Fiona Baistow’s Millie in Next Door But One’s She Was Walking Home
YORK community arts collective Next Door But One’s autumn tour has visited schools, colleges and the Theatre Royal already.
Next comes the university leg: a sold-out 7.45pm performance tomorrow at the University of York, followed by a 7.30pm finale at York St John University on October 25. Fewer than 20 tickets remain on sale at nextdoorbutone.co.uk. Hurry, hurry, book now.
Rachel Price’s testimonial theatre work was first presented as a walking audio tour around York city centre in 2021, then on tour last year, when suggestions that it should visit schools and colleges prompted this autumn’s itinerary.
This season’s performances follow the publication of the National Police Chiefs’ Council’s report, revealing that more than half a million offences against women and girls were recorded in England and Wales between October 1 2021 and March 31 2022 and that violence against women and girls accounts for at least 15.8 per cent of all recorded crime.
Anna Johnston’s Cate
Next Door But One’s website carries the strapline Where Every Story Matters. In this instance, 33 stories from women of different ages living, working and studying in York. “Stories of fear, harassment, suspicion, disappointment, anger, but above all hope…to make sure the right voices are still being heard,” as NDB1’s tour flyer puts it.
From those countless journeys and real-life testimonies, Price has created a series of four monologues, told with the minimum of theatrical tools. Stark lighting; a couple chairs and a white box that can be folded in different way to serve as a seat, a table, a lectern. Sound effects too. That’s all that’s needed. Less is more.
The focus is on the words, always theatre’s greatest asset, and in turn on how they are delivered by Kate Veysey’s cast of Fiona Baistow, Anna Johnston, Mandy Newby and Ceridwen Smith, deputising for one night at York Theatre Royal Studio for Emma Liversidge-Smith, who will return for the university performances.
Mandy Newby’s Jackie
In the wake of statistics highlighting that one in two women feels unsafe walking alone after dark in a quiet street near their home or in a busy public place, She Was Walking Home asks How Do We Keep Women Safe? Note the emphasis on “We”. All of us.
The post-show question-and-answer session revealed that one school had been averse to hosting the play for fear of boys feeling picked on. That school changed its mind and the show’s impact was such that the next lesson was immediately scrapped and replaced with discussions on the issues raised.
At one performance, some boys had laughed initially, even stamped their feet to mimic the footsteps of an approaching man, but that response was born out of a feeling of awkwardness, one that changed as the performance progressed and they realised the need to wise up to women’s experiences and how boys, as much as men, need to be “part of the change” that NDB1 is urging.
Baistow’s Millie is a girl, finishing a work shift, who misses her bus home and decides to risk walking down “Rape Lane”, the quickest route. Why does she do it, you ask? Put yourself in her shoes and ask again. By her harrowing journey’s end, it takes an act of kindness to help her out. What stops such acts being commonplace?
Ceridwen Smith: Stepping in to play lawyer Joanne for one performance only at York Theatre Royal Studio
Jonhnston’s Cate is a student on a night out, quick to leave after an unwanted chat-up, only to be followed by a creep who’s been doing that for a while. The police stop her, to tell her she is being followed. You might well be asking why didn’t they stop him instead? Everyone was asking that afterwards. As ever, the implication is that she is the one to blame. How she dresses. Her manner. Not the men, the pest and the predator. When will that change?
Mandy Newby’s Jackie is older, a mother, who finds herself being picked on and molested by a group of young lads on bicycles. She can’t face telling her daughter, such is her feeling of humiliation.
Urged by a friend, who subsequently sits beside her in the interview room, she goes to the police station; they give her the standard leaflets. Here’s where the work of the Kyra Women’s Project, the York charity that helps women to make positive change in their lives, is so important.
Smith’s Joanne is a lawyer, giving a talk on her experience of being sexually assaulted by two men working in tandem. Her recovery has been gradual, but now she has “joined the conversation”, encouraging women to seek the services of the likes of IDAS (Independent Domestic Abuse Services).
Emma Liversidge-Smith: Resuming her role as lawyer Joanne at the University of York tomorrow and York St John University on October 25
Four shocking cautionary tales, told verbatim from York’s streets as theatre verité; not so much acting as matter of facting. What followed was the best reason for a Q&A: the instant need to be “part of the conversation”, men and women alike.
