Tag: The Tempest

Posted on

More Things To Do in York and beyond than Prospero could shake a stick at. Charles Hutchinson’s List No. 98, from The Press

Paul French’s Prospero and Effie Warboys’ Miranda in rehearsal for York Shakespeare Project’s touring production of The Tempest. Picture: John Saunders

STORMY Shakespeare, bountiful balloons, rebellious schoolchildren, heaps of horror movies and Sherlock’s farewell tour are right up Charles Hutchinson’s street.

Theatre event of the week: York Shakespeare Project in The Tempest, on tour from September 23 to October 1

YORK Shakespeare Project’s 20-year journey to stage every Shakespeare play concludes with a Yorkshire tour of The Tempest, the Bard’s powerful last play, directed by Parrabbola artistic director Philip Parr with Paul French as Prospero.

When an unusual collection of people is thrown together on an island by a storm, old injuries must be resolved, a new generation makes new plans and everyone is driven to find something of themselves in a disrupted world.

Parr uses communal storytelling in a new interpretation to highlight themes of colonisation, reconciliation and change. Full tour and ticket details can be found at beta.yorkshakespeareproject.org/the-tempest/.

What’s on Watson’s mind? Mark Watson reckons This Can’t Be It in comedy tour dates in York, Helmsley and Selby. Picture: Matt Crockett

Comedy gig of the week: Mark Watson, This Can’t Be It, Burning Duck Comedy Club, The Crescent, York, tonight (17/9/2022), 7.30pm

EVERYONE has been pondering the fragility of life in Covid’s shadow. Don’t worry, Bristol comic Mark has it covered. At 42, he is halfway through his days on Earth, according to his £1.49 life expectancy calculator app.

That life is in the best shape in living memory, but one huge problem remains. Spiritual investigation meets observational comedy as Watson crams two years’ pathological overthinking into one night’s stand-up. “Maybe we’ll even solve the huge problem,” he ponders. “Doubt it, though.”

Watson also plays Helmsley Arts Centre on October 7 and Selby Town Hall on November 17. Box office: York, thecrescentyork.com; Helmsley, 01439 771700 or helmsleyarts.co.uk; Selby, 01757 708449 or selbytownhall.co.uk.

Mikron Theatre Company’s tour poster for Raising Agents

History in the baking: Mikron Theatre Company in Raising Agents, Clements Hall, Nunthorpe Road, York, Sunday, 4pm

MIKRON Theatre Company’s 50th anniversary tour brings the Marsden travelling players to York for a second time this summer this weekend. After the premiere of Lindsay Rodden’s Red Sky At Night at Scarcroft Allotments in May, here comes Rachel Gee’s revival of Maeve Larkin’s play about the Women’s Institute, Raising Agents.

Bunnington WI is somewhat down-at-heel, with memberships dwindling, meaning they can barely afford the hall, let alone a decent speaker. However, when a PR guru becomes a member, the women are glad of new blood, but the milk of WI kindness begins to sour after she re-brands them as the Bunnington Bunnies.

A battle ensues for the very soul of Bunnington, perhaps the WI itself, in a tale of hobbyists and lobbyists that asks how much we should know of our past or how much we should let go of it.

Raising Agents features not only a cast of Hannah Bainbridge, Thomas Cotran, Alice McKenna and James McLean but also songs by folk duo O’Hooley & Tidow, Mikron’s Marsden neighbours of Gentleman Jack theme-tune fame. Box office: email willyh@phonecoop.coop; ring 07974 867301 or 01904 466086; call in at Pextons, Bishopthorpe Road, York.

Boyzlife and balloons: Keith Duffy and Brian McFadden headline next Saturday’s line-up at the Yorkshire Balloon Fiesta

Festival of the week: Yorkshire Balloon Fiesta, Knavesmire, York, September 23 to 25

THE largest hot air balloon and music festival in the north will take off in York for the last time from Friday before moving elsewhere next year. Expect hot-air balloon launches, children’s entertainment, live music, a funfair, a Labyrinth Challenge obstacle course, food and drink and Friday and Saturday Night Glow lit-up balloons.

Friday’s acts will be Sam Sax, Scouting For Girls and DJ Craig Charles’s Funk and Soul Show; on Saturday, Huge, Brainiac Live (science show), Gabrielle, Heather Small and Boyzlife; on Sunday, YolanDa’s Band Jam, Andy & The Odd Socks, Howard Donald (DJ set) and Symphonic Ibiza, before a fireworks finale. Full details and tickets: yorkshireballoonfiesta.co.uk.

