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Once she played Margaret Rutherford, now Susie Blake is the new Miss Marple in The Mirror Crack’d on tour at York Theatre Royal

Susie Blake’s Miss Marple in Agatha Christie’s The Mirror Crack’d, a play where she is on a chair, on crutches and on a stick. Picture: Ali Wright

SUSIE Blake returns to York Theatre Royal to play Agatha Christie’s spinster sleuth Miss Marple in The Original Theatre Company’s touring production of Agatha Christie’s The Mirror Crack’d.

She last appeared there in February 2017 in the premiere of Murder, Margaret And Me, cast as Margaret Rutherford, such a memorable Miss Marple on the big screen, as recalled in a Philip Meeks drama that explored the relationship between the actress and queen of crime writers.

Now she stars in Rachel Wagstaff’s new adaptation of Christie’s 1962 novel The Mirror Crack’d From Side To Side that aims to bring emotional depth and psychological insight to a story of secrets, loss and revenge, performing in a company with strong Yorkshire links.

Co-stars Sophie Ward and Joe McFadden had regular roles in the moorland series Heartbeat, as did director Philip Franks, last seen in York as the devilishly disdainful Narrator in The Rocky Horror Show at the Grand Opera House in March.

Susie Blake with The Mirror Crack’d co-star Sophie Ward. Picture: Ali Wright

“I’ve always wanted to play Miss Marple, since the 1960s when I saw Margaret Rutherford playing her. Her character performance immediately drew you in,” says Susie, who follows in the footsteps of Angela Lansbury in the 1980 film of The Mirror Crack’d and Joan Hickson and Julia McKenzie in television adaptations in 1992 and 2011 respectively.

“I loved her Lady Bracknell in [Oscar Wilde’s] The Importance Of Being Earnest, her Madame Arcati in [Noel Coward’s] Blithe Spirit. I loved her so much. I know she’s not fashionable any more as Miss Marple but I was drawn in as a child, seeing her as this safe, cuddly lady who would work things out for you.

“I thought ‘that’s what I want to do with my life’ – to tell stories and be part of mysteries because every play is a mystery, isn’t it? You don’t know what’s going to happen until the end.”

Playing Rutherford in Murder, Margaret And Me has “not really” influenced Susie’s own performance as Miss Marple. “Philip, our director, said, ‘This is your interpretation now, Susie, no-one else’s. We’ve got to find your interpretation’.

Susie Blake’s Miss Marple, on the phone and on her stick in a scene from The Original Theatre Company’s The Mirror Crack’d. Picture: Ali Wright

“Miss Marple is from a certain period. Her boyfriend, whom she talks about, was in the First World War, so she goes back quite a long way. My mum was born in 1917, and she and her friends were, you know, ‘good eggs’. They had a certain turn of phrase. So, I met some quite useful people growing up.”

Revisiting Christie’s books has helped Susie to put her stamp on a beloved fictional character. “I’ve been re-reading Pocketful Of Rye and there are some very good descriptions of her in there. I go back to that rather than watching other people playing her to find out what makes Miss Marple tick.

“I’m absolutely loving re-reading the books. The people are so clearly drawn. Reading them all together, like I’m doing, you think: these are a multitude of people that she’s observed. Agatha Christie is a Miss Marple herself in order to work these intricate stories through.”

Asked to summarise Miss Marple’s character, Susie says: “She’s fascinated by people, she’s obsessed with finding out the truth and she’ll go on nitpicking until she gets it. She hates evil and injustice, and she hunts it down. She’s relentless in her pursuit of the truth and will go on digging away and digging away.

Susie Blake’s Miss Marple in her “rather lovely suit” and string of pearls. Picture: Michael Wharley

“Rachel Wagstaff has written a very good script and she’s made Miss Marple a much clearer character: someone who wants to find out the truth. Not in an unkind way but she will go on at somebody, go on delving until she gets what she wants.

“Rachel is a wonderful writer, like how she gives Miss Marple a bit of history, so you get to know why she’s alone. This is her first Christie adaptation; she’s very in with the family and I hope she does more of them.”

In Christie’s story, a wind of change is blowing through 1960s’ England, even reaching the sleepy village of St Mary Mead, where a new housing estate is alarming the villagers as much as it intrigues them. Still more unsettling, a rich American film star has bought the manor house. Jane Marple, confined to a chair after an accident, is wondering if life has passed her by, but a shocking murder demands she must unravel a web of lies, danger and tragedy. 

