Theatre at 41 Monkgate York Archives

May 9, 2024May 9, 2024

Imagine a bunch of strangers putting on a Shakespeare play in a day in York? Welcome to “Shakespeasy” at Theatre@41

*Stranger things: Actors will meet up for the first time to stage a Shakespeare’s Speakeasy play in a day in York*

SHAKESPEARE’S Speakeasy is heading to York for the first time on May 16, making its debut at Theatre@41, Monkgate.

“It’s Shakespeare, but it’s secret,” says the theatre’s website. “Can a group of strangers successfully stage a Shakespearean play in a day? Shakespeare’s Speakeasy is the place for you to find out.

“Taking an irreverent and entertaining view of the Bard’s work, this one-night-only production promises you an hilarious take on one of Bill’s best known plays. But which play will it be? Well, like all good Speakeasys, that’s a secret.”

Why so secret? Let artistic director Steven Arran explain: “We don’t actually unveil the play until the curtain goes up. ‘Speakeasys’ are supposed to be secret after all! And if I unveiled our reason for choosing it, that will probably give the game away. You’ll just have to come along and find out.”

Introducing the cast: Claire Morley. No stranger to Shakespeare, having performed his words for many years in York with companies such as York Shakespeare Project and Well-fangled Theatre. Latterly had fun with the characters of Malvolio (ALRA North), Macbeth (Northumberland Theatre Company), Aufidius (1623 Theatre) and Titania (Hoglets Theatre). “Ready for the adrenaline rush of the Speakeasy, I’m also excited to get *a shot at another character long on the bucket list,” says Claire. “For the May 16 event I’m* *helping them to create some connections in York*.”

Shakespeare’s Speakeasy started in Newcastle upon Tyne on September 11 2018. “We performed our first show at a great Fringe venue, the Alphabetti Theatre, but post-pandemic we migrated to The People’s Theatre, where we’ve developed a very enthusiastic and loyal audience who have responded well to our anarchic and irreverent style,” says Steven.

“As to why we started, that’s a horse of many colours. I’d been working in Canada as an actor, where I performed in a lot of outdoor Shakespearean productions. In North America, Shakespeare was treated like a holy text with a major focus on treating every line as sacrosanct – the major focus being on the poetry.

“For me, this really detracted from the characters being real humans with human emotions, and I knew that it was the latter I was more invested in as an audience member.”

This prompted Steven to think of his experiences watching Shakespeare in the UK. “No-one was really staging Shakespeare in Newcastle, and I realised the majority of opportunities I had to watch in Newcastle was if the RSC [Royal Shakespeare Company] or the National Theatre rolled through town at the Theatre Royal, and you’d pay top dollar for the privilege to watch a lot of posh boys and girls recite lines that you remembered from school,” he says.

“This did not make me feel included. The price made it feel like ‘a treat’ and the accents made me feel like Shakespeare was something for ‘them’, not for everyone. My drama school training had really opened my eyes that this should not be the case, and so I was resolved to cast local actors to produce shows for local audiences, in which they would see people like them reflected on the stage.

*Introducing the cast: Tempest Wisdom, writer, director, performer and educator based in York. Specialises in clown, mask and Shakespeare, “making the Speakeasy a perfect fit,” Tempest says.*

“Also, these plays are SO funny and entertaining, something lost in many productions, and I wanted to inject that excitement into my shows. Shakespeare’s audience was a rowdy lot for the most part, and we like ours to be too!”

Why begin in Newcastle? “No more exciting an answer than this is my home and I wanted to give my home opportunities that it didn’t already have,” says Steven. “When I was coming up as a young actor, the scene felt like a closed shop, and what little was being produced that we had access to felt very much of the ‘it’s grim up north’ variety.

“No-one was producing Shakespeare bar amateur dramatics groups, and even then it was often in a very affected style. After my experiences at drama school, where I was encouraged to use my own voice, I wanted to see more Geordies doing classical works without being forced to do an RP [Received Pronunciation] accent. It’s still something we run up against all the time though. People think Shakespeare and they think ‘posh’ and it’s simply not the case.”

Steven is the only core member of the Shakespeare’s Speakeasy production company. “One of primary aims is to ensure we employ as many directors and performers as possible, and so there is no wider team so to speak,” he says. “We employ and cast locally to give regional actors opportunities to direct classical pieces that they may not usually get a chance to professionally stage.”

*Introducing the cast: Esther Irving, actor and theatre-maker from North Yorkshire with big passion for Shakespeare*

This philosophy has led to the decision to spread Shakespeare’s Speakeasy’s wings to York in its sixth year. “The Yorkshire accent is so rich and versatile, and we want people to hear that on stage,” reasons Steven.

“A primary aim of Shakespeare’s Speakeasy is to champion local performers with local accents and disabuse people of the notion that Shakespeare is ‘posh’ or ‘done in a certain way’. We plan, eventually, to expand to several cities in the North. Venues in Manchester, Glasgow and Liverpool have already been confirmed.”

So far Shakespeare’s Speakeasy has tackled Twelfth Night, Much Ado About Nothing, The Comedy Of Errors, Macbeth, As You Like It, The Taming Of The Shrew, Love’s Labours Lost, Measure For Measure and Hamlet, some staged more than once.

“We mostly stick to the comedies, but have done a few tragedies, which our irreverent style has made a laugh riot,” says Steven. “It’s hard to make people feel the ‘feels’ of Hamlet in 70 minutes, so you may as well make them laugh at some of the more ridiculous elements.”

May 16’s inaugural York performance will be Shakespeare’s Speakeasy’s 13^th show. “Unlucky for some, let’s hope it’s not us!” says Steven.

*Introducing the cast: York actor Ian Giles, part of an international company that created Working Title for the York International Shakespeare Festival in April*

Among those taking part will be Claire Morley, Esther Irving, Tempest Wisdom, Alice May, Ian Giles, Rowan Naylor Miles and Jake Wilson Craw. “We’ve assembled a really talented troupe for this production but, honestly, we could have cast the play three times over,” says Steven.

“It was humbling to see the enthusiasm we were greeted with by York’s acting community. Applicants came via word of mouth – actors who have worked with us voluntarily spread the word – and also through various social media groups. Theatre@41 and York Theatre Royal were also very gracious in spreading word of the opportunity. The cast has since had four weeks to learn their lines.”

The day will be a long and challenging one, but full of laughter and play too, for actors and director alike. “The actors will meet at 9am – the first time they meet in person – and do a line run of the whole play,” says Steven. “After that, we’ll spend the day, approximately eight hours, going through the show scene by scene, getting it on its feet and doing the basic business of blocking and tech on the fly.

“It’s a very collaborative experience. Actors are encouraged to share ideas they have for scenes, and we’ll give them all a try as long as we have the time. Whilst the directors always have a vision – we’ve done a Lion King version of Hamlet, Twelfth Night in a Butlins-style holiday camp – it’s really important for us to let the actors offer their suggestions. A good idea can come from anyone.”

The climactic performance will be fully teched and costumed. “Not to RSC standards, mind you. Expect cardboard sets, plastic swords and all manner of ridiculousness,” promises Steven. “This is Shakespeare as pure entertainment”.

