Andy Cryer’s slimy Solinus in The Comedy Of Errors (More Or Less) at the SJT, Scarborough. Picture: Patch Dolan
REVIEW: Stephen Joseph Theatre and Shakespeare North Playhouse in The Comedy Of Errors (More Or Less), Stephen Joseph Theatre, Scarborough, 7.30pm tonight; 2.30pm and 7.30pm, Saturday. Box office: 01723 370541 or sjt.uk.com
THIS Comedy Of Errors gets everything right. Not more or less. Just right. Full stop.
Shakespeare’s “most bonkers farce” has been entrusted to Nick Lane, madly inventive writer of the SJT’s equally bonkers pantomime, and Elizabeth Godber, a blossoming writing talent from the East Yorkshire theatrical family.
How does this new partnership work? In a nutshell, Lane has penned the men’s lines, Godber, the female ones, before the duo moulded the finale in tandem.
SJT artistic director Paul Robinson, meanwhile, selected a criminally good play list of Eighties’ guilty pleasures, from Whitesnake’s Here I Go Again to Billy Joel’s Uptown Girl, Nik Kershaw’s Wouldn’t It Be Good to Toni Basil’s Mickey, Cher’s Just Like Jesse James to Kenny Loggins’ Footloose, to be sung in character or as an ensemble with Northern Chorus oomph.
Aptly, the opening number is an ensemble rendition of Dream Academy’s one-hit wonder, Life In A Northern Town, that town being 1980s’ Scarborough, just as Lane always roots his pantomimes in the Yorkshire resort.
From an original idea by Robinson, Lane and Godber’s reinvention of Shakespeare’s comedy is not too far-fetched but far enough removed to take on its own personality and, frankly, be much, much funnier as a result. To the point where one woman in the front row was in the grip of a fit of giggles. Yes, that joyous.
For Ephesus, a city on the Ionian coast with a busy port, read Scarborough, a town on the Yorkshire coast with a fishing harbour, although all the fish and chip cafés were shut without explanation on the evening of the press night. Was something fishy going on?
Ephesus was governed by Duke Solinus; Scarborough is run by Andy Cryer’s vainglorious Solinus. Still the merry-go-round action is spun around mainly outdoor public spaces on Jessica Curtis’s set, where protagonists bump into each other like dodgem cars. Just as Syracusans were subject to strict rules in the original play, now Lancastrians are given the Yorkshire cold shoulder in a new war of the roses, besmirched Eccles Cakes et al.
Sing when you’re twinning: David Kirkbride’s Antipholus of Scarborough and Oliver Mawdsley’s Dromio of Prescot in the SJT’s highly musical The Comedy Of Errors (More Or Less). Picture: Patch Dolan
So begins a tale of two rival states and two sets of mismatched twins (Antipholus and Dromio times two) on one nutty day at the seaside. Cue a mishmash of mistaken identities, mayhem agogo, and merriment to the manic max, conducted at an ever more frenetic lick.
It worked wonders for Richard Bean in One Man, Two Guvnors, his Swinging Sixties’ revamp of Goldoni’s 1743 Italian Commedia dell’arte farce, The Servant Of Two Masters, setting his gloriously chaotic caper, as chance would have it, in another English resort: Brighton. Now The Comedy Of Errors evens up the mathematical equation for two plus two to equal comedy nirvana from so much division.
One ‘guvnor’, Lancastrian comic actor Antipholus of Prescot (Peter Kirkbride) crosses the Pennine divide to perform his one-man show. Trouble is, everyone has booked tickets for the talent show across the bay, starring t’other ‘guvnor’, the twin brother he has never met, Antipholus of Scarborough (David Kirkbride, different first name, but same actor, giving licence for amusing parallel biographies in the programme).
The two ‘servants’ of the piece, Dromio of Prescot and Scarborough respectively (Oliver/Zach Mawdsley), are equally unaware of the other’s presence, compounding a trail of confusion rooted in Scarborough’s Antipholus owing money everywhere but still promising his wife a gold chain. He needs to win the contest to appease Scarborough’s more unsavoury sorts.
Kirkbride takes the acting honours in his hyperactive double act with himself, Mawdsley a deux is a picture of perplexity; Cryer, in his 40th year of SJT productions, is comedy gold as ever in chameleon roles; likewise, Claire Eden fills the stage with diverse riotous, no-nonsense character, whether from Lancashire or Yorkshire.
Valerie Antwi, Alyce Liburd and Ida Regan, each required to put up with the maelstrom of male malarkey, add so much to the comedic commotion, on song throughout too.
Under Robinson’s zesty, witty direction, everything in Scarborough must be all at sea and yet somehow emerge as comic plain sailing, breaking down theatre’s fourth wall to forewarn with a knowing wink of the need to suspend disbelief when seeing how the company will play the two sets of twins once, spoiler alert, they finally meet.
Who knew shaken-and-stirred Shakespeare could be this much fun, enjoying life in the fast Lane with Godber gumption galore too. Add the Yorkshire-Lancashire spat and those Eighties’ pop bangers, Wayne Parsons’ choreography and the fabulous costumes, and this is the best Bard comedy bar none since Joyce Branagh’s Jazz Age Twelfth Night for Shakespeare’s Rose Theatre in York in 2019.
When The Comedy Of Errors meets the 1980s, the laughs are even bigger than the shoulder pads. A case of more, not less.
The future, here they come: Amy Revelle, Dave Hearn, centre, and Michael Dylan in Original Theatre’s The Time Machine. Picture: Manuel Harlan
THE week ahead is so crammed with clashing cultural highlights, Charles Hutchinson wishes you could climb aboard a time machine.
Find time for: Original Theatre in The Time Machine, York Theatre Royal, Tuesday to Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
DAVE Hearn, a fixture in Mischief Theatre’s calamitous comedies for a decade, takes time out to go time travelling in John Nicholson and Steven Canny’s re-visit of H G Wells’s epic sci-fi story for Original Theatre.
“It’s a play about three actors who run a theatre company and are trying to put on a production of The Time Machine, with fairly limited success,” says Hearn. “But then a big event happens that causes the play to spiral out of control and my character [Dave] discovers actual time travel.” Box office: 01904 623568 or yorktheatreroyal.co.uk.
Curtains At Village Gallery, by Suzanne McQuade, marks the final exhibition at Simon and Helen Main’s art space in Colliergate, York
Farewell of the week: The Curtain Descends, Village Gallery, Colliergate, York, until April 15
AS the title indicates, The Curtain Descends will be the last exhibition at Village Gallery after 40 exhibitions showcasing 100-plus Yorkshire artists in five and a half years. “The end of the shop lease and old age creeping up has sadly forced the decision,” says gallery co-owner Simon Main.
