REVIEW: Love Bites, The Love Season, York Theatre Royal, May 17 and 18

Send in the clown : James Lewis-Knight in his Love Bite, Staying Connected. Picture: Tom Arber

YORK Theatre Royal has reopened after 427 days. The longest, darkest hiatus since the Second World War at England’s longest-running theatre has ended with a declaration of love.

More precisely, 22 love letters to the power of theatre, a craving for freedom of movement, expression and identity and the need for human connection: a collective, anything-but-cautious hug that was as much a sigh of relief as a breath of fresh York air in the form of a fiesta of five-minute vignettes commissioned from 220 applicants.

Let’s repeat that. 22O applicants for £1,000 commissions from York’s diverse arts community that refuses to accept Rich Boy Risha Sunak’s slight that such talents are non-viable. A community that will laugh off the Beano comic’s laughable Hilarity Report finding that the average York resident laughs only 14 times a day, the second lowest in the country. Are you joking? Laugher aplenty could be heard on Monday night, alongside the joy, the sadness, the uncertainty but hope.

Indeed, The 22 would surely challenge York Mix e-letter writer John Wolfe’s scalding, agent-provocateur assertion that York is a city of “no real festivals or decent venues. No sports centres or entertainment for locals. No chance of change either. Why do you think all of the young people move away? Outside of its history it’s drab and bl**dy awful.”

Crying Wolfe? Well, John, in the city of the York Community Stadium, four state-of-the-art cinemas, myriad theatres, ever more restaurants, café bars, coffee houses, independent galleries and a rising tide of street art, perhaps you should go York Theatre Royal, one of the country’s great theatres, tonight (Tuesday) to see the spread of talent, both young and older.

Some were born in the city and are determined to stay here, when the arts are becoming less London-centric; others have been drawn to the city from, for example, Canada and Zimbabwe, and here they gathered under one rainbow umbrella to express their love for York and their place in it. 

Trouble is, John, you can’t buy a seat because, as with the first night, tonight’s Love Bites have sold out at the outset of a Love Season pulsing with life, vigour and, yes, love, topped off by Ralph Fiennes performing T S Eliot’s Four Quartets in late-July.

In the words of chief executive Tom Bird, Love Bites and The Love Season are a chance to “experience again the electric excitement that only live performance can bring. This spring and summer, we’re putting on a season of brave, bold love stories to celebrate the return of human connection. We’re doing it with passion, fervour and heart, as you’d expect.”

Monday night began with the much-loved veteran BBC broadcaster Harry Gration in host mode, toasting his 50-year love affair with the Theatre Royal before making way for the flurry of short pieces.

The screen backdrop could and probably should have been used for announcing each show title, writer and performer, especially as flicking through the e-programme on your phone in the dark would have been distracting for others, even in the socially distanced seating with the capacity reduced from 750 to 340.

Actor Toby Gordon’s hair has grown to Dave Grohl length in locks-down lockdown, but the golden tongue that delivered both Satan and later Jesus’s lines in the York Minster Mystery Plays now glistened anew in the questing, vexed poetry of W H Auden’s O Tell Me The Truth About Love.

Film would feature on several occasions through the night, first in a cinematic riparian soundscape by Ben Pugh to accompany the poetic ebb and flow of Robert Powell and Kitty Greenbrown’s The Angels Of Lendal Bridge, imagining those painted “angels” conversing above the Ouse, recalling so much water that has passed under their iron bridge amid a rising tide of love.

Luella Rebbeck, Jamie Marshall-White and Isla Bowles in The Art Of Losing. Picture: Tom Arber

CAPA College student trio Luella Rebbeck, Jamie Marshall-White and Isla Bowles, in glowing green and pink socks to suit the occasion, were nevertheless in contemplative mood in The Art Of Losing, tempo slow, bodies graceful, in what they emphasised were three “non-love stories”, but instead felt more like a lament; a year’s absence making the heart grow fonder for “what it means to have contact with one another”.

Playwright, poet and slam champ Hannah Davies’s tweets at @davieswords have charted her enervating health frustrations, but no York shaper of words captures a sense, meaning and memory of place so movingly, so evocatively, and what a joy it was to see back on a stage for Love Song To Spring.

Accompanied by Jack “Pascallion” Woods’s exploratory guitar paths, her lockdown love story journeyed through the freshly discovered joys of city walking and spring renewal in York’s myriad green spaces. Listen to Hannah, and you will step into spring with added spring in your step.

New discovery of the night was much-travelled Zimbabwean playwright Butshilo Nleya, who “wondered if my pockets are big enough to carry home with me” as he moved to York.

Explosive bursts of drumming and film imagery by Sunnie Hsia of Butshilo on York streets, stairways and in the dank Leeman Road tunnel formed a triptych with his soliloquy, Ekhaya, Love Them Both?, as he mulled over place, love and self, with humour rooted in observation of York’s idiosyncrasies, but a deeper wish to find his place, wherever he plays his drum, whatever life throws at him. One to watch, definitely.

For aeons, a Nightingale’s nocturnal song has had writers reaching for metaphors for love and beauty. Musician, performance writer and actor Tom Nightingale’s song, Elaine, is to “show everyone my gratitude to the only lady who has ever helped me”, his wife.

In its cautious yet unguarded way it was a song of love and beauty suffused with unshaven, wry, deadpan frankness, delivered in the spirit of John Otway and Jonathan Richman beneath Martin Stephenson’s cocked hat. Nightingale writes as a “therapeutic outlet”, to make sense of life; on Monday, it worked for your reviewer; hopefully it does for Elaine too.

The name in the Love Bites e-programme and in her Q&A answers to CharlesHutchPress is Erika Noda, but the Japanese-English actor and East 15 graduate born in York introduced herself on Monday as Aiaka, the name that a teacher found so difficult, she called her ‘Ai’ and banished her from the classroom for insubordination in challenging her.

So began the journey to Ai, Erika/Aiaka’s semi-autobiographical debut solo-writing work, examining her dual heritage and encounters with racist “microaggression”, growing up in York, (a city once so white it was dubbed “Persil Town”). On the evidence of Ai, this quest for identity remains unresolved, a bumpy ride with such familiar stones in the road as “no, but where are you really from?”.

Even the inventor of Zoom apparently has had enough of all those enervating Zoom-and-gloom meetings, but loveable York musical-comedy double act Fladam (pianist-singer Adam Sowter and funny face-puller and singer Florence Poskitt) found the funny side of this digital bridge to connecting in lockdown-separation in the tartly topical Love Bytes. Aptly, the cheeky, witty, melodious encounter was long-distance, Adam on stage, Flo online, filling the screen with a squelchy face as ripe for comedy as Thora Hird or Victoria Wood.

Surprise of the night? Seeing Paul Birch on stage and then wondering why he does not frequent this space more often. Maybe he is just too busy writing and directing, and running Out Of Character, the York company for artists with experiences of mental illness.