*Introducing the cast: Jake Wilson Craw, actor and writer from Newcastle returning to Shakespeare’s Speakeasy ranks in York debut*

Asked to define the characteristics of a typical Shakespeare’s Speakeasy experience, Steven says: “I’ve reached out to some loyal audience members for this answer, as well as my own thoughts. The characteristics would be funny and local. Chaotic. Very silly. We’re entertaining first and foremost.

“We want you to have a good time, and because of that we’re often irreverent, sometimes bawdy, and sometimes downright daft. We want you to see the people you know in your everyday life on stage, not vaunted legendary characters. You will always leave with a smile on your face.”

Looking ahead, will Steven be seeking to make Shakespeare’s Speakeasy a regular event in York? “Hopefully yes,” he says. “Since our inception, we’ve staged 12 productions in Newcastle and see no reason why our format cannot be replicated in York and other cities in the north.

“One of our primary aims is to give regional actors more work. You shouldn’t have to move to London to work in the field you love – and the only way to do that is to stage productions.”

Shakespeare’s Speakeasy York, Theatre@41, Monkgate, York, May 16, 7.30pm. Box office: tickets.41monkgate.co.uk.

Steven Arran: back story on North East actor, theatre maker and artistic director behind Shakespeare’s Speakeasy

*Steven Arran: Artistic director of Shakespeare’s Speakeasy*

“I WAS a professional actor for ten years. I trained at the Royal Conservatoire of Scotland and was lucky enough to work in the UK and North America. My interest in Shakespeare only really emerged during this time when we spent a term at Shakespeare’s Globe Theatre.

“Being in that space, realising how the environment informed the play scripts and, most importantly, being encouraged to perform the text in my own accent and not an affected RP, really opened my eyes to how accessible Shakespeare could be.

“Seeing shows there whilst in the pit for £5 a pop didn’t hurt either. You can feel both financially and culturally excluded from Shakespeare and we aim to break down that assumption.

“I also wanted to give young local actors the opportunity to act in their own town, and to become familiar with classical plays, which they may have had no access to other than reading along in English class. (Not how we should be experiencing them).

“To date we’ve employed more than 80 actors from the North East and hope to do similar in different regions.”

Steve Arran’s profile on LinkedIn:

PROFESSIONAL actor, committed writer, passable stand-up, enthusiastic gamer, fanatical art historian and total cinephile. Very skilled in classical theatre and improvisation. Screenplays’ relation to historical events a speciality.

Did you know?

STEVEN Arran works with International House language school, helping non-English speakers to learn the language through acting in mini-Shakespeare productions.

May 7, 2024

More Things To Do in York and beyond as the diary takes shape for May 4 onwards. Hutch’s List No. 19, from The Press, York

*Sculptor Tony Cragg with his bronze work Outspan in the Great Hall at Castle Howard. Picture: Charlotte Graham*

FROM landscape sculptures to community cinema screenings, a circus company’s novel assignment to a soap star’s heavenly musical role, Charles Hutchinson’s week ahead is taking shape.

Exhibition of the week: Tony Cragg at Castle Howard, near York, until September 22

SCULPTOR Tony Cragg presents the first major exhibition by a leading contemporary artist in the house and grounds of Castle Howard. On show are new and recent sculptures, many being presented on British soil for the first time, including large-scale works in bronze, stainless steel, aluminium and fibreglass.

Inside the house are works in bronze and wood, glass sculptures and works on paper in the Great Hall, Garden Hall, High South, Octagon and Colonnade. Tickets: castlehoward.co.uk.

*The Lapins: Celebrating travel, exploration and adventure in music at the Unitarian Chapel, St Saviourgate, York*

World premieres of the week: York Late Music, Unitarian Chapel, St Saviourgate, York, Mike Sluman, oboe, and Jenny Martins, piano, Saturday (4/5/2024), 1pm; The Lapins, Saturday (4/5/2024), 7.30pm

MIKEY Sluman highlights the range of the oboe family – oboe, oboe d’amore, cor anglais and bass oboe – in his lunchtime programme of Lutoslawski, Talbot-Howard and Poulenc works and world premieres of Desmond Clarke’s Five Exploded Pastorals and Nick Williams’s A Hundred Miles Down The Road (Le Tombeau de Fred).

The Lapins examine ideas of space, place and time in an evening programme that extols the joys of travel, exploration and adventure through the music of Brian Eno, Stockhausen and Erik Satie, the world premiere of James Else’s A Tapestry In Glass and the first complete performance of Hayley Jenkins’s Gyps Fulvus. Tickets: latemusic.org or on the door.

*The poster for The Groves Community Cinema festival at Theatre@41, Monkgate, York*

Film event of the week: The Groves Community Cinema, Theatre@41, Monkgate, York, May 5 to May 11

THE third Groves Community Cinema film festival promises a wide variety of films, from cult classics and music to drama and animated fun. Supported by Make It York and City of York Council, the event opens with Sunday’s Arnie Schwarzenegger double bill of The Terminator at 6.30pm and T2 Judgement Day at 8.45pm.

Monday follows up Marcel The Shell With Shoes at 2.30pm with Justine Triet’s legal drama Anatomy Of A Fall at 6.30pm; Tuesday offers Ian McKellen’s Hamlet at 7.30pm; Wednesday, Yorkshire Film Archives’ Social Cinema, 6.30pm, and Friday, cult classical musical Hedwig And The Angry Inch, 8pm. To finish, next Saturday serves up the animated Spider-Man: Into The Spider-Verse at 2.30pm and Jonathan Demme’s concert documentary Talking Heads: Stop Making Sense at 7.30pm. Box office: tickets.41monkgate.co.uk.

*Steve Cassidy: Performing with his band and friends at the JoRo*

Nostalgic gig of the week: Steve Cassidy Band & Friends, Joseph Rowntree Theatre, York, Sunday (5/5/2024), 7.30pm

VETERAN York frontman Steve Cassidy leads his band in an evening of rock, country and ballads, old and new, with songs from the 1960s to 21st century favourites in their playlist.

Cassidy, a three-time winner of New Faces, has recorded with celebrated York composer John Barry and performed in the United States and many European countries. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

*Let us pray: Landi Oshinowo’s Deloris Van Cartier and Sue Cleaver’s Mother Superior in Sister Act, on tour at Grand Opera House, York*

Musical of the week: Sister Act, Grand Opera House, York, May 6 to 11, 7.30pm plus 2.30pm, Wednesday and Saturday

SUE Cleaver takes holy orders in a break from Coronation Street to play the Mother Superior in Sister Act in her first stage role in three decades. Adding Alan Menken songs to the 1992 film’s storyline, the show testifies to the universal power of friendship, sisterhood and music in its humorous account of disco diva Deloris Van Cartier’s life taking a surprising turn when she witnesses a murder.

Placed in protective custody, in the disguise of a nun under the Mother Superior’s suspicious eye, Deloris (Landi Oshinowo) helps her fellow sisters find their voices as she unexpectedly rediscovers her own. Box office: atgtickets.com/york.