Ten artists have returned for the farewell with work reduced specially to sale prices. On show are watercolours by Lynda Heaton, Jean Luce and Suzanne McQuade; oils and acrylics by Paul Blackwell, Julie Lightburn, Malcolm Ludvigsen, Anne Thornhill and Hilary Thorpe; pastels by Allen Humphries and lino and woodcut prints by Michael Atkin. Opening hours are 10am to 4pm, Tuesday to Saturday.
Singer PP Arnold: From The First Cut Is The Deepest to Soul Survivor, her autobiography is under discussion at York Literature Festival
Festival of the week: York Literature Festival, various venues, today until March 27
HIGHLIGHTS aplenty permeate this annual festival, featuring 27 events, bolstered by new sponsorship from York St John University. Among the authors will be broadcasters David Dimbleby and Steve Richards; political journalist and think tank director Sebastian Payne (on The Fall of Boris Johnson); The League Of Gentlemen’s Jeremy Dyson; Juno Dawson, thriller writer Saima Mir and York poet Hannah Davies.
On Music Memoir Day at The Crescent, on March 18, at 1.30pm American singer PP Arnold delves into her autobiography, Soul Survivor, at 1.30pm. At 4pm, writer/broadcaster Lucy O’Brien discusses her new book, Lead Sister: The Story Of Karen Carpenter, and the challenges of writing a biography. Go to yorkliteraturefestival.co.uk for the full programme.
Too hot to handle: Strictly’s Gorka Marquez and Karen Hauer in Firedance at the Grand Opera House, York
Hot moves amid the weekend chill: Gorka Marquez and Karen Hauer in Firedance, Grand Opera House, York, Sunday, 5pm
STRICTLY Come Dancing stars Gorka Marquez and Karen Hauer reignite their chemistry in Firedance, a show full of supercharged choreography, sizzling dancers and mesmerising fire specialists.
Inspired by movie blockbusters Baz Luhrmann’s Romeo & Juliet, Moulin Rouge, Carmen and West Side Story, Marquez and Hauer turn up the heat as they dance to Latin, rock and pop songs by Camilla Cabello, Jason Derulo, Gregory Porter, Gipsy Kings and Jennifer Lopez. Box office: atgtickets.com/york.
Suede: First appearance at York Barbican in a quarter of a century
Gig of the week: Suede, York Barbican, Wednesday, 7.45pm
ELEGANT London rock band Suede play York Barbican for the first time in more than 25 years on the closing night of their 2023 tour. Pretty much sold out, alas, but do check yorkbarbican.co.uk for late availability.
Last appearing there on April 23 1997, Brett Anderson and co return with a set list of Suede classics and selections from last September’s Autofiction, their ninth studio album and first since 2018. “Our punk record,” as Anderson called it. “No whistles and bells. The band exposed in all their primal mess.”
Sloane danger: Ben Weir’s psychopathic Sloane, left, playing siblings Kath (Victoria Delaney) and Ed (Chris Pomfrett) off each other in rehearsal for York Actors Collective’s Entertaining Mr Sloane
Debut of the week: York Actors Collective in Entertaining Mr Sloane, Theatre@41, Monkgate, York, Wednesday to Saturday, 7.30pm plus 2.30pm Saturday matinee
DIRECTOR Angie Millard launches her new company, York Actors Collective, with Joe Orton’s controversial, ribald comedy Entertaining Mr Sloane, the one that shook up English farce with its savage humour in 1964.
Living with her father, Dada Kemp (Mick Liversidge), Kath (Victoria Delaney) brings home a lodger: the amoral and psychopathic Sloane (Ben Weir). When her brother Ed (Chris Monfrett) arrives, the siblings become involved in a sexual struggle for Sloane, who plays one off against the other as their father is caught in the crossfire. Box office: tickets.41monkgate.co.uk.
Classrooom comedy: Sara Howlett, left, Laura Castle and Sophie Bullivant in rehearsal for Rowntree Players’ production of John Godber’s Teechers Leavers ’22
Education, education, education play of the week: Rowntree Players in Teechers, Joseph Rowntree Theatre, York, Thursday to Saturday, 7.30pm plus 2.30pm Saturday matinee
FAMILIAR to York’s streets at night as ghost-walk guide and spookologist Dr Dorian Deathly, actor Jamie McKellar is directing a play for the first time since 2008, at the helm of Rowntree Players’ production of former teacher John Godber’s state-of-the nation, state-of state-education comedy Teechers.
Updated for Hull Truck’s 50th anniversary celebrations as Teechers Leavers ’22, Godber’s class warfare play within a play features a multi role-playing, all-female cast of Laura Castle, Sophie Bullivant and Sarah Howlett as Year 11 school leavers Salty, Hobby and Gail put on a valedictory performance, inspired by their new drama teacher. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
David Ford: Songs and stories at The Crescent
The robots are coming: David Ford, Songs 2023, The Crescent, York, Thursday, 7.30pm
EASTBOURNE singer-songwriter David Ford might play solo stomps with loop machines and effects pedals or backed by a swish jazz trio or with a string quartet attached. Not this time.
For 2023, Ford has taken the rare decision to keep it simple, leave most of the crazy machines at home, play some of his favourite songs and share stories about where they came from. Oh, and he’ll be bringing his new DIY toy, a drum robot. Beat that. Box office: thecrescentyork.com.
Tuesday’s seated Crescent gig by The Go-Betweens’ Robert Forster, promoting his new album The Candle And The Flame, has sold out by the way.
Because he cared: Comedian Bilal Fafar reflects on working in a care home for the very wealthy in Care at Theatre@41, Monkgate
Caring comedian of the week: Burning Duck Comedy Club presents Bilal Zafar in Care, Theatre@41, Monkgate, York, March 19, 8pm
WANSTEAD comedian Bilal Zafar, 31, is on his travels with a new show about how he spent a year working in a care home for very wealthy people while being on the minimum wage.
Fresh out of university with a media degree, Bilal was dropped into the real world, where he was given far too much responsibility for a 21-year-old lad who had just spent three years watching films. Box office: tickets.41monkgate.co.uk; age limit,18 and over.
In Focus: Anders Lustgarten’sThe City And The Town, at Stephen Joseph Theatre, Scarborough, March 15 to 17
Gareth Watkins as Magnus in Anders Lustgarten’s The City And The Town. Picture: Karl Andre
LONDON playwright and political activist Anders Lustgarten’s new play, The City And The Town, heads to the Yorkshire coast next week.
This funny, eclectic drama brings a fresh perspective to the political divides and problems facing Great Britain and Europe today.
By way of contrast to those schisms, the tour involves a hands-across-the-water partnership: a co-production by Riksteatern, the national touring theatre of Sweden, and Matthew Linley Creative Projects in association with Hull Truck Theatre.