“Rachel’s adaptation is not what you’re expecting. It worried me at first: are people expecting an old-fashioned Agatha Christie repertory production? But it’s not like that at all! Philip has really brought out the characters, with 12 actors on stage. That’s a lot to deal with and he’s made them very likeable and individual and you kind of don’t want any of them to have done the crime.”

Susie Blake’s Miss Marple sharing a sofa with Oliver Boot’s Detective Inspector Craddock. “It’s like a very good granny and grandson relationship: we bicker!” says Susie. “She’s sitting at home feeling very alone, and then in comes Craddock with this murder. Up she steps, much to his dissatisfaction!” Picture: Ali Wright

Susie’s Miss Marple will spend much of The Mirror Crack’d walking on crutches. “She’s sprained her ankle, right at the top of the show,” she reveals. “I start in a chair, then crutches, then finally a stick. They’re not easy to use, these old wooden crutches – I think they might be museum pieces, beautifully shaped – so I’ve had to learn how to use them.

“I must try not to limp because at my age [72] that could be disastrous. But being on crutches is a good ruse for slowing things down to allow her to work things out!”

Over a long career, “I’ve been very lucky that I haven’t ever had a theatre injury,” reflects Susie. Keeping herself fit, during the tour’s Eastbourne run, she went swimming in the sea each day, chatting with the regulars at the beach huts. Next week, she heads to York, sketch book by her side. “That way you get a good memory of a town,” she reasons.

Susie is working with director Philip Franks for a second time. “We did [Alan Bennett’s play] Kafka’s Dick at Nottingham Playhouse in 1998 with Alistair McGowan in the cast,” she recalls.

“For The Mirror Crack’d, he said, ‘I’ll bring the education, you bring the talent!’, as I’m not well read but I went to [Elmhurst] ballet school, Arts Educational and the London Academy of Music and Dramatic Art,” says Londoner Susie.

The Mirror Crack’d director Philip Franks: “This is your interpretation now, Susie, no-one else’s,” he advised. “We’ve got to find your interpretation”

“He’s so lovely with actors. He’s given me free rein but made suggestions like, ‘what about if she was at Bletchley Park, doing de-coding in the war, and so she’s intrinsically interested in wanting to work things out, being fascinated in solving things, rather than being ghoulish?’.”

Rather than woolly jumpers and pince-nez, her Jane Marple will be wearing a “rather lovely suit”. “Quite a nice look, with a big collar, a white blouse underneath, a string of pearls, sensible shoes obviously, and no hat because the play moves too fast for me to wear one – and nobody’s missed the hat,” says Susie. “She’s my age, in her seventies rather than in her eighties, in our production.”

Why does Miss Marple’s popularity show no signs of diminishing, Susie? “Almost everything on the telly is a mystery, whatever you’re watching. You want to be taken by the hand knowing that Miss Marple or Poirot will help you work it out,” she says.

“It’s like having a pal, going into a situation with someone by your side. With most shows, you don’t know whose side to be on, but with her you have a familiar friend. And you can read the books again and again and watch the stories again and again and always enjoy them.”

Susie Blake’s Miss Marple in an early publicity picture for The Mirror Crack’d. The hat has since gone. “The play moves too fast for me to wear one – and nobody’s missed the hat,” she says

Best known for her comedy break in Russ Abbot’s Madhouse, her Continuity Announcer in Victoria Wood: As Seen on TV and her regular roles as Bev Unwin in Coronation Street and Hillary Nicholson in Mrs Brown’s Boys, Susie has latterly appeared in series one and two of Kate & Koji (ITV), Not Going Out (BBC One) and The Real Marigold Hotel (BBC One).

Have her roles become more interesting as she has grown older, leading to Miss Marple? “Yes, I think they have – and I’ve probably got better too,” decides Susie. “I’ve never wanted to be a frontliner or a film star. That was never on the cards. Only when you look back, you think, ‘I’ve been busy in my career’. Splendid looks can be quite difficult when you have to do the changeover to middle age. For me, it’s gone seamlessly from girl next door to wives and mothers to grandmothers.”

As for the future, “I’d love to be the next Miss Marple on telly. Wouldn’t that be nice?”

The Original Theatre Company in Agatha Christie’s The Mirror Crack’d, York Theatre Royal, October 4 to 8, 7.30pm; 2pm, Thursday and 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.

“I’ve never wanted to be a frontliner or a film star,” says Susie Blake. “That was never on the cards”

Did you know?

The Original Theatre Company’s past productions at York Theatre Royal: Alan Bennett’s Auden-Britten encounter The Habit Of Art, Rachel Wagstaff’s adaptation of Sebastian Faulks’s novel Birdsong and Ben Brown’s Cold War political drama A Splinter Of Ice.