*Lila Naruse’s Memory Tess in Ockham’s Razor’s circus theatre production of Tess at York Theatre Royal. Picture: Kie Cummings*

“Bold new vision” of the week: Ockham’s Razor in Tess, York Theatre Royal, May 8 to 11, 7.30pm

CIRCUS theatre exponents Ockham’s Razor tackle a novel for the first time in a staging of Thomas Hardy’s Tess Of The D’Urbervilles that combines artistic directors Charlotte Mooney and Alex Harvey’s adaptation of the original text with the physical language of circus and dance.

Exploring questions of privilege, class, consent, agency, female desire and sisterhood, Tess utilises seven performers, including Harona Kamen’s Narrator Tess and Lila Naruse’s Memory Tess, to re-tell the Victorian story of power, loss and endurance through a feminist lens. Box office: 01904 623568 or yorktheatreroyal.co.uk.

*Jah Wobble & The Invaders Of The Heart: Night of dub, funk and world music at Pocklington Arts Centre*

Funkiest gig of the week: Jah Wobble & The Invaders Of The Heart, Pocklington Arts Centre, May 9, 8pm

SUPREME bassist Jah Wobble’s two-hour show takes in material from his work with John Lydon in Public Image Ltd and collaborations with Brian Eno, Bjork, Sinead O’Connor, U2’s The Edge, Can’s Holger Czukay, Ministry’s Chris Connelly and Killing Joke’s Geordie Walker.

Born John Wardle in 1958, he was renamed by Sex Pistol Sid Vicious, who struggled to pronounce his name correctly. Wobble combines dub, funk and world music, especially Africa and the Middle East, in his songwriting. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

*“Charming nonsense”: Steven Lee’s There Was An Old Lady Who Swallowed A Fly at the SJT, Scarborough*

Half-term show announcement of the week: There Was An Old Lady Who Swallowed A Fly, Stephen Joseph Theatre, Scarborough, May 28, 2.30pm

FIRST written as a song in 1953, There Was An Old Lady Who Swallowed A Fly was a chart-topping hit for singer and actor Burl Ives before being adapted into a best-selling book by Pam Adams a few years later, one still found in schools, nurseries and homes across the world.

To mark the nursery rhyme’s 50th anniversary, children’s author Steven Lee has created a magical musical stage show for little ones to enjoy with their parents that combines the charming nonsense of the rhyme with his own “suitably silly twists”. Box office: 01723 370541 or sjt.uk.com.

April 30, 2024May 1, 2024

Pop Yer Clogs Theatre, York’s new repertory theatre company, go Wilde in debut show The Importance Of Being Earnest

*Introducing Pop Yer Clogs Theatre company co-founders, lined up for debut production The Importance Of Being Earnest. Poster art by: Ian Cotterill*

POP Yer Clogs Theatre, a new repertory company of York professional actors, will stage Oscar Wilde’s The Importance Of Being Earnest from tomorrow to Saturday at Theatre@41, Monkgate, York.

Oscar Wilde’s comedy of mistaken identity, high society and a mislaid handbag forms their inaugural production after forming in March 2023.

“The name ‘Pop Yer Clogs’ was chosen as we wanted something ‘Yorkshire’ and humorous that hinted at our origins as a company,” says company co-founder Andrea Mitchell. “We all met in an immersive scare attraction [York Dungeon].”

Staging a faithful adaptation of Wilde’s waspish comedy of manners, Pop Yer Clogs will adorn the production with specially recorded music by Matt Robair and Nick Trott, handmade 1890s’ costumes by cast member Lydia McCudden and lighting and sound by Niamh Cooper and Ethan Canet-Baldwin.

*Andrea Mitchell, as Lady Augusta Bracknell, left, Harry Murdoch, as Jack Worthing, and Lydia McCudden, as Gwendolen Fairfax, in rehearsal for The Importance Of Being Earnest*

The company was founded last year to bring productions of classic dramas to the York stage for an accessible price of £10 per ticket. First up is The Importance Of Being Earnest, Wilde’s 1895 satire that pokes fun at the absurdity of Victorian upper-class society, armed with an arsenal of his most famous one-liners…and that immortal exclamation, “A handbag?”

Jack Worthing (played by Harry Murdoch) and Algernon Moncrieff (Rob Cotterill) are two friends from very different worlds: country and town. Jack is a carefree young man who invents a fictitious brother named Ernest, adopting this persona to escape his country home and live a double life in London.

Jack falls in love with Algernon’s cousin, Gwendolen Fairfax (Lydia McCudden). When he discovers that Gwendolen could only marry a man named Ernest, Jack plans to kill off his fictional brother and assume the name for himself.

*Pop Yer Clogs Theatre’s cast for The Imprtance Of Being Earnest*

Meanwhile, Algernon learns of Jack’s excessively pretty niece, Cecily Cardew (Erin Keogh), who has fallen for Jack’s imaginary brother. He hatches a scheme of his own to pretend to be the fictitious Ernest in order to win Cecily’s heart.

As the two men become entangled in each other’s elaborate lies, their deceptions unravel in a whirlwind of rushed proposals, disapproving relatives and mistaken identity, but soon they learn the vital importance of being earnest.

Further roles go to Andrea Mitchell as Lady Augusta Bracknell, Lucy Crawford as Miss Prism, Jack Higgott as the Reverend Canon Chasuble and director Christopher Leslie as the two butlers, Lane and Merriman.

Company co-founder Leslie studied performance practice at Leeds University Centre and has taken part in many productions throughout Yorkshire. Cotterill, Keogh and Mitchell are among those who work in the character acting team at York Dungeon.

*Rob Cotterill’s Algernon Moncrieff, left, and Harry Murdoch’s Jack Worthing rehearsing a scene for Pop Yer Clogs Theatre’s The Importance Of Being Earnest*

Leslie says: “Earnest is a play everyone has heard of but has not necessarily seen. It is such a delightfully witty and farcical play, and it will be a treat to put it on this week. We have a superb and stellar cast on our hands and everyone has been working extremely hard.”

Harry Murdoch, who plays Jack Worthing, adds: “Not a single rehearsal goes by where we don’t find ourselves in fits of giggles. Every character has their own moment to show off all their absurd eccentricities, and the part of Jack offers so much for me to play with.

“Throughout the play he goes from experiencing the highest intensity and anxiety to moments of the deepest despair and vulnerability. The perfect range of emotions for a comedic lead!”

Theatre@41 trustee Jim Paterson says: “As Wilde himself said, ‘the only way to get rid of a temptation is to yield to it’. We heartily encourage the people of York to take that advice and yield to the temptation to see The Importance Of Being Earnest. We love welcoming new companies to our studio and can’t wait to see Pop Yer Clogs take on this brilliant comedy.”

*Pop Yer Clogs Theatre director Christopher Leslie, second from right, working with his cast in rehearsals for The Importance Of Being Earnest*

In addition to staging Earnest, Pop Yer Clogs are rehearsing for an abridged performance of Alice In Wonderland at York Theatre Royal Studio on May 16 at 6pm as part of the Theatre Royal’s TakeOver festival, run in tandem with York St John University. The company will return to Theatre@41 with a full-length production of Alice In Wonderland in November.