His twisting-and-turning five-minute gem, Lost For Words, was a mind-game in motion as the quicksilver Birch fought to save his most precious relationship in a race against time where a killjoy voice from beyond kept stripping him of the right to use letters from the alphabet, letter by letter. You found yourself joining him in his mental exercise, smugly spotting him still using a ‘V’ when barred from doing so, but cheering him on as he tried to keep his head above water as the wds rn t. Could this be a game show in the making?

All around is frown time, but clown time is never over for the red-nosed James Lewis-Knight, actor and artistic director of Clown Space, purveyor of comical pandemonium amid a pandemic. After a year as the Clown in Lockdown, wandering the busking streets of York turned silent, James unlocked his dusty case to make his mimed plea for Staying Connected. He kept saying “Picnic”, but where Birch was lost for words, James was a little lost for meaning, one punchline short of his Picnic having more bite.

If you heard Dora Rubinstein’s perkily assertive rendition of Gus Gowland’s The Streets Of York blind, you would swear it was from a musical. Sure enough, Gowland, latterly moved to York, is a musical theatre writer/composer with the award-winning Pieces Of String to his name. Gowland’s celebration of Gentleman Jack Anne Lister’s wedding vows in a York church will surely grow from a love letter to a full-blown show, a progression the Theatre Royal should encourage and activate.

Janet-Emily Bruce and Cassie Vallance in Story Craft Theatre’s She Can Go Anywhere. Picture: Tom Arber

In a night of storytelling, butter-rich with words, the shadow puppetry of children’s theatre company Story Craft Theatre silently spoke volumes to the accompaniment of Jonathan Glew’s beautiful score in She Can Go Anywhere. Who knew you could say so much with a sheet, folded and unfolded by Cassie Vallance and Janet-Emily Bruce as if a cotton version of origami, freeing imaginations when the pandemic has shrunk the world to the home, transforming life’s caterpillars into butterflies.

Hannah Wintie-Hawkins was a dancer at the double in her terpsichorean love letter In The Beginning, at once on stage and in digital artist Aaron Howell’s accompanying film, dancing with baby Mabel in her arms.  It was as though Hannah, like us, was watching in wonder at the joy of a new arrival: a beacon of hope amid the pandemic turbulence, only in her case it was moving her to break out into a dance. The dual focus, however, was not wholly satisfying, as she danced with herself, the one distracting from the other, rather than intertwining like mother and daughter on screen.

Richard Kay, actor, singer, pantomime writer and Zoom choir leader, asked his choir members two questions: how and why do you like singing? Whereupon he compiled the answers into the composition For The Love Of Singing, a song as nimble on its feet as Fred Astaire and wittily delivered in the crisply enunciated manner of a Richard Stilgoe, with digital choir backing and the projection of words dancing in and out of formation in David Todd’s playful animation. Clever, humorous, warm and briskly energetic, and tuneful to boot, it would sit well in a cabaret revue.

How did it feel to be back in the theatre after 427 days? Actor Maurice Crichton caught those feelings as he cast his net of observations in Where Are We Now, You And I?, and he looked in such a hurry to deliver his thoughts, it was as if he had come straight from a rehearsal room in tracksuit trousers and The Show Must Go On T-shirt, hair unkempt.

Not that he rushed through his sage counsel, instead understanding feelings of anger, advising a policy of gentleness with each other and not expecting too much too soon, while breathing in the wonder of theatre once more.  How right he was; how emotional too.

Canadian-born papercut artist Elena Skoreyko Wagner, countertenor and composer James Cave and libretto editor Bethan Ellis promised Magic and delivered it too in a four-minute mini-musical, set in a constantly evolving paper theatre that grew ever prettier under Elena’s delicate guidance.

Elena seeks to discover “magic and meaning in everyday, mundane experiences”, the transcendent magic rising through her imagery and the beauty of James’s singing, and in the stasis of the pandemic, a walk, birdsong, gardening, baking banana bread, have indeed taken on a heightened magical air.

On their Twitter account, non-binary, unapologetically autistic creator Ashleigh J Mills (they/them) calls themselves Angry Black Changeling. Identity and accessibility into theatre lay at the heart of In Progress, their spoken-word exploration of the “interplay between race, self-understanding and the shifting boundaries of gender over the span of a solitary year” when experiencing life on the margins.

Ashleigh has kept a Good Words List for four years, and on the screen behind them, the constant, measured flicking through a book revealed word after word standing proud from the text, each building a picture of Ashleigh’s questing, creative fascination with words.

Those words were knitted together to form their soliloquy, a still-evolving expression of Ashleigh as a work in progress in changing times, and only good words can be said of their poetic candour.

Of all the five minutes, nothing brought a broader smile than the sheer joy in dancing together of Alice Boddy and Leanne Hope, friends since Northern Ballet School days, who burst out of a restricted year of living-room creativity to revel in a Love Letter To Female Friendship on the dancefloor in the face of such trying times. They were so in their moment, they were in their own world, but one we all could recognise and wish to join in.

The title, Mise En Aby-Me, may have been baffling, but life model, milliner and costumier Claire Spooner made a fascinating body of work in her physical theatre piece that testified to her desire to tell a story through the human form, rather than words, in this case aided by Richard Stephenson’s artwork and LEMNIS’s music.

Claire turned herself into a Russian doll, peeling off layers, adding masks, revealing how she presented herself in relationships, love in different guises, until nothing could hide the constant persona within, beauty beyond the eye of the beholder.

Deaf director and “self-proclaimed proactive busy-body” Harri Marshall composed a semi-autobiographical love letter to oneself via cards and correspondence collected over the past year…and then handed over the task of interpreting them aloud to Sarah Huggett, accompanied by the exact wording on the screen behind.

I say “exact” because text and voice did not always say the same lines and you found yourself checking for differences as much as concentrating on Harri’s flow of meaning. What’s more, the rhythm of the language was broken too, screen and voice going in and out of synch. Hopefully, I Often Think Of You had a better second night.

Before Reverie came a nightmare, thankfully only briefly, as a flick of a switch belatedly awoke the somnambulant keyboard for composer, pianist and piano teacher Vanessa Simmons’s retelling of a dream in musical form. Ah, what peace, after the fizzing fireworks, as an unperturbed Vanessa rejoiced in “the beauty, sorrow and power of real love”.

Last, but anything but least and rightly chosen as the finale was 5 Minute Call, penned by esteemed York playwright Bridget Foreman, writer of 30 plays, both large and solo, with another, My Place, on the way.

Chief exec Tom Bird’s Irish-accented actor wife, Laura Pyper, took on the guise of a theatre “techie” five minutes before curtain-up, taking instruction on checking lighting for stage positions while capturing how the theatre itself felt about the return of life on its boards, warming up to the reunion with its lifeblood, both performers and audiences. The feeling of love was mutual, as the Pied Pyper led us back to our spiritual home.

These Love Bites left their mark, so much so, let’s hope York Theatre Royal can look to open further seasons with showcases for the city’s talents, £1,000 commissions et al.