Clash of wills: Sam Steel’s headmistress Miss Trunchbull and Juliette Sellamuttu’s special-powered pupil, Matilda, in Pick Me Up Theatre’s Matilda: The Musical Jr. Picture: Matthew Kitchen 

Children’s show of the week: Pick Me Up Theatre in Roald Dahl’s Matilda: The Musical Jr, Theatre@41, Monkgate, York, September 23 to October 2

REBELLION is nigh when Robert Readman’s York company Pick Me Up Theatre presents Matilda Jr, a gleefully witty ode to the anarchy of childhood and the power of imagination. 

Packed with high-energy dance numbers and catchy Tim Minchin songs, this joyous girl power romp will have audiences rooting for the “revolting children” who are out to teach mean headmistress Miss Trunchbull a lesson, led by Matilda, the child with astonishing wit, intelligence, courage and…special powers! Box office: tickets.41monkgate.co.uk.

All’s well that’s John Bramwell: I Am Kloot frontman to play “super-intimate” gig at Ellerton Priory. Picture: Ian Percival

Whatever happened to I Am Kloot? Off The Beaten Track presents John Bramwell, Ellerton Priory, Ellerton, near York, September 24, 7.30pm. UPDATE: 22/9/2022: GIG CANCELLED AFTER FAMILY BEREAVEMENT

FROM the team behind shows by Super Furry Animals’ Gruff Rhys and The Beta Band’s Steve Mason in Stockton on the Forest Village Hall comes a “super-intimate” gig by I Am Kloot singer, songwriter and guitarist John Bramwell.

Since 2016, Bramwell has reverted to being a solo artist, releasing the home-recorded Leave Alone The Empty Spaces in 2018 and performing with John Bramwell & The Full Harmonic Convergence. The follow-up album, a more expansive affair with a working title of The Light Fantastic, is “scheduled for 2022”. Tickets are on sale via thecrescentyork.com or seetickets.com.

20 years later: Danny Boyle’s 2002 British post-apocalyptic horror film 28 Days Later will be shown in the Classic slot at the Dead Northern Horror Festival at City Screen. Copyright: Fox Searchlight

Film event of the week: Dead Northern Horror Festival ’22, City Screen Picturehouse, York, September 23 to 25

YORK’S only horror film festival returns to City Screen for three days, “bigger and bloodier than ever”, with a line-up of horror and fantasy-themed entertainment, new and classic feature films, live horror entertainment, parties, Q&As, special guests and exclusive merchandise.

Among the feature films will be After She Died, The Lies Of Our Confines, Shadow Vaults and Dog Soldiers on September 23;  three world premieres with Q&As, Searching For Veslomy, Calling Nurse Meow and The Stranger, plus Eating Miss Campbell, on September 24, and The Creeping, The Group and 28 Days Later on the last day, when Paul Forster will host a séance at 7pm. Box office and full programme: deadnorthern.co.uk.

Farewell, but not goodbye: Dominic Goodwin’s Dr Watson, left, and Julian Finnegan’s Sherlock Holmes return in their long-running show, Holmes And Watson: The Farewell Tour

Double act of the week: Pyramus & Thisbe Productions in Holmes And Watson: The Farewell Tour, York Theatre Royal Studio, September 23 and 24, 7.45pm

JULIAN Finnegan’s Sherlock Holmes and Dominic Goodwin’s Dr Watson team up in Stuart Fortey’s “utterly bonkers” two-man play, wherein the detective has prevailed on the doctor, landlady Mrs Hudson and Inspector Lestrade of Scotland Yard to join him in a farewell tour of the British Isles before he retires.

For the first time ever, they will re-enact one of Holmes’s most baffling unrecorded cases, The Case Of The Prime Minister, The Floozie And The Lummock Rock Lighthouse, an affair on whose outcome the security of Europe once hung by a thread. Will Professor James Moriarty, the Napoleon of crime, make an appearance? Box office: 01904 623568 or yorktheatreroyal.co.uk.

Not before time: Suede announce their first York Barbican gig in a quarter of a century. Picture: Dean Chalkley

Gig announcement of the week: Suede, York Barbican, March 15 2023

SUEDE are to play York Barbican for the first time in 25 years on the closing night of their 2023 tour, in the wake of this week’s release of their ninth studio album, Autofiction, their first since 2018.

