not the pantomime – at the Alban Arena, St Albans, when Hertfordshire’s move into Tier 3 status put paid to that show on December 19 after eight out of 38 performances.

A London production of the award-winning Oh No It Isn’t! had to be called off too. “It was going to have a short run at The Library Theatre in Crystal Palace, a new venue that my friend Joe [co-producer Joseph Lindoe] and I have instigated at the Upper Norwood Library Hub,” says Luke.

“We were supposed to launch the venue in March last year but… well, you know, we’re hopeful to get a full theatre programme up and running there as soon as Covid allows.

“But with the Oh No It Isn’t! run cut off by Covid, we worked our little Christmas socks off to live-stream the piece to YouTube instead.”

Luke Adamson as Tootles, fourth from left, in Peter Pan at the Alban Arena, St Albans, curtailed by Covid Tier 3 restrictions after eight performances in December. Picture copyright: Elliott Franks

Luke’s prior commitment to playing Tootles in St Albans had necessitated employing John Gregor and Sh*t-Faced Shakespeare’s Robbie Capaldi – Luke’s co-star in performances at York Theatre Royal Studio in April 2019 – for the Crystal Palace show.

“I directed the live-stream performance, which we shot there using the library’s live-streaming capability and some equipment hired in at great personal expense,” he says.

Based in London since his drama-school days at the Academy of Live and Recorded Arts in Wandsworth, Selby-born Luke had returned north to play villainous David Leonard’s daft sidekick Useless Eustace in York Theatre Royal’s Jack And The Beanstalk in 2017/2018: a performance that brought him a Great British Pantomime Award nomination no less.

Earlier, he had first appeared in Dame Berwick Kaler’s Theatre Royal pantomimes as a bairn during his Selby childhood, as well as in amateur pantos in Thorpe Willoughby.

Luke drew on those panto experiences, on stage and backstage, to write Oh No It Isn’t!, his humorous and moving account of “the best of [Ugly] sisters on stage but the worst of friends off it”.

“The play is set at the final performance of Cinderella in a moth-eaten regional theatre, where backstage tensions threaten to boil over on stage,” he says. “Will the egotism, one-upmanship and sexual politics remain confined to the dressing room?

“Will the ugly sisters keep the professional professional and the personal personal?
Will we ever find out what happened during Babes In The Wood?”

Oh No It Isn’t! explores the highs and lows of life in the theatre. “Using real anecdotes and stories, it’s an impassioned yet tender love letter to the world of performance,” says Luke.

Slapstick: Luke Adamson, standing, and Robbie Capaldi as the two warring Ugly Sisters in Adamson’s play Oh No It Isn’t at York Theatre Royal Studio in April 201

“It’s something that had been in my head for a while: writing a play set on and off stage, with the dynamic of the calm, graceful swan on stage and the feet paddling frantically off stage to keep everything afloat.

“I wanted to show the effect of the trials and tribulations that go into creating a show. Within three weeks, I wrote it, we rehearsed it and put it on stage, and we ended up getting five-star reviews.”

Oh No It Isn’t! is complemented by three shorter films so far: Five Minutes With Fanny (in reality 15 minutes!); Thoughts From Waterloo Bridge (15 minutes) and Radio Lifebuoy FM (30 minutes).

“I did them pretty much single-handedly,” says Luke. “Having done a diploma in media production at Selby College, I had all the required technical abilities. I’ve been writing scripts since 2010 and acting since, well, forever! So, it was just a case of putting it all together.

“I used my girlfriend’s Canon DSLR to shoot the video; a Zoom H1N recording device to record the audio, and edited it all together on Final Cut Pro. So far, I’ve shot most of them in or around my flat due to lockdown but did manage to shoot Thoughts From Waterloo Bridge on Waterloo Bridge one night before Christmas.”

Luke was able to call on assistance from friends. “Joe was my cameraman and security on Waterloo Bridge and I’ve used music written by my friend and actor Dan Bottomley,” he says. “I’ve also featured small performances from other friends, such as Florence Poskitt and Adam Sowter [York musical double act Fladam] in Radio Lifebuoy FM.”