Lustgarten’s play tells the story of brothers Ben and Magnus. Ben, a successful London lawyer, returns home for his father’s funeral after 13 years away, only to be confronted not only by family and old friends, but also by uncomfortable truths about the past, present and future of the provincial community and family he grew up in and left behind for the metroplis.
Lustgarten, by the way, is the son of progressive American academics and read Chinese Studies at Oxford: in other words, he is an internationalist (and an Arsenal supporter to boot).
Directed by Riksteatern artistic director Dritero Kasapi, The City And The Town features Gareth Watkins as Magnus, Amelia Donkor as Lyndsay and Sam Collings as Ben, with set design by Hannah Sibai and lighting design by Matt Haskins.
Amelia Donkor’s Lyndsay in The City And The Town. Picture: Karl Andre
Kasapi is at the helm of his first UK production since Nina – A Story About Me And Nina Simone. “Even from the very first draft Anders sent us, I knew that this was a play I wanted to direct,” he says. “In fact, I’d go as far as saying it’s the play I’ve wanted to direct for a very long time.
“By exploring the rise of the right, Anders is looking at something that is happening all over Europe. But this is not just a political play, it’s also a humane one. It explores the question of if and how we belong to society, what can happen when we lose that connection and how we perceive our common history as a society.”
Kasapi was educated as a stage director at the Faculty of Dramatic Arts in Skopje, Macedonia, but since the early years of his professional life he has been engaged as a cultural organiser.
From 2015 to 2018, he was the deputy artistic director at Kulturhuset Stadstetern in Stockholm. He took up his present post in November 2018.
The City And The Town follows such Lustgarten plays as Lampedusa (Hightide/Soho Theatre), The Seven Acts Of Mercy (Royal Shakespeare Company), The Secret Theatre(Shakespeare’s Globe) and The Damned United (Red Ladder/West Yorkshire Playhouse, 2016, turning Brian Clough’s 44 days as Leeds United manager in 1974 into a Greek tragedy).
The City And The Town began its UK tour at Hull Truck on February 10 and 11 and has since played Northern Stage, Newcastle, Wilton’s Music Hall, London, Mercury Theatre, Colchester, and Norwich Playhouse before its Scarborough finale. It will then transfer to Sweden for an autumn tour.
The City And The Town, Stephen Joseph Theatre, Scarborough, March 15 to 17, 7.45pm plus 1.45pm Thursday matinee.Box office: 01723 370541 or www.sjt.uk.com
Eve De Leon Allen’s Cinderella in the party scene in the Stephen Joseph Theatre’s Cinderella. All pictures: Tony Bartholomew
ON the surface, and certainly from a cursory glance at the press release, this could be a conventional telling of Cinderella’s tale.
Except that this is the Brothers Grimm tale as re-spun by Nick Lane, with music and lyrics by Simon Slater, direction by Gemma Fairlie and stage & costume design by Helen Coyston. Namely the Scarborough team that thinks outside the box to deliver a Yorkshire winter show like no other.
This Cinderella is not pantomime, although slapstick, song-and-dance routines and colourful characters abound, complemented by a gorgeous transformation scene and a singalong Reach for The Stars (a panto staple country-wide).
Life in the fast Lane is inventive, inspired and ingenious, rooted in storytelling, physical comedy, multi role-playing, teamwork and individual flair in Fairlie’s fabulous, free-spirited cast.
Whitbelia’s regal family: David Fallon’s Flarf, with his beloved horse Malcolm, Lucy Keirl’s Delia and Roger Parkins’ Dean
Step forward, and never take a backward step, Eve De Leon Allen (Cinderella/Usher); David Fallon (Charming, Ratface, Flarf, Mouse); Lucy Keirl (Mandy, Delia, Herald); Roger Parkins (Delightful, Dad, Blob, Pumpkin, Dean) and Sarah Pearman (Chief Fairy, Mum, Filania, Frog).
Expect the unexpected with a Nick Lane story and he will still surprise you, while also reprising the hits from past SJT shows: the importance to the tale of Scarborough, its people, culture and seagulls; the digs at nearby places (Whitby’s goths and “inferior fish-and-chip shops”); the silliness yet the poignancy.
Prince Charming has made way for Charming, and there’s a character called Delightful too. The young prince, Flarf, is more interested in spending his days with his horse Malcolm (trained at DisMountview Academy, the programme biog states), rather than bride-finding parties.
Sister act: Roger Parkins’ Blob, left, and David Fallon’s Ratface
Cinderella’s stepsisters are outré fashionistas Ratface and Blob; the outstanding Keirl’s tooth fairy-in-training, 23780, wants to be known as Mandy.
De Leon Allen’s resourceful yet put-upon Cinderella is fixated on maps, and the love she seeks is not that of a “handsome Prince” but the embrace of her missing Mum, still alive she believes but lost to her in a storm when sailing to the magical Land Beyond Beyond, far, far away from Lane’s Scarbodoria and neighbouring Whitbelia.
Lane’s script has headed there too, far beyond routine panto, and anything but lost in such fresh storytelling, where he combines the golden olden with the modern, reinvigorating characters too, whether Cinderella, the prince or the Pumpkin (played by the chameleon Parkins, whose forgetful king is a gem too).
Eve De Leon Allen’s Cinderella andf Lucy Keirl’s Mandy
Fairlie’s cast have such fun with Lane’s flights of imagination, his extravagant, bold, lovable characters (yes, even the stepmother and self-deluded daughter double act); his fearless pushing of boundaries; his love of a joke; the need for mannequins or quick costume changes to keep up with the number of characters required for a scene.
Not least his radical retuning of Cinderella herself to today’s (feminist) sensibilities, delivered with a lightness of touch that is more impactful. She has always wanted to be an explorer, and in turn Lane explores new possibilities for her character.
Add Slater’s witty songs, a nod to The Wizard Of Oz, a notable decrease in Lane’s propensity to bottom-burp gags, and Cinderella is a breath of Scarbodoria fresh air to rival the North and South Bay.
“The most important thing is to be good,” concludes Fairy 23780, sorry, Mandy. A good point on which to finish a very good show. Box office: 01723 370541 or sjt.uk.com
Roger Parkins’ larger-than-life Pumpkin in Cinderella
Did you know?
NEXT year’s SJT “Chrtistmas Spectacular” will be Beauty And The Beast from December 1 to 30. Tickets are on sale already.
Alan Ayckbourn directing rehearsals for Family Album, his 87th full-length play. Picture: Tony Bartholomew
NO sooner has the world premiere of Alan Ayckbourn’s 86th full-length play All Lies concluded at the tiny, moorland Esk Valley Theatre than his 87th opens at his regular home, Scarborough’s Stephen Joseph Theatre.