To quote the flyer once more: “The conversation continues. And the loudest voices call for self-defence classes, rape alarms, trackers and a dress code. The conversation needs to change. The voices of women need to be at the centre, but the responsibility and accountability lies elsewhere.”
That makes She Was Walking Home as important for men to experience as women sharing stories and seeking advice and support. Crossing the road at night, to avoid following a woman, would be a step in the right direction for a start.
Next Door But One’s poster for She Was Walking Home: Countless journeys, 33 real testimonies, 4 women, 1 call to action
Next Door But One founder and artistic director Matt Harper-Hardcastle. Picture: Esme Mai
NEXT Door But One may be new to Art Council England’s National Portfolio, but this York community interest company (CIC) has been a familiar, welcoming face to many in the community for ten years.
When Arts Council England announced its £446 million investment in 990 organisations each year from 2023 to 2026, to “bring art, culture and creativity to more people in more place across the country”, six York organisations were given funding, alongside such big hitters as the Royal Opera House and Royal Shakespeare Company.
Maintaining their previous NPO status are York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre, while Next Door But One (NDB1) and Explore York/York Explore Library and Archive both join for the first time.
“It might sound bizarre, but it’s OK if people haven’t heard of us yet,” says NDB1 founder and artistic director Matt Harper-Hardcastle. “We’ve been busy in residential settings, youth centres, pub courtyards and even the odd portable cabin or two – making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them.
“People have always come first, and profile second. But now becoming an NPO allows us to shout louder about our work and reach out to even more people.”
Set up by Matt in 2013, the applied theatre company cum community arts collective began by using improvisation to tell the stories of women’s groups, Muslim families and people new to York.
“Soon our storytelling was being used to make research for the Joseph Rowntree Foundation and enabling City of York’s training programmes to be more engaging and accessible,” he says.
Ceridwen Smithin Next Door But One’s production of The Firework Maker’s Daughter. Picture: James Drury
“Our original productions were then showcased at York Disability Pride, the Great Yorkshire Fringe and York’s Dead Good Festival. From 2016, we’d honed our model of co-production and created partnerships with Camphill Village Trust, The Snappy Trust, York Carers Centre and Converge, to name a few.
“In the last year, we engaged more than 600 participants and 2,000 audience members. Something that, as a part-time team of five, we’re incredibly proud of.”
At the height of the Covid pandemic, NDB1’s activity went up by 61 per cent. “This was due to our community partners turning to us and saying ‘Can you help keep our communities connected and creative?’,” says creative producer El Stannage.
“So, we made digital performances for neurodivergent young people, online Forum Theatre to support the wellbeing of adults with learning disabilities and ran three online theatre courses for adults accessing mental health services, LGBTQ+ teenagers and unpaid carers.
“The need for our work has not decreased, even once lockdown restrictions were lifted, and that’s why we applied to be an NPO; to sustain our increased programme and to reassure our community groups that we’re still going to be there for them.”
This work’s impact on the York community has been acknowledged with formal recognition and awards from the Lord Mayor of York, the Archbishop of York and as a finalist in the Visit York Tourism Awards for “Innovation and Resilience”.
Anne Stamp, service manager at The Snappy Trust, is delighted that NDB1 are to become an NPO, helping to continue their long-standing collaboration. “Next Door But One is a much-needed service in York: a great resource for many and a service that helps to provide children and young people with a wider range of experiences, enabling them to learn, grow and have fun,” she says.
NDB1 are finalising their plans for 2023 but are working already on revivals of performances that toured to their fellow NPO, York Explore, including The Firework-Maker’s Daughter and Operation Hummingbird, as well as expanding their professional development offer for local performing arts professionals that originally produced Yorkshire Trios at The Gillygate pub in April 2021; the first live, in-person performances that year in York once lockdown restrictions were lifted.
“All NPOs must go into a negotiation phase with Arts Council England until early 2023, but for now what Next Door But One are saying is, ‘We are here and we can’t wait to continue working with communities across York or meet new people for the first time, and create together,” says Matt.