Next March’s tour will combine the London band’s classics, hits and selections from Autofiction, climaxing with their first Barbican appearance since April 23 1997. Box office: yorkbarbican.co.uk and ticketmaster.co.uk.

The poster for the York Printmakers Autumn Print Fair

Art event of the week: York Printmakers Autumn Print Fair, York Cemetery Chapel & Harriet Room, York, September 24 and 25, 10am to 5pm

INNOVATIVE printmaking can be discovered at York Cemetery Chapel, spanning etching, linocut, collagraph, monotype, screen print, solar plate and stencilling. Now in its fifth year, the York Printmakers Autumn Print Fair brings together a thriving, diverse group of enthusiastic artists who work independently but support and challenge each other by sharing opportunities, ideas and processes. 

Hundreds of original prints will be on show and entry is free; prices range from £2 to £300.  Some members run printmaking courses, so next weekend is a chance to find out more by chatting to the artists behind the prints.

York Printmakers’ member Russell Hughes printing in his “pop-up studio” in an empty office in York

York Printmakers: the background

EMILY Harvey started the group in 2015. “A new arrival in York contacted me via my website to ask if there was a printmakers’ group in the city, at that time the answer was ’no’,” she recalls.

“But I knew there were quite a few printmakers here, so I thought ‘why not?’.  A few phone calls later, nine printmakers were sat round a table in the pub, and York Printmakers was born.”

The group now numbers about 50 from a wide range of printmaking backgrounds, from art students to professional artists who exhibit widely.

Emily loves the group’s “unconventional streak”. “We like to experiment with new methods and ideas,” she says. “Printing plates made from eggshells and prints developed using GPS tracking are just some of our recent adventures. Sharing these innovations helps to keep our work lively and relevant.” 

York Printmakers’ member Jane Dignum in lino-printing mode

The group’s monthly meetings feature a sharing practice slot where printing problems and solutions are discussed.  During the Covid lockdown, the group started a themed postcard-sized print challenge, the results being shared in Zoom meetings.   Not only did this help the printmakers maintain their creativity, but it also produced some surprising and innovative results.  Many of these small prints will be on display during the fair.

Group member Jo Ruth says: ‘One of the joys of being part of this group is the variety of experience among us.  Some members are expert printmakers, others are just starting out, but we all have a lot to offer and to learn from each other.”

Members produce their work in their own spaces, some in purpose-built studios but many in far more humble surroundings, such as at their kitchen tables.  Exhibitions and events showcase the group’s array of skills with printing processes that date back hundreds of years, through to those that push the boundaries of contemporary practice with innovation in laser-cut plates, digital elements and 3D techniques.

During the past year, work from the group has featured in events across the country, including the Rheged Centre in Penrith, The Inspired By…Gallery in Danby and Ferens Art Gallery in Hull.

Russell Hughes’s collagraph printing materials
Posted on

York Shakespeare Project to complete 20-year mission with tour of The Tempest

The Tempest blows in: Dates are confirmed for York Shakespeare Project’s final production of a 20-year venture to present every Shakespeare play bard none. Picture: John Saunders

YORK Shakespeare Project will go on tour for the first time this autumn with The Tempest, the final production of its 20-year journey to perform all 37 of Shakespeare’s plays.

YSP’s ambitious mission will be completed with an October 1 performance at York Theatre Royal after a North and East Yorkshire itinerary that will take in Selby, Goole and other towns and villages.

On tour from September 23, The Tempest will be directed by Philip Parr, director of Parrabbola and York International Shakespeare Festival and chair of the European Shakespeare Festivals Network.

Founded in April 2001 by artist, actor and philosopher Dr Frank Brogan with funding from the National Lottery’s Awards For All and York Challenge Fund, YSP performed its first production, Richard III, at the Joseph Rowntree Theatre from October 30 to November 2 2002 with York Settlement Community Players stalwart and drama teacher Alan Booty in the title role.

That debut had been delayed from April after a change of director from “young hotshot” Ben Naylor to esteemed Royal Shakespeare Company and National Theatre actor John White, but “it’ll be all White on the night” immediately affirmed YSP’s resolute, punning slogan, “It’s An Act of Will”.

Since that bumpy start, YSP has woven its way into the city’s theatrical fabric, attracting hundreds of residents to participate as either actors or crew members over two decades, many of them taking their first steps in theatre.

Philip says: “It’s impossible not to plan this production of The Tempest without thinking about the context of it being the end of this remarkable 20-year mission. We’ve been able to recruit a cast full of people who have performed in different YSP productions across the years, along with some who will be performing with YSP for the first time.”

