Connecting Voices, Opera North and Leeds Playhouse, at Leeds Playhouse, October 17
COLLABORATIONS between Opera North and Leeds Playhouse in recent years have been proving increasingly fruitful.
This latest, a four-show programme in different locations throughout the Playhouse, was just what the doctor ordered: its umbrella title Connecting Voices homed in on the social interactions we have all been craving.
It was designed to “examine the power and expression of the solo voice” and ranged the gamut from pure opera to straight theatre.
Poulenc’s monodrama La Voix Humaine, in the Barber Studio, led the way. In Sameena Husain’s production, Gillene Butterfield poured her heart and voice into Elle’s desperate efforts to repair her faltering romance, using telephones from three different eras.
Plus ça change! She might as well have been on Zoom, so vivid were her emotions, made more so by superb diction and – a rarity among sopranos in my experience – beautifully differentiated vowels.
Annette Saunders’ piano was ideally attuned, blasting out jagged darts whenever Elle listened, calm when she spoke. The two of them combined to notable effect in the nostalgic waltz that follows Elle’s highest outburst.
Opera North was involved in two of the remaining items. Under its Resonance programme for Black and Asian musicians, Reflections: Dead And Wake explored the Caribbean funerary tradition of Nine-Nights from a specifically Jamaican perspective.
Alongside ethnic choruses, sounding perhaps more African than Caribbean, Paulette Morris caressed her solo songs lovingly. The recurring soundscape of Jamaican voices by the director Khadijah Ibrahiim was not especially intelligible, but certainly added atmosphere.
Among similar non-native sounds was the powerful contribution of the rapper Testament (aka Andy Brooks), in the title role of Orpheus In The Record Shop, injecting much sardonic humour while doubling as composer and writer.
Aletta Collins’ production gradually introduced eight members of the Opera North orchestra and the excellent wordless mezzo of Helen Évora, to bring an optimistic conclusion as bankruptcy loomed. Definitely a tale for our times.
The other riveting voice was that of Niall Buggy, raging and cackling against the dying of the light and his own misspent years in Samuel Beckett’s Krapp’s Last Tape, directed by Dominic Hill. Like the Poulenc, it was written in 1958.
These days, theatre staff are front-line workers too. The small army of stewards here, totally tuned in and extremely helpful, deserve a final word of thanks.
OPERA North and Leeds Playhouse are collaborating on a celebration of the power and expressiveness of the human voice that will bring audiences back into the Quarry Hill theatre next month for the first time since the March lockdown.
They will co-produce Connecting Voices: six new and existing 40-minute pieces of live performance staged safely and Covid-securely in four areas of the Playhouse, played over three weekends in October, fusing classic and contemporary theatre on themes of isolation and connection, resilience and reflection
Leeds rapper, writer and world record-holding beatboxer Testament has been commissioned to explore the power of the solo voice within a communal space and the relationship between performer and audience, while freelance artists Matthew Eberhardt and Khadijah Ibrahiim will be devising new work together with musicians, poets, actors and young people
Running from October 2 to 17, Connecting Voices will mark the reopening of Leeds Playhouse six months after lockdown began by “partnering with the wider arts industry to find new and innovative ways of reintroducing audiences to live theatre, in a safe and secure environment, contributing to the life and vibrancy of the Leeds city region”.
Orpheus In The Record Store, written by Testament and directedby Aletta Collins, will fuse spoken word and beatboxing with players from the Orchestra of Opera North in a collaboration in the Quarry Theatre that gives the Greek myth of Orpheus a contemporary Yorkshire twist.
“I’m so excited to be back at Leeds Playhouse with Opera North, especially after this turbulent period,” says Testament. “To be commissioned to create a new piece of work is a massive honour.
“The Playhouse was one of the first organisations to take a chance on me as a theatre maker and it feels like home; their help and support has been invaluable to my growth as an artist. And only last year I got to work with Opera North as an artist on their Resonance programme, which opened my eyes to new possibilities as a composer.”
Looking forward to live performances returning to Leeds Playhouse, Testament says: “There is much to say and share right now, and I passionately believe theatre has an almost spiritual role in making the direction we wish to go in as a society tangible.
“I can’t wait to be back in front of an actual audience – being together enjoying worlds that we make together in those moments of live connection.”
What can next month’s audiences expect? “Right now, I’m in the lab creating, pushing buttons, and I’ve got something planned as a beatboxer that has never been like this way before,” says Testament. “I am also super-excited about connecting with Opera North musicians: we are planning to take the crowd on an epic journey with music, spoken word and live theatre.”
Playing alongside Orpheus In The Record Store will be topical re-awakenings of two pieces from 1958 that present characters isolated from others and struggling to connect again through technology.