Pop Yer Clogs Theatre in The Importance Of Being Earnest, Theatre@41, Monkgate, York, May 1 to 4, 7.30pm. Running time: Two hours, including interval. Box office: tickets.41monkgate.co.uk or at https://tinyurl.com/3c4rvbbe. Tickets for Alice In Wonderland: 01904 623568 or yorktheatreroyal.co.uk.

TakeOver festival: the back story

ANNUAL collaboration between York Theatre Royal and York St John University, wherein students control the theatre’s event programme and commission performances from professional companies such as Pop Yer Clogs Theatre. The 2024 festival will run from May 13 to 18.

April 27, 2024April 28, 2024

It’s a Madd world as Henry sums up life in a rural small town in Land Of Lost Content

Henry Madd’s Henry, left, and Marc Benga’s Jake in Land Of Lost Content. “This show demands that people pay attention to the darker side of life in a small town, while celebrating the beauty of it,” says Henry. Picture: Ali Wright

HENRY Madd’s Land Of Lost Content is a frustrated love letter to his rural hometown.

On tour at Theatre@41, Monkgate, York, tomorrow night (28/4/2024), it carries the trigger warning: References to domestic and sexual abuse, drug and alcohol use, suicide and self-harm.

“It’s about the messiness of old friendships that should probably end but won’t because they’re the only ones who know what it was really like to grow up where you did,” he says of his provocative autobiographical piece.

“This show champions rural voices, it demands that people pay attention to the darker side of life in a small town, while celebrating the beauty of it. Too often rural characters are neglected from mainstream media, but the characters in this show are real and relatable; they are based off the people I knew growing up and still know now.”

Directed originally by Nic Connaughton, the Pleasance’s head of theatre, and now co-directed by Lauren Lambert Moore for the tour, Madd’s insight into friendship, adolescence, forgiveness and life not going to plan is an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.

Now he is back, and there will be no enjoying a welcome home pint without facing up to the memories – and the people – he left behind.

“Welcome to a town where worlds are turned upside down in an instant, yet nothing seems to change,” says Madd.

Drawing on themes of mental health and substance abuse in rural areas, Land Of Lost Content sheds light on the unique challenges small-town life poses to relationships, through a blend of theatre and spoken word in a “necessary analysis on underfunded mental health and youth services, and the stigma around reaching out”.

To sum up Land Of Lost Content: “Immersing audiences from all backgrounds in its microcosm, issues of youth mental health and addiction in rural areas are addressed through Henry and Jake’s complicated rekindling, as they navigate small town hardships – including unreliable buses – while life refuses to go to plan.”

*Henry Ladd’s smalltown boy, Henry, in Land Of Lost Content. Picture: Ali Wright*

Here son of Ludlow Henry Madd discusses life in a rural town with son of Ripon Charles Hutchinson

Why are rural lives and voices neglected by the mainstream media and culture?

“They’re wrongly seen as being less relevant. It’s the job of art to hold a mirror up to society, right? But people forget that the countryside is part of that. There’s an assumed belief in this country that what happens in the countryside is less important or newsworthy than events in the city.

“Therefore, characters in these rural areas are rarely explored in depth and fall into played-out stereotypes, namely: landed gentry, country bumpkins and murder victims.

“Stories often start with characters who have ‘finally broken free’ from small-town homes and are starting their new life in the big city. There’s a suggestion that everything that happened before this moment didn’t count.

“This show does the opposite. It goes back and sits with that time, appreciates it, confronts it and tries to forgive it where needed.”

What was good about growing up in Ludlow?

“No-one was paying attention to what we were doing.”

What was bad about growing up in Ludlow?

“No-one was paying attention to what we were doing.”

*Henry Madd’s Henry and Marc Benga’s Jake in a scene from Land Of Lost Content*. *Picture: Ali Wright*

What leads to mental health issues and substance abuse in adolescence in a rural town? Has that scenario worsened? How could it be improved?

“I think the popularity of substance abuse is rural areas is caused by a perfect storm. Boredom, lack of youth services, lack of services to spot problems, plenty of outdoor space for things to happen secretly and a population where different ages are more likely mingle.

“However, in many ways for me, this created a safe community to experiment in; people looked out for each other. We had a lot of fun at the time, but the repercussions later down the line have been undeniable.

“Whenever I return, I see the same things are happening. It’s a point we talk about in the show: ‘The faces change but never age’. In many ways it seems unchangeable, but so do all things before they…well…change.

“There are many ways it could be improved, certainly investing more heavily in the arts to provide young people with more outlets to express themselves. But also, creating a culture that doesn’t demonise these ‘anti-social’ behaviours as much, so that there is a better support system when people get into trouble.”

The underfunding of youth services is a perennial problem. Discuss…

“After a decade of Tory austerity, it’s hard to think of anything new to say on the matter. We all know that there are far reaching negative consequences of cutting youth services. That’s not to say that these services can fix everything, but they help; they offer an alternative and a safe space to come back to and that’s important.

“I think one of the issues is that we’re stuck in a culture of putting out fires, rather than preventing them happening. ‘Children are the future’ is a soundbite no-one seems to believe despite its undeniable truth.”

*“Stumbling through adolescence looking for something to do”: Henry Madd’s Henry and Marc Benga’s Jake in Land Of Lost Content. Picture: Ali Wright*

Are rural town teenage days “forged in failed adventures, bad habits and damp raves, stumbling through adolescence looking for something to do”, inexorably inevitable?

“Yeah, of course, to a certain extent. But work can be done to make sure that those who do it are the ones who want to do it, not because there was no other option.

“If you’ve grown up in that culture it’s hard to imagine an alternative, but I’ve definitely spoken to people who had much calmer times growing up and weren’t sniffing ketamine before school, so I think it must be possible.”

Sum up Ludlow in five words.

“Contradictory. Repetitive. Seductive. Frustrating. Sausages.”

What was the writing process behind such a deeply autobiographical piece? Did it differ from how you usually write?

“It was the story I had in me that I needed to tell, and I couldn’t have written anything else at the time. Aside from the work I write for children, which is more fantastical, all my writing is autobiographical.

“The process was tough. It involved a lot of sitting with uncomfortable memories and questioning why I was doing it. I felt a huge responsibility to try and tell it honestly while still protecting people’s identities and making it work for the stage.”

*“I think the popularity of substance abuse is rural areas is caused by a perfect storm,” says writer Henry Madd. Picture: Ali Wright*

How did you come up with the title Land Of Lost Content?

“Stole it! It’s taken from a poem in A E Housman’s collections Shropshire Lad. I felt it captured the sense of a place that used to provide everything you needed but no longer does so. Unfortunately, everyone pronounces the words ‘content’ the wrong way and I regret choosing it.” [That sounds like ‘discontent’ with it, Henry – Editor].

Have you made any adjustments to the play since its initial performances at Edinburgh Fringe and in London in 2022?

“Absolutely. I’m constantly tweaking it. The longer we do the show, the more objective I am about the writing. I used to hate cutting lines but now I’m much less precious, and the script is leaner, more efficient, and clearer because of it.

“The show has been re-directed for the tour by the amazing Lauren Lambert Moore, and she’s really leant into the youthful, playful side of the show, which gives it a fresh new life.”

What three words would you use to summarise Land Of Lost Content?

“Heartfelt. Energetic. Nostalgic.”