Did you know too?

Susie Blake was born into famous acting stock. Her cousins are the actresses Juliet and Hayley Mills; her great-uncle was the late film star Sir John Mills, and her maternal grandmother was Annette Mills, who fronted the BBC TV children’s series Muffin The Mule from 1946 to 1955.

Just one other thing…

How do you think Miss Marple compares to Agatha Christie’s Belgian detective Hercule Poirot, Susie?

“They are so different. They both have the same interrogating mind, but her methods are very much to do with the fact that she’s a little old lady. She gets chatting to people and shows her vulnerability, all the better to hook into what she needs to know.

“It’s the knife edge quality of her mind whereas Poirot never shows any weakness. She, on the other hand, will knock on someone’s door and say, ‘ooh I feel a bit faint; can I sit down?’.”

Copyright of The Press, York

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Horror at the double: Dracula: The Untold Story and The Legend Of Sleepy Hollow

Rhian Duce as Mina Harker in Imitating The Dog’s Dracula: The Untold Story. Picture: Ed Waring

REVIEW: Dracula: The Untold Story, Imitating The Dog/Leeds Playhouse, Courtyard Theatre, Leeds Playhouse, until Saturday, then touring until November 13; The Legend Of Sleepy Hollow, Tilted Wig Productions, York Theatre Royal, until Saturday, then touring into 2022. Box office: Leeds, 0113 213 7700 or at leedsplayhouse.org.uk; York, 01904 623568 or yorktheatreroyal.co.uk

THE horror! The horror! O’ the contrasting horror of two new accounts of vintage horror stories, as re-envisioned respectively by perennially cutting-edge Leeds company Imitating The Dog and Philip Meeks, life-long fan of horror and the weird, prolific playwright and pantomime dame.

Last time out, forever in pursuit of marrying technology and theatre in inventive, ingenious harmony, Imitating The Dog set themselves the digital task of re-creating George A Romero’s cult 1968 Zombie movie Night Of The Living Dead – Remix, frame for frame, on stage and screen in synch with the original footage being shown simultaneously. Breathless, breath-taking, dead brilliant.

From one restless story of the undead to another: the Victorian gothic horror of Dracula, here presented as The Untold Story, the story as re-told from Mina Harker’s viewpoint on New Year’s Eve 1965 at a London police station, as she turns herself in, the last surviving witness of Count Dracula’s destruction 70 years earlier.

Not seen since 1901, she should be 90, but as she confesses to a murder spree over those intervening years, Riane Duce’s Mina looks young, in her 20s. No wonder, Adela Rajnović and Matt Prendergast’s midnight-shift police officers appear so sceptical, even more so when vigilante Mina reveals her supernaturally powered capacity for self-healing and clairvoyance have sustained her through terminating the likes of Mussolini and Hitler before they could wreak their havoc.

All this is delivered with both verbal and visual wit by directors Andrew Quick and Pete Brooks, the outstanding Duce and the multi-role playing Imitating The Dog veterans Rajnovic and Prendergast, with an economy of words to fit into the bubble spaces that graphic novels use.

Ah, the graphic novel: the pop-culture artform that fuels the latest hi-tech innovation of Imitating The Dog’s co-production with Leeds Playhouse. Just as Frank Miller and Robert Rodriguez’s neo-noir thriller Sin City brought the graphic form to cinematic life, so Dracula: The Untold Story is now staged as a live graphic novel cum detective thriller.

Mixed-media theatre took a long time to settle, whether in the pioneering work of Imitating The Dog or York company Pilot Theatre, with words prone to playing second fiddle to the tricksy technology.

Now, however, the sight of actors working cameras on stage, or bending into unusual positions in front of blue screens to appear together, as if by magic, in the graphic novel in motion, no longer has any sense of distraction or gimmickry compromising the live performance.

This is live theatre-making gloriously embracing new possibilities in a constant flow between 2D and 3D, as the cast performs to both camera lens and audience, the visual experience further enhanced by the use of face-recognition technology for the characters being projected on screen.

Dracula: The Untold Story is thrillingly bravura, yet entirely coherent 21st century storytelling, at once pulp fiction in style yet deeply psychological too, still gothic but ultra-modern, humorous yet haunting. Sinking their ever-sharper teeth into Dracula, Imitating The Dog keep on breaking new ground.