The first is Irish playwright Samuel Beckett’s monologue Krapp’s Last Tape, to be performed by Niall Buggy in the Bramall Rock Void, directed by Dominic Hill.This will be counterpointed by Francis Poulenc’sshort opera La Voix Humaine, performed by Opera North soprano Gillene Butterfield in the Barber Studio, directed by Leeds Playhouse’s Sameena Hussain.
In the Courtyard Theatre, each of the three weekends will see a different and newly devised piece of work from Leeds spoken-word artist Khadijah Ibrahiim and two pieces by freelance director Matthew Eberhardt, whose credits include Opera North’s Street Scene.
They will work with singers, actors, young people and musicians, including classically-trained singer Keertan Kaur Rehal, Amy J Payne and stalwart Playhouse actor Robert Pickavance, to create contemporary responses to the themes of remembrance, collaboration and the act of storytelling.
James Brining, artistic director at Leeds Playhouse, says: “Re-opening the Playhouse after six months of enforced closure and being separated from each other has made us value even more than before the act of live performance and what that means.
“Our beautifully refurbished building provides us with many opportunities to safely welcome audiences and artists back into the Playhouse. Connecting Voices is a carefully curated programme exploring isolation and connection, resilience and reflection, as well as the relationship between performer and audience member in a shared space.”
Brining is delighted to be working once again with Leeds company Opera North. “We’re pooling our resources to help the city of Leeds to get back on its feet and bring joyous and powerful communal shared experiences back to the lives of its citizens,” he says.
“As we head into our 50th year at this challenging time, it’s vital that we reconnect with audiences and communities and collaborate with bold and diverse voices from across the region. We can’t wait to welcome back artists and participants into the building safely to create and experience live theatre once again.”
Richard Mantle, Opera North’s general director, says: “Connecting Voices is a compelling exploration of the power of the human voice and the profound desire to establish meaningful ties out of experiences of isolation and loss.
“We are delighted that we are able to begin the process of welcoming audiences safely back to live performance through this collection of work in partnership with Leeds Playhouse.
“Connecting Voices brings together voices spoken and sung from across the city and wider region, and we are especially thrilled to be collaborating with such a diverse and talented group of freelance artists, singers, musicians, poets and directors who all share artistic ties to both Opera North and to Leeds Playhouse.
“Now, more than ever, it is apparent how strongly intertwined the artistic and cultural community in our region is, and how important collaboration will be in ensuring a vibrant future for the arts and audiences across the city.”
Please note, in line with Government guidelines, audiences will be of limited capacity with social distancing and temperature checking will be conducted too. Tickets will go on sale to Leeds Playhouse’s Supporters’ Club, Playhouse Pass holders and Opera North Patrons from Monday, September 14 and on general sale from 12 noon on Tuesday at leedsplayhouse.org.uk and on 0113 213 7700.
Connecting Voices: the full programme
Krapp’s Last Tape, by Samuel Beckett, directed by Dominic Hill
A 69-year-old man listens to the voice of his 39-year-old self. Looking back on his loves, failures and losses, Krapp rewinds through his life with humour and heartache. A classic Beckett play, both punchy and personal.
Performances: October 2, 9 and 16, 8pm; October 3, 10 and 17, 3.30pm and 8pm, Bramall Rock Void, Leeds Playhouse.
La Voix Humaine, by Francis Poulenc, directed by Sameena Hussain
A devastating short opera exploring the pain and fear of rejection in the rawest fashion. Through the lone voice of the woman, Poulenc expresses the full range of human emotion with a score of caressing warmth and intimacy. This powerful one-woman performance will be sung in English.
Performances: October 2, 9 and 16, 6pm, and October 3, 10 and 17, 1.30pm and 6pm, Barber Studio, Leeds Playhouse.
Orpheus In The Record Store, by Testament,directed by Aletta Collins
Orpheus is alone, playing tunes in his record shop. When an old friend arrives, music and stories collide as the ancient and contemporary merge. Testament takes inspiration from the classical Greek myth in a show that fuses spoken word and beatboxing with classical music from the Orchestra of Opera North.
Performances: October 2, 9 and 16, 9pm, and October 3, 10 and 17, 4.30pm and 9pm, Quarry Theatre, Leeds Playhouse.
Reflections: Dead And Wake, written and directed by Khadijah Ibrahiim
Experience a Jamaican “Nine Night” with literary activist and theatre maker Khadijah Ibrahiim. This thought-provoking performance explores Caribbean rituals around death through poetry, music and ghost [duppy] stories, featuring turntablist DJ NikNak and Paulette Morris. The event also includes performers from the Sunday Practise with their creative response to living through the last six months.