Family Album is one of five plays penned by Ayckbourn in lockdown, or is it six, as Esk Valley Theatre producer Sheila Carter suggested on press night?
“Oh lord, I’ve rather lost count, but there are two more waiting after All Lies and Family Album,” says Sir Alan, whose number of plays now outstrips his age of 83.
“Once lockdown occurred, I was like one of those ocean liners that chugged on with no brakes until running out of fuel, but there was all that frustration of no productions going on.”
What joy for Sir Alan when he could at last return to the rehearsal room in May last year for the SJT’s summer production of The Girl Next Door. “Doing that play gave me a huge charge of the batteries,” he says.
This year, already he has directed All Lies in its premiere at The Old Laundry Theatre, Bowness, in May and the Robinson Institute, Glaisdale, last month. Now he is pulling the strings on Family Album as writer, director and sound designer, directing Elizabeth Boag, Georgia Burnell, Tanya-Loretta Dee, Antony Eden and York-born Frances Marshall as he tenderly chronicles the trials, tribulations and temptations of three generations of one family across 70 years in the same home.
Presented, as ever, in The Round, Ayckbourn interweaves his account of a moving-in day in 1952, a birthday party in 1992 and a moving-out day in 2022, “when all the skeletons are suddenly jumping out of their cupboards”.
York actress Frances Marshall in an early rehearsal for the 1992 storyline in Family Album. Picture: Tony Bartholomew
Join housewife Peggy (Burnell) and RAF veteran John (Eden) as they proudly move into the first home they can really call their own; daughter Sandra (Marshall), frantically negotiating the challenges of her ten-year-old daughter’s birthday party without her AWOL husband; and granddaughter Alison (Boag) and her partner Jess (Dee), finally escaping the house she has somewhat unwillingly inherited.
“My inspiration was a programme on BBC4 called A House Through Time, a fascinating piece of social history [presented by historian David Olusoga]. I thought, I could do this on a smaller scale – I didn’t want to go back centuries, so I started within my lifetime, in the 1950s.
“We have three time periods layered on top of each other happening simultaneously in the same house, following a family from the grandparents in 1952, to the children in 1992 and then the grandchildren today.”
Ayckbourn is no stranger to playing with time, but not in this way before. “For me it’s new: I’ve used time so much – I’ve run it backwards and forwards, and I’ve run it sideways, and I’ve occasionally run it forwards and backwards simultaneously and at different speeds, but never in this way,” he says.
Parallels have been drawn with Ayckbourn’s 2018 premiere, A Brief History Of Women, a comedy in four parts, each set 20 years apart, focusing on an unremarkable man and the remarkable women who loved him, left him, or lost him over sixty years, and the equally remarkable old manor house that saw and heard it all happen.
“That play was the story of the house seen through the eyes of the people who ‘mucked about with it’, as it changed from a country house to a country-house hotel,” says Sir Alan. “This time, it’s the people, seen through the house.
“I’ve realised with age, when you have a choice, you can either look back, and I can look back to the wartime 1940s, with my first conscious memory of an air raid shelter, right up to 2022, which is one choice, or you can look forward, the other choice.
Antony Eden rehearsing his role as RAF veteran John in Family Album. Picture: Tony Bartholomew
“It’s no coincidence that our most successful children’s writers, Morpurgo and Rowling, have looked at science fiction in order to reach a generation they’re not able to reach otherwise – and the best science fiction reflects what’s happening now.
“I can write plays for my near-contemporaries, but my plays for young people also give me the chance to make up my own rules, which can apply to both me and the children I’m writing for.”
Family Album reflects on the past and its impact on the next generation, especially on women. “One of the themes is the enormous journey women have been on. My God, they have moved a long way, and the most interesting thing for me to do was to write a play set in 1952, 1992 and 2022, that would be much more interesting if I interweaved all three.
“It’s my latest exploration of the theatre space offered by The Round, which goes back to How The Other Half Loves [written in 1969], with everyone in the play occupying one space.”
Ayckbourn says a “stinging contemporary play” is not in his armoury at present – the romantic All Lies, for example, was set in 1957-58 – and he does not foresee writing “directly” about our rotten age. Instead he will continue looking at changing times.
“I do explore the changes in men in future plays,” he says. “I’m very curious to see quite where men will go. Many men have changed; for every dyed-in-the-wool chauvinist, there is a new man.”
Alan Ayckbourn’s Family Album runs at Stephen Joseph Theatre, Scarborough, until October 1. Box office: 01723 370541 or sjt.uk.com.
Georgia Burnell, who plays housewife Peggy, rehearses a scene from the 1952 storyline in Family Album. Picture: Tony Bartholomew
Barrel of laughs: Al Murray, the Pub Landlord, has the answer, whatever the question
FOOD and food for thought, pub concert and Pub Landlord, outsider comedy and family drama whet Charles Hutchinson’s appetite.
Comedy gig of the week in York: Al Murray: The Pub Landlord, Gig For Victory, Grand Opera House, York, Thursday, 7.30pm
“AS the dust settles and we emerge blinking into the dawn of a new year, the men and women of this great country will need answers,” reckons the Guvnor, Al Murray. “Answers that they know they need, answers to questions they never knew existed.”
When that moment comes, who better to show the way, to provide those answers, than the people’s man of the people, Murray, The Pub Landlord? Cue his pugnacious bar-room wisdom in the refurbished Grand Opera House. Box office: 0844 871 7615 or atgtickets.com/York.
Miles and The Chain Gang: New territory tonight
Pub gig of the week: Miles and The Chain Gang, The New Smithy Arms, Malton Road, Swinton, near Malton, tonight (27/8/2022), 9pm
YORK band Miles and The Chain Gang are heading to the New Smithy Arms gastro pub this weekend.
“It’s our first time performing in the Malton area,” says songwriter and singer Miles Salter. “We’ll be playing a selection of our own songs, plus some old classics from Bob Dylan, Joni Mitchell and The Rolling Stones.”
Latest single Love Is Blind has been aired 400 times on radio stations around the world, YouTube views of the band have topped 50,000 and their 2022 gig diary has taken in Doncaster, Harrogate and Helmsley.
Three-day event: Malton Summer Food Lovers Festival
Festival of the week: Malton Summer Food Lovers Festival, today (27/8/2022) and tomorrow from 9am, Bank Holiday Monday, from 10am.
THIS is the second Malton Food Lovers Festival of 2022, taking over the streets of “Yorkshire’s food capital” for three days in a celebration of fine produce and cooking.
Expect artisan stalls, street food, talks, tastings, celebrity chefs, cookery and blacksmith demonstrations, a festival bar, buskers, brass bands and Be Amazing Arts in the Creativitent.