Bill Ward and Wendi Peters in The Legend Of Sleepy Hollow

Philip Meeks’s The Legend Of Sleepy Hollow is a horror story too, but not of the kind intended. Washington Irving’s gothic story from 1820 runs to only 24 pages and should take the average reader 86 minutes to consume at 250 words per minute. Meeks’s play stretches to over two and a quarter hours, and when town teacher Ichabod Crane (Sam Jackson) mocks the legend for being boring, alas audience heads could be seen nodding in agreement.

At the interval, bewildered expressions were commonplace, as first-night attendees sought mutual guidance as to what was going on, a failing of storytelling amid Meeks’ proliferation of florid words and fanciful ideas.

Neither he nor director Jake Smith has settled on a tone or style, caught in a no man’s land between the earnest, the arch, the knowing, and the quagmire of strangely unfunny schlock-horror comedy ripped from the Hammer House playbook, with sporadic folk-dance stomping and religion-bashing to boot. Imagine a cross between Arthur Miller’s The Crucible and Robin Hardy’s The Wicker Man, topped off with a gay love story.

The acting is uneven; Wendi Peters’ Widow Mariette Papenfuss, with her gobby parrot, surpasses all around her; fellow Coronation Street big-name Bill Ward hams up Baltus Van Tassel; Jackson’s Ichabod is like a man under water forever trying to reach for the surface; Lewis Cope’s buff blacksmith Brom Van Brunt keeps removing his shirt, as if he has escaped from Heathers The Musical; Tommy Sim’aan’s Joost De Groot and Rose Quentin’s Katrina Van Tassel need better material.

Amy Watts’s set design could be a Bruegel painting but feels lifeless by comparison, while you wish for more of Filipe J Carvalho’s illusions amid the overall delusion and want of suspense.

In the desire to be magical and monstrous, spunky and spooky, everything has the feel of running around like a headless horseman, although “running” is not the right word.

“Don’t pass by. Stay Forever,” comes the never-to-be-repeated invitation to Sleepy Hollow. But what is the Legend of Sleepy Hollow? You better ask Philip, although on second thoughts…

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Beware headless horseman as Corrie stars Bill Ward and Wendi Peters bring Sleepy Hollow horror story to York Theatre Royal

Wendi Peters and Bill Ward in the artwork for The Legend Of Sleepy Hollow, touring York Theatre Royal from tomorrow (5/10/2021)

BILL Ward and Wendi Peters, who shared four years together on Coronation Street, are reuniting for the Haunted Season at York Theatre Royal.

From tomorrow to Saturday, they will be taking prominent roles as Baltus Van Tassel and Mariette respectively in Philip Meeks’s stage adaptation of Washington Irving’s The Legend Of Sleepy Hollow, replete with illusions by Back To The Future Musical’s Filipe J Carvalho.

In Irving’s infamous story, Hallowmas celebrations are fast approaching, when the residents of Sleepy Hollow spin tall tales of legends and unsightly entities, but who can tell truth from nightmare?

Enter Ichabod Crane into an eerie world of secrets and unsettling tradition as he starts his teaching post. When disturbing events overwhelm the small town, however, he finds himself swept up in a dangerous mystery that leaves him doubting his own sanity.

Here Bill and Wendi discuss their present and past roles, horror stories and what scares them.

How would you describe the show and your character?

Bill: “The show is a high energy, edge-of-your-seat thriller. Part horror, part comedy. Very physical. Think Hammer House of Horror meets Kneehigh. We’re all multi-role playing, which will be great fun.

“My main character is Baltus Van Tassel, who’s the elder statesman of the village, who’s trying to keep the village together during some pretty tricky times.

“But I also get to play a naughty 90-year-old female cook, a hard-drinking coach driver and a crazy, delusional Dutch captain. What’s not to like?!”

Bill Ward in rehearsals at the Churchill Theatre, Bromley, for The Legend Of Sleepy Hollow

Wendi: “It’s a folk horror: intriguing, scary, clever, witty with spectacular illusions. You’ll be on the edge of your seat! My main character, Mariette, is the strange widow of Sleepy Hollow.

“She lives on the outskirts of the village, alone, and has a few secrets that are revealed throughout the play. She takes Ichabod under her wing when he arrives and insists that he stay with her.”

What drew you to the play initially?

Bill: “The story – it’s a classic. I was particularly intrigued as to how they were going to do the Headless Horseman. There’s a fair amount of magic both in the story and also our telling of it. Putting that kind of a thing onto a stage is always good fun.

“Plus the physicality. I like doing plays where movement is an integral part of the show, and this is very much like that.”

