Review: Signal Fires Festival, Northern Girls, Pilot Theatre and Arcade, YMCA Theatre Car Park, St Thomas Street, Scarborough, October 27 and 28
ALAS, we are confined to keeping only the home fires burning as Lockdown 2: The Sequel beds in from Thursday, putting live theatre back in its box for at least a month.
Yet in this desperate year, nights such as the Northern Girls showcase for female voices have risen from the ashes of 2020 to make the Signal Fires Festival a heart-warming herald of how theatre can diversify to survive the stultifying Covid strictures that have left the industry under threat.
Over the years, CharlesHutchPress has reviewed productions staged in York in an echoey multi-storey car park and at a pop-up Elizabethan theatre built on a car park. Now, the Tarmac surface of the Scarborough YMCA Theatre car park can be added to that list, on a Tuesday night of numbing exposure to the autumn elements that made the glowing presence of four fire pits so welcome to complement scarves and the now de rigueur masks.
Ben Cowens’ silvery lighting of a lonely tree added magic to the setting and provided a point of focus for the performers brought together by pioneering York company Pilot Theatre and Arcade, the new Scarborough community producers
The time-honoured tradition of telling stories at the fireside lies at the heart of Signal Fires, albeit that everyone was keeping their social distance, sitting in pods of two, rather than huddling around the heat, all wearing a headset for clarity of sound, as is the norm at outdoor performances this year.
Each commissioned vignette was a solo piece – a concentrated artform but practical for Covid times – setting free eight stories of girls and women who live along the North East coastline, as Pilot artistic director Esther Richardson did when growing up in Redcar until the age of 11. Linking them altogether was the theme of what mattered most to writers and performers alike in 2020.
Here was a chance to see a quickfire new work by fast-rising High Kilburn playwright Charley Miles, setting the bar high with the opening Erosion, performed by professional debutante Holly Surtees-Smith, who returned for Rant, by Amy-May Pell, one of four new writing talents nurtured for Northern Girls by York theatre-maker, playwright and tutor Hannah Davies.
Richardson and Arcade’s Rach Drew spread the net wide along the coastline to fish out stories from Zoe Cooper, from Newcastle (Kat/Cassie, performed by Laura Elsworthy) and Maureen Lennon, from Hull, whose rousing The Scarborough Porpoise marked Northern Girls’ second professional stage debut by the bravura Laura Boughen.
This frank, fearless, funny and fiery feminist tale was chosen for the finale, such was its potency and desire for freedom, riding the waves amid the porpoises.
British-Sudanese spoken-word artist (and basketball player) Asma Elbadawi performed her own work, The Girl Next Door, reflecting on growing up as a hijab-wearing girl in Bradford.
Lighting the torch for breaking barriers and finding liberation, Northern Girls also introduced new works by Shannon Barker, from Scarborough (First Date), and York College A-level student Ariel Hebditch (Yin And Yang), both performed by Siu-See Hung.
Claire Edwards, writer of the past five Scarborough YMCA Theatre pantomimes, here changed tack to make waves with Waves in a second monologue for the outstanding Laura Elsworthy.
Good news too, Signal Fires will not merely turn to ash. Suitably fired up by Northern Girls, Esther Richardson is keen to roll out this pioneering writing project in other communities too.
TELLING stories around a fire is an early form of theatre, one that is to be celebrated in the nationwide Signal Fires Festival this autumn.
Among those taking part are York company Pilot Theatre and new Scarborough community producing company Arcade, who are collaborating on Northern Girls, an hour-long, socially distanced, fire-lit outdoor performance on October 27 and 28 in the YMCA Theatre Car Park, St Thomas Street, Scarborough YO11 1DY.
At 7pm each night, Pilot and Arcade will set freethe stories of girls and women who live along the North East coastline and were encouraged to write and present tales that matter to them most in 2020.
Next week’s performances will feature short commissioned pieces from Asma Elbadawi, Zoe Cooper, Maureen Lennon and Charley Miles, complemented by work created with York spoken-word artist and tutor Hannah Davies and a group of young women from Scarborough, .
A signal fire is defined as “a fire or light set up in a prominent position as a warning, signal, or celebration”, now re-purposed amid the Coronavirus crisis for the arts to “signal the vibrancy of touring theatre and the threat our industry continues to face”.
“This whole Covid situation has made it important to create theatre support networks across the country, with the issues faced by smaller companies, mid-scale companies and larger companies,” says Pilot artistic director Esther Richardson.
“If there has been any upside, it is that the theatre network across the country is far stronger now.”
The idea for the Signal Fires Festival came from English Touring Theatre and Headlong Theatre, building on the original desire to highlight the work of companies who do not have their own theatre base. “We were also thinking about ‘what can we do for freelancers in theatre’ and, most important of all, ‘how can we send out a fire signal that we want to bring back theatre stronger than ever?’,” says Esther.
Pilot’s link-up with Arcade is rooted in Rach Drew and Sophie Drury-Bradey running the Scarborough company. “We knew Rach from her work at York Mediale and I’ve known Sophie for a long time from when she was at the Albany, when she asked me to develop some work with new writers, 15 years ago,” says Esther.
“It was then a coincidence that Sophie had come to Scarborough, but when this project came about, to amplify northern women as leaders as well as writers, it was just a natural progression to say, ‘What do you think, guys, about doing this project together?’.”
The theme of Northern Girls resonated with Esther not only because “Pilot has always been about helping those who are disadvantaged in the community”, but also because of her childhood on the North East coast.
“I lived in Redcar from the age of three to 11, so I’d always had this tug to do something on the coast. I’m someone who left there and has had a career in theatre but I keep in touch with people who live there,” she says.