Look out for Tommy Banks, from The Black Swan, Oldstead, and Roots, York, on the festival demo stage today at 1pm. Festival entry is free.
Daniel Kitson: Wanting a word with you Outside
Comedy gigs of the week outside York: Daniel Kitson: Outside, At The Mill, Stillington Mill, near York, Monday (29/8/2022) to Wednesday, 7.30pm
DENBY Dale stand-up comedian Daniel Kitson had not been on stage for two years when he contacted At The Mill promoter Alexander Flanagan Wright to say “hello, could I come and do a show?”.
Not one show, but six work-in-progress gigs, performed in two sold-out blocks from May 23 to 25 and June 8 to 10. He enjoyed the Mill outdoor experience so much, he has added a third run for August’s dying embers.
Tickets have flown again for the latest chance to watch Kitson “find out whether he can still do his job and what, if anything, he has to say to large groups of people he doesn’t know”. For returns only, contact atthemill.org.
That’ll be Mel Day: Guest star for The Story Of Soul. Picture: Entertainers
History show of the week: The Story Of Soul, Grand Opera House, York, Wednesday, 7.30pm
FROM the producers of Lost In Music and The Magic Of Motown comes The Story Of Soul with special guest Mel Day, “The Soul Man” from Britain’s Got Talent.
This journey through the history of sweet soul music takes in the songs of Aretha Franklin, Earth Wind And Fire, James Brown, Wilson Pickett, Sam & Dave, Chaka Khan, Tina Turner, The Pointer Sisters, Luther Vandross, Whitney Houston, Ben E King, Barry White and plenty more. Box office: 0844 871 7615 or atgtickets.com/York.
Foy Vance: Showing Signs Of Life at York Barbican
Blues gig of the week: Foy Vance, Signs Of Life Tour, York Barbican, Wednesday, 7.50pm
NORTHERN Irish singer-songwriter Foy Vance plays York Barbican in support of his fourth studio album, Signs Of Life, in a gig rearranged from March 25.
The redemptive record finds Bangor-born Vance – husband, father, hipster, sinner, drinker – belatedly coming to terms with his demons in his late-40s.
The storytelling bluesman, survivor, rocker and folk hero calls Signs Of Life “an album of dawn after darkness, hope after despair, engagement after isolation, uplift after lockdown”. Box office: yorkbarbican.co.uk.
One for the Family Album: Writer-director Alan Ayckbourn, left, Jude Deeno and David Lomond in rehearsal for his 87th play, premiering at the SJT. Picture: Tony Bartholomew
Play launch of the week: Alan Ayckbourn’s Family Album, Stephen Joseph Theatre, Scarborough, Friday to October 1
FAMILY Album, his 87th full-length play, is written, directed and sound designed by Alan Ayckbourn for its world premiere in The Round at the SJT.
Ayckbourn tenderly chronicles the trials, tribulations and temptations of three generations of one family across 70 years in the same home.
Join RAF veteran John and housewife Peggy as they proudly move into the first home they can really call their own in 1952; daughter Sandra, frantically negotiating the challenges of a ten-year-old’s birthday party without her AWOL husband in 1992, and granddaughter Alison, finally escaping the house she has somewhat unwillingly inherited in 2022. Box office: 01723 370541 or sjt.uk.com.
The poster for In The Name Of Love, The Diana Ross Story tribute show
Tribute show of the week: In The Name Of Love, The Diana Ross Story, York Barbican, September 3, 7.30pm
IN the wake of Diana Ross headlining the Platinum Party At The Palace at 78 and playing Leeds First Direct Arena in June with a 14-piece band, here comes the tribute show.
In a chronological set list, Cheri Jade takes on The Supremes’ catalogue before Tameka Jackson handles the solo Diana years.
Here come Where Did Our Love Go, Baby Love, Stop In The Name Of Love, Reflections, You Keep Me Hanging On, You Can’t Hurry Love, Stoned Love, Ain’t No Mountain High Enough, Touch Me In The Morning, Upside Down, My Old Piano, I’m Coming Out and Chain Reaction. Box office: yorkbarbican.co.uk.
Will the truth hurt in Alan Ayckbourn’s All Lies when Luke Dayhill’s Sebastian and Saskia Strallen’s Posy fall in love? Picture: Steven Barber
ESK Valley Theatre is presenting the world premiere production of Alan Ayckbourn’s 86th full-length play in a North Yorkshire moorland village.
All Lies is running at the Robinson Institute, Glaisdale, six miles from Whitby, until August 27, directed by Ayckbourn himself. And yes, that is the truth.
“We were approached by Alan,” says a delighted Mark Stratton, Esk Valley Theatre’s artistic director, who is Ayckbourn’s assistant director for the three-hander, written in the quietude of the pandemic lockdowns.
“All Lies was already booked for two weeks at the Old Laundry Theatre, in Bowness-on-Windermere, in May, but the feeling was that was too short a run for an Ayckbourn premiere.
“Alan has been a big supporter of our work for years and has seen many of our plays, so he said, ‘would you like to take it?’. We thought, ‘well, why don’t we put it on in our regular August slot as the institute is busy for other parts of the year?’.
“The way we’ve done it, the actors signed contracts for Bowness and then contracts for us, with Alan holding two days of rehearsals in Scarborough to help to prepare for the re-start in Glaisdale.”
Initial rehearsals had been conducted at Alan’s Scarborough studio for two weeks from April 19, “before the whole shebang moved over to Bowness” for its debut. “We’re billing our run as the ‘world premiere production’ because it’s the same production,” says Mark.
“Alan’s involvement has been right the way through until he handed over to me in order to start rehearsals for his next play at the Stephen Joseph Theatre [Scarborough], Family Album.
“My role has been minimal, as ‘caretaker’ director, while keeping the production’s Ayckbourn integrity. We’ve been wanting Esk Valley Theatre to be involved as a producer on an Ayckbourn play, without treading on the SJT’s toes, and this has been our opportunity.”
All Lies is set in 1957-1958, when a chance meeting elicits love at first sight! The person of your dreams! But will they feel the same? Once you tell the truth about yourself, will you even be worthy of them? Do you take the plunge and reveal all? Or choose the dangerous alternative and tell them…All Lies?!
Luke Dayhill as Sebastian Goodfellow, Rhiannon Neads as sister Sonia Goodfellow, back, and Saskia Strallen as Posy Capstick in All Lies. Picture: Steven Barber
Questions, questions, so many Ayckbourn questions, in a play of subtle wit and shifting sands where the truth is in there somewhere when a young couple falls in love but the little lies develop into something much bigger.
Can Mark reveal a little more? “Well, the clues are in the title! It’s one of those plays where one thing leads to another, so you don’t want to give too much away, but yes, lies are told, and where do lies lead when you spin a web of deceit?!” he says.