Artistic director Matt Harper-Hardcastle answers CharlesHutchPress’s questions on what lies ahead for Next Door But One, York’s community arts collective
Next Door But One artistic director Matt Harper-Hardcastle making a point in rehearsal as actress Emma Liversidge-Smith looks on
From Harrogate Theatre to Pocklington Arts Centre and English National Opera, venues and companies have suffered blows in Arts Council England’s National Portfolio awards for 2023-2026. What were the factors that meant Next Door But One NDB1) was selected as one of the new recipients in a climate where ACE talked of “levelling up” in its allocations?
“While we’re delighted to receive the NPO support, we are equally devastated for our peers across the industry who did not receive the support they had hoped for.
“We see us receiving the funding as validation for our community-driven approach, which makes our work inclusive and relevant to those we serve, while also taking on the responsibility to support our peers and create partnerships with those who aren’t part of the portfolio, so we can all continue to deliver our equally valuable work.”
York has come out of the NPO awards with tails up: York Theatre Royal, York Museums Trust, the National Centre for Early Music and Pilot Theatre retaining NPO status; Next Door But One and York Explore Library and Archive joining for the first time. What does that say about the health and diversity of arts provision in York?
“I think we’ve known for a long time just how much the city is steeped in arts a culture, and as you suggest, this goes towards celebrating that – and what a diversity of offerings York will have over the coming three years.
“From central building-based theatres, to touring companies, music, museums, libraries and a nimble participatory company like us, there really is going to be something for everyone, and we’re proud to be contributing to that collective.”
What are the benefits to NDB1 of acquiring NPO status?
“The main benefit for us is sustainability. Over the years, we’ve been able to do what we do by working hard on securing project grant funding, but this can become time consuming and resource heavy.
James Lewis Knight, left, as Jimmy and Matt Stradling as James in Next Door But One’s Operation Hummingbird. Picture: James Drury
“Knowing that we have our core funds secured for three years means we can really invest in current delivery while also having more headspace to think strategically about how we continue even further into the future.
“On the day we got the funding announcement [November 4], I phoned or emailed every partner we work with to tell them ‘We will still be here for you’ and that’s what it really means to us to become an NPO.”
Being a participatory arts and community-focused performance organisation gives you a different profile to other arts organisations in the city. All that with a part-time team of five. Discuss…
“It does, and I think that’s the real joy of the portfolio, particularly in York. We’re part of this great network of arts and culture creators, all approaching it from different angles, which should mean that everyone in York can access the things they want in a way that works for them.
“There can be a mistake when there are lots of organisations doing similar things into viewing it as ‘competition’, when it’s not. It’s complementary and collaborative. In fact, we’ve already had many discussions and meetings with fellow NPOs to see how we can support one another; how our work can go to their venue or how our participatory approach can strengthen a certain one of their projects.
“As for the part-time team, it’s great to have stability in our roles, which means we can grow both in terms of impact and by working with more York freelancers on upcoming projects.
“Even though it’s a full-time passion, we see our ‘part-timeness’ as a real strength; among our team we have those that in other areas of their working week are arts and mental health programme managers, music specialists, campaigners and directors of other theatre companies. All that additional skill and insight is really welcomed into NDB1.”
Is this the key: “Making sure that we get theatre to people who want it, in a way that is accessible, relevant and meaningful to them. People have always come first, and profile second”?
“Yes, we pride ourselves on meeting people where they are, in terms of geography but also in terms of experience and aspiration. So, whether that is taking performances to community libraries or residential gardens, or workshops to children’s centres and support groups, we go to where we’re needed, connect and create together.
First orders: Next Door But One’s Yorkshire Trios reopened outdoor theatre in The Gillygate pub garden after lockdown restrictions were lifted. Picture: James Drury
“This can often mean we don’t inhabit large, prolific buildings or that our work has huge visibility, but as long as we remain meaningful to those we do engage, then that’s what counts to us. And being an NPO will enable us to sustain this work while also reaching out to new communities and asking them what they want from us.”
Within the York community, you involve people who would not otherwise participate in the arts. Discuss…
“Well, rather than saying ‘We have this thing and you need to get involved’, we approach it the other way around by saying ‘We know about theatre, you tell us how you want that to work for you’.