Should you need a quick refresher course on The Tempest, a tragicomedy first staged on November 1 1611, here is YSP’s plot summary. Prospero uses magic to conjure a storm and torment the survivors of a shipwreck, including the King of Naples and Prospero’s treacherous sister, Antonia.

The embittered Caliban plots to rid himself of Prospero but is thwarted by the spirit Ariel. The King’s young son, Ferdinand, thought to be dead, falls in love with Prospero’s daughter, Miranda. Their celebrations are cut short, however, when Prospero confronts his sister and reveals his identity as the usurped Duke of Milan.

“The Tempest deals with many themes that are relevant both to this moment for YSP, but also ones that our society continues to grapple with today: disconnection, corruption, reconciliation and the difficulty of generational change,” says Philip.

“I’m excited about the way we’re approaching telling this story,” says The Tempest director Philip Parr

“I’m excited about the way we’re approaching telling this story, using the performing collective to create the island and the ‘magic’ that permeates it, and using the musical skills of many of the performers to ensure the ‘isle is full of noises’. We can’t wait to share it with audiences this autumn.”

Janet Looker, chair of York Shakespeare Project – and 2019 Lord Mayor of York, Labour councillor for City of York Council’s Guildhall ward since 1985 and family lawyer to boot – says: “It’s difficult to believe that it’s been 20 years since our very first production. We thought we were being rather ambitious when we started: would we really be able to keep this going for 20 years?

“And we weren’t always sure we’d get there, especially with the events of the last two years. But the commitment of the many supporters who have participated in our productions over the years has seen us reach this last play.

“We always knew we wanted to finish with something special, and this tour and a finale at York Theatre Royal will be an exciting and unique experience for all the actors and crew, giving us a chance to share not just the story of The Tempest, but the community ethos of York Shakespeare Project, with a much wider audience. It’s a very fitting way to mark the end of this journey.”

YSP regular Paul French will play Prospero, Effie Warboys, Miranda, and Jacob Ward, Ferdinand, but more details on casting will be kept under wraps for now to enable YSP to “reveal some surprises about how this large cast will tell the story in due course”.

Watch this space for updates, but in the meantime, here is the list of further confirmed cast members: Victoria Delaney; Sonia Di Lorenzo; Henry Fairnington; Jodie Fletcher; Nell Frampton; Tony Froud; Rhiannon Griffiths; David Harrison; Bronte Hobson; Judith Ireland; Andrew Isherwood; Helen Jarvis; Nick Jones and Stuart Lindsay.

Taking part too will be: Aran MacRae; Michael Maybridge; Sally Maybridge; Sally Mitcham; Andrea Mitchell; Fiona Mozley; Harold Mozley; Janice Newton; Megan Ollerhead; Tracy Rea; Eleanor Royse; Emma Scott; Phyl Smith; Sadie Sorensen; Julie Speedie; Lara Stafford; Harry Summers; Lisa Valentine and Sam Valentine.

Philip Parr will be joined in the production team by assistant director Terry Ram, stage managers Janice Newton and David Harrison and musical director Nick Jones.

The Tempest tour will open at Thorganby Village Hall on September 23 with further performances rubber stamped for Selby Town Hall on September 27 and The Junction, Goole, on September 28. Additional dates will be confirmed soon. Tickets are available from yorkshakespeareproject.org or the venue box offices, selbytown hall.co.uk or 01757 708449 and junctiongoole.co.uk or 01405 763652.

Tickets for the final performance at York Theatre Royal on October 1 at 7.30pm go on sale at 1pm today at £16, concessions £10, at yorktheatreroyal.co.uk or on 01904 623568.

The end: The Tempest concludes York Shakespeare Project’s journey through 37 plays. Picture: John Saunders
Posted on

Actor, musician and now sonneteer, Aran MacRae joins York Shakespeare Project for Sonnets At The Bar in ‘secret garden’

“Secret mission”: York actor Aran MacRae looks forward to making his York Shakespeare Project debut as a sonneteer in Sonnets At The Bar in the “secret garden” of the Bar Convent Living Heritage Centre

ARAN MacRae joins Lindsay Waller Wilkinson, Luke Tearney and Josh Roe in the four new sonneteers corralled for York Shakespeare Project’s Sonnets At The Bar 2021 from this evening.