“It’s very much a play about two people wanting to show their best side to each other when they first meet, but what happens when someone exaggerates who they are? What happens down the line?
“It becomes that catalogue of things that happen when lies are told, but it’s also about the fragility of egos and how we want to be seen in the best light when we don’t have the confidence just to be ourselves.”
What is the significance of the Fifties’ setting? “It was the age of letter writing, pre-mobile technology, when people wrote letters to express themselves deeply in a way they don’t show themselves so emotionally now,” says Mark.
“Alan is so good at picking at things, exposing them, and while it’s set in 1957, it reflects on how we’ve changed as a society.”
All Lies is not in Ayckbourn’s darkest vein by any means, suggests Mark. “There are just a few dark undertones. It’s a light and frothy piece in many ways,” he says. “It’s more…it’s not Noel Coward but it has a lovely light comedy quality about it with beautiful wordplay.”
At 83, Ayckbourn is as prolific as ever, so much so that he has a backlog of new work accruing from theatres going into hibernation in lockdown. “Alan’s brain is so brilliant,” says Mark. “You can’t but marvel at him. Most writers would be happy with five plays in a lifetime, but Alan has written five in a matter of months!”
Esk Valley Theatre presents Alan Ayckbourn’s All Lies at Robinson Institute, Glaisdale, near Whitby, until August 27 with a cast of Luke Dayhill, Rhiannon Neads and Saskia Strallen. Box office: 01947 897587.
Stephen Joseph Theatre, Scarborough, presents Alan Ayckbourn’s Family Album from September 2 to October 1. Box office: 01723 370541 or sjt.uk.com.
Say cello, wave goodbye? Will love crumble when the truth is out for Sebastian and Posy in Alan Ayckbourn’s All Lies at Esk Valley Theatre?
NE Musicals York cast members climb aboard a City Sightseeing bus to publicise their upcoming production of Priscilla Queen Of The Desert
AS Madness and Sugababes canter up to York Racecourse, Charles Hutchinson picks his favourites from the upcoming entertainment runners and riders
Musical of the week: NE Musicals York in Priscilla Queen Of The Desert, Joseph Rowntree Theatre, York, July 20 to 24, 7.30pm and 2.30pm Saturday and Sunday matinees
CREATIVE director Steve Tearle’s cast of 30 features Finley Butler, Tom Henshaw and Tearle himself as three drag queens who take an epic journey from Sydney to Alice Springs across the Australian outback in their bus Priscilla.
“The journey is full of drama and dance routines but also so many laugh-out-loud moments,” says Tearle. “There’ll be costumes – 300 in total – that have never been seen before in York and the star of the show, the bus, will take your breath away.” Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
John Cale: Rearranging his gig date at York Barbican
Underground movement of the week: John Cale, York Barbican, from July 19 to October 24, 8pm
VELVET Underground icon John Cale, now 80, is moving his first British itinerary in a decade to the autumn. Tickets for Tuesday – the only Yorkshire gig of his seven-date tour – remain valid for the new date in October.
The Welsh multi-instrumentalist, songwriter and producer will be performing songs from a pioneering six-decade career that began in classical and avant-garde music before he formed The Velvet Underground with Lou Reed in New York in 1965. Box office: yorkbarbican.co.uk.
Bob Dylan’s poster for his Rough And Rowdy Ways World Wide Tour, visiting Hull Bonus Arena
Gig announcement of the week: Bob Dylan, Hull Bonus Arena, October 27
BOB Dylan will play Hull Bonus Arena as the only Yorkshire gig of his Rough And Rowdy Ways World Wide Tour 2021-2024 this autumn.
The Nobel Prize-winning American singer, songwriter and cultural icon last visited Britain in 2017 on his Never Ending Tour. This time the focus will be on his 39th studio album, June 2020’s chart-topping Rough And Rowdy Ways, his first set of original songs since 2012’s Tempest. Box office: hurry, hurry, to ticketmaster.co.uk.
Resting up: Tears For Fears’ Scarborough concert is cancelled due to Curt Smith’s rib injury
One on, one off, tonight: cheers for Richard Ashcroft, Sounds Of The City, Leeds Millennium Square; tears for Tears For Fears, Scarborough Open Air Theatre
IN the Leeds outdoors tonight, Richard Ashcroft, frontman of Wigan’s Nineties’ rock gods The Verve, performs songs from his chart-topping band days and solo career in the wake of re-recording his prime work for 2021’s Acoustic Hymns Vol 1. Gates open at 6pm; support slots go to DJ Wayne and Cast. Last few tickets: millsqleeds.com .
Shout, shout, let it all out, these are the things they could do without: Curt Smith’s rib injury has forced Tears For Fears to call off tonight’s gig in Scarborough.
Jane McDonald: Letting the light in at York Barbican
Yorkshire favourite of the week: Jane McDonald: Let The Light In, York Barbican, July 22, 7.30pm
WAKEFIELD singer and television star Jane McDonald plays her long-awaited Let The Light In Show in York, rearranged from the lockdown gloom of 2020.
The BAFTA award-winner, Cruising With presenter and Loose Women panellist will be joined by her band and backing singers for a night of cabaret song, laughter and fabulous dresses. Box office for last few tickets: yorkbarbican.co.uk.
Madness this way lies: The Nutty Boys are returning to York Racecourse next Friday
On course for race days: York Racecourse Music Showcase Weekend, Madness, July 22; Sugababes, July 23
CAMDEN’S Nutty Boys, Madness, return to the Knavesmire track next Friday, having first gone One Step Beyond there in July 2010. Once more Suggs and co will roll out such ska-flavoured music-hall hits as Our House, Baggy Trousers, House Of Fun, Wings Of A Dove, My Girl and Driving In My Car after the evening race card.
The re-formed original Sugababes line-up of Keisha Buchanan, Mutya Buena and Siobhán Donaghy are next Saturday afternoon’s act. The London girl group last appeared in York as long ago as 2003 with a line-up of Buchanan, Buena and Heidi Range at the Barbican Centre, as was.
Here come Freak Like Me, Round Round, Hole In The Head, Push The Button, Walk This Way and About You Now et al. Tickets: yorkracecourse.co.uk.
Low-key festival of the week: Crawfest, Partings Lane, Ebberston, YO13 9PA, off A170, July 22 and 23, noon to midnight
THE line-up is in place for Crawfest, the family-friendly music festival held on farmland near Pickering, in memory of Alan Crawford, a friend of the organisers, who lost his life to Covid in 2020.
Next Friday will be headlined by The House We Built (9.40pm), preceded by Edwina Hayes (2pm); Paint Me In Colour (3.20pm); Nalgo Bay (4.20pm); Sean Taylor (5.30pm); Breeze (6.50pm) and Friday Street (8.10pm).