What can the York audience expect to see in tomorrow’s performance?

“Plenty of laughter, wild stories, a bear who owns a pub, bad dancing (lots of bad dancing, blame Lauren) and hard-hitting conversations.”

*“I am committed to sharing these stories with a wider audience,” says Henry Madd* *of Land Of Lost Content. Picture: Ali Wrig*ht

This tour has visited London, Tunbridge Wells, Canterbury, Norwich, Guildford, Oxford, Bristol, Leeds, Hereford, Birmingham and Bradford so far. What has been the response?

“One of the most gratifying things about this show has been the response of how many people have related to it, no matter where they are from. There is a tendency for rural theatre to only play to rural audiences. While it is important to bring this material to the audiences that may relate to it the most, I am committed to sharing these stories with a wider audience.”

Who are your biggest inspirations in the arts world?

“There’s too many to name (he says about to name some!). I feel like all I do is obsess over other artists and try to recreate what they do. That said, Jez Butterworth and Shane Meadows, if we’re talking big names in theatre and film.

“Ocean Vuong, who’s reminds me that it’s possible to be direct and poetic at the same time. The poet Helen Heckety, whose show To Helen Back, was the first time I’d ever seen spoken word/theatre/autobiography/surreal all done together, and I just remember watching it and going, ‘Yeah, that’s it, that’s what I want to do’.”

If you could collaborate with anyone, alive or dead, who would you choose?

“I mean if anyone’s got Jez’s number and wants to contact him for me, that’d be great. I also love working with different art forms and I love dance, despite being rubbish at it, so working with a choreographer like Pina Bausch would be a dream.”

And finally, Henry, can you outgrow your hometown?

“I think you just have to find different ways to wear it.”

*Henry Madd: Ludlow-born Poet, educator, theatre maker. Picture: Raphael Klatzko*

Henry Madd: the back story

Poet, educator and theatre maker born in the West Midlands, now operating in Margate.

His work, rooted in his rural upbringing, veers from the heart-warming to the heart- wrenching, always with a healthy dose of comedy woven in.

Performed across the UK and internationally, sharing stages with Rudy Francisco, Harry Baker and Lemn Sissay.

Committed to delivering community art projects, working with organisations from Public Library of San Diego to Philharmonia Orchestra.

Regularly hosts and produces music and poetry events around Kent.

Supported artist of The Marlowe Theatre, Canterbury.

Follow Henry and his tour at: www.henrymadd.com, Instagram @henrymaddpoet; X @Content_land

Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, tomorrow (28/4/2024), 7.30pm. Box office:

April 27, 2024May 7, 2024

More Things To Do in York and beyond the paranormal before 2:22 in the morning. Hutch’s List No. 18, from The Press

*Vera Chok and Jay McGuiness in a scene from 2:22 – A Ghost Story, haunting the Grand Opera House, York, from Tuesday*

JUST a normal week? No, paranormal, more like, as a ghost story pumps up the spooks. Fear not, a Led Zeppelin legend, country-town teen days, a hope-filled musical and dances of love, loss and legacy are Charles Hutchinson’s picks too.

New ghost to haunt “Europe’s most haunted city”: 2:22 – A Ghost Story, Grand Opera House, York, Tuesday to Saturday, 7.30pm fright-nightly; 2.30pm Wednesday and Saturday; 3.30pm, Friday

JENNY believes her new London home is haunted, hearing a disturbance every night at the same time, but husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben.

Belief and scepticism clash, but something feels strange and frightening, and that something is drawing closer, so they decide to stay up… until 2:22 in the morning… and then they’ll know in The Battersea Poltergeist podcaster Danny Robins’s paranormal thriller, wherein secrets emerge and ghosts may, or may not, appear. Fiona Wade, George Rainsford and Vera Chok join The Wanted singer Jay McGuiness in Matthew Dunster & Isabel Marr’s cast. Box office: atgtickets.com/york.

*Robert Plant’s Saving Grace: Playing Harrogate Royal Hall on Tuesday*

Gig of the week outside York: Robert Plant’s Saving Grace, Harrogate Royal Hall, Tuesday, 8pm

ERSTWHILE Led Zeppelin singer and lyricist Robert Plant, now 75, leads the folk, Americana and blues co-operative Saving Grace, featuring Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar, and Matt Worley (banjo, acoustic/baritone guitars, cuatro), on their 15-date Never Ending Spring itinerary. South Carolina singer-songwriter Taylor McCall supports. Box office: 01423 502116 or harrogatetheatre.co.uk.

*Country matters: Henry Madd’s Henry and Marc Benga’s Jake in Land Of Lost Content at Theatre@41, Monkgate, York*

Touring play of the week: Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, Sunday, 7.30pm

NIC Connaughton, the Pleasance’s head of theatre, directs Land Of Lost Content, Henry Madd’s autobiographical insight into friendship, adolescence, forgiveness and life not going to plan in an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.

Henry (Madd) and Jake (Marc Benga) were bored friends who grew up in Ludlow, where friendships were forged in failed adventures, bad habits and damp raves as they stumbled through teenage days looking for something to do. Then Henry moved away. Now he is back, needing to face up to the memories and the people he left behind. Box office: tickets.41monkgate.co.uk.

*Come From Away: Award-winning musical of hope, humanity and unity on tour at Leeds Grand Theatre*

Musical of the week: Come From Away, Leeds Grand Theatre, Tuesday to May 11, 7.30pm plus 2.30pm Thursday and Saturday matinees

IRENE Sankoff and David Hein’s four-time Olivier Award-winning musical tells the remarkable true story of 6,579 air passengers from around the world being grounded in Canada in the wake of 9/11. Whereupon the small Newfoundland community of Gander invites these ‘come from aways’ into their lives with open hearts.

As spirited locals and global passengers come together to forge friendships, we meet first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter in a celebration of hope, humanity and unity. Box office: 0113 243 0808 or leedsheritagetheatres.com.

*Claire Morley: Directing York Shakespeare Project in Sunday’s rehearsed reading of John Fletcher’s The Tamer Tamed. Picture: S R Taylor Photography*

Battle of the sexes, round two: York Shakespeare Project in The Tamer Tamed, Creative Arts Centre Auditorium, York St John University, tomorrow (28/4/2024), 5pm

YORK Shakespeare Project complements this week’s run of Shakespeare’s The Taming Of The Shrew at Theatre@41, Monkgate, with a rehearsed reading of John Fletcher’s Jacobean riposte to the Bard’s most controversial comedy, directed by Claire Morley.

In Fletcher’s sequel, the widowed Petruchio has a new wife and a new challenge as he discovers that he is not the only one who can do the taming. Fletcher borrows characters from Shakespeare and Ben Jonson and a key plot device from Ancient Greek dramatist Aristophanes’s Lysistrata for his exploration of marriage and relationships. Box office: parrabbola.co.uk or yorkshakes.co.uk.

*The poster for Alexander O’Neal’s farewell tour, Time To Say Goodbye, bound for York Barbican on May 3*

Farewell tour of the Week: Alexander O’Neal, Time To Say Goodbye, York Barbican, May 3, 7.30pm

AFTER nearly five decades, Mississippi soul singer Alexander O’Neal is hitting the road one final time at 70 on his Time to Say Goodbye: Farewell World Tour, accompanied by his nine-piece band.