Wendi: “I loved the script, it’s very clever, with multi-role playing, which is always great fun. I couldn’t put it down. I’d never seen the film but knew of the story. This is a completely new, and wonderful, adaptation by Philip Meeks. I’ve also never appeared in a horror piece, so was intrigued by that. It’s really exciting!”

Were you familiar with the original Washington Irving text, or had you seen other adaptations of the tale, and will you be drawing inspiration from them?

Bill: “It’s obviously a very famous tale – a classic – but actually I hadn’t read it till now. I loved it. It’s surprisingly short as a story, only 20 to 30 pages long. What’s interesting about that is that the shell of the story, the structure if you like, is there, but what each adaptation does is to fill in the considerable blanks for themselves.

“What the original story is big on is mystery and mood – so I’m sure we’ll be taking a fair bit of that and sprinkling it into our production.”

Wendi Peters during rehearsals for her role as Mariette in The Legend Of Sleepy Hollow

Wendi: “I wasn’t familiar with the text and I’d never seen the film. I knew the story and started watching the film but, 20 minutes in, I stopped it. It’s so very different from our adaptation, and, if I’m honest, I wasn’t really enjoying it.

“Our production is so much more exciting and moves at such a fast pace. I’m seeing this as a whole new piece of writing and story, and I love the idea of creating something from scratch.”

Have you worked with any of the cast or creative team previously?

Bill: “Yes, I was lucky enough to work with Wendi [Peters] for four or so years, quite a few years ago now on Coronation Street. Great fun. I was playing a pretty nasty piece of work, Charlie Stubbs, and I remember the show would often cut from scenes involving my character wandering around being hugely unpleasant, to Wendi’s character, Cilla, mucking about in a bubble bath with the family dog.

“I also know the writer, Philip [Meeks], from panto among many other things. Not only is he a great playwright and screenwriter, he’s also a rather brilliant dame. We worked together up in Sunderland a few Christmases ago. Happy days.”

Wendi: “Most of the cast are a lot younger than me, so our paths haven’t crossed. It feels strange to now be the mother, sometimes grandmother, of the cast. I guess I’m getting old. However, Bill and I worked together at Corrie. We were there over the same four-year period but our characters were rarely in the same storyline. It’s going to be great to catch-up again after 14 years.”

The Legend Of Sleepy Hollow promises to shock and scare audiences. What scares you the most?

Bill: “Heights. Can’t stand them. I’ll do anything to avoid them. Urgh!”

Wendi: “I’d say, on the whole, I’m quite a brave person, although I don’t like, or watch, many horror films. I don’t really believe in the paranormal. I once did a ghost-hunting programme and found it quite funny. Having said that, I don’t like the dark much, especially in the situations I’m unsure of.”

The Legend Of Sleepy Hollow playwright Philip Meeks

Why has The Headless Horseman – a legendary figure in the horror genre – stood the test of time?

Bill: “Because it plays to our imaginations and to one of our strongest emotions: fear. Fear of the dark. Of death. Of the fantastical. Of being caught in a chase you cannot possibly win – the stuff of nightmares the world over.

“The Headless Horseman was arguably one of the first true horror creations: larger than life and truly unforgettable.”

Wendi: “I think it was one of the first horror stories written and creates such a vivid image in people’s head. Hopefully, when people see our production, they’ll take away more than just an image in their heads.”

What do you want audiences to take away from this production? 

Bill: “The thing that theatre does so well: that sense of being transported, for a couple of hours, toanother world entirely. It’ll be an energetic, enjoyable, scary, funny, night out. And I really think we’ve all missed that, as a country, and as a community over the last 18 months: that sense ofbeing out, together, having fun, sharing and telling stories.”

Wendi: “It’s been such a terrible 18 months for theatre, both for actors and audiences, that I think everyone will be thrilled to be there and just be entertained.

“As a piece, I’d like them to come away having been scared and on the edge of their seats, but also having relaxed and laughed. They will go away with a few questions too, hopefully.”

What is the biggest difference for you between performing on stage and screen?   

Bill: “Rehearsals! They pretty much don’t exist in television anymore, certainly not in the serial dramas and soaps. That’s one of the things that makes TV so invigorating to do: bringing your performance in on the day, standing, and delivering, knowing you have 40 minutes to nail it.

“Hopefully, when people see our production, they’ll take away more than just an image in their heads,” says Wendi Peters

“But I love the sense of exploration you get with theatre: that sense of looking at a piece of writing (particularly a new piece of writing like this) from a number of different angles, and directions, trying all sorts of things out on the rehearsal-room floor, and seeing what best serves the play.”