Not that Aran is “new” to the acting scene. Far from it, the York actor, singer, songwriter and self-taught guitarist and percussion player returned to his home city in March 2019 after building momentum in his career in London, Europe and beyond.

After training in musical theatre for three years at the Guildford School of Acting, post-graduation in 2017 he had originated the role of 14-year-old Tink in the West End premiere of the Jim Steinman and Meat Loaf musical Bat Out Of Hell at the London Coliseum, following up with the Canadian run at the Ed Mirvish Theatre in Toronto.

“If you shave off your beard, you’ve got the part,” he was told at the last audition: a wonderful start to life on the professional boards.

“We did the show for 13 months and it gave me such an insight to musical theatre and to rock’n’roll too, going to Toronto and falling in love with a beautiful woman who’d just joined the cast there,” he says.

Aran then appeared in the immersive promenade production of Jonathan Larson’s Rent at the world’s oldest working paper mill, Frogmore Paper Mill in Apsley, Hertfordshire, in July 2018 and sang in Midas’s Twelve Tenors tour across Europe and South Korea in 2018 and early 2019.

His profile on Mandy states he is now “busking in my hometown of York, playing acoustic covers and putting together lyrics and music for solo material”.

Sonnets At The Bar brings him back to theatre work in the city where, in York College days, he had starred in York Stage Musicals’ The Flint Street Nativity and Mayhem, NUEMusic Theatre’s Bare, Bat Boy The Musical and Rent and Pick Me Up Theatre’s Evita, Che Guevara beard et al. If memory serves, he was the singer in The Frizz too, in even younger days.

“I’d been living in Potters Bar in London, plying my trade as an actor, when I decided to come back to York in Spring 2019,” says Aran. “I was aware of York Shakespeare  Project and got in touch straightaway to join their mailing list because I knew that Macbeth and The Tempest were coming up and I was really up for directing The Tempest.  

“Then ‘the Cloud’, as I shall call it, came along and slowed things down; Macbeth was put back, but then I saw they were doing Sonnets At The Bar and I jumped on to it.

Aran MacRae originating the role of Tick in Bat Out Of Hell at the London Coliseum in 2017

“I’m a fan of Shakespeare’s sonnets: not that  they need a lot of investigating, but they explore the concept of love in a manner full of thought and consideration, and what is very special about them is the answer that’s given to any Shakespeare question: they are timeless and you can find modern-day parallels in them.”

Directed by Emilie Knight and produced by fellow company regular Maurice Crichton, Sonnets At The Bar 2021 will be staged in the “secret garden” of the Bar Convent Living Heritage Centre, in Blossom Street, from tonight to August 7.

Emilie, who played a Covid nurse in last year’s Sit-down Sonnets at Holy Trinity churchyard in Goodramgate, has come up with the conceit of the Bar Convent being in use for all sorts of community centre-type activities, some of them outdoors in the garden on account of Covid, with the sonneteers either hosting classes or groups or attending them, all under the watchful eye of the caretaker, Mr Barrowclough.

In YSP’s now time-honoured fashion, each character has a sonnet to set up, the pairing of character and sonnet opening up unknown sonnets in an accessible way or giving well-known ones a new angle.

Aran will be performing Sonnet 25, Let Those Who Are In Favour With Their Stars, in the role of Paul, clerk to the parish council in this age of new awareness of parish-council machinations after the explosive Jackie Weaver and Handworth shenanigans on Zoom went global.

“He’s a little bit righteous, I think,” he says. “He’s not got a point to prove but when he witnesses injustice, he takes it on his shoulders to deal with it, leaving him between a rock and a hard place.

“He has to have a lot of integrity and non-bias and that’s an incredibly lofty responsibility, when you’re dealing with care for the community and injustice, though what he’s witnessed is more to do with internal parish [council] matters, rather than the community.”

Analysing Sonnet 25, Aran says: “My sonnet is about idol worship, and I can certainly find modern-day resonances within it. I’m sure Shakespeare wasn’t thinking of me 420 years ago (!), but I’m thinking of him 420 years later, taking me to an emotional place. It’s like time travel.”

Aran has relished rehearsals under Emilie’s guidance. “It’s been really free spirited, and that freedom has been wonderful, especially in ‘the Cloud’,” he says. “Not only does everyone jump in and sound ideas off each other, but Emilie basically gave each of us a small piece of text to set up each sonnet and said, ‘if you’d like to ad-lib the lead-in to the sonnet, go for it, or if you’d like to add to it, do that’.