O’Neal will be undertaking a journey through his career with the aid of never-before-seen-photos, testimonies and tributes, all set to the tune of such hits as Criticize, Fake and If You Were Here Tonight. Box office: yorkbarbican.co.uk

*Phoenix Dance Theatre in Dane Hurst’s Requiem, part of the Belonging: Loss. Legacy. Love programme at York Theatre Royal. Picture: Drew Forsyth*

Dance show of the week: Phoenix Dance Theatre in Belonging: Loss. Legacy. Love, York Theatre Royal, May 3, 7.30pm; May 4, 2.30pm and 7.30pm

YORK Theatre Royal is the final venue on Leeds company Phoenix Dance Theatre’s first British tour since 2022 with a visceral triple bill of works by international dance makers Dane Hurst, Miguel Altunaga and Phoenix artistic director Marcus Jarrell Willis.

Belonging: Loss. Legacy. Love opens with South African choreographer and former Phoenix artistic director Hurst’s reimagining of Mozart’s Requiem in response to pandemic-induced grief. Two world premieres follow: Afro-Cuban choreographer Altunaga’s first Phoenix commission, the daring Cloudburst, and Texas-born Jarrell Willis’s Terms Of Agreement. Box office: 01904 623568 or yorktheatreroyal.co.uk.

*The Cult: Marking 40th anniversary with the 8424 tour this autumn. Picture: Jackie Middleton*

Gig announcement of the week: The Cult, The 8424 Tour, York Barbican, October 29

SINGER Ian Astbury and guitarist Billy Duffy mark the 40th anniversary of The Cult, the Bradford band noted for their pioneering mix of post-punk, hard rock and melodramatic experimentalism, by heading out on The 8424 Tour.

Once dubbed “shamanic Goths”, Astbury and Duffy will perform songs from The Cult’s 11-album discography, from 1984’s Dreamtime to 2022’s Under The Midnight Sun, in a set sure to feature She Sells Sanctuary, Rain, Love Removal Machine, Wild Flower and Lil’ Devil. Box office: yorkbarbican.co.uk.

April 26, 2024April 26, 2024

REVIEW: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, ends tomorrow ****

Nick Patrick Jones’s Hortensio, left, Stuart Green’s Grumio, Mark Simmonds’s Vincentio, Sam Jackson’s Lucentio, hidden, Mark Payton’s Gremio, back, Rosy Rowley’s Baptista Minola, front, Kirsty Farrow’s Bianca, Joy Warner’s Merchant/Widow and Flo Poskitt’s Katherine in York Shakespeare Project’s The Taming Of The Shrew. Picture: David Kessel

TWENTY one years have passed since York Shakespeare Project first staged The Taming Of The Shrew as its second ever production.

Staging Shakespeare’s “most controversial” comedy has become even more awkward in that time. The term “Gaslighting” is in common parlance; the #MeToo movement has found its voice; misogyny and sexism are a minefield of social media debate, Andrew Tate et al.

In 2003, Paul Toy, YSP’s director for Shrew, talked of the “welcome gains of feminism leaving it as less of a comedy, more of a problem play”. In 2009, Mooted Theatre’s Mark France saw the 1592 play’s sexual politics as “a gradual meeting of minds” in a war of words between Kate and Petruchio where both subvert the roles that society has determined for them. He coined the term “casual cruelty” to encapsulate the ploys of deception conducted by Tranio, Lucentio and Hortensio.

In 2003, Toy reversed the usual gender casting of the lovers and their servants, with Alice Borthwick, a tall Scot with a pageboy haircut, playing Petruchio in strapping manner opposite John Sharpe’s Katherina with his/her pale commedia dell’arte face and rouge lips. “There is now no pretence that what you see is `real’,” he said. “Hopefully, the play can be seen as less of a treatise and more of a game”.

Now, Maggie Smales, whose all-female version of Henry V in 2015 lingers in the memory, returns to the YSP director’s chair for ‘Shrew’, assisted by Claire Morley [her Henry , from that production].

Smales had played a serving wench in a South Yorkshire For Youth production of ‘Shrew’ in the mid-Sixties in Rotherham and Bianca in 1972 on her Bretton Hall drama course, now recalling them as “exemplifying the hypocrisy of a time that seemed to be offering the opportunity of gender equality without any real shift in attitudes”.

“We thought we were shaping a new world order with altered values,” she laments. “But there’s still quite a lot to be done about gender equality”.

*Florence Poskitt’s Katherine in York Shakespeare Project’s The Taming Of The Shrew*

No better time to start than now with this bracing production of ‘Shrew’, astutely edited by Smales and Morley. In their hands, ‘Shrew’ remains a combustible, hot and bothered drama that does not shy away from the “inherent misogyny” and gaslighting abuse in Petruchio’s regime of sleep deprivation and starvation rations for Katherine.

Crucially, however, Florence Poskitt’s feminist Katherine has the last say, not so much a shrewish shrew as shrewd in determining her path, rather than “melting” to Petruchio’s taming techniques after their calamitous nuptials.

Smales has set Shakespeare’s battle of the sexes/war of words in 1970, when the sun was setting on the Summer of Love and Germaine Greer published The Female Eunuch, a landmark statement in the feminist movement.

More precisely, Smales’s ‘Shrew’ opens in 1960 with a reimagined induction/prologue (replacing the Christopher Sly one), the cast exchanging presents beside the Christmas tree. The players then find themselves transported into a 1970 world wherein they experience and perform the play.

Judith Ireland’s costumes, from her own collection apparently, evoke that psychedelic age of flares, scarves, long hair, dark glasses and headbands, matched with the hits of Hendrix, The Who and Credence Clearwater Revival.

Ah, the whiff of nostalgia, the look, the sounds, setting up the boisterous fun and games that play out in the hands of Lara Stafford’s Tranio and Sam Jackson’s Lucentio, swapping clothes, genders and roles, and the deluded sparring of Nick Patrick Jones’s Hortensio and Mark Payton’s Gremio (in professional actor turned Shakespeare teacher Payton’s ‘first proper acting experience for almost 20 years’ – and what a joyful return he makes).

Stuart Green’s Grumio, with his guitar and shades, adds to the rock concert vibe, along with Joy Warner in her roadie cameo, while Rosy Rowley and Poskitt both perform a song, Rowley in the rowdy spirit of a Janis Joplin; Poskitt, in white, in a quiet solo spotlight in Fred Neil’s Everybody’s Talkin’.

*Jim Paterson’s Petruchio*. *Picture: David Kessel*

Rowley is playing Baptista Minola, traditionally Katherine and Bianca’s father, but here turned into their mother: a significant change that alters the male-dominated dynamic. A decision typical of Smales’s good judgement that always marks out her direction.

The “Taming” remains a battle waged between the needs of individual freedom and the demands of social conformity that decree that Katherine should be wed and that Petruchio seeks to apply in his unconventional way.

Poskitt, who took on her role with only a week to learn her lines and another to join the last week of rehearsals, is known for her wide-eyed comedy chops and singing, but there is much more lurking inside that comes out here (as it did in Agatha Christie’s And Then There Were None). Wild, scolding-tongued, as those around her decry, her subversive Katherine is ultimately more than a match to Petruchio’s prodding. Not so much a woman ‘tamed’ at the end as one establishing her own rights.