Review written on May 18 with later additions

If you go down in the woods today, you’re in for an online delight as Park Bench Theatre streams summer hit Teddy Bears’ Picnic

One sandwich short of a picnic: Cassie Vallance’s Jo clowns around on her Friends Garden park bench at Rowntree Park in a scene from Teddy Bears’ Picnic last summer. Picture: Northedge Photography

PARK Bench Theatre’s hit summertime children’s show, Teddy Bears’ Picnic, will be streamed by producers Engine House Theatre from today (26/2/2021).

Performed by Shakespeare’s Rose Theatre actress and Story Craft Theatre interactive storyteller Cassie Vallance in all weathers last summer, it was one of three solo performances staged in the Friends Garden of Rowntree Park under Covid-safe conditions, with more than 1,000 adults and youngsters seeing the open-air show over 30-plus performances.

Now, director Matt Aston’s company, Engine House Theatre, is to stream the show, suitable for everyone aged three and over, newly bolstered by a Make Your Own Teddy Bear craft workshop video by Cassie, bringing her Story Craft Theatre craft-making skills to the online venture.

Tickets will give access to viewing for the whole event period of February 26 to March 7, priced at £5 at tpetv.com.

Teddy Bears’ Picnic was inspired by the much-loved John Walter Bratton and Jimmy Kennedy song and based on an original idea by Julian Butler, a freelance children’s theatre composer, lyricist and sound designer who has written several musicals with York playwright Mike Kenny and worked regularly with Aston.

Inspired by Butler’s suggestion when musical director for Aston’s production of Benji Davies’s The Storm Whale, starring Cassie at the York Theatre Royal Studio in 2019-2020, the 30-minute show was co-created by performer Vallance and Engine House artistic director Aston over a few weeks last summer.

Cassie Vallance: Craft-making storyteller for Story Craft Theatre’s Crafty Tales

Now, Matt says: “I’m so pleased to be finally joining the 21st century and having Teddy Bears’ Picnic stream online for people to enjoy at home.

“It seems such a long time ago that we all suddenly had to live and work in a very different way to bring live theatre back to York and I’m still extremely proud of the Park Bench Theatre season and of all the wonderful people who worked on it and helped make it happen.

“We didn’t have any plans to stream the shows, but once we’d gone into this third lockdown, we had a look at what footage could be used. We’re still hopeful we can stream the other two shows as well, featuring Chris Hannon in Samuel Beckett’s First Love and Lisa Howard in Every Time A Bell Rings [a play written by Matt in response to the lockdown].”

The director adds: “I’m also thrilled that Cassie has brought her crafting skills from her award-winning company Story Craft Theatre to present a short film so everyone van make a cardboard teddy at home.

“With the announcement of the Government’s roadmap earlier this week, there seems to be light at the end of the Covid tunnel. Hopefully, Teddy Bears’ Picnic will be another of those small treats to help families get through the final days of home schooling.”

In Park Bench Theatre’s Teddy Bears’ Picnic, every year, Jo’s family used to have a big family gathering: a teddy bears’ picnic. It was always brilliant, but then she grew too old and too cool for that sort of thing, so she stopped going. Now she has grown up, however, she wishes she could have those picnic days all over again.

Matt Aston: Park Bench Theatre artistic director and co-creator/director of Teddy Bears’ Picnic on a Friends Garden park bench. Picture: Livy Potter

Recalling the co-writing experience, where technology came in handy, Cassie says: “I’d write a bit, Matt would write a bit, and we’d share thoughts on Zoom. We then started working on the physical aspect of the show from the beginning of August, as I’m much more of an up-and-about physical person, and then we began running it.

“The main thing, when working on it, was to be flexible, with it being for children and an outdoor show. Visually, it had to have lots of big stuff, and our thinking was, ‘if we can say it physically, let’s do that’, but it’s also a play full of memory moments, which we’ve made more intimate.”

Now, Teddy Bears’ Picnic can be enjoyed all over again, online, teddy bear-making craft workshop and all. “Considering how life has changed so dramatically for so many over the past months, I once again find myself feeling very grateful to be able to be part of creating a piece of live theatre for families,” says Cassie. 

Did you know?

The song Teddy Bears’ Picnic combines a 1907 melody by American composer John Walter Bratton with lyrics added by Irish songwriter Jimmy Kennedy, a Dublin University graduate, in 1932.

It has been recorded widely since Peckham crooner Henry Hall’s idyllic version that year, being used in television series, commercials and films. Recordings range from Bing Crosby to The Grateful Dead’s Jerry Garcia, while Deep Purple’s Ian Gillan recited the lyrics as a poem at the start of a recording of Bad Attitude.

Any good at the hurdles? Cassie Vallance tries to negotiate the gate to enter the Friends Garden at Rowntree Park. Picture: Northedge Photography

WHAT was the CharlesHutchPress verdict last summer?

REVIEW: Teddy Bears’ Picnic, Park Bench Theatre, Engine House Theatre, Friends Garden, Rowntree Park, York, August 22 to early September 2020. ****

THROUGH stealth and goofy coming timing, Cassie Vallance had stolen Twelfth Night, the Jazz Age hit of last summer’s Shakespeare’s Rose Theatre in York before the rest of Joyce Branagh’s superb cast could do anything about it.

After that Pop-Up Elizabethan theatre season on the Castle car park, Vallance has popped up again at York Theatre Royal’s Pop-Up On The Patio festival, presenting Crafty Tales with her Story Craft Theatre cohort Janet Bruce last Saturday lunchtime.

She would have done so again this Saturday too at 1pm but for the fact she needs to be at Rowntree Park for the 1.30pm performance of Teddy Bears’ Picnic, her solo performance for this summer’s Park Bench Theatre season.

For all her oodles of comic energy, not even Vallance can be in two places at once and so Janet Bruce will be bringing a picture-book story to life on her own on the patio this weekend.

In between Twelfth Night and Teddy Bears’ Picnic came Vallance’s starring role in director Matt Aston’s adaptation of Benji Davies’s The Storm Whale stories for the York Theatre Royal Studio’s Christmas show for children.

Cassie Vallance in The Storm Whale at the York Theatre Royal Studio. It was during this production that musical director and composer Julian Butler first came up with the idea for a production of Teddy Bears’ Picnic, based on the song

Now, Aston, artistic director of Engine House Theatre, resumes his creative partnership with Vallance for this season’s Park Bench Theatre resurrection of outdoor theatre for the post-lockdown age.

Together, they have co-created a new version of the Teddy Bears’ Picnic story spun from the threads of the popular children’s ditty and an original idea by musical director Julian Butler; Aston directing, Vallance performing with all that impish clowning, physical comedy and pathos that has marked the York actor’s performances over the past year.

If you go down in the Covid-secure Friends Garden tomorrow, or on various dates until September 5, you are in for a children’s show to delight three year olds and upwards. Take a picnic, take a child or two, or more, within a family bubble to sit in socially distanced pods marked out by chalk circles, with room to accommodate your favourite teddy bear too.