“I’m aware of the lack of investment in those places, and the direct effect that has on young people and women in particular. So, this project was about creating an opportunity to unlock what people can do when they set their hearts and minds to it.”
Esther was keen to achieve a geographical spread of four female writers, all still in the process of establishing themselves. “Maureen Lennon is from Hull and I was aware of her work for Middle Child Theatre that is full of insight into working-class lives,” she says.
“Asma Elbadawi is a spoken-word artist and professional basketball player Bradford, and she’s someone we’ve been excited about for a while but we hadn’t found a project for her.
“Northern Girls was perfect for her to bring her perspective of growing up as a hijab-wearing girl in West Yorkshire.”
Zoe Cooper is an award-winning playwright from Newcastle. “Again, I’d been aware of her for a while, but if you think about women playwrights from the North, there’s Middle Child’s work in Hull, Charley Miles at Leeds Playhouse, but in the North East, there seems to be a dearth of female writers, so we’re delighted to be featuring Zoe’s work,” says Esther.
Charley Miles, from the Hambleton village of High Kilburn, first came to attention with her lyrical moorland village drama Blackthorn at the West Yorkshire Playhouse in 2016, and her all-female Yorkshire Ripper play, There Are No Beginnings, was the first to be staged when the Leeds Playhouse re-opened last October.
“We wanted writers from different places because we want to continue this process, to explore how we might take this writing project to other communities to develop new works,” says Esther.
She is pleased too by the impact of York writer Hannah Davies on the four women she has been working with in Scarborough: Amy-Kay Pell, Shannon Barker, Ariel Hebditch and Claire Edwards.
“Hannah is not just a wonderful writer but also she’s wonderful at working with young writers,” says Esther. “She has a really special gift for inspiring new writers, nurturing them and getting them to nurture themselves, in this case Amy, Shannon, Ariel and Claire.”
Asma Elbadawi will present her own work, while Laura Boughen, Laura Elsworthy, Siu-See Hung and Holly Surtees-Smith will perform the others, working with directors Esther Richardson, Gitika Buttoo, Oliver O’Shea and Maria Crocker.
All the short pieces address the barriers that women face, with each story being “in some sense an act of liberation”. “With everyone writing to the same theme, straight from the heart, some plays are more political, but they all make you think about things you might not have thought about otherwise,” says Esther.
The “fire” setting will be fire pits in the car park. “At first we wanted to do it by the sea, but there are loads of problems doing a show with a fire on the beach, not least the tides!” says Esther.
Pilot Theatre and Arcade present Northern Girls for the Signal Fires Festival, at YMCA Theatre Car Park, St Thomas Street, Scarborough YO11 1DY, on October 27 and 28, 7pm to 8pm.
The recommended age is 14 plus. Please bring headphones. Each £10 ticket is sold for a clearly marked bubble that can seat one or two people. Audience members must wear a mask on arrival and throughout the performance.
WE may be beset by tiers before bedtime, but the arts world will not lie down meekly in the face of the pandemic’s second wave. Instead, Charles Hutchinson highlights events on-going, on the horizon and online.
The rule of six, over and out: Robin Ince and Laura Lexx, Your Place Comedy, live-streaming on Sunday, 8pm
YOUR Place Comedy, the virtual comedy club launched in lockdown by Selby Town Council arts officer Chris Jones and ten independent Yorkshire and Humber arts venues, concludes with its sixth line-up this weekend.
The last laugh will go to The Infinite Monkey Cage co-host Robin Ince and Jurgen Klopp’s number one fan, Laura Lexx, introduced by remotely by regular host Tim FitzHigham, alias Pittancer of Selby, as they perform from their living rooms into yours. The show is free to watch on YouTube and Twitch via yourplacecomedy.co.uk, with donations welcome afterwards.
Online literary event of the week: Matt Haig, The Midnight Library, Raworths Harrogate Literature Festival, streaming from 8am tomorrow (October 23)
MATT Haig, the award-winning author with the York past, discusses his latest novel, The Midnight Library, a tale of regret, hope and forgiveness set in the strangest of libraries, one that houses second chances.
Exhibition of the week and beyond: Human Nature, York Mediale/York Museums Trust, at Madsen Galleries, York Art Gallery, until January 24 2021
THIS triptych of installations under the banner of Human Nature combines the British premiere of Canadian media artist Kelly Richardson’s sensory woodland short film Embers And The Giants with two York Mediale commissions.
London immersive art collection Marshmallow Laser Feast look at the journey of oxygen from lungs to the heart and body in a series of installations that echo the ecosystem in nature inThe Tides Within Us.
Manchester artist and animator Rachel Goodyear’s Limina combines a surrealist, Freudian and Jungian series of animations and intricate drawings, responding to an untitled sculpture from York Art Gallery’s collection as she offers glimpses into the psyche and fragments of the unconscious.
Fired-up event of the week: Northern Girls, Pilot Theatre and Arcade, at Scarborough YMCA Car Park, for Signal Fires Festival, October 27 and 28, 7pm to 8pm
YORK company Pilot Theatre team up with new Scarborough arts makers Arcade to present Northern Girls by firelight for the nationwide Signal Fires Festival.
The one-hour performance sets free the stories of girls and women who live along the North East coastline, encouraging them to write and present tales that matter most to them in 2020.
Short pieces commissioned from Asma Elbadawi, Zoe Cooper, Maureen Lennon and Charley Miles will be complemented by York spoken-word artist Hannah Davies’s work with a group of young women from Scarborough.
Both eyes on the future festival of the week ahead: York Design Week, October 26 to November 1
SUPPORTED by York’s Guild of Media Arts, the York Design Week festival will seek to design a positive future for the city under five themes: Re-Wild, Play, Share, Make Space and Trust.