Wendi: “I’ve been so lucky, having worked in all aspects of theatre, TV and radio. I love that it never seems monotonous or boring and enjoy learning new things too.

“The main difference is the level of playing. On stage, you are performing to hundreds and have to make sure the back row is included. I love touring because you are in a new space each week to explore your performance.

“TV is much more intimate and held back. I love doing both but if I had to choose one for the rest of my career, it would definitely be theatre.”

What are you most looking forward to while on tour?  

Bill: “I’ve always been a bit of a traveller at heart. I’ve been round the world with a backpack a couple of times. So, I love getting out and about around the country, especially to towns and cities, and theatres, I haven’t spent time in before. A real treat. Oh, and I’ll be taking my camera, as always.”

Wendi: “Seeing a couple of theatres that I haven’t worked at before, but mainly just being back on stage, entertaining audiences, and doing the job I love.”

The Legend Of Sleepy Hollow, York Theatre Royal, October 5 to 9, 7.30pm nightly; 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

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Harrowing horror of the headless horseman rides into the haunted York Theatre Royal

Bill Ward and Wendi Peters in a scene from The Legend Of Sleepy Hollow, bound for York Theatre Royal next week

THE Headless Horseman is galloping apace towards York Theatre Royal for the Haunted Season.

Coronation Street alumni Wendi Peters and Bill Ward will lead the cast in Philip Meeks’s stage adaptation of Washington Irving’s The Legend Of Sleepy Hollow, on tour in ever-spooky York from October 5 to 9, replete with illusions by Back To The Future Musical’s Filipe J Carvalho.

In Irving’s infamous story, Hallowmas celebrations are fast approaching, when the residents of Sleepy Hollow spin tall tales of legends and unsightly entities. Who can tell truth from nightmare, however?

Enter Ichabod Crane into an eerie world of secrets and unsettling tradition as he arrives in Sleepy Hollow to become the town teacher. While quickly finding friendship with the town patriarch and his spirited daughter, his presence is not wholly welcome.

Not all is as it seems, for Ichabod Crane harbours his own dark secret. He is not in Sleepy Hollow by chance. When disturbing events overwhelm the small town, he finds himself swept up in a dangerous mystery that leaves him doubting his own sanity.

Director Jake Smith says: “Sleepy Hollowis undoubtedly one of the greatest horror stories ever written and a tour de force to stage. The story has at its heart the power of nomadic storytelling and gathering round the campfire for a good story. It’s an important story for now as we look at conversations around the identity of nations, communities and humankind throughout the world.

“This production has allowed an incredible ensemble of actors to viscerally and inventively bring the Hollow to life. It’s a piece that shines on our actors’ athleticism, which is really exciting as we look to theatre returning. We look forward to transporting the audience through a quest of logic and illusion, creating fear and defying expectation.”

Wendi Peters in rehearsal at the Churchill Theatre, Bromley, for her role as Mariette in The Legend Of Sleepy Hollow, on tour at York Theatre Royal from next Tuesday

For Philip Meeks, The Legend Of Sleepy Hollow follows the 2017 premiere of Murder Margaret And Me into York Theatre Royal, where earlier his play about the dying embers of a pantomime dame, Twinkle, Little Star, ran in the Studio in April 2008.

“I’m a huge horror fan; the history of Gothic, the history of horror; if I was going to do an MA, it would be on the horror medium,” says Philip, who shares an agent and indeed an imagination with director Jake Smith.

“The agent lives in a caravan in Marsden Grotto, next to Mam’s house in South Shields. There was a project I was working on where it looked like the director was going to drop out and I said, ‘what about Jake doing it?’, as I’d heard good things about him.

“Now, I like to think of us as Peter Cushing and Christopher Lee! He’s got this great visual energy as a director and the work he’s done has all been fantastic.

“We think very much alike and sometimes it’s hard to know who’s the 50-year-old [Meeks] and who’s the 30-year-old [Smith]!”

Playwright Philip Meeks: “Chipping in from the corner in rehearsals”

Smith, who stayed with Meeks when he was holding auditions, has been drawn to horror previously, doing a “sort of Hound Of The Baskervilles before the current plethora of productions of that story”. “He does a lot of writing too, and we have the same sense of humour, laughing a lot even when we shouldn’t,” says Philip.

“As a result, I’ve been in rehearsals a lot, with me as the Richard Osman figure on Pointless, chipping in from the corner.”

What drew Meeks and Smith to The Legend Of Sleepy Hollow? “It’s a piece that’s not really been done a lot before, probably because it’s a short piece , but it’s a story that people turn to in times of existential fear,” says Philip.