Performances: October 16, 7pm and October 17, 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
Reflections on La Voix Humaine, directed by Matthew Eberhardt
Take your seat on the stage of the Courtyard Theatre, look out into the auditorium and witness actors and musicians explore themes of isolation and connection, of resilience and reflection, through words both spoken and sung. This is a contemporary reflection on Poulenc’s La Voix Humaine and can be enjoyed either alongside the original piece or independently.
Performances: October 2 at 7pm and October 3 at 2.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
Reflections on Krapp’s Last Tape, directed by Matthew Eberhardt
Relish the power and expression of the solo voice from the stage of the Courtyard Theatre in this celebration of the return of live performance. An actor and a musician collaborate, filling the auditorium with words and music that reflect upon the themes of Samuel Beckett’s monologue Krapp’s Last Tape.
Performances: October 9 at 7pm and October 10 at 3.30pm and 7pm, Courtyard Theatre, Leeds Playhouse.
The running time for each Connecting Voices performance is 40 minutes.
REVIEW: First Love, Park Bench Theatre, Engine House Theatre, Friends Garden, Rowntree Park, York, until August 22, 7pm nightly and 4pm matinee, August 22. Box office: parkbenchtheatre.com
DARKNESS descended on theatres in March, for rather more than 40 days and 40 nights in the wilderness.
Auditoria are still gathering cobwebs, but the green shoots of a theatre resurrection are beginning to burst through in the great outdoors as live performance undergoes its own re-wilding.
Engine House Theatre artistic director Matt Aston pounded Rowntree Park on his Government-ordained hourly stretch of lockdown exercise, sewing the seeds for Park Bench Theatre. He settled upon staging three solo shows, on a park bench, in the shade of a linden tree in the Covid-secure setting of the enclosed Friends Garden (audience capacity: 70).
Greeted by two of those Friends at the gate, this was indeed an occasion for greeting old friends: theatre itself, let alone familiar faces from the York theatre scene, the critics’ circle too, on press night. Oh, how we have missed this: communion; communication; conversation; conviviality; common ground for uncommon thought.
There was much anew about theatre-going too: a digital programme available for everyone, rather than a print edition; de rigueur hand sanitiser; social distancing in conversation; and the grass marked out in chalk circles, as if a convention of baby UFOs had just vacated the garden.
Issued with receivers on arrival, audience members sat in bubbles or on park benches to tune into to the dialogue, sound effects and music on plug-in headphones/earphones (on sale at £1 if you don’t bring any), to eliminate the surround-sound of play and chatter from elsewhere in the park.
Enter a lean, unshaven man in obligatory Samuel Beckett men’s attire: scuffed boots in need of a polish, jauntily-angled bowler hat, an over-sized coat with the sleeves too long, high-waisted charcoal trousers, braced up, and a grubby collarless shirt. A man with plenty to say, as much to himself as those watching.
You will know the tragicomic type from Waiting For Godot, Irish playwright Beckett’s 1953 epiphany of existential angst. First Love is an earlier work, a short story from 1945, premiered in French in 1970 and published in English in 1973. A minor piece by comparison with Godot, yet well worth 70 unbroken minutes of your summertime.
Performed by Chris Hannon, Wakefield Theatre Royal’s pantomime writer and dame for a decade and star of CBeebies’ Topsy And Tim, First Love is a monologue, a one-to-one with each audience member, delivered from where else but a park bench, The Man’s preferred bed for the night.
Billed as a tale of a man, a woman, a recollection, it begins in a graveyard. The Man’s father is dead; he has no job at 25; he is, not to put too fine a point on it, rather strange. He doesn’t like, in no particular order, furniture, children, people in general, taking off his clothes, or the aforementioned woman taking off hers, although he seems happy enough to live off her earnings as a lady of the night.
His candour, yet lack of self-awareness, makes him a thoroughly reliable witness for his recollections. He is from the Beckett school of clown with a frown. Not everything he says, in his elliptical way of talking, makes sense, definitely not to the audience and probably not to him too.
As for love, or, First Love, he mulls over that four-letter word over and over, but as Prince Charles once said evasively: “Whatever ‘in love’ means”. Be warned, he is wont to using other four-letter words too, prompting the website warning: “Contains very strong language”.
Directed by Matt Aston with suitable economy, but acute detail, the verbally and physically adroit Hannon presents a shrugged shoulder of a man, both odd and at odds with the world and himself, walking the wire betwixt comedy and tragedy.
In truth, you wouldn’t want to know him in “real life”, but meeting Yer Man in a York garden on a sunny night for the three Ps – park bench, picnic and pontification – why not?