Next Saturday’s bill toppers will be Big Me (9.40pm), preceded by Kelsey Bovey (12 noon); Bongoman & The Bongomaniacs (1pm); Danny MacMahon (2pm); Beetlebug (3.15pm); Rocketsmith (4.10pm); Nalgo Bay (5.30pm); Red Box (6.50pm) and The Feens (8.10pm). Box office: tickettailor.com/events/crawfest/641880.
Anne-Marie Piazza and Pete Ashmore in rehearsal for Brief Encounter at the SJT. Picture: Tony Bartholomew
Romance of the summer: Emma Rice’s Brief Encounter, in The Round, Stephen Joseph Theatre, Scarborough, July 22 to August 27
SJT artistic director Paul Robinson directs this new co-production of Emma Rice’s playful adaptation of Noel Coward’s Brief Encounter, presented in tandem with Theatre by the Lake, Keswick, and Octagon Theatre, Bolton.
Rice turns Coward’s film inside out, adding joyous musical numbers and physical comedy while still maintaining the classic love story of the 1945 black-and-white original, where Laura and Alec are married – but not to each other – when a chance meeting at a railway station hurls them headlong into a whirlwind romance that threatens to blow their worlds apart. Box office: 01723 370541 or sjt.uk.com.
Shed haven: Puppeteer Freddie Hayes contemplates life as a Potatohead
WHY is “gloriously bonkers” York performer, maker and writer Freddie Hayes a puppeteer?
“I’ve always made puppets from a young age,” she says. “But I lost in a puppet competition at Scarcroft School and it’s been revenge ever since.”
That act of revenge continues with the Edinburgh Fringe-bound Potatohead, her “starch-raving mad” solo adaptation of Christopher Marlowe’s cautionary tale Doctor Faustus And The Seven Deadly Sins, directed by Sh!t Theatre.
Combining puppetry, stand-up comedy, physical theatre, film, singing, dancing and a sack of potato puns, Freddie’s hour-long “one-potato show” plays York Theatre Royal Studio on June 10, the McCarthy at the Stepehen Joseph Theatre, Scarborough, on June 14, and Seven Arts in her adopted home of Leeds on July 20.
“I’ve always been interested in puppets as objects and creating characters from everyday people you might see in everyday life,” says Freddie, whose absurdist work hovers between childish puppetry and late-night entertainment in its story of humble York spud Charlotte, who dreams of becoming a cabaret superstar but is blighted by a chip on her shoulder.
“I have quite a dark sense of humour too, and there seems to be something haunting about puppets that intrigues me.
“Puppetry can be very violent, with dark stories like Punch & Judy, where he defeats the Devil and death itself with his powers – so that story has a vague connection with Faust.”
After introducing York and beyond to grouchy pub landlords Fred and Sharon, unhappily married guvnors of a dated York boozer, in Fred’s Microbewery at the 2019 Great Yorkshire Fringe and York Theatre Royal Pop-up Festival, now Freddie switches her attention to the Swiss Army knife of the vegetable world, the potato, in her “unadulterated celebration of silliness”.
Jacket potato! Freddie Hayes in her Potatohead costume on stage
Expect elements of kitsch cabaret and old-school entertainment in her blend of puppetry, clowning and surrealist comedy with room for sexual content and references to religion and the devil, hence the age guidance of 14+.
Why re-tell Faustus, Freddie? “I like the darkness and the idea of being in between life and death, that power struggle, as you try to get your dream to become reality – and in the case of Potatohead, it becomes the struggle of trying to become a stand-up comedian,” she says.
Would that struggle involve selling your soul to the devil? “I’m yet to do so myself! I don’t have to worry about comeuppance! But there is connection between potatoes and Faustus…”
…Really? “The year that the potato arrived in Europe was the same year that Marlowe’s play was premiered,” says Freddie. “Back then, potatoes were very glamorous. They were considered to be exotic and aphrodisiacs too!”
Yes, but why transform Faustus into a potato, or, rather, a couch potato with aspirations of becoming a golden wonder? “What’s great about potatoes is that they can be anything, and I feel like everyone has an inner potato in them. Some days everyone feels a bit like a potato,” says Freddie.
“On top of that, there was the idea that you can become great [not grate!] one day by taking a risk and being brave. That’s the moral of this story.”
Potatoes are even more chameleon than usual in Freddie’s show. “There’s actually a little bit of puppet potato nudity!” she reveals. “They can also fly and shape-shift, disappear and re-appear, so they’re quite magical!
“What’s great is that the potato puppets play these demon spirit characters and they do have this unworldly quality about them, which works well with the narrative of Faustus.”
Spud work: Freddie Hayes’s Potatohead gets digging in the garden. Picture: Amy D’Agorne
Seeking to capture the stupidity of life in her puppetry, she also reflects on her own life through her characters, scenarios and themes. “There’s a part of the show that’s slightly autobiographical in that I talk about my relationship with puppets and how they integrate with my life,” says Freddie, who studied for a BA in puppetry at the Royal Central School of Speech and Drama from 2015 to 2018.
“I have this awareness of being dressed as a potato running around with these puppet potatoes, so I give a side-eyed look at the audience, as if to say ‘what am I doing here?’!”
Puppet potatoes abound in Potatohead. “You can probably guess there are seven potatoes for the seven demons [the ‘deadly sins’ in Faustus], and there’s obviously a Mephistopheles, played by Maurice Piper! Beelzebub is a big secret I can’t reveal, though it’s something to do with a popular potato brand,” says Freddie.
Summing up Potatohead’s comedic style, Freddie says: “It’s a very strange one! Imagine if Cilla Black collaborated with The League Of Gentlemen and The Mighty Boosh, all in a one-potato show. Old-school glamour meets general weirdness!” What a mash-up!
As for Freddie’s favourite potato dish, “I love chips,” she says. “Keep it simple. Cheesy chips. Or cheesy chips and gravy if you’re feeling really naughty.”
As part of her debut national tour, Freddie Hayes presents Potatohead at York Theatre Royal, June 10, 7.45pm; Stephen Joseph Theatre, Scarborough, June 14, 7.45pm; Seven Arts, Chapel Allerton, Leeds, July 20, 8pm. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Scarborough, 01723 370541 or sjt.uk.com; Leeds, 0113 262 6777 or sevenleeds.co.uk.
Copyright of The Press, York
Question? What is Freddie’s favourite among the seven deadly sins in Doctor Faustus?
“Gluttony. I think I feel I don’t think it’s a terrible sin! It seems quite sweet,” she says.
Freddie Hayes, minus the Potatohead
Freddie Hayes Fact File
Born: York
Lives in: Leeds
Occupation: Performer, writer, puppeteer and maker, crafting bespoke puppets, props and costumes.