“For example, our programme of Forum Theatre came about through communities of people with learning disabilities, their support staff and family wanting safe yet productive ways of exploring independent living.
“So, we worked with members of The Snappy Trust and Camphill Village Trust to gather the tricky situations that they wanted to explore, trialled the format with them, evaluated together and now this has become an embedded process and programme of engagement.
“This has been the same with us using storytelling and performance skills to increase the self-confidence of unpaid carers wanting to apply for volunteering and employed work, or offering online creative writing sessions to keep LGBTQ+ young people connected and openly exploring topics important to them.
“Our approach is for the community to identify what they want, and then our responsibility is to shape the theatre with them to meet that goal.”
Lastly, Matt, put some flesh on the bones of what you have planned for next year…
“So, as every NPO now must do, we’re in a negotiation phase until the end of January 2023 to confirm the first year of plans with ACE, but in short, both programmes of Forum Theatre for people with disabilities will continue and increase, as will our training course in Playback Theatre for adults with mental ill health.
“We’ll also be remounting our 2021 production of Operation Hummingbird with York Explore, creating new audiences with our adaptation of The Firework-Maker’s Daughter, building on our relationships with schools and universities with a new tour of She Was Walking Home and supporting a cohort of local performing arts professionals with a series of mentoring and skills-based workshops.”
She Was Walking Home: the back story
“We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience,” saysKate Veysey, associate director of Next Door But One
PROMPTED by the kidnap and murder of York-born Sarah Everard in March 2021, Next Door But One mounted a city-centre audio walk last year, in response to “the reaction from women in our community and the unfortunate subsequent attacks and murders”.
Subsequently, it was expanded by Rachel Price into a live adaptation this spring, performed by a cast of four women at York Explore on May 5, Theatre@41, Monkgate, on May 20, The Gillygate pub, May 26, and University of York, June 14.
“She Was Walking Home aims to put the focus on the voices of local women, but not the responsibility or accountability for their safety,” says NDB1 associate director Kate Veysey.
Last year, for the first time, The Office for National Statistics (ONS) released data on how safe people feel in different public settings. One in two women felt unsafe walking alone after dark in a quiet street near their home, or in a busy public place, and two out of three women aged 16 to 34 experienced one form of harassment in the previous 12 months.
Cast member Anna Johnston in the rehearsal room for She Was Walking Home
“Behind every one of these statistics is a true story of harassment, abuse, rape or even murder – a life changed forever,” says Kate. “We cannot let statistics dehumanise what’s actually happening or forget the real voices behind each lived experience.”
She Was Walking Home takes the form of a series of monologues created from the testimonies of women living, working and studying in York. “We created this production in response to the heart-breaking murder of Sarah Everard and the understandable shock and uncertainty it caused in our local community,” says Kate.
“We wanted to amplify the voices of local women, while also prompting conversations around where responsibility and accountability lies for their safety. Since the original audio walk, listened to by almost 800 people, there have been further attacks and murders of women, including Sabina Nessa and Ashling Murphy, and still the rhetoric seems to be skewed towards rape alarms, trackers, self-defence classes and dress codes being the solution. We needed to continue and challenge this conversation.”
The 2022 tour to libraries, pubs, theatres and universities in May and June aimed to “bring this very real issue home with the experiences encountered on the very streets that make up York. “The invitation was to come and watch, listen, but also to think ‘What is it that I can do in making the women in our community safer?’,” says Kate.
Cast member Emma Liversisdge-Smith with Next Door But One artistic director Matt Harper-Hardcastle alongside her
Alongside the touring performance, Next Door But One have created a digital pack for schools and community groups, including a recording of the performance and a workbook containing prompts for debate and conversations that will lead to change.
“As a company, we want the theatre we make to be as useful as it can be; a tool that supports people in the ways they need,” says creative producer El Stannage.
“The tour reached different communities through the venues we visited, but equally the digital pack can be used to evoke conversations now, for change that will be seen into the future; empowering girls to report experiences of abuse and harassment and raising awareness of how boys and young men can be better allies in keeping women safe, for example.”
Watch this space for details of the upcoming performances in 2023.
Next Door But One’s tour poster for She Was Walking Home