In Covid-19 2020, the festival will combine in-person events with social-distancing measures in place, and a wide range of online workshops, exhibition seminars and talks.
Look out for workshops bringing together homeless people and architects to work on solutions for housing; sessions on innovation and rule-breaking; an exhibition inspired by a York printing firm; discussions on community art and planning and city trails designed by individual York citizens. Go to yorkdesignweek.com for full details.
Barrie’s back: An Evening With Barrie Rutter, The Holbeck, Jenkinson Lawn, Holbeck, Leeds, November 7, 7.15pm
BARRIE Rutter OBE is to return to the stage for the first time since his successful treatment for throat cancer.
The Hull-born titan of northern theatre, now 73, will perform his one-man show at The Holbeck, home to the Slung Low theatre company in Leeds. The Saturday night of tall tales and anecdotes, poetry and prose will be a fundraiser for the installation of a new lift at the south Leeds community base, the oldest social club in the country.
“I’m absolutely thrilled at the invitation from Alan Lane and his team at Slung Low to perform at The Holbeck,” says Rutter. “What goes on in there is truly inspirational and I’m delighted support this wonderful venue.”
Family business of the autumn: John Godber Company in Sunny Side Up!, in The Round, Stephen Joseph Theatre, Scarborough, October 28 to 31; Hull Truck Theatre, November 17 to 22
THE waiting for Godber’s new play is over. The world premiere of the ground-breaking former Hull Truck artistic director’s Sunny Side Up! will be a family affair, starring John Godber, his wife Jane Thornton and daughter Martha, while daughter Elizabeth will be doing the stage management.
Written and directed by Godber, the humorous and moving Sunny Side Up! depicts a struggling Yorkshire coast B&B and the people who run it. “Join proprietors Barney, Cath and Tina as they share their stories of awkward clients, snooty relatives and eggs over easy in this seaside rollercoaster that digs into what our ‘staycations’ are all about,” invites John.
Looking ahead to 2021/2022: Dance shows at the treble at York Barbican
STRICTLY Come Dancing’s glittering weekend return to BBC One was a reminder that regular professionals Anton du Beke, Giovanni Pernice, Graziano di Prima, Aljaz Škorjanec and Janette Manrara are all booked to play York Barbican sometime over the rainbow, Killjoy Covid permitting.
Ballroom couple Anton & Erin’s: Showtime celebration of Astaire, Rogers, Sinatra, Garland, Chaplin, Minnelli, Bassey, Tom Jones and Elton John has moved from February 19 2021 to February 18 2022.
Aljaz and Graziano’s Here Comes The Boys show with former Strictly pro Pasha Kovalev has switched to June 30 2021; Aljaz and Janette’s Remembering The Oscars is now booked in for April 21 2021, and Giovanni’s This Is Me! is in the diary for March 17 next year.
News just in: Rob Brydon in An Evening Of Song & Laughter, York Barbican, April 14 2021
WOULD I lie to you? Actor, comedian, impressionist, presenter and holiday-advert enthusiast Rob Brydon is to play with a band in York. It’s…true!
Yes, Brydon and his eight-piece band will take to the road next year for 20 dates with his new show, Rob Brydon: A Night of Songs & Laughter, visiting York Barbican on April 14 on his second tour to combine songs and music with his trademark wit and comedy. Expect Brydon interpretations varying from fellow Welshman Tom Jones to Tom Waits, Guys And Dolls to Elvis Presley.
The 5ft 7inch Brydon last appeared at York Barbican for two nights of his improvised stand-up show, I Am Standing Up, in October 2017. Box office: yorkbarbican.co.uk.
And what about….?
HEADING out on the Indie York Medieval & Magical Treasure Trail, running from October 24 to November 1 for half-term entertainment, with full details at indieyork.co.uk.
Likewise, taking up the York Ghost Merchants’ cordial invitation to be spooked by the first annual Ghost Week on the same dates. Among the highlights in “the city of a thousand ghosts” are The Little York Ghost Hunt and The Ghost Parade (also part of the Indie York trail). Discover more at yorkghostmerchants.com.
LISA Howard will be spending the weeks ahead performing in the Friends Garden in Rowntree Park, York, but she has been no stranger to the world of gardens in lockdown.
“I went ‘allotmenting’, growing stuff and trying to feed the world from my allotment,” says Lisa, who will be playing Cathy in the Park Bench Theatre premiere of Matt Aston’s Every Time A Bell Rings from August 26 to September 5.
“I was imagining the worst, that there would be no fresh food in the shops. I wanted to provide my own food. I had already started hoarding last year because of the fear of Brexit. I’d already gathered toilet rolls. I got a bit paranoid.
“I didn’t do what a lot of actors did and make a sound studio or practise getting on to Zoom. I thought I’d never work again. I did get a bit down about it, so I buried myself with getting mucky hands in the allotment. Something that felt real and connected to the earth.”
In The Park Bench Theatre season that begins with Wakefield Theatre Royal pantomime dame Chris Hannon performing Irish playwright Samuel Beckett’s short story First Love from Wednesday, Lisa will play a woman seeking solace as she emerges from isolation in lockdown on Easter Sunday 2020.
As Cathy sits on her favourite park bench in her favourite park, she reflects on her situation: a scenario that chimes with our Covid times in a play prompted by writer – and Park Bench Theatre artistic director – Matt Aston doing likewise on his regular exercise routine in Rowntree Park during lockdown.
Not that Lisa was aware of the script – a 45-minute monologue that takes a touching, humorous and poignant look at how the world is changing through the extraordinary circumstances of 2020 – before taking on the part. Asked to play the role by director Tom Bellerby, she agreed to do so without reading the script first. “Later that afternoon I did read it and was glad I’d said ‘yes’,” she says.