Studied for: BA in Puppetry at Royal Central School of Speech and Drama, London, 2015 to 2018.
Since graduating: Created solo shows Fred’s Microbrewery and Potatohead, performing on UK comedy, festival and cabaret circuit for four years, playing Shambala Festival, Camden Fringe and Leeds International Festival.
Who’s the guvnor here?Puppeteer Freddie Hayes with Yorkshire’s grouchiest pub landlord, Fred, mean host of Fred’s Microbrewery
Home city works: Strut Club cabaret; former artist-in-residence at Southlands Studios; presented Fred’s Microbrewery at 2019 Great Yorkshire Fringe and York Theatre Royal Pop-up Festival; created and filmed short puppet film Fred And Sharon on York’s streets.
Projects: Artist-in-residence at Slung Low Theatre, working with Sh!t Theatre mentors, at The Holbeck, Holbeck, Leeds; associate artist of Slap York; resident puppeteer at Folkestone Puppet Festival.
Debut national PotaTour: Potatohead, May 19 to July 20, playing Leeds, Camden, Brighton Fringe Festival, Bristol, York, Scarborough, Greater Manchester Fringe Festival (July 14, 7pm, 9pm) and Leeds again (Seven Arts, July 20, 8pm).
Support: Started work on Potatohead project with Slap York in 2019. “They’re great at helping emerging artists,” says Freddie. “Without them, I don’t think I would have got going on this show.”
Mash of the day: Freddie Hayes in a Potatoheadshot
Funding: Arts Council National Lottery Project Grant to create Potatohead; Luke Rollason Memorial Bursary Award winner to programme show at Brighton Fringe Festival.
Performance style: Hovering between childish puppetry and late-night entertainment. Often autobiographical, reflecting on her life through relatable characters, scenarios or themes.
Pulling strings: Makes all her puppets, costumes and props. “I see it as a sort of sculpture, and I love making props,” says Freddie. “I do a lot of puppet-making commissions, making them for York Maze and Leeds City Varieties and working freelance for Leeds Playhouse for a while.”
Next up: Presenting Potatohead at Below, The Pleasance Courtyard, 60 Pleasance, Edinburgh, at 2022 Edinburgh Fringe Festival, August 3 to 29, 2pm. Directed by Sh!t Theatre, Freddie’s production will be appearing as a York Theatre Royal supported show with Pleasance Edinburgh National Partnerships. Box office: tickets.edfringe.com/venues/pleasance-courtyard.
York puppeteer and performer Freddie Hayes’s Potatohead: “A starch-raving mad adaptation of Faustus with puppets”. Picture: Sophie Jouvenaar
YORK Theatre Royal’s Studio season will read the Riot Act on June 9 in a show created and performed by Alexis Gregory as part of a Pride Season tour.
Fresh from his success in Sex/Crime at London’s Soho Theatre, Gregory is directed by Rikki Beadle-Blair in his journey through six decades of queer history, told by those who helped to shape it from Gregory’s interviews with a survivor of the Stonewall Riots, a radical drag queen and an AIDS activist.
Ahead of her Edinburgh Fringe run, York puppeteer, performer and writer Freddie Hayes presents Potatohead, her humorously bizarre solo adaptation of Christopher Marlowe’s Doctor Faustus And The Seven Deadly Sins, on June 10.
Directed by Sh!t Theatre, Potatohead is saturated with potato puns from start to finish as Hayes tells the story of a humble spud who dreams of becoming a cabaret superstar.
Elements of kitsch cabaret and old-school entertainment characterise Hayes’s “one-potato show” show that blends puppetry, clowning and comedy in an unadulterated celebration of silliness. Expect sexual content and references to religion and the devil, hence the age guidance of 14+.
Hayes’s debut UK tour of her hour-long “starch-raving mad adaptation of Faustus with puppets” takes in a further North Yorkshire date in The McCarthy at the Stephen Joseph Theatre, Scarborough, on June 14 at 7.45pm (box office, 01723 370541 or at sjt.uk.com).
Happy Meal, Tabby Lamb’s joyful queer romcom directed by Blythe Stewart, will be staged by Tadcaster’s Roots and Theatre Royal Plymouth from August 30 to September 3.
What’s the story? Bette, a teenager who knows her Neil Diamond, is into gaming alone, whereas Alec likes Swedish goth rock and multiplayer gaming. In the real world, they would never meet, but online these unlikely best friends can be everything they wanted to be.
Dyad Productions return to the Theatre Royal on October 6 and 7 to present A Room Of One’s Own, a wry, amusing and incisive trip through the history of literature, feminism and gender with a “21st century take on Virginia Woolf’s celebrated pre-TED talk”.
Tickets for these 7.45pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
YORK Theatre Royal’s Studio season will read the Riot Act on June 9 in a show created and performed by Alexis Gregory as part of a Pride Season tour.
Fresh from his success in Sex/Crime at London’s Soho Theatre, Gregory is directed by Rikki Beadle-Blair in his journey through six decades of queer history, told by those who helped to shape it from Gregory’s interviews with a survivor of the Stonewall Riots, a radical drag queen and an AIDS activist.
Ahead of her Edinburgh Fringe run, York puppeteer, performer and writer Freddie Hayes presents Potatohead, her humorously bizarre solo adaptation of Christopher Marlowe’s Doctor Faustus And The Seven Deadly Sins, on June 10.
Directed by Sh!t Theatre, Potatohead is saturated with potato puns from start to finish as Hayes tells the story of a humble spud who dreams of becoming a cabaret superstar.
Elements of kitsch cabaret and old-school entertainment characterise a show that blends puppetry, clowning and comedy in an unadulterated celebration of silliness. Expect sexual content and references to religion and the devil, hence the age guidance of 14+.
Hayes’s debut UK theatre tour of her one-potato show has a further North Yorkshire performance on June 14 at the Stephen Joseph Theatre, Scarborough (box office, 01723 370541 or at sjt.uk.com).
Happy Meal, Tabby Lamb’s joyful queer romcom directed by Blythe Stewart, will be staged by Tadcaster’s Roots and Theatre Royal Plymouth from August 30 to September 3.
What’s the story? Bette, a teenager who knows her Neil Diamond, is into gaming alone, whereas Alec likes Swedish goth rock and multiplayer gaming. In the real world, they would never meet, but online these unlikely best friends can be everything they wanted to be.
Dyad Productions return to the Theatre Royal on October 6 and 7 to present A Room Of One’s Own, a wry, amusing and incisive trip through the history of literature, feminism and gender with a “21st century take on Virginia Woolf’s celebrated pre-TED talk”.
Tickets for these 7.45pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