On arrival, you will pick up the necessary equipment to listen on a head set to the feed of Vallance’s storytelling, sound effects (from lasers to a send-up of The Six Million Dollar Man intro for the adults present) and reprises of the familiar song, complemented by Julian Butler’s incidental music.

Vallance is playing Jo, struggling with her big case as she tries to negotiate her way through the not very high gates to the Friends Garden on a sunny Thursday afternoon.

Who would name a teddy after a beach? Cassie Vallance’s Jo would do exactly that, holding Filey aloft in Teddy Bears’ Picnic. Picture: Northedge Photography

Eventually, she does so, taking up residence on and around the park bench beneath the linden tree in the garden corner, as a squirrel looks on, front paws in that distinctive squirrel position where they look to be on the cusp of bursting into applause.

Vallance’s Jo is in three quarter-length dungarees with yellow buttons and matching head band and anything but matching pumps (purple instead), her bravura attire denoting a funny woman has just entered the garden.

Jo begins to unpack the case, taking out case after smaller case, as if opening up a Russian doll. She puts up bunting, does a spot of juggling. Vallance has said nothing, as much mime artist or silent movie actor to this point, but once she puts on a pair of spectacles, she “realises” she has an audience and starts talking…excitedly.

She seeks to give this re-telling a context for Covid-19 2020, as Jo talks to the children about the experience of coming out to play again, to see friends again, to be outdoors again, to be enjoying a Teddy Bears’ Picnic again, after being stuck inside in lockdown for an eternity.

“It’s a bit weird,” she says, and who would disagree. “There’s been lots of Zooming,” she notes. “For a word that sounds so fast, it seems to take so long!”

A teddy bear in Park Bench Theatre’s production of Teddy Bears’ Picnic last summer. Now, Cassie Vallance will lead a cardboard teddy bear craft-making video session to accompany the streaming of the show. Picture: Northedge Photography

Picking a banana from her picnic, Vallance’s Jo bounces around the audience, revelling in “just being”, “feeling happy”, “enjoying stuff”, but then her thoughts turn to memories. “All memories are important. They may not be happy, but that’s OK, they can help us learn,” she says.

At this juncture, Jo transforms into her younger self, recalling childhood Teddy Bears’ Picnics in Rowntree Park, surrounded by her teddies, all except her favourite, Kelly, who came off worst in an unfortunate encounter with her father’s Flymo mower.

Vallance’s crestfallen pathos at this juncture is a joy, so too are the Scottish and Welsh accents she adopts for Jo’s mum and dad (even though they are from Welwyn Garden and Fulford!).

Aston and Vallance’s charming short story ends on a positive and reassuring note in these strange times for children and adults alike, Jo saying that things can and always will change…and “change can be really, really good”.

Ironically, the only sting in this tale was, well, not a sting but a horsefly bite suffered by director Matt Aston pre-show. Kelly went to hospital in the story, Aston to A&E with his arm swollen. Is ted not dead? Did both have a happy ending? That would be telling!

More Things To Do in and around York eventually and deep into lockdown at home now. List No. 26, courtesy of The Press

Worrying times : Story Craft Theatre’s Janet Bruce, left, and Cassie Vallance to present four half-term Crafty Tales sessions built around The Worrysaurus

SNOWHERE to go in freezing-cold Lockdown 3, except for yet another regulation walk and Chai Latte, as the live arts remain in pandemic hibernation, Charles Hutchinson looks online and ahead to bolster his sparse diary.

Online half-term fun, part one: Story Craft Theatre’s Crafty Tales, The Worrysaurus, February 17 to 20, 10am to 11am

YORK children’s theatre company Story Craft Theatre are running four storytelling and craft-making sessions on Rachel Bright’s The Worrysaurus on Zoom over half-term.

Janet Bruce and Cassie Vallance will begin each session for two to seven-year-old children with the Crafty Tales song and a butterfly craft-making session, followed by the interactive story of the little Worrysaurus dealing with butterflies in the tummy. Cue songs, games, dancing and fun galore.

The February 17 session is fully booked; prompt booking is advised for the other three at bookwhen.com/storycrafttheatre.

Wizard and Frog: Magic Carpet Theatre’s Jon Marshall and his amphibian accompanist in The Wizard Of Castle Magic

Online half-term fun, part two: Magic Carpet Theatre, The Wizard Of Castle Magic, streaming from February 18

MAGIC Carpet Theatre and Pocklington Arts Centre (PAC) are teaming up for a free online streaming event for the February half-term.

The Hull company’s family show The Wizard Of Castle Magic will be shown on PAC’s  YouTube channel from Thursday, February 18 at 2.30pm, available to view for 14 days until March 4.

Filmed live at PAC behind closed doors by Pocklington production company Digifish last autumn, director Jon Marshall performs an enchanting show based on the traditional Sorcerer’s Apprentice tale for children aged three to 11 and their families with a script packed with comedy, illusion and special theatrical effects. 

Solo show: Harpist Cecile Saout will be playing at Opera North‘s ONe-to-ONe online home performances in Lockdown 3

Opera North goes home: ONe-to-ONe personal live performances on Zoom, February 15 to February 27

OPERA North is launching ONe-to-ONe, a digital initiative to bring live performance into homes across the country during Lockdown 3.

ONe-to-ONe will provide personal online performances delivered by members of the Chorus and Orchestra of Opera North, with slots available to book at operanorth.co.uk.

From a cappella arias and folk songs to Bach cello suites and a marimba solo, the recipient will be treated to a free virtual solo at a time of their choice, performed by a professional musician over Zoom.

Something fishy this way comes: Six Sprats, by Giles Ward, from Blue Tree Gallery’s online show, Revive

Online exhibition of the season: Revive, curated by Blue Tree Gallery, Bootham, York, until March 13

BLUE Tree Gallery’s latest online show, Revive, is bringing together paintings by artist-in-residence Giuliana Lazzerini, Steve Tomlinson, James Wheeler and Giles Ward.

Memory and imagination come to interplay in Lazzerini’s landscapes; the sea and the “associated physical and emotional experiences it brings” inform Tomlinson’s work; memory and desire in the light and atmosphere mark out Glaswegian Wheeler’s landscapes; the natural world inspires Giles Ward’s experimental, other-worldly paintings.

Revive can be viewed online at pyramidgallery.com, and artworks are being displayed in the gallery and gallery windows for those passing by.

Courtney Marie Andrews: New date for her Pocklington Arts Centre gig

Rearranged gig: Courtney Marie Andrews, Pocklington Arts Centre, June 17

PHOENIX country singer Courtney Marie Andrews has moved her Pocklington gig from June 17 2020 to exactly one year later, on the back of being newly crowned International Artist of the Year at the 2021 UK Americana Awards.

Courtney, 30, will perform the Grammy-nominated Old Flowers, her break-up album released last July, on her return to Pocklington for the first time since December 2018.

In the quietude of an emptied 2020 diary, she completed her debut poetry collection, Old Monarch, set for publication by Simon & Schuster on May 13.