She has worked with Tom previously, firstly when he was a member of York Theatre Royal Youth Theatre. He was in the cast of artistic director Damian Cruden’s 2005 production of Macbeth, wherein Lisa played one of the three Witches, and later he was associate director for the Pilot Theatre/Slung Low/York Theatre Royal promenade production of Blood + Chocolate in York in 2013.
“Every Time A Bell Rings is an inner monologue about a woman who is out of isolation after 14 days of not going anywhere or seeing anybody. Basically, it’s the story of her life. She’s a woman in her fifties who’s had a life full of ups and downs,” says Lisa.
“I’ve done my fair share of new writing. I enjoy creating characters and working through stuff that’s fresh and people haven’t seen before. It’s good to be working on something that’s so ground-breaking about a situation that none of us have experienced before.”
She is no newcomer to outdoor theatre or site-specific productions, especially for Alan Lane’s Leeds company Slung Low whose “sense of adventure” she so admires, typified by the epic promenade production of Blood + Chocolate, where the audience listened on headsets as they followed the cast around the centre of York and out to Clifford’s Tower. Blood and Chocolate was an epic promenade production around the city
Last year, Lisa appeared in Twelfth Night, The Borrowers and Henry V in Grosvenor Park Open Air Theatre, in Chester, but she is new to Rowntree Park, despite having worked and stayed in York many times.
She has only one worry. “I hope I don’t fidget too much sitting in one place on a park bench for a long time. I might have a cushion sewn into my trousers,” she says.
Her most recent appearances in York came at the Theatre Royal in Sabrina Mahfouz’s stage adaptation of Malorie Blackman’s novel Noughts And Crosses for Pilot Theatre in the main house in April 2019 and Joyce Branagh’s comedy bus-trip Ladies That Bus in the Studio in February this year before the world as we knew it was stopped in its tracks.
“Luckily we finished the tour of Ladies That Bus before lockdown happened. We were in our own little bubble on a rural tour with no concept of what was happening,” says Lisa.
“We mentioned it once when we were washing our hands and singing Happy Birthday. The tour ended and lockdown happened.”
As well as more acting, she would love to see the return of Lula And The BeBops, dormant for far too long. “It feels like we’ve been scuppered at every turn,” says Lisa, the band’s lead singer. “The last gig we did was a couple of years ago. We’ve haven’t done anything recently mainly because I’ve been working away a lot with different tours.
“I’m desperate for us to get back together again. It’s wanting to perform with other people in groups. It’s great to be part of a band.”
Engine House Theatre present Matt Aston’s Every Time A Bell Rings, at Park Bench Theatre, Friends Garden, Rowntree Park, York, August 26 to September 5, 7pm; August 29 and September 5, 4pm matinees. Running time: 45 minutes. Please note: contains very strong language.
The Friends Gardenis an enclosed lawn at Rowntree Park that will have socially distanced seating in an outdoor Covid-secure setting with clearly delineated areas/boxes marked on the grass – three metres square – for audience members to sit in.
Up to three or four people from the same household can sit in each box. Further individual seats will be spaced around the side of the lawn.
You are encouraged to bring blankets if booking for the first few rows or chairs for the back few rows.
YORK company Pilot Theatre is calling for an “equitable approach to the distribution” of the Government’s £1.57 billion arts aid package.
This plea comes in the wake of Culture Secretary Oliver Dowden hinting at priority being given to protecting “the crown jewels”, while seeking to support small-scale venues too.
All this at a time when Prime Minister Boris Johnson is under the spotlight after his General Election victory pledge to “level up” the playing field for places not called London and the South East.
In a statement released today “in response to the Government’s cultural investment announcement” under the cloak of night late on Sunday, Pilot’s joint chief executives, artistic director Esther Richardson and executive producer Amanda Smith, “welcomed the news that the UK government has put together a rescue package for arts and culture”.
“Thank you to every single person and organisation who has given time and energy to the campaigns for our industry through the most challenging period we can remember,” they said.
“The details of the rescue package are not yet clear, but what is clear is that there must be an equitable approach to the distribution of this funding. The committees that now take the decisions over how emergency support is shared must be representative of all our communities.”
Pilot, the pioneering resident company at York Theatre Royal, is noted for its multi-cultural, multi-ethnic, all-inclusive ethos, prompting Esther and Amanda to say: “Black, Asian, minority ethnic, disabled and LGBTQI+ leaders must be at this table as well as a healthy number of those who do not work in London, and those who can speak for the freelance workforce.
“Children and young people and their interests must also be central, as must organisations and individuals who specialise in working with these groups.”
The chief execs urge: “This money will offer some in the sector a short-term lifeline but all who receive it should seize upon the longer-term opportunity to create work throughout the UK that is bold, imaginative and truly accessible and inclusive.
“This is a welcome gesture but only the beginning of the longer project to ensure the survival and growth of the arts in all our communities.”
Pilot Theatre were on tour with their premiere of Emteaz Hussain’s adaptation of Alex Wheatle’s young adult novel Crongton Knights when the Covid-19 shutdown intervened.
Performed at York Theatre Royal from February 25 to 29, Crongton Knights took its audience on a night of madcap adventure as McKay and his friends, The Magnificent Six, encountered the dangers and ultimate triumphs of a mission gone awry.
In this story of how lessons learned the hard way can bring you closer together, the pulse of the city was brought to life on stage with a Conrad Murray soundscape of beatboxing and vocals laid down by the cast of Kate Donnachie; Zak Douglas; Simi Egbejumi-David; Nigar Yeva; Olisa Odele; Aimee Powell; Khai Shaw and Marcel White.