Paterson’s Petruchio pulls off the balancing act of being a rock music-loving, preening popinjay but humorous too for all his outrageous behaviour. Rik Mayall, Rupert Everett, that brand of English humour.

Maggie Smales has conquered Shakespeare’s problem play, no problem. This ‘Shrew’ is funny, furious, feminist, with an eye to the future too, as peace, love and equality are secured at last.

Performances at 7.30pm tonight; 2.30pm and 7.30pm tomorrow, as part of York International Shakespeare Festival. Box office: tickets.41monkgate.co.uk.

April 26, 2024May 1, 2024

Let the battle of the sexes resume as York Shakespeare Project gives rehearsed reading of Fletcher’s The Tamer Tamed

*York Shakespeare Project’s poster for Sunday’s rehearsed reading of John Fletcher’s The Tamer Tamed*

YORK Shakespeare Project is complementing this week’s run of Shakespeare’s The Taming Of The Shrew with a one-off performance of John Fletcher’s sequel, The Tamer Tamed, at the Creative Arts Centre Auditorium, York St John University, on Sunday at 5pm.

Fletcher’s rarely staged Jacobean riposte to William Shakespeare’s most controversial “problem play” will be presented in a rehearsed reading on the closing day of the 2024 York International Shakespeare Festival.

YSP chair Tony Froud explains: “We are very happy to borrow an idea from Gregory Doran, who staged both plays in tandem, using the same cast, in his productions for the Royal Shakespeare Company in 2003. Fletcher’s play is a deliberate and very entertaining response to Shakespeare’s original.”

*Director Claire Morley in rehearsals. Picture: S R Taylor Photography*

Written in 1611, 20 years after Shakespeare’s battle of the sexes, The Tamer Tamed (or The Woman’s Prize) gives an insight into changing attitudes to women and marriage in the Jacobean period.

YSP’s rehearsed reading is being directed by Claire Morley, assistant director to Maggie Smales on The Taming Of The Shrew, whose run at Theatre@41, Monkgate, ends tomorrow night. Many of the same cast will undertake Sunday’s reading, joined by familiar YSP faces Andrew Isherwood, Effie Warboys and Sally Mitcham.

“We’re enormously grateful to members of our very talented cast for committing to perform a second play, but the actors couldn’t resist the challenge of exploring Fletcher’s fascinating take on Shakespeare,” says Claire. “Luckily they don’t have to learn any more lines, as this will be a script-in-hand reading.”

*Claire Morley, front row, second from right , in the role of Henry V in York Shakespeare Project’s Heny V in 2015*

Claire is no stranger to York Shakespeare Project, having appeared in several of its productions, most notably playing the title role in Maggie Smales’s all-female Henry V in 2015. “It’s a joy to be working with Maggie again and we’re very lucky to have such a fabulous cast,” she adds.

In Fletcher’s sequel, the widowed Petruchio has a new wife and a new challenge as he discovers that he is not the only one who can do the taming. Fletcher borrows characters from Shakespeare and Ben Jonson and a key plot device from Ancient Greek dramatist Aristophanes’s Lysistrata. “The result is a richly entertaining exploration of marriage and relationships in another battle of the sexes,” says Tony.

The cast comprises: Rosy Rowley as Maria; Effie Warboys, Livia; Kirsty Farrow, Bianca; Andrew Isherwood, Petruchio; Mark Simmonds, Petronius; Mark Payton, Gremio and Peter; Sam Jackson, Rowland; Nick Patrick Jones, Hortensio; Sally Mitcham, Tranio, and Stuart Green, Grumio.

Tickets are on sale at parrabbola.co.uk or yorkshakes.co.uk.

April 24, 2024

More Things To Do in Ryedale, York and beyond the Bard festival celebrations. Hutch’s List No. 12, from Gazette & Herald

*Footsbarn Theatre in Twelfth Night: First British performances in 15 years in world premiere at York International Shakespeare Festival*

A FEAST of Shakespeare, a musical’s 60th anniversary, Motown magic, smalltown teenage troubles and a Yorkshire rock band’s birthday bash hit the mark for Charles Hutchinson.

Festival of the week: York International Shakespeare Festival, until Sunday

SHAKESPEAREAN Identity is the theme of the sixth York International Shakespeare Festival, now an annual event, run by director Philip Parr. Sponsored by York St John University, it features shows, lectures by internationally recognised academics, exhibitions and workshops presented by Shakespeare enthusiasts from all over the world.

Among the highlights will be Footsbarn Theatre’s first British visit in 15 years with Twelfth Night on Saturday and Sunday and York Explore’s exhibition of 300 years of representations of Othello. Tickets and full programme details are available at yorkshakes.co.uk/programme-2024.

*Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof*

Musical of the week: NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, York, running until Saturday, 7.30pm and 2.30pm Saturday matinee

STEVE Tearle directs NE Theatre York in Jerry Bock, Sheldon Harnick and Joseph Stein’s musical, taking the role of Tevye, the humble village milkman, for the third time too in this 60th anniversary production.

When three of Tevye’s five daughters rebel against the traditions of arranged marriages by taking matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds, against the backdrop of the Tsar’s pogrom edict to evict all Jews from his Russian village in 1905. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

*The poster for 1812 Theatre Company’s double bill at Helmsley Arts Centre*

Double bill of the week: 1812 Theatre Company in Baby Dolls and Contractions, Helmsley Arts Centre, Thursday to Saturday, 7.30pm

HELMSLEY Arts Centre’s Young Arts Leaders Charlotte Mintoft and Amelia Featherstone direct the 1812 Theatre Company in Tamara von Werthern’s Baby Dolls and Mike Bartlett’s Contractions respectively. The first is a futuristic comedy about conception, state control and rebellion, wherein three women meet at a baby shower but darker things than cupcakes and babygrows are on their mind.

The second, an ink-black comedy, focuses on the boundaries between work and play. Whereas Emma thinks she’s in love with Darren, her boss thinks she’s in breach of contract. The situation needs to be resolved. Box office: 01439 771700 or helmsleyarts.co.uk.

*Barrie Rutter: Reflecting on shaking up Shakespeare at Northern Broadsides and beyond*

Breaking down the Bard barrier in the north: Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, Friday, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm

BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.

Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, created his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.

*Soul Satisfaction: Four Tops and Motown hits here they come at Milton Rooms, Malton*

Ryedale tribute show of the week: Soul Satisfaction, The American Four Tops Motown Show, Milton Rooms, Malton, Friday, 8pm

DIRECT from the United States, Soul Satisfaction combine powerful vocals, sweet harmonies and high-stepping dance routines in the American Four Tops Motown Show.

This celebration of Motown’s golden era revels in Reach Out (I’ll Be There), Walk Away Renee, It’s The Same Old Song, Loco In Acapulco, I Can’t Help Myself and Bernadette, complemented by The Temptations, Smokey Robinson and The Miracles, Marvin Gaye and Ben E King hits. Box office: 01653 696240 or themiltonrooms.com.