York River Art Market: Artists and makers sought for summer return

Down by the river: York River Art Market call-out for artists

YORK River Art Market 2021 is issuing a call-out to artists for this summer’s riverside event on Dame Judi Dench Walk, Lendal Bridge, York.

After a barren 2020, the organisers have announced plans to return for markets on June 26; July 3, 24, 25 and 31, and August 1, 7, 14, 21 and 28, when 30-plus artists will be selling original art and hand-crafted goods at each stalls day.

Applications to take part should be emailed to yorkriverart@gmail.com with three quality images of your work; a few sentences about your art; links to your digital platforms, and your preferred choice of dates, listed in the YRAM biography on its Facebook page.

Glenn Tilbrook: The Crescent awaits in March 2022

Making plans for next year: Glenn Tilbrook, The Crescent, York, March 13 2022

SQUEEZE up, make room for Glenn Tilbrook, freshly booked into The Crescent for next March.

One half of the Tilbrook-Difford song-writing partnership known as Deptford’s answer to Lennon and McCartney, singer, songwriter and guitarist Tilbrook, 63, can draw on a catalogue boasting the likes of Take Me I’m Yours; Cool For Cats; Goodbye Girl; Up The Junction; Pulling Mussels; Another Nail In My Heart; Tempted; Labelled With Love and Black Coffee In Bed.

Expect picks from his solo works, The Incomplete Glenn Tilbrook, Transatlantic Ping-Pong, Pandemonium Ensues and Happy Ending, too.

Celeste: Number one album

And what about?

DISCOVERING debut albums by rising British stars Celeste (the chart-topping Not Your Muse on Polydor Records) and Arlo Parks (Collapsed In Sunbeams on Transgressive Records). Revelling in the soundtrack while crying your way through Russell T Davies’s five-part mini-series It’s A Sin on Channel 4. Savouring Joe Root’s batting against spin in the return of Test Match Cricket to Channel 4 as England take on India.

Story Craft Theatre to deliver Zoom storytelling sessions for The Worrysaurus

Cassie Vallance invites you to join Story Craft Theatre’s Crafty Tales session for The Cranky Caterpillar

STORY Craft Theatre’s next few weeks of Crafty Tales storytelling and craft-making sessions on Zoom are filling up quickly.

The York children’s theatre company, run by professional actors and mums Janet Bruce and Cassie Vallance, have a few tickets left for Oliver Jeffers’ This Moose Belongs To Me and Richard Graham’s The Cranky Caterpillar.

“We’re also doing four days during half-term of Rachel Bright’s The Worrysaurus,” say Janet and Cassie. “Book now for craft and storytelling fun for two to seven year olds.

Half-term fun: Story Craft Theatre duo Janet Bruce and Cassie Vallance will be hosting Crafty Tales sessions for The Worrysaurus

“Each 10am session is based around a popular picture book and is packed full of fun with lots of activities to keep your little folk’s imagination alight. We begin the session with a craft activity using basic materials; we go through the instructions with you step by step.”

Five spaces are left for tomorrow morning’s 50-minute session for This Moose Belongs To Me; six for Friday; none for Saturday. Ten spaces remain for The Cranky Caterpillar on February 10; seven for February 12; none for February 13. Six spaces are up for grabs for February 17’s hour-long session for The Worrysaurus; 18 for February 18; ten for February 19; nine for February 20.

As for the back story on Story Craft Theatre, Janet Bruce appeared in Stephen Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street in the West End; Cassie Vallance was part of the Shakespeare’s Rose Theatre company at the Castle car park in 2019 and last seen in a York show in Park Bench Theatre’s Teddy Bears’ Picnic in Rowntree Park last  summer.

To book for Crafty Tales, go to: bookwhen.com/storycrafttheatre.

More Things To Do indoors in and around York in Stay Home Lockdown 3. List No 24, courtesy of The Press, York

A Long night: Josie Long will be performing for the Your Place Comedy live-stream from her living room on January 24

AS LOCKDOWN 3 urges everyone to “stay home”, Charles Hutchinson takes that advice in selecting entertainment for the dark days and nights ahead.

Somewhere over the pandemic horizon, he highlights a couple of shows in the diary for the autumn.

Ahir Shah: Joining Josie Long in a remote double bill for Your Place Comedy

Live-stream lockdown humour from living room to living room: Josie Long and Ahir Shah, Your Place Comedy, January 24

LOCKDOWN 3 has brought another round of Your Place Comedy home entertainment. “As before, we’ll be broadcasting from comedians’ living rooms, kitchens and attics or, as was the case with Lucy Beaumont, her homemade pub,” says virtual comedy club organiser Chris Jones, Selby Town Council’s arts officer.

The format remains the same: two headline comedians, some stand-up and some chat, all juggled by regular compere Tim FitzHigham. First up will be Josie Long and Ahir Shah on January 24; line-ups are yet to be confirmed for February 28 and March 28.

The live-stream shows will be free to watch but with donations keenly encouraged at yourplacecomedy.co.uk.

Pea’s home; green: Story Craft Theatre storyteller Cassie Vallance looks forward to next week’s Crafty Tales session

Interactive stories for children: Story Craft Theatre’s Crafty Tales

CASSIE Vallance and Janet Bruce cannot hold their Crafty Tales sessions in person during Lockdown 3 but will continue to deliver sessions “directly to you via the power of Zoom”.

“Each 50-minute session is packed full of crafting, storytelling and educational fun with lots of activities to keep your little folk’s imagination alight,” says Cassie. “There are still a few spaces left for next week’s 10am sessions based around Julia Donaldson’s The Runaway Pea on January 20, 22 and 23.”

Coming up on January 27, 29 and 30 will be Elaine Wickson’s Super Stan. For more details and to book, go to storycrafttheatre.co.uk.

Parasols aplenty: A scene from the National Gilbert and Sullivan Opera Company production of The Pirates Of Penzance at the 2019 International Gilbert and Sullivan Festival, now available online. Picture: Jane Stokes

Operetta on screen: International Gilbert and Sullivan Festival, G&S Opera TV On-Line Streaming Service

WHEN the Coronavirus pandemic put paid to the 2020 International Gilbert and Sullivan Festival at Harrogate Royal Hall, the festival launched its online streaming subscription service at gsoperatv.

“New content is being continually added,” says festival stalwart Bernard Lockett. “It features the very best of more than 26 years of the National Gilbert and Sullivan Opera Company, along with top amateur productions performed at our festival, G&S films and fascinating documentaries and interviews, and is the only place to experience so many outstanding Savoy operas.”

The subscription rates for general viewers is £9.99 per month or £99 annuallyThe 2021 festival is in the diary for August 8 to 22 in Harrogate, preceded by Buxton Opera House the week before.