Che days: Aran MacRae’s Che Guevara with Robyn Grant’s Eva Peron in Pick Me Up Theatre’s Evita at the Joseph Rowntree Theatre, York, in April 2013

“That was quite testing for me because I then had to look at the structure of what the character was going to say, working out how the parish clerk would communicate in a way that was more astute and level-headed than I would be in that situation!”

Initially, Aran had envisaged “just performing the sonnet and walking off with my chest out”. “But doing it this way, building up a character, allows me to test my writing skills too…because if I’m going to be in a film, I’m going to have to write it myself!” he says.

Where does Aran see his future? “Doing Bat Out Of Hell gave me an insight into where I want to direct my abilities. I loved being in a musical, with all that high energy and lots of post-teens diving around saying ‘this is it’, ‘it’s punk!’, but sometimes I wanted to be thinking more about the task in hand, when it was on stage.

“I want to pursue my career by continuing to work in musical theatre but also look to break into theatre, even though it’s such a closed circle.

“Coming back to the city where I’d lived from the age of three to 21, suddenly there was that ‘Cloud’ and a lot of solitary confinement, so I’ve been reading the classics after I’ve not had the time to read for years, in order to consider it as a career when it’s your heart that calls you to this profession.”

One classical role Aran will not be giving us is his Lady Macbeth in York Shakespeare Project’s promenade production of Macbeth in October, staged at Theatre@41 Monkgate by director Leo Doulton in a “corrupted world of moving forests, daggers from the dark and cyberpunk dystopia, falling from civilisation into a civil war between darkness and light”.

Lady Macbeth, Aran?. “I put my two-penneth in at the auditions to play her as I thought, ‘what better chance to play one of the great string-puller roles, like in The Hunger Games in a past of such apocalyptic brutality, with suave sophistication,” he says. “I gave it a good shot…”

The role has gone to Nell Frampton instead, but Aran can still apply to direct The Tempest, with no production dates set in place yet for York Shakespeare Project’s final play.

York Shakespeare Project presents Sonnets At The Bar 2021, Bar Convent Living Heritage Centre, Blossom Street, York, today (30/7/2021) until August 7; no show on August 2. Performances: 6pm and 7.30pm nightly, plus 4.15pm on both Saturdays. Tickets: 01904 623568, at yorkthreatreroyal.co.uk or in person from the YTR box office.

Posted on

Michael Lambourne contemplates mortality after cancer treatment in Black Shuck, How It Came For Me at Theatre At The Mill

Michael Lambourne: Researching the story of Black Shuck, the Demon Dog of East Anglia

“NEVER look into the eye of Black Shuck,” warns actor, director, teacher and now writer Michael  Lambourne, a familiar face and booming voice to York theatregoers.

Now relocated to his Fenland roots, he returns north this weekend to present the Theatre At The Mill premiere of Black Shuck: How It Came For Me, his “responsive storytelling experience” based on the legend of the Demon Dog of East Anglia: a hound of unnatural size and omen of misfortune to those who encounter its stare.

“According to the folklore tale of the black dog, if you see its eyes, it foretells your demise,” says Michael, who is yet to have such a creepy canine experience but has come across myriad versions of the story, whether of the scratch on the Blythburgh church door, or from Bungay, Blakeney Point or Chatteris Fen.

“The Darkness have a song called Black Shuck on their first album, Permission To Land, as they’re Lowestoft boys,” he continues. “Originally it’s a story from Norse mythology, from the Danes who took over East Anglia, telling of life and death, about everyone’s mortality.”

He is speaking en route to Southend-on-Sea earlier this week to teach his theatre students before setting off to North Yorkshire to perform Black Shuck on Saturday evening (24/7/2021) under the sails of At The Mill’s outdoor theatre at Stillington Mill, near York, where he played Prospero in The Flanagan Collective’s production of The Tempest by the mill pond in June 2016.

“I’ve been wanting to tell stories about where I’m from, and I thought, ‘what better way to tell East Anglia’s story than with a ghost story’, as I look to create art myself, stepping to the fore doing my own work, writing it, creating it and performing it, and hopefully it will appeal!” he says.

“Saturday will be the first airing of the new piece, and this performance came from a kind of call to arms that Alex [At The Mill co-founder, playwright, storyteller, musician and director Alexander Wright] made two to three months ago.

Michael Lambourne with fellow Flanagan Collective cast members Amie Burns Walker, back, and Holly Beasley-Garrigan in the grounds of Stillington Mill when performing The Tempest in June 2016

“I thought, ‘what better time than the present to do that?’, and for this first show, I’m just going to use the ambience of the beautiful garden and my vocal timbre. By the time dusk comes around, there’ll be the hoots of owls.”