Wheatle, a writer born in London to Jamaican parents, said he was “very proud” of Pilot Theatre adapting his novel for the stage: “It’s a modern quest story where, on their journey, the young diverse lead characters have to confront debt, poverty, blackmail, loss, fear, the trauma of a flight from a foreign land and the omnipresent threat of gangland violence.”
During lockdown, Pilot launched the webcast premiere of their co-production with the Belgrade Theatre, Coventry, Derby Theatre and York Theatre Royal online for free on April 22, the night when Richardson and Corey Campbell’s show would have been opening its London run at Theatre Peckham.
Last year, Pilot and the York, Derby and Coventry theatres, together with Colchester’s Mercury Theatre, launched a partnership to develop theatre for younger audiences. During the four-year cycle from 2019 to 2022, the consortium will commission and co-produce four original mid-scale productions.
YORK Theatre Royal will stream the 2017 community play Everything Is Possible: The York Suffragettes for free on YouTube from May 6.
Co-produced with Theatre Royal company-in-residence Pilot Theatre, this large-scale production was performed by a community cast of 150 and a choir of 80 from June 20 to July 1 that summer.
Set in early 20th century York, Juliet Forster and Katie Posner’s production began with Suffragette protest scenes and rallying calls on the plaza outside York Minster before moving indoors to the Theatre Royal’s main stage.
Leading professional actress Barbara Marten, who lives in York, played the lead role of Annie Seymour Pearson, a Heworth housewife who risked her life in 1913 to fight for women’s right to vote as women across the country, outraged by inequality and prejudice, began to rise up and demand change.
Annie began her involvement in the Suffragette movement as an ordinary, middle-class housewife in a church-going family with a middle-management husband and three children.
She also was part of the Primrose League, who went out canvassing among women like themselves to influence them into urging their husbands to vote for certain candidates for election.
Yet you would struggle to find outward acknowledgment in York of Annie Seymour Pearson’s place in the city’s social history. “The house in Heworth Green, where she ran a safe house, no longer stands and there’s no blue plaque,” said Barbara at the start of rehearsals in late-May 2017. “Even her obituary made no mention of her having been a Suffragette.
“It’s interesting to choose Annie as a central character because she was such a genteel, respectable woman who didn’t start out as a militant, but various events propelled her forward.”
Not least, Annie was arrested in January 1913 when a union deputation of York Suffragettes headed to London as thousands of women converged on the capital to protest at the poverty that many women were living through.
“Annie was arrested for obstruction, just for walking on the pavement, and the charge was ‘obstruction’ simply because there were so many women there,” said Barbara.
“She was charged 40 shillings for her offence or three weeks in prison and she wrote to her husband to say that she would not pay her fine, but she would serve her sentence and was prepared to be imprisoned again.
“She’s there in prison for two days, when her husband comes down to London and pays the fine – and you can imagine the scene when she got home.”
Everything Is Possible highlighted how the Suffragette movement was not solely a London movement. “Instead, it was made up of women from all over the country, like in Manchester and Leeds, where lots of women worked in factories, and in York as well,” said Barbara. “Scarborough was very militant too.”
The 2017 “protest play” recalled how women in York ran safe houses, organised meetings, smashed windows and fire-bombed pillar boxes, the production telling the story of their dangerous, exhilarating and ground-breaking actions for the first time.
York playwright Bridget Foreman, who wrote Everything Is Possible, says of the timing of next month’s streaming: “It’s really poignant, in the midst of isolation and social distancing, to think about the making of Everything Is Possible; the extraordinary coming together of hundreds of local people, and the staging of huge crowd scenes both on the York Theatre Royal stage and outside York Minster.
“And now the stage is dark and the streets are empty. But looking back to the way in which that show brought people together, inspiring them in so many ways, is a wonderful reminder of the power of theatre and community.”
Bridget continues: “We saw participants and audience members getting involved with theatre, politics, activism, local history, family research. Now, I really hope that people watching the production digitally will find their own inspiration, their own vision and energy for engaging with and changing the world when we come through this crisis.”
Directed by Theatre Royal associate director Juliet Forster and Pilot Theatre associate director Posner, now co-artistic director of Paines Plough in London, Everything Is Possiblewaspart of the Theatre Royal’s 2017 season Of Women Born, curated by a team of women to focus on work made and led by female artists, built around women’s stories.
Everything Is Possible can be streamed online on the Theatre Royal’s YouTube channel from 7pm on Wednesday, May 6 to Sunday, May 31. In the run-up to the streaming, the Theatre Royal will be sharing messages on social media from the volunteers who helped bring this production to the stage.
“These responses from the theatre’s community, promoted by the question ‘What does ‘everything is possible’ mean to you right now?’, aims to spread messages of hope and courage to the wider York community during the Coronavirus pandemic,” says marketing officer Olivia Potter.
The Theatre Royal is asking viewers to support the stream by making an online or text donation, “so that York Theatre Royal can continue to engage and entertain the York community in the future”.
The Everything Is Possible online stream is part of the theatre’s Collective Acts programme of creative community engagement, taking place while the building is closed under the Coronavirus pandemic strictures.
Further details on the Everything Is Possible online stream and Collective Acts can be found at yorktheatreroyal.co.uk.
REVIEW: Everything Is Possible: The York Suffragettes, York Theatre Royal/Pilot Theatre, at York Theatre Royal and York Minster Plaza, from The Press, York, June 23 2017.
DAMIAN Cruden has no hesitation in naming his greatest achievement in his 20 years as artistic director at York Theatre Royal: the rise and rise of the community play.
The city already had the York Mystery Plys, the street plays staged in myriad forms through the centuries, and when Cruden and Riding Lights’ Paul Burbridge directed the 2012 plays on their return to the Museum Gardens, a template was established for the series of community productions that has ensued.