Chelsey Gillard: Stephen Joseph Theatre associate director, hosting online script-reading sessions

Play for the day appraisal: Online script-reading sessions, Stephen Joseph Theatre, Scarborough, from January 20

RUNNING online on Wednesdays from 11.30am to 1.30pm for five weeks, the fun sessions will dive into five classic comedies: Aristophanes’s Lysistrata on January 20; Shakespeare’s A Midsummer Night’s Dream, January 27; Moliere’s Tartuffe, February 3; Sheridan’s The Rivals, February 10, and Feydeau’s A Flea In Her Ear, February 17.

Participants will read sections of the plays aloud and work with SJT associate director Chelsey Gillard to consider their themes, stories, writing styles and historical context in a relaxed discussion. Session bookings can be made at sjt.uk.com.

Clowning around: Jon Marshall’s Ringmaster with Steve Collison’s Clown in Magic Carpet Theatre’s Magic Circus

Online children’s show of the month: Magic Carpet Theatre in Magic Carpet, Pocklington Arts Centre YouTube channel

HULL company Magic Carpet Theatre filmed their fun family-friendly show, Magic Carpet, behind closed doors at Pocklington Arts Centre last October. By public demand, its free streaming run is being extended to January 21 at: youtu.be/CNrUixTMWdQ.

Performed by director Jon Marshall and Steve Collison with magical illusions, comedy, circus skills and puppets, it tells the humorous tale of what happens to the ringmaster’s extravaganza plans after the artistes and elephants fail to arrive and everything has to be left in the calamitous hands of the clowns. Disaster!

His master’s voices: Alan Ayckbourn recorded his audio version of Haunting Julia at home. Picture: Tony Bartholomew

Online ghost play of the season: Alan Ayckbourn’s Haunting Julia, Stephen Joseph Theatre, Scarborough

ALAN Ayckbourn’s 2020 audio version of his ghost play Haunting Julia is being given an afterlife. Originally available at sjt.uk.com/event/1078/haunting_julia until January 5, the winter chiller now will be online until January 31.

Revisiting his 1994 play, Ayckbourn’s audio recording features the voice of the Stephen Joseph Theatre’s 81-year-old director emeritus. Or, rather, the three voices of Ayckbourn, who plays all three parts.

Rufus Wainwright: Songs inspired by middle age, married life, fatherhood, friends, loss, London and Laurel Canyon

Baroque’n’roll gig of the autumn: Rufus Wainwright, York Barbican, October 13

LAUREL Canyon singer-songwriter Rufus Wainwright’s October 27 2020 tour date at York Barbican has moved to October 13 2021. Tickets remain valid for the rearranged date with his new band.

Last July, Wainwright, 47, released his ninth studio album, Unfollow The Rules, his first since 2012. “I consider it my first fully mature album; it is like a bookend to the beginning of my career,” says Rufus, whose fearless, mischievous songs were inspired by middle age, married life, fatherhood, friends, loss, London and Laurel Canyon.

Taking the mic: Omid Djalili looks forward to letting the Good Times roll again

Ready for a laugh: Omid Djalili, The Good Times Tour, Grand Opera House, York, November 10

OMID Djalili cannot wait to be back where he belongs, on stage, after experimenting with a Zoom gig where he was muted by no fewer than 639 people and a drive-in gig when he witnessed one audience member leave his car, attach a hose pipe to his exhaust and feed it through the window.

The British-Iranian stand-up’s 2021 excursions could not have a more positive title: The Good Times Tour. Let’s hope he is right, although who can predict if his shows at Harrogate Theatre on May 6 and Hull City Hall on May 26 will be given the go-ahead.

In his diary too are: Platform Festival, The Old Station, Pocklington, July 22, and Masham Town Hall, September 18 and 19. Oh, and Leeds Town Hall on October 28 in faraway 2022.

Story Craft Theatre’s Janet and Cassie to raise funds for Shine21 charity for 21 hours

Lift-off: Story Craft Theatre’s Janet Bruce, left, and Cassie Vallance are ready to Shine for York charity. Picture: Lucy Bedford Photography

STORY Craft Theatre’s Janet Bruce and Cassie Vallance are to provide 21 hours of craft and storytelling fun this month to raise vital funds for York charity Shine21.

Since Lockdown 1, the pair have moved their interactive storytelling sessions online, attracting audiences from all over the world to their creative and educational classes, held three times a week via Zoom. 

Now, Janet and Cassie will host classes for you to enjoy on Zoom on November 27 and 28, running all day each day from 7am. All the duo ask in return is a donation to Shine21.

Story Craft Theatre’s logo

“There are lots of storybook adventures to choose from: Going On A Bear Hunt, The Gruffalo, Hairy Maclary, Aliens Love Underpants and so many more,” says Cassie. “We’re even providing hour-long interactive craft classes.” 

All the sessions can be booked online at: www.bookwhen.com/storycrafttheatre. “As these classes are interactive, numbers are limited, so we advise you to book in advance to avoid disappointment,” says Janet. “Tickets are now on sale.

“This 21-hour storytelling event is an opportunity for you to help Shine21, where you don’t even need to attend the two-day event to donate. So, please feel free to donate whatever you can.”

Shine on: Janet Bruce and Cassie Vallance will be spending 21 hours telling stories and doing interactive crafts for York charity Shine 21 on November 27 and 28. Picture: Lucy Bedford Photography

Donations can be made at: justgiving.com/fundraising/storycraft21. Please note, 100 per cent of the money raised through Story Craft will go directly to the charity. 

Story Craft Theatre is a York children’s theatre company run by professional actors and mums Janet Bruce, who appeared in Stephen Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street in the West End, and Cassie Vallance, part of the Shakespeare’s Rose Theatre company at the Castle car park in 2019 and last seen in Park Bench Theatre’s Teddy Bears’ Picnic in Rowntree Park, York, this summer.

Together, Janet and Cassie have hosted sell-out shows at York Theatre Royal and Goose play centre, at Hornbeam Business Park, Harrogate, and this Christmas, Story Craft Theatre will team up with Matt Aston’s Engine House Theatre at Castle Howard, near York.

Ready, Teddy, go: Cassie Vallance performing in Park Bench Theatre’s Teddy Bears’ Picnic in Rowntree Park in August. Picture: Northedge Photography

From December 4, they will present Stories With Santa In The Courtyard Grotto. “Come and join us for a magical storytelling event here in the historic Courtyard,” they say. “Meet Santa’s helpers as they guide you through into our festive library, where children will get to meet Santa, make their Christmas wishes and settle down to hear a brand new, enchanting winter’s tale, The Snowflake, by popular children’s author Benji Davies.”

Last Christmas, Cassie performed in writer-director Aston’s stage adaptation of Davies’s The Storm Whale at the York Theatre Royal Studio.

The Shine21 charity helps to enhance the lives of children with Down Syndrome and their families. Janet Bruce’s second child was born with Down Syndrome and a heart condition, both being discovered after birth.

Whale meet again: Cassie Vallance in The Storm Whale at York Theatre Royal Studio last December. Picture: Northedge Photography

“The diagnosis was unexpected and at first, scary, but the support and advice offered by Shine21 was phenomenal,” says Janet. “Shine21 have supported me and my family every step of the way and introduced us to others who have been through a similar experience.  