Five Minutes With Fanny introduces the unsuspecting world to Fanny Wood and her world of Wetherspoons, gender politics and Only Fans. “You discover how she came to be, in this adults-only piece inspired by stories from real Only Fans models,” says Luke, who plays Fanny.

“This 15-minute monologue inspired by Alan Bennett’s Talking Heads gives you a funny, sometimes dark peek into the life of a very unique person.”

Luke Adamson as high-flying city boy Lee in a still from his film Thoughts From Waterloo Bridge

In Thoughts From Waterloo Bridge, high-flying city boy Lee takes up his annual vigil on Waterloo Bridge on Christmas Eve, having escaped the office Christmas party.

“Overlooking the late-night lights of London, he ruminates on the emptiness of his success and wonders when it was that Christmas lost its sparkle,” says Luke.

Radio Lifebuoy FM charts how a local radio DJ’s Christmas goes from bad to worse after his wife kicks him out and he is forced to host the station’s amateur singer call-in competition, We’ve Got The X(Mas) Factor. Will he manage to keep it together until he is off air?

“Inspired by shock-jock Eric Bogosian’s Talk Radio and featuring a host of my talented friends and a sprinkling of favourite festive songs, this is guaranteed to put a smile on your face,” promises Luke.

Explaining how he created his film characters and revealing whether they were based on people he knew, Luke says: “In a way they’re all versions of me, but with licence to be more outrageous, more hilarious, more dark than I would be as myself.

“Fanny, in Five Minutes With Fanny, is a character I’ve been developing for a while. I remember Paul O’Grady once saying he felt much more confident and brave as Lily Savage than he ever did as himself, and that stuck with me, so I was developing Fanny with the plan of taking her on the stand-up circuit but…well, you know.”

Luke continues: “The styles of the pieces vary and are inspired by people I’ve long admired: Victoria Wood, Alan Bennett, (Steve Coogan’s) Alan Partridge, Joe Orton and Harold Pinter.

“I suppose there may be aspects of other people. I’ve always been quite observant and perceptive and I love to poke fun at very human foibles, inspired I suppose by the comedies of Anton Chekhov.”

TV star: Luke Adamson has set up Luke Adamson TV as a way of diversifying his creativity

In one of the pandemic’s more contentious statements, Chancellor Rishi Sunak suggested those working in the arts should look at pursuing alternative careers, but are there ways to diversify within the profession? Like Luke making films, for example?

“I think most jobbing actors have a massively diverse set of skills already, so it isn’t a case of having to restart and diversifying, it’s more refocussing your energies,” he suggests.

“Whereas before I would be writing most days, skimming through the Spotlight Jobs board or Backstage looking for opportunities, I’m now focussing on things that were small-time earners for me in the past: showreel editing (and script/scene writing for them); graphic design (show posters, programmes, flyers, etc); and acting or directing tuition.

“I created Luke Adamson TV as I started creating video content in the first lockdown and people were enjoying it and I thought, ‘well, this is what I’m trained to do and I’ve spent all my life honing this craft; why don’t I try and earn from it while the theatres are closed?’

“So, I upped the production values: writing proper scripts; spending money on new equipment; no more ‘one-take, it’ll do’ improvised stuff. And if only ten people subscribe, that’s £50 a month and it goes towards my food bill at least.”

New year, same Covid stranglehold, how is Luke approaching 2021 after the draining year that has gone before? “Semi-full of gin, my eyes closed, my arms outstretched and my fingers crossed,” he says.

As for his hopes for the year ahead: “To avoid bankruptcy without having to leave the industry.” A sobering final thought indeed.

Luke Adamson: Actor, director, writer, theatre programmer and Academy of Live and Recorded Arts board member

Should you be wondering, “Who is Tootles”, Luke Adamson’s role in Peter Pan?

Tootles is the humblest of the Lost Boys!” says Luke. “Often described as Peter’s favourite, he’s the one that shoots Wendy with the arrow; defends her when she decides to leave Neverland and return home; becomes the boatswain when Peter takes over the Jolly Roger, and ultimately marries Wendy when they all go back to London and grow up. He’s the most important character, in my opinion.”