Each has told a chapter of York’s history: the chocolate industry in the dark shadow of the First World War in Blood + Chocolate on the city streets; the rise and fall of the Railway King, George Hudson, in In Fog And Falling Snow at the National Railway Museum, and now the York Suffragettes in Everything Is Possible, outside the Minster and in the Theatre Royal’s main house.
A rabble noise swells from the Minster Plaza, a canny way to make the city aware that a major production of political dimensions involving more than 300 people is taking place in their midst at a time when the political landscape is more divisive and more inflammatory than for years. The scene, a throng of rebel songs and impassioned speeches, replicates demonstrations of yore, suddenly suffused by placard-waving Suffragettes in 1913 attire, followed by policemen forcibly breaking up the crowd.
The likes of Sophie Walmsley on her acoustic guitar need to placed higher above the crowd, but where Barbara Marten’s Annie Seymour Pearson takes her place on the Plaza steps is a better sight line.
“Deeds Not Words” say the placards: a mantra that wholly applies to how these community plays are mounted, volunteers to the fore on and off stage, this time under the guidance of a professional production team led by the Theatre Royal associate director Juliet Forster and Pilot Theatre associate director Katie Posner
Once we are ushered by the coppers to the theatre, there is a little lull for chatter and drinks refuelling before Bridget Foreman’s account of the previously untold story of York’s involvement in the Suffragette movement circa 1913 has its day and has its say.
Marten and Suffragettes historian Professor Krista Cowman have played significant parts in bringing the story to the stage, so too have Foreman and a research team, and now at last the role of Annie Seymour Pearson and her Suffragette safe house at 14, Heworth Green, next to the home of anti-Suffragette campaigner Edith Milner, has its rightful place in the city’s history.
Barbara Marten might strike some in the audience as being a little old for her role as a mother of four young children, but Foreman places her as much in the role of a narrator looking back on the events of a century ago as that of protagonist in the drama, and all of Marten’s passion for the story, as well as her celebrated acting skills come to the fore.
York, it must be said, played rather less of a central role in the Suffragette drive for votes for women than it did in this year’s General Election with its visits by Theresa May and Jeremy Corbyn.
Yes, it played not even second fiddle to London and Leeds, but Emmeline Pankhurst (Liz Elsworth), leader of the British suffragette movement, made a speech here that forms the climax of the first half; leading Leeds campaigner Leonora Cohen (Loretta Smith) visited too, as did Lilian Lenton, the wild-card London arsonist, played by the breakthrough new talent of this show, University of York student Annabel Lee. A firecracker indeed, a professional career surely awaits.
Annie’s arrest in London for obstructing a policeman – when he had been the one to inflict a bloody nose – and the militant activities of the Women’s Social and Political Union in York, led by Jo Smith’s Violet Key Jones, are prominent in the play, A silent movie-style film sequence linked to live action shows the full horror of the prison practice of force-feeding hunger-strikers, showing off Sara Perks’s set to best effect too.
Men have their place in the piece in the form of Mark France’s Arthur Seymour Pearson (rather reminiscent of the husband figure in Brief Encounter) and Rory Mulvihill’s stentorian Home Secretary.
A choir of 100 is tucked away out of sight in the gods, assembled by Madeleine Hudson to perform Ivan Stott’s folk-rooted campaigning compositions, but rightly they have their moment in the spotlight on stage at the finale.
Forster and Posner’s very lively, highly committed, educational and resolute production, peppered with anarchic humour as much as political zeal, forms the pinnacle of York Theatre Royal’s Of Woman Born season of women’s words and deeds. In straitened times for funding for the arts, Everything Is Possible affirms that anything is possible when a community comes together and turns York into Suffragette City.
Review by Charles Hutchinson. Copyright of The Press, York.
YORK company Pilot Theatre will webcast the online premiere of their 2020 co-production of Crongton Knights for free from April 22.
The webcast stream will start at 6.45pm that night when Esther Richardson and Corey Campbell’s Covid-19-curtailed production would have been opening its London run at Theatre Peckham.
Emteaz Hussain’s adaptation of Alex Wheatle’s award-wining young adult novel will be available to stream online at pilot-theatre.com/webcast until Saturday, May 9, the day that the tour’s final curtain would have fallen at Theatre Peckham.
To coincide with the webcast, Pilot, resident company at York Theatre Royal, will put online a series of talks and question-and-answer sessions with the creative team behind Crongton Knights.
The first Pilot
Connects event will be a Q&A with the show’s composer and musical director,
Conrad Murray, hosted by Pilot artistic director Esther Richardson on April 23 (time
to be confirmed).
Performed at York Theatre Royal from February 25 to 29, Crongton Knights takes its audience on a night of madcap adventure as McKay and his friends, The Magnificent Six, encounter the dangers and ultimate triumphs of a mission gone awry.
In this story of how lessons learned the hard
way can bring you closer together, the pulse of the city is brought to life on
stage with a Conrad Murray soundscape of beatboxing and vocals laid down by the
cast of Kate Donnachie; Zak Douglas; Simi Egbejumi-David; Nigar Yeva; Olisa
Odele; Aimee Powell; Khai Shaw and Marcel White.
Wheatle, a writer born in London to Jamaican parents, said he was “very proud” of Pilot Theatre adapting his novel for the stage: “It’s a modern quest story where, on their journey, the young diverse lead characters have to confront debt, poverty, blackmail, loss, fear, the trauma of a flight from a foreign land and the omnipresent threat of gangland violence.
“The dialogue I created for this award-winning novel deserves a platform and I, for one, can’t wait to see the characters that have lived in my head for a number of years leap out of my mind and on to a stage near you.” And now on a webcast stream.