“The charity does invaluable work to help children and their families, but unfortunately, due to the pandemic, they have not been able to raise the vital funds they need this year. So, we’re providing this chance for you to help Shine21.”

For Castle Howard bookings, go to castlehoward.co.uk/whats-on/Christmas for more details.

Pop-Up On The Patio heralds return of live shows at York Theatre Royal…outdoors

Top of the Pop-ups: Musician Phil Grainger and writer Alexander Flanagan-Wright in Alex’s back garden at Stillington Mill when performing Orpheus in a week of At The Mill shows. Now they head to Pop-Up On The Patio. Picture: Charlotte Graham

WHO will be popping up at York Theatre Royal’s Pop-Up On The Patio festival from August 14 to 29?

Taking part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, will be “Yorkshire’s finest theatre and dance makers”.

Step forward York Dance Space; Mud Pie Arts; Crafty Tales; Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre; puppeteer Freddie Hayes; Cosmic Collective Theatre; performance poet Henry Raby; Say Owt, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson and singer Jess Gardham.

They will perform at one end of the patio, decorated with “Glastonbury-style bunting”, performing to audiences of a maximum of 35 in demarcated bubbles.

“We’re so excited to have been able to bring live theatre back to our city this summer,” says Theatre Royal producer Thom Freeth, who has co-ordinated the festival programme of theatre, dance, music, magic, puppetry, improvised comedy, storytelling and slam poetry.

“Our building may still be closed, but we didn’t want that to stand in the way of entertaining the people of York during this difficult time. Pop-Up On The Patio gives us the opportunity to showcase the work of brilliant home-grown performers, many of whom are part of our freelance family, who have been disproportionally affected by this pandemic.”

“We wanted to go hyper-local with the festival to give a platform to York artists,” says York Theatre Royal executive director Tom Bird

Looking forward to staging the first shows on the Theatre Royal premises since March 17, executive director Tom Bird says: “It’s been a short but intense preparation period: we wanted to go hyper-local with the festival, to give a platform to York artists, and we’re absolutely delighted at getting a very local, highly skilled bunch across so many genres.”

Explaining the decision to focus the festival on Friday evenings and Saturdays, Bird says: “We are easing our way back from a total stop, turning everything off in March, so we’re feeling our way in, and we want to make sure that everything is safe, for the audience, performers and staff.

“The world is changing all the time, so we wanted to give ourselves breathing space in what we’re doing by restricting ourselves to three weekends for the festival, but  who’s to say we won’t do more patio shows.”

The Theatre Royal management has implemented extra safety measures to keep visitors and staff safe during the three festival weekends, reconfiguring the patio to allow for a socially distanced audience and stage. These measures will be under constant review and apply to all the performances.

Tickets are on sale at yorktheatreroyal.co.uk and must be bought in advance.

THE FESTIVAL PROGRAMME:

Dance steps: Dance // Shorts launches the Pop-Up On The Patio festival

Dance // Shorts, August 14, 7pm

CURATED by York Dance Space, this evening of live contemporary dance theatre in an outdoor, intimate setting will be a compilation of bite-size solos and duets from “some of the most interesting and exciting young artists from across Yorkshire and the Humber”.

Performances include solo work from Alethia Antonia, from the James Wilton Dance Company; Coalesce Dance Theatre; Daisy Howell, from Brink Dance Company, and Namiuki Dance.

Look out too for a selection of Doorstep Dances from Hull artists Tamar and Jo, spanning contemporary, Northern Soul, jazz dance and physical theatre styles. Suitable for age 12 upwards.

Mud, glorious Mud: Mud Pie Arts duo Nicolette Hobson, left, and Jenna Drury

Mud Pie Arts, August 15, 22 and 29, 11am, for age 4 to 11

“WHAT is easy to get into but hard to get out of?” askMud Pie Arts drama practitioners Jenna Drury and Nicolette Hobson. “The answer? Trouble, of course!

“So, join us for Saturday elevenses in our Silly Summer Stories show. There’ll be interactive storytelling, riddles, games and all kinds of family tomfoolery.”

Have you heard the one about the old woman who lived in a vinegar bottle, or the farmer who fished for sausages? Now is the chance to enjoy those stories. “Come and find us on the patio every Saturday this month to celebrate all things daft,” say Jenna and Nicolette.

Crafty: Story Craft Theatre’s Janet Bruce, left, and Cassie Vallance

Crafty Tales, August 15 and 22, 1pm, for two to six year olds

YORK Theatre Royal’s Story Craft Theatre return with an outdoor version of Crafty Tales, presented by Cassie Vallance and Janet Bruce.

“As always, there’ll be a story to tell plus songs, games and dancing, all designed around a brilliant picture book with interactive and imaginative play,” they say. “Although Crafty Tales is aimed at two to six year olds, all children are welcome.”

Made up: Fool(ish) Improv’s poster since 1793

Fool(ish) Improv, August 15, 4pm 

FOOL(ISH) Improv is a bite-sized comedy show with absolutely no plan or permission, created by York writer and director Paul Birch.

Strap in for 60 minutes of improvised mayhem where you, the audience, provide the suggestions for the actors to make stuff happen. Instantly.

“Taking nothing seriously – and everything for granted – our merry band of charlatans and misfits will bring music, comedy and appalling levels of acting to give you a delightful hour of spontaneous comedy,” says Paul.

“You bring the ideas, we’ll bring the performance, and together we’ll make a joyous family show that has no business being indoors. Now, you have to come. We couldn’t do it without you.”

The poster for The Flanagan Collective and Gobbledigook Theatre’s Orpheus

Orpheus, The Flanagan Collective and Gobbledigook Theatre in Orpheus, August 21, 6pm

ALEXANDER Flanagan-Wright and Phil Grainger should have been heading up to the Edinburgh Fringe to present the British premiere of The Gods, The Gods, The Gods this month after its Antipodean premiere before Covid-19 intervened.

Instead, they have been presenting Orpheus in socially distanced performances in back gardens and a week of At The Mill shows in Alex’s own back garden at Stillington Mill, near York, last week.

Written by Alex, with incidental music and songs by Phil, the international award-winning Orpheus is a thoroughly modern, beautifully poetic re-telling of an ancient Greek myth.

Dave is single, stood at the bar; Eurydice is a tree nymph, and Bruce Springsteen is on the juke box in this tale of impossible, death-defying love told through hair-raising spoken word and soaring soul music, where Alex and Phil weave a world of dive bars, side streets and ancient gods.

Eurydice: “A story about a woman” with a Superman costume, a bee tattoo and a sting in the tale

Eurydice, The Flanagan Collective and Gobbledigook Theatre, August 21, 8pm

LENI is five years old, holding a Superman costume for her first day at school. Eurydice is five years into the rest of her life, sporting a bee tattoo on her wrist, in Alexander Flanagan-Wright’s story of someone defined by someone else’s myth.