“It’s not about blood and gore; it’s about people in society, exploring human nature, thinking, ‘My god, how would I cope?’.

“It came to the fore in the late 1970s/1980s when there was the last horror boom because of the fear of nuclear war and the apocalypse, and in 2021 what we’re afraid of is the breakdown of society. The most popular form now is folk horror, and Washington Irving’s story was the first example of that.

“America was not the home of horror but they certainly explored it there, and Washington Irving really did explore it, writing at a time when narrative fiction was quite new.

“He was a journalist and a factual writer who dabbled in fiction, but he wrote his factual pieces very buoyantly with a great prose style, and that’s why his writing captured the imagination, because it was very accessible.”

Bill Ward in the rehearsal room for The Legend Of Sleepy Hollow

Meeks’s play is a “true act of adaptation, taking these characters and the story into a different medium”. “The legend is told to scare off Ichabod Crane, and we’ve kept that but we’re telling the story with a contemporary twist.

“I wanted to put a heart into it, using the device of a confidante for Ichabod, so I’ve created Mariette, played by Wendi Peters.”

Philip is hugely influenced by Hammer Horror, “even though people think of those films as being schlocky, especially with the Dracula franchise at the end”. “The story I’ve chosen to tell has a lot of elements from Hammer Horror, aside from its themes of corruption or belief or lack of belief.

“Ichabod only believes in science and technology; the rest believe in god knows what. The future is ichabod thinking he is God, so there’s the dawn of scientology.

“But with a monster you must bring an element of heart and humanity to them, like with Frankenstein’s monster.”  

The Legend Of Sleepy Hollow runs at York Theatre Royal from October 5 to 9, 7.30pm, plus 2pm, Thursday, and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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Darker nights, ghostly tales and premieres stalk York Theatre Royal’s Haunted Season

Let’s stalk: Will York Theatre Royal’s fabled ghost, The Grey Lady, make an appearance during The Haunted Season this autumn?

ONCE nights start to draw in, York Theatre Royal will fill its stage with spirits and shadows in The Haunted Season from September 9.

In the home of the restless ghost of the Grey Lady, world premieres by Emma Rice, Matthew Bourne and Tonderai Munyevu will be complemented by scary appearances by horror favourites Dracula, The Hound Of the Baskervilles and the Headless Horseman.

As trailered in CharlesHutchPress, Emma Rice’s Wise Children will complete a hattrick of Theatre Royal visits with Rice’s new adaptation of Emily Brontë’s Wuthering Heights in a Theatre Royal co-production with the National Theatre and Bristol Old Vic from November 9 to 20.

Lucy McCormick will play Cathy in this world premiere as Rice’s visual and musical style brings new life to this epic Yorkshire story of love, revenge and redemption.

“It is with an earthy spring in my step and epic twinkle in my eye that I announce our new plans for Wuthering Heights,” says Rice, who presented Angela Carter’s Wise Children at the Theare Royal in March 2019 and Enid Blyton’s Malory Towers that September.

Lucy McCormick’s Cathy in the poster for Wise Children’s world premiere of Emma Rice’s adaptation of Wuthering Heights. Picture: Hugo Glendinning

“So many projects have fallen by the wayside during lockdown that there were times when I lost hope but there was no need. Wise Children are back; stronger, wiser and grateful for the chance to sing and dance again. The exceptional cast, crew, administrative and creative teams are ready to go and we are fizzing with ideas, dreams and anticipation.”

Earlier in the Haunted Season, from September 30 to October 2, will be the world premiere of celebrated choreographer Matthew Bourne’s The Midnight Bell, a dance exploration of “intoxicated tales from darkest Soho”, inspired by English novelist and Gaslight playwright Patrick Hamilton.

Delving into the underbelly of 1930s’ London life, this New Adventures show invites audiences to step inside The Midnight Bell, a tavern where one particular lonely hearts club gathers to play out lovelorn affairs of the heart: bitter comedies of longing, frustration, betrayal and redemption.

The Theatre Royal had to wait for 30 years for Londoner Sir Matthew Bourne, doyen of dandy dance, to bring a show to York for the first time on his Early Adventures tour in March 2017 after he introduced mid-scale touring. The Theatre Royal promptly booked his next tour, Matthew Bourne’s Deadly Serious, but that visit never materialised. Now, however, Bourne is back with his Soho tales.