Exploring the enduring effect that Black Shuck has on Fenland folklore, Michael’s performance will offer a personal account of how a rural myth can become a chilling part of the present day.

The choice of folklore tale and its portent of exit stage left chimed with his own experience. “I went from a happy 40 year old to being in hospital with the doctor telling me my symptoms could signal my demise,” recalls Michael, husband of Paines Plough co-artistic director Katie Posner (formerly associate director of Pilot Theatre in York) and father of Heidi.

In the doctor’s hand was the scan that would signify whether Michael had cancer that would need an operation and “could shuffle me off my mortal coil”.

“I’d had a biting pain in my leg for months, where it got to the point I couldn’t walk – it was almost like a dog had bitten me in the leg. I was still way off from thinking of going for an MRI scan, but then I heeded Katie’s advice.”

Scans at Addenbrooke’s Hospital, Cambridge revealed a black hole in his spine, where his number two vertebrae should have been. Five days of being prodded and poked in hospital followed.

Michael was diagnosed with lymphoma, the blood cancer. “It had manifested itself in my back, apparently after I fractured my spine, though I can’t think of any time in my life when my back has caused me problems,” says the walking and cycling enthusiast.

The poster for Michael Lambourne’s new show, Black Shuck: How It Came For Me at Theatre At The Mill, Stillington

Chemotherapy and radiotherapy sessions were necessary, but not an operation. “As well as ‘demise’, the Black Shuck folklore signifies your life is about to change, and how you respond to it is up to you. I embraced it, but not that thing where people talk of ‘fighting’ cancer,” says Michael.

“I want to build my body back into balance, using art as catharsis. It just so happens that ball was passed to me and I handled it this way.

“At the final session of chemotherapy, I was overcome with emotion; the nurse would have loved to have given me a hug, but she couldn’t because of the Covid situation, so she just took me by the hand. But by then it wasn’t even a sense of relief. It was just emotion.”

Happily, Michael conducting this interview and performing Black Shuck would indicate his ongoing recovery. “I’m in remission now and hopefully I’ll be able to tell this story for many years to come,” he says.

“I don’t dwell on it in Black Shuck, though it’s an inherent part of the story. The piece is 95 per cent there and now I’m confronting that thing of deciding ‘what is the real message?’.”

Push him further, and Michael urges: “Time is precious and we need to spend it well. Rather than waiting for things to happen, you must actively change it yourself.”

What better way to do that tomorrow night than to experience the stare of Michael Lambourne as he relates the story of Black Shuck. “I’ll be telling the tale in my natural Fens accent, connecting with the place I come from, as my family are truly from the Fens. That’s my heritage,” he says. “It’s not a great stretch to think my forefathers knew about Black Shuck and talked about the demon dog in the pub.”

Shona Cowie: Scottish storyteller of visionary tales

SCOTTISH storyteller Shona Cowie will open the evening with her tale of Bruadarach (noun: dreamer/visionary) at 7.30pm.

Once a creative associate at York Theatre Royal, Shona presents myths of re-imagining and transformation from the Scottish oral tradition, myths called on for centuries as guides through times of change.

A highly physical performer, who brings mime and song to the traditional Celtic style, she is dedicated to bringing front and centre those who have too often been pushed to the margins of stories.

“I worked with Shona at the Theatre Royal, and now we’ll both be doing our ‘fireside chats’ at Stillington,” says Michael Lambourne. “Her work is very lyrical and spiritual, told with a wonderful Scottish lilt.”

In addition, on Sunday at 2pm, Shona will present Beware The Beasts, a show for families (age five upwards), where she will provide case studies from leading monster evaders and offer instruction on the most effective ways to avoid being squashed, eaten or turned into a nugget.

For tickets for tomorrow or Sunday, go to: tickettailor.com/events/atthemill/. 

Did you know?

Here is the opening verse to Black Shuck by The Darkness:

“In a town in the east
The parishioners were visited upon
By a curious beast
And his eyes numbered but one and shone like the sun
And a glance beckoned the immediate loss
Of a cherished one
It was the coming of the… Black Shuck”

Posted on

Tragic news as York Shakespeare Project confirms Macbeth run. Auditions ahoy!

Emma Scott: Retaining her lead role in York Shakespeare Project’s Macbeth, delayed by the pandemic until October 2021

SOMETHING wicked this way comes…at last.