Co-director Esther Richardson said of the teen quest story: “For
us, this play is a lens through which to explore the complexity of young
people’s lives, open a platform for those concerns and show what they have to
try to navigate fairly invisibly to other members of society. It’s the context
in which they live that creates the problem, and these kids go under the radar.
“Alex is writing about how the world is stacked against
teenagers; how young people have been thrown to the dogs; how they to negotiate
this No Man’s Land they live in, when their places have been closed down; their
spaces to express themselves.
“They have been victims of austerity – as have
disabled people – so it’s no surprise that there’s been a rise in knife crime,
with kids on the streets and no youth workers to go to, to talk about their
Crongton Knights is a
co-production between Pilot Theatre, Belgrade Theatre, Coventry, Derby Theatre
and York Theatre Royal, who last year formed – together with the Mercury
Theatre, Colchester – a partnership to develop theatre for younger audiences.
During the four-year cycle, 2019 to 2022, the consortium will
commission and co-produce four original mid-scale productions.
Such co-productions are becoming all the more important against
a backdrop of Esther being concerned by the cuts in arts funding and the
potential negative impact of Brexit too. “Theatre is not seen as an opportunity
to thrive in, especially in this post-Brexit landscape where it’s going to get
worse before it gets better,” she predicted.
we will further shift into co-creating pieces, Pilot creating work with
communities, Pilot co-creating with teens, which we do already do, but we can
do it better and do it more.”
REVIEW: Crongton Knights, Pilot Theatre, York Theatre Royal, February 25 to 29
Lord Of The Flies, York Theatre Royal resident company Pilot Theatre have made
theatre that speaks directly to young audiences.
are in the second year of a four-year creative partnership with Coventry’s
Belgrade Theatre, Derby Theatre and the Theatre Royal, their reach spreading
gripping adaptation of Malorie Blackman’s radical Noughts & Crosses is
followed up by another topical story, Emteaz Hussain’s stage account of Crongton
Knights, a young adult novel by Brixton Bard Alex Wheatle, a London writer of
by Corey Campbell, artistic director of Strictly Arts Theatre Company, and
Pilot artistic director Esther Richardson, it is a play with music, not a
musical, but has the punch of West Side Story, the exhilarating beatbox and
vocal score by Conrad Murray setting the story’s pulsating rhythm.
Crongton Knights of the title are the self-styled Magnificent Six, caught up at
a young age in the gangland turf wars of the Crongton Estate, divided into
“North Crong” and “South Crong”, their homestead.
dangerous Notre Dame estate they venture on a teen quest, a mission to rescue
the mobile phone of Venetia (Aimee Powell, the show’s best singer), in the
possession of her ex-boyfriend with incriminating photographs she needs to
them is big-hearted McKay (Olisa Odele); alongside are Jonah (Khai Shaw), Bit
(Zak Douglas), Saira (Nigar Yeva) and, along for the ride, and desperate to be
their lookout, Bushkid (Kate Donnachie), on her bike.
follows is a story of “lessons learned the hard way” at the hands of those more
experienced, more streetwise, more ruthless, more desperate, as represented by
Simi Egbejumi-David’s ensemble roles.
Wheatle’s words, the Magnificent Six must “confront debt, poverty, blackmail,
loss, fear, the trauma of a flight from a foreign land and the omnipresent
threat of gangland violence”, but the tone is not suffocatingly grim. Even in a
world stacked against teens, there is hope; there is positivity; above all
there is the bond of friendship.
press release talked of a madcap adventure, and Simon Kenny’s graffiti-painted,
rainbow-coloured, scaffolded set design plays to that spirit, especially when
garage lock-up doors open up to show the Magnificent Six running in slow
motion. Imagine a cartoon crossed with the black comedy drama of Danny Boyle’s
Not all the
dialogue is as clear as it could be, and nor is the story’s passage, but the
highly energised performances, especially by Odele and Powell, are terrific,
and special praise goes to Dale Mathurin for stepping into the role of Nesta
with only two hot-housed days of rehearsals.
Jones’s lighting and Adam P McCready’s sound design are important too, both
complementing the urban wasteland of troubled teens trying to find their place
when so much is barren.
YORK company Pilot Theatre will revive
their award-winning 2019 production of Noughts & Crosses for an autumn tour.
This announcement comes amid the blaze
of publicity for BBC One’s six-part adaptation of Malorie Blackman’s young
adult novel, filmed in South Africa, that began earlier this week.
Sabrina Mahfouz’s stage version of a modern-day
Romeo & Juliet tale of first love in a dangerous fictional dystopia will
be directed once more by Pilot artistic director Esther Richardson, whose
co-production of Crongton Knights played York Theatre Royal from February 25 to
29 on Pilot’s latest tour.
“We’re delighted that this show, which
was nominated for best show for children and young people at UK Theatre Awards,
is returning later this year,” says Esther. “It’s wonderful that even more
young people can experience this production and that Pilot will be able to tour
to areas of England that we haven’t visited, thanks to the support of Arts
Noughts & Crosses will open at the
York theatre in a September 11 to 19 run before embarking on a national tour
Told from the perspectives of two
teenagers, Sephy and Callum, Blackman’s love story set in a volatile,
racially segregated society, where black (the Crosses) rules over white (the
Noughts), as she explores the powerful themes of love, revolution and what
it means to grow up in a divided world.
Sabrina Mahfouz’s adaptation for
teenagers is based on Blackman’s first book in the Noughts & Crosses series
for young adults, winner of the Red House Children’s Book Award and the
Fantastic Fiction Award, among other accolades.
Noughts & Crosses was produced
by Pilot Theatre, York Theatre Royal, Derby Theatre, Belgrade Theatre Coventry,
and the Mercury Theatre, Colchester, as the first show in a new partnership to
develop theatre for younger audiences. This is the consortium behind the
aforementioned tour of Emteaz Hussain’s
adaptation of Alex Wheatle’s Crongton Knights.