This tale of making changes, taking leaps and being a daily superhero is billed as “a story about a woman told by women”.

That was the case when performed by Alex and Phil Grainger’s co-creators, Serena Manteghi and Casey Jane Andrews, to 2019 Adelaide Fringe Best Theatre award-winning success. Now, Alex and Phil take over to weave a world of day-to-day power and beauty and goddesses, told through heart-stopping spoken word and live electronica.

Flat caps at the double: Freddie Does Puppets puppeteer Freddie Hayes with grumpy pub landlord Fred in Fred’s Microbrewery

Freddie Does Puppets in Fred’s Microbrewery, August 22, 4pm

FRED’S Microbrewery is the world’s first Puppet-in-a-Pub theatrical experience, a modern-day Punch and Judy story courtesy of York puppeteer Freddie Hayes.

Grouchy Fred and his bitter and twisted wife Sharon are two very grumpy Yorkshire puppets cum pub landlord and landlady of the Fred’s Microbrewery, where the frank, fractious duo serve beer-infused banter to adult audiences in an afternoon of debauchery and puppet profanities. 

Fred and Sharon have sparred at York’s Great Yorkshire Fringe and had plenty to say at the Edinburgh Fringe, Shambala Festival, Moving Parts Festival and Folkestone Puppet Festival too.  

In lockdown and beyond, Fred and Sharon have been living inside a laundry bag in Freddie’s attic. Now, bag unzipped, she is ready to unleash them once more in a show with an age guide of 15-plus on account of the strong language and adult themes.

Heaven’s above: Anna Soden, Joe Feeney, Lewes Roberts and Kate Cresswell in Cosmic Collective Theatre’s Heaven’s Gate

Heaven’s Gate, Cosmic Collective Theatre, August 28, 4pm

FOUR cups of apple sauce. Four canvas camp beds. One comet. Heaven’s Gate is closing and the Away Team are ready for graduation, but whatever you do, don’t say the C-word.  ‘C’ for ‘cult’, that is.

Presented by the new York company Cosmic Collective Theatre – satirical writer Joe Feeney, Anna Soden, Lewes Roberts and Kate Cresswell – Heaven’s Gate imagines the final hour of four fictionalised members of the real-life UFO-theistic group.

As they prepare for their “graduation” to the “Kingdom of Heaven”, the excitement is palpable, but all too soon the cracks appear. Is the Heavenly Father really waiting for them on a Spaceship? Is Planet Earth soon to be recycled? Is castration compulsory? Isn’t Turkey Potpie an underwhelming last supper?

Cosmic Collective Theatre’s intergalactic pitch-black comedy comes with adult themes and strong language – but no C-word, of course – to give it a 15-plus age guide

Taking the mic: York punk performance poet Henry Raby

Henry Raby: Apps & Austerity, August 28, 6.30pm

“2010-2019. What was going on?” asks York-grown punk performance poet, activist and Say Owt artistic director Henry Raby as puts the word into sword to slice up the past decade.

From the memes and scenes, from riots to Royal Weddings to Referendums, Henry sums up a decade of technology and austerity with attitude, humour and insight.

Slam champ and Deer Shed resident poet Henry has performed across the UK, from festivals front rooms. “This is my fifth solo show, so I must have got something right by now,” he says.

Say Owt Showcase, August 28, 8pm

YORK’S lovable and raucous poetry gang proudly present an assortment of noisy slam-winning performance poets, word-weavers, and gobheads. “Spice up your Friday night with a glass-raising toast to the spoken word,” says host Henry Raby.

Say Owt word-warriors have delighted in ripping up stages at the Great Yorkshire Fringe and the Arts Barge in York, the Edinburgh Fringe and the Ilkley Literature Festival.

Manic magic: All-action York magician Just Josh

Josh Benson in Just Josh’s Ultimate Family Show, August 29, 1pm

CALLING all families! Just Josh is “hugely excited” to be back performing live with his family magic, juggling and balloon show!

If you have encountered Josh Benson previously, you will know that he is one of Yorkshire and indeed the UK’s “biggest kids”, noted for his boundless energy and shameless attempts to do absolutely anything in pursuit of a laugh from a crowd.

Josh, Corntroller of Entertainments at York Maze and regular pantomime silly billy, has taken his magic all over the UK and beyond, returning home from his P&O Cruises stint in February.

“My show is suitable for kids from four to 104, with laughs and, all being well, amazement for the whole family” says Josh.

All roads lead Jess Gardham to…the Pop-Up On The Patio stage at York Theatre Royal

Jess Gardham, August 29, 4pm

YORK pop, soul, blues and acoustic singer-songwriter, musical actress and 2018 MasterChef quarter finalist Jess Gardham closes Pop-Up On The Patio with an afternoon set.

Jess has performed all over Britain, the United States, Europe and Canada and supported the likes of Paul Carrack, KT Tunstall, The Shires, Wilko Johnson and Martin Simpson.

Her songs have been played regularly on BBC Introducing and her debut album, Beyond Belief, was picked up by BBC Radio 2.

Jess has taken lead roles in theatre productions such as Hairspray, Ghost The Musical and Rock Of Ages. “I hope to perform in theatre again when they’re open again,” she says.

SAFETY MEASURES

Arriving
YORK Theatre Royal will open the entrance to the Pop-Up patio a quarter of an hour before every performance starts.

“There will likely be some queueing, but we will do everything we can to keep this to a minimum,” says the festival website. “Please arrive in good time for any performance.”

All tickets will be digital and checked without contact at a social distance at the entrance to the patio area, where refreshments will be available.

Departing
STAFF will be managing the departure from the performance area “so that we don’t have large crowds all leaving at the same time”.

Loos
THE loos in De Grey House next to the patio will be open throughout. All loos will be stocked with anti-bacterial hand soap and stringent hand-washing guidelines are in place.

Social distancing
EACH household or social bubble will be seated at a safe distance from other households or social bubbles, in line with Government guidance at the time of the performance.

“You will be directed to a designated ‘social bubble spot’ by our staff,” says the website. “Please be patient with them and sit where they direct – they know best!”

Food and refreshments
A LIMITED range of soft and alcoholic drinks will be on sale, alongside ice creams and chocolate.

Ticketing policy
IF you have any symptoms of COVID-19, have been diagnosed with the virus or have been in direct contact with a diagnosed individual in the past 14 days, you must not attend the event.

If you are unable to attend as a result of illness, please email boxoffice@yorktheatreroyal.co.uk and a ticket transfer can be arranged. Tickets can only be refunded if the booked performance has sold out.

Additional cleaning
THE patio area will be thoroughly cleaned between each performance. “Our already high cleaning standards have been enhanced by a cleaning programme designed to clean and sanitise the high touch points,” assures the website.

More information can be found at: yorktheatreroyal.co.uk/be-part-of-it/collective-acts/pop-up-on-the-patio/. 

Garden of delights: Hannah Sibai’s design for Pop-Up On The Patio at York Theatre Royal