The curse of “the Scottish Play” had struck again – in the form of a global pandemic, no less – to stop York Shakespeare Project’s penultimate production, Macbeth, only days before its opening night on March 30 2020 at Theatre @41, Monkgate.

Fifteen months later, however, committee member Tony Froud can confirm this morning: “Hot on the heels of announcing our reboot of our ever-popular Sonnet Walks for this summer’s Sonnets At The Bar, we are very pleased to confirm that our production of Macbeth is returning, with Leo Doulton continuing as director. Rehearsals will start in September for performances in the week commencing October 25.”

Rather than Lady Macbeth in her end-of-days fevers, the constant hand washing, over and over again, has been bestowed on the rest of us in these Hands-Face-Space times of Macbeth’s mothballing.

At the time of the postponement, Tony had said with the foresight of one of Macbeth’s Witches: “The ideal solution would be to pick it up again with the same company of actors later in the year, but there could yet be complications.”

How right he was. “After 15 months, circumstances have changed and sadly some actors are no longer available. However, this means there’s an opportunity for new actors to join the company,” says Tony, who will still play Ross in Shakespeare’s dark tale of ambition, murder and supernatural forces.

“Many of the original cast will be continuing in the roles they had already worked hard bringing to life, but some roles, including Lady Macbeth, are open for audition.”

Director Leo Doulton: Setting his production of Macbeth in a dystopian “cyberpunk” future, to be performed in a promenade style

These roles are: Lady Macbeth, Duncan, Lennox, Lady Macduff and Third Witch/Third Murderer/Caithness/Seyton.

“The first round of auditions will be held over Zoom on the evenings of Thursday, June 17 and Friday, June 18 and during the day on Saturday, June 19, taking no more than ten minutes,” says Tony. 

“A small number of applicants will then be called back for in-person auditions on Saturday, June 26 and Sunday, June 27.”

Actors interested in auditioning should contact yorkshakespeareproject@gmail.com with their availability on the above dates, indicating which role or roles they are interested in.

Emma Scott will still lead the cast in the title role in Doulton’s “cyberpunk”Macbeth; Clive Lyons will play Banquo/Siward; Rhiannon Griffiths, Fleance/Donalbain/Son/Young Siward; Harry Summers, MacDuff; Eleanor Frampton, Malcolm; Sarah-Jane Strong, Angus; Joy Warner, First Witch/First Murderer/Doctor, and Alexandra Logan, Second Witch/Second Murderer/Gentlewoman.

Amanda Dales (Lady Macbeth); Jim Paterson (Duncan, Lady Macduff, Menteith), Nick Jones (Lennox) and Chloe Payne (Third Witch, Third Murderer, Caithness, Seyton) are unavailable for this autumn’s run, hence this month’s auditions.

Out! Spot now available. The role of Lady Macbeth is up for grabs in York Shakespeare Project’s pandemic-delayed Macbeth after Amanda Dales left York for pastures new in Cambridge

Although Macbeth is play number 29 in Shakespeare’s chronology of 38 plays, YSP had held back the Bard’s tragedy big hitter until production number 36 of 37 as part of a grand finale to the 20-year project planned for 2020, with The Tempest as the final curtain last autumn.

Alas, theatre’s harbinger of bad luck and its Weird Sisters then delivered double, double toil and trouble to YSP. “We were six rehearsals short of the finishing line, when the Coronavirus lockdown was imposed.” says Tony.

When Macbeth and we hopefully more than three shall meet again, we shall encounter a Leo Doulton production set in a dystopian “cyberpunk” future and performed in a promenade style, with the action taking place on the move, around the audience.

“Macbeth is a magnificent tragedy about the earthly struggle between the forces of order and chaos, and how the world becomes corrupted by Macbeth’s strange bargains,” says Leo, who made his YSP directorial debut at the helm of October 2019’s stripped-back Antony And Cleopatra.

“Cyberpunk is an exciting genre for exploring, highlighting and visualising those ideas for a modern audience. We no longer fear witches, but we are still scared of our society being shaped by powers with no concern for those below them.”

The date for The Tempest to conclude YSP’s Shakespeare cycle is yet to be put in Prospero’s book, but the final production is more than likely to be accompanied by an exhibition charting YSP from 2001 formation to stormy finale. “The York Explore library is expressing an interest in presenting it, ideally to coincide with The Tempest’s run,” said Tony in March last year.