Last year, Noughts & Crosses won
the Excellence in Touring award at the UK
Theatre Awards, when also nominated for Best Show for Children and Young
As with Crongton Knights, schools
workshops and outreach projects, along with free digital learning resources,
will be available alongside the autumn production of Noughts & Crosses
Casting will be announced in the coming
months. Tickets for the York run are on sale on 01904 623568, at yorktheatreroyal.co.uk
or in person from the Theatre Royal box office.
Here is a precis of Charles Hutchinson’s review of Pilot Theatre’s Noughts & Crosses at York Theatre Royal, printed in The Press, York, in April 2019.
“ESTHER Richardson proposed Noughts & Crosses when pitching for Pilot’s artistic directorship after Marcus Romer headed south, and her passion for Malorie Blackman’s twist on a Romeo & Juliet story is writ large in her telling of Sabrina Mahfouz’s electrifying adaptation.
“In Blackman’s Britain, Noughts are the
white underlings; no orange juice; milk only on Fridays; no mobile phones;
second-rate secondary education. Crosses are the black ruling class; apartheid
divisions turned on their head.
“Never the twain shall meet on equal terms, except that Nought
Callum (Billy Harris), 15, and Cross Sephy (Heather Agyepong), 14, have been
friends throughout childhood, meeting secretly on her family’s private beach.
Sephy’s father, Kamal Hadley (Chris Jack), is the Home
Secretary; Callum’s mum, Meggie (Lisa Howard), is the Hadley family’s
housekeeper. When Callum is one of three Nought teens granted a place at
Sephy’s Crosses-only school, how will it affect their relationship?
“Blackman depicts a fractious, tinderbox world: Sephy’s mum
Jasmine (Doreene Blackstock) is an alcoholic, neglected by her preoccupied
husband; Callum’s dad Ryan (Daniel Copeland) and brother Jude (Jack Condon) are
Liberation Militia freedom fighters. Callum’s sister, so damaged in an assault,
has curled up in a ball ever since.
“As with Pilot’s first hit, Lord Of The Flies, our ability to
destroy rather than create bonds, to repeatedly take the wrong turn, lies at
the heart of Blackman’s damning, bleak vision that haunts us still more in
intolerant Brexit Britain.
“Sephy and Callum express a wish for a better world, one where
we rub along with each other, but this is a rotten Britain of death sentences,
an intransigent Home Secretary, thwarted love across the divide.
“Given the bold imagination of Blackman’s novel for young adults with its heroine figure of a bright black teenage girl, you might wish she had come up with a similarly bold answer to so many ultimately familiar woes.
“Alas not, but this is nevertheless a superb production with good performances all round, plenty of punch in the direction, and high-quality set, lighting, sound, music and video design.”
REVIEW: Crongton Knights, Pilot Theatre, York Theatre Royal,
until Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk
EVER since Lord Of The Flies, York Theatre Royal resident
company Pilot Theatre have made theatre that speaks directly to young
Now, Pilot are in the second year of a four-year creative
partnership with Coventry’s Belgrade Theatre, Derby Theatre and the Theatre
Royal, their reach spreading ever wider.
Last year’s gripping adaptation of Malorie Blackman’s radical Noughts & Crosses is followed up by another topical story, Emteaz Hussain’s stage account of Crongton Knights, a young adult novel by Brixton Bard Alex Wheatle, a London writer of Jamaican parentage.
Co-directed by Corey Campbell, artistic director of Strictly Arts Theatre Company, and Pilot artistic director Esther Richardson, it is a play with music, not a musical, but has the punch of West Side Story, the exhilarating beatbox and vocal score by Conrad Murray setting the story’s pulsating rhythm.
The Crongton Knights of the title are the self-styled
Magnificent Six, caught up at a young age in the gangland turf wars of the
Crongton Estate, divided into “North Crong” and “South Crong”, their homestead.
Into the dangerous Notre Dame estate they venture on a teen
quest, a mission to rescue the mobile phone of Venetia (Aimee Powell, the
show’s best singer), in the possession of her ex-boyfriend with incriminating
photographs she needs to erase.
Leading them is big-hearted McKay (Olisa Odele); alongside are
Jonah (Khai Shaw), Bit (Zak Douglas), Saira (Nigar Yeva) and, along for the
ride, and desperate to be their lookout, Bushkid (Kate Donnachie), on her bike.
What follows is a story of “lessons learned the hard way” at
the hands of those more experienced, more streetwise, more ruthless, more desperate,
as represented by Simi Egbejumi-David’s ensemble roles.
In Wheatle’s words, the Magnificent Six must “confront debt,
poverty, blackmail, loss, fear, the trauma of a flight from a foreign land and
the omnipresent threat of gangland violence”, but the tone is not suffocatingly
grim. Even in a world stacked against teens, there is hope; there is
positivity; above all there is the bond of friendship.
Pilot’s press release talked of a madcap adventure, and Simon Kenny’s graffiti-painted, rainbow-coloured, scaffolded set design plays to that spirit, especially when garage lock-up doors open up to show the Magnificent Six running in slow motion. Imagine a cartoon crossed with the black comedy drama of Danny Boyle’s Trainspotting.
Not all the dialogue is as clear as it could be, and nor is the story’s passage, but the highly energised performances, especially by Odele and Powell, are terrific, and special praise goes to Dale Mathurin for stepping into the role of Nesta with only two hot-housed days of rehearsals.
Richard G Jones’s lighting and Adam P McCready’s sound
design are important too, both complementing the urban wasteland of troubled
teens trying to find their place when so much is barren.