Matthew Bourne’s The Midnight Bell: Delving into the underbelly of 1930s’ London life in the New Adventures production from September 30 to October 2

The season will open with another world premiere, Zimbabwean writer-performer Tonderai Munyevu’s Mugabe, My Dad & Me from September 9 to 18. His high-voltage one-man show charts the rise and fall of one of the most controversial politicians of the 20th century, Robert Mugabe, through the personal story of Tonderai’s family and his relationship with his father as he considers familial love, identity and what it means to be “home”.

Playwright (and pantomime dame to boot) Philip Meeks has history at York Theatre Royal in the form of Twinkle, Little Star, starring Nottingham Playhouse panto legend Kenneth Alan Taylor in the Studio in 2008  and the 2017 world premiere of Murder, Margaret and Me, his comedy-thriller of imagined meetings between crime novelist and playwright Agatha Christie and actress Margaret Rutherford.

Now Meeks will return with his stage adaptation of The Legend Of Sleepy Hollow, Washington Irving’s 1820 tale of the Headless Horseman, from October 5 to 9, when Wendi Peters, from Coronation Street, and Bill Ward, from Coronation Street, Emmerdale and Before We Die, will lead the cast and Filipe J Carvalho will provide the stage illusions.

Director Jake Smith says: “Sleepy Hollow is undoubtedly one of the greatest horror stories ever written and a tour de force to stage. The production has at its heart the power of nomadic storytelling and gathering round the campfire for a good ghost story. It is an important story for now as we look at conversations around the identity of nations, communities and humankind throughout the world.”

Coronation Street alumni Wendi Peters and Bill Ward will star in Philip Meeks’s stage adaptation of The Legend Of Sleepy Hollow

Two familiar figures from the world of horror will put in appearances at the Haunted Season, albeit maybe not in the expected manner. Kings of comedy Le Navet Bete will sink their teeth into Dracula: The Bloody Truth on September 24 and 25, mixing slapstick with carefully crafted comedy and a healthy dose of things going wrong as the action moves from dark and sinister Transylvania to the “awkwardly charming seaside town of Whitby”.

From October 19 to 23, Sir Arthur Conan Doyle’s detective story The Hound Of The Baskervilles will be given a humorous overhaul in a Lotte Wakeham production where farce collides with theatrical invention and comic performances.

Pride And Prejudice’s most roguish gentleman, George Wickham, will seek to set the record straight when Adrian Lukis performs in Being Mr Wickham from October 14 to 16. Lukis, who played Mr Wickham in the BBC TV adaptation, will reveal what really happened with Darcy, how he felt about Lizzie and, of course, what happened at Waterloo.

Two dance companies will return to the Theatre Royal stage: Ballet Black on October 26 and Phoenix Dance Theatre on November 23 and 24.

The poster for the world premiere of Tonderai Munyevu’s Mugabe, My Dad & Me

Cassa Pancho’s Ballet Black Double Bill will feature Then And Now, wherein Will Tuckett blends classical ballet, poetry and music to explore ideas of home and belonging, and fellow Olivier Award-winning choreographer Mthuthuzeli November’s contemplation of the purpose of life in The Waiting Game.

Leeds company Phoenix Dance Theatre will be celebrating 40 Years Of Phoenix with a birthday programme of work by international and award-winning choreographers, including former artistic directors and collaborators.

Lorne Campbell’s new theatrical version of The Ballad Of Johnny Longstaff will be performed by BBC Radio 2 Folk Award-winning trio The Young’uns – Sean Cooney, David Eagle and Michael Hughes – from October 28 to 30.

This protest-song celebration of northern working-class activism features songs from the original album, alongside new material and animation, in the true story of a young anti-fascist’s journey from poverty and unemployment in Stockton-on-Tees through the hunger marches of the 1930s, the mass trespass movement and the Battle of Cable Street, to fighting fascism in the Spanish Civil War.

Protest-song celebration of northern working-class activism The Young’uns in The Ballad Of Johnny Longstaff. Picture: Pamela Raith

On October 11 and 12, English Touring Opera will return to the Theatre Royal with Handel’s Amadigi, based on a chivalric romance about three young people imprisoned by a sorceress.

From November 2 to 6, York Opera will present The Magic Flute, Mozart’s magical and last great opera, sung in English with an orchestra.

For younger audiences, Rod Campbell’s lift-the-flap book will leap off the page in Dear Zoo Live!, a show packed full of puppetry, songs and all the animals from the zoo, on September 28 and 29.

After The Love Season and upcoming Summer Of Love, The Haunted Season will be the third of York Theatre Royal’s mini-seasons since reopening on May 17. Tickets are on sale on 01904 623568 and at yorktheatreroyal.co.uk.