Oh, and as the Northern Irishman in the Hutch bubble was quick to praise, @runcornchris’s southern Irish accent was spot-on.
CHRIS Hannon’s diary for 2020 had all the makings of being a dream year for the Lunch Monkeys and Topsy And Tim actor.
It promised a TV series, a summer of open-air theatre and a winter of writing the Theatre Royal, Wakefield pantomime and playing the dame there, as he has done for the past decade.
Then the world stopped, sent into lockdown by the Coronavirus pandemic. The TV job never happened, Chris’s pencil had to cross out the summer of theatre work, and the fate of the Wakefield panto, like so many across the country, hangs in the balance.
From today, however, Chris can be found sitting on a bench every evening in the Friends Garden at Rowntree Park in York and, glory be, he will be working – performing Samuel Beckett’s monologue First Love to a socially distanced audience as part of the Park Bench Theatre triple bill that runs until September 5.
Written in 1946 and published in French in 1970 and in English in 1973, the rarely performed First Love is a 45-minute short story of a man, a woman, a recollection, told with Irish playwright Beckett’s trademark balancing act of comedy and tragedy
The first time Chris encountered Beckett’s work was through a production of his more famous 1958 monologue Krapp’s Last Tape and he has also taken part too in a rehearsed reading of Beckett’s magnus opus, Waiting For Godot.
First Love, he suggests, feels like a young man’s version of Krapp’s Last Tape, whose elderly character is described as “slightly clownish with red nose and white cheeks”. “That’s a big part of the way Beckett writes characters: people looking back on their lives and realising that the life they lived had a comical absurdity, where they end up as sad clowns. It’s quite accessible for audiences,” says Chris.
He finds the prospect of holding the attention of an audience on his own both “exciting and absolutely terrifying”. “It’s just you on your own for an hour, which is quite daunting. On a technical level, there’s a lot of words to learn. I’ve never done a one-man show and am excited to do it.
“I found the text intimidating at first but as I started to pick it apart, I quickly realised that it’s a universal, relatable story. The story of a young man coming of age.”
Chris is delighted to be acting again after an enforced six-month absence and believes audiences share that feeling. “People are ready to see something live and have a shared experience,” he says.
First Love will be one of the three solo shows presented by Engine House Theatre, whose artistic director Matt Aston responded to his daily exercise around Rowntree Park by putting together the outdoor season, once the easing of Covid-19 restrictions enabled live performances in the open air.
Chris had first worked with First Love director Matt in his debut year in the Wakefield pantomime. Matt was directing, a task undertaken in recent years by Chris’s wife, Rhiannon, the head of learning and participation at the West Yorkshire theatre.
Chris had always wanted to play panto dame but imagined he was too young. “I thought you had to be a theatrical veteran to do it. I just loved it when I did it,” he says.
Now 39, the Runcorn actor does not recall seeing many pantomimes when growing up. “I have a memory of going to one panto as a child: Peter Pan. All I can remember is the spectacle. Then, as an actor in my 20s, I saw some of the panto greats. I thought ‘that looks so much fun’ – and it is.”
He had written the first draft for this winter’s Beauty And The Beast when the pandemic took up its unremitting residence. “I write the script for the Theatre Royal Bury St Edmunds as well as for Wakefield. I start writing the scripts in February. It’s first draft, second draft, the rehearsal process and sorting out the music. It’s the rhythm of my year,” says Chris.
“I love panto and playing the dame. It’s become a really big part of my life. Ours is a proper traditional family pantomime. We put so much care into it.”
If making his one-man show debut is a challenge, so too is working with children, as he did when playing Dad in the BAFTA-winning CBeebies series Topsy And Tim for 34 episodes from 2013 to 2015.
“They wanted to get very spontaneous performances from the kids, so you would never do take after take after take. The adults would work on set with crew, then the kids would come on set – and what happened, happened,” recalls Chris, who has a three-year-old son, Ben, by the way.
“If they dropped a line, the adults had to pick it up. You had to know their lines and your lines. Scenes were never played as written on the page. You just had to keep it going. A huge amount of improvisation was involved.”
That series still brings him recognition, with parents demanding he poses for a picture with their children. “The kids are mortified by this. They don’t want a picture taken with me, so there are lots of pictures of me with unhappy-looking kids,” says Chris.
No children will be present at First Love, however. Beckett’s monologue comes with a Very Strong Language warning!
Chris Hannon performs Samuel Beckett’s First Love, August 12 to 22, at 7pm, and August 15, 4pm, as part of Engine House Theatre’s Covid-secure Park Bench Theatre season in the Friends Garden, Rowntree Park, York. Tickets must be bought in advance at parkbenchtheatre.com.