*The trials of growing up in a small country town: Henry Madd’s Henry and Marc Benga’s Jake in Land Of The Lost Content at Theatre@41, Monkgate, York*. *Picture: Ali Wright*

Touring play of the week: Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, Sunday, 7.30pm

*Joe Martin: Troubadour tales at the Milton Rooms, Malton*

Troubadour of the week: Joe Martin, Milton Rooms, Malton, Sunday, 8pm

INDEPENDENT singer-songwriter and modern-day troubadour Joe Martin captures stories of people and encounters picked up on the road in his tales of friends, strangers and his own experiences.

Before his solo venture, Lancashire-born Martin fronted a country band while studying at university in Leeds, opening for The Shires and appearing at the Country to Country festival. Now he performs in Europe and the United States, such as at the Bluebird Cafe in Nashville, Tennessee. Box office: 01653 696240 or themiltonrooms.com.

*The Cult: 40th anniversary tour heads to York Barbican in October. Picture: Jackie Middleton*

Gig announcement of the week: The Cult, The 8424 Tour, York Barbican, October 29

April 22, 2024April 22, 2024

How Florence Poskitt stepped in to play Kate in Shakespeare’s battle of the sexes The Taming Of The Shrew for YSP

*Florence Poskitt: Taking on principal role of Kate*

WHEN University of York student Chesca Downes had to pull out of playing Kate in York Shakespeare Project’s The Taming Of The Shrew, up stepped Florece Poskitt at short notice.

The York actor-musician and member of musical comedy duo Fladam had only a fortnight to learn and rehearse Shakespeare’s problem play for this week’s run at Theatre@41, Monkgate, York, from tomorrow to Saturday.

YSP chair Tony Froud says: “We’re delighted to welcome someone as talented as Flo into the cast and thank her for stepping into the role after Chesca had to withdraw for personal reasons.”

“We are very sorry to lose Chesca, but entirely understand her decision to leave the production,” adds director Maggie Smales.

Florence is a familiar face to York theatregoers, latterly appearing at Theatre@41 as Vera Claythorne in Pick Me Up Theatre’s staging of Agatha Christie’s And Then There Were None and Mishka and a gormless Shopkeeper in York Settlement Community Players’ Government Inspector last autumn.

*York Shakespeare Project’s psychedelic poster for The Taming Of The Shrew*

Now she is reuniting with Maggie Smales, who first directed Florence in November 2019 in Andrew Bovell’s apocalyptic play When The Rain Stops Falling, again at Theatre@41.

“I was due to have a couple of weeks off after doing my own stuff with Fladam for the past two months, going down to the Greenwich Theatre in London with our Green Fingers show, and then suddenly I got a call from Maggie to say, ‘Can you do this role, Flo?’, and she’s one of those people you just can’t say ‘No’ to!” says Florence.

“So the second I got back, I threw myself into playing Kate. She’s one of those roles that are such a treat to get to play – though ideally with more rehearsal time! I had just a week’s notice to get it learnt before joining the last week of rehearsals.

“With Shakespeare you can’t just make it work like you can with a modern text; it’s not just knowing your own lines; you’ve got know the feed lines; you have to be able to cue in other actors; you’ve got to become familiar with the blocking.”

Last Thursday night was the first full run, leading to the tech rehearsal on Sunday and dress rehearsal tonight (22/4/2024). “Everyone has been very welcoming, especially Rosy Rowley, who plays Kate’s mum [Baptista Minola] and Jim Paterson, who’s brilliant as Petruchio, as well as doing the music for the show. The chat-up scene up scene with Kate is so funny, it’s been difficult not to laugh in rehearsals.”

*Maggie Smales: Directing York Shakespeare Project in The Taming Of The Shrew*

As the multi-coloured psychedelic poster proclaims, Smales is setting Shakespeare’s controversial battle of the sexes in 1970 in her first YSP production since her all-female Henry V in 2015.

The Sixties have shaken off the post-World War Two blues; the baby boomers are growing up, primed and ready to do their own thing; the world is opening up, promising peace, love and equality. Surely, “The Times They Are a’Changin’” and the old order is dead. Or is it, asks Smales.

“As a play it’s not designed for a modern audience. Petruchio can be seen as a kind of abuser, and what Maggie and co-director Claire Morley have done with Kate’s monologue is to find a way around the awkwardness of her saying she can do whatever she wants now she is tamed,” says Florence.

“In this version, the ‘shrew’ [Kate] is a normal person and everyone else is abnormal, and you see what she has to go through and how these gaslighters can get to anybody.

“You don’t have to change the text. You have to change the meaning, and Maggie and Claire have been very clever at doing that. There’s very much a stereotype of what a ‘shrewish woman’ would be. We’ve decided that she fits the shrewish stereotype in wanting to fit in, but she doesn’t want to be wed. That leads to her being isolated for not being understood.”

*Fladam’s Florence Poskitt and Adam Sowter*

The 1970 setting has led to a more open attitude. “Kate gets her comic moments, so does Petruchio because he’s so ridiculous. Once he was perceived as heroic, definitely not so now, but even though his behaviour is not right, Jim’s Petruchio is still endearing,” says Florence.

“I also gathered from Maggie that she chose 1970 as it was then that women started to be working women rather than housewives – and that connects with Kate not wanting a husband and wanting to be just herself.”

Playing Kate will be Florence’s first Shakespeare work since doing a training project at Newcastle Theatre Royal, performing snippets from Much Ado About Nothing in the role of Beatrice in 2021.

“The last time I worked with York Shakespeare Project I did the costumes for The Winter’s Tale and that’s when I first met Maggie, who was playing Paulina. “I’m really grateful for the opportunity. I did originally audition for Kate, but I would have been too busy with Fladam, but now it’s worked out well, even if I wish I’d had more time,” says Florence.

“I love doing comedy and musical theatre, but it’s lovely to do something different, to break the mould, to prove I can do more than Victoria Wood – though I would say I do play Kate quite like a Last Of The Summer Wine character. She’s quite grumpy!”

York Shakespeare Project in The Taming Of The Shrew, York International Shakespeare Festival, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk

April 19, 2024April 19, 2024

Which cult classics, music, drama and animated films will feature in The Groves Community Cinema festival at Theatre@41?

*The poster for The Groves Community Cinema week*

THE Groves Community Cinema returns to Theatre@41, Monkgate, York, from May 5 to 11 for its third film festival with some “pay what you feel” ticket prices.

Looking to build on last year’s success, the event is supported by an ARG (Additional Restrictions Grant) Events and Festivals grant, Make It York and City of York Council.

Next month’s festival promises a wide variety of films, from cult classics and music to drama and animated fun.

“We have nine great films in the programme,” says Theatre@41 chair Alan Park. “Some famous titles and some less-known works…from Arnold Schwarzenegger’s Terminator to Sir Ian McKellen’s Hamlet, via Spiderman.”

The grants not only enable the festival to take place but also to keep tickets to a reasonable price, and in the case of the two children’s animated films, “pay what you feel”.

“It means families can come along and watch a great animated film on the big screen without spending a fortune,” says Alan. “There was a wonderful buzz last time and we hope this festival will become a regular event.”

Films showing at the Groves Community Cinema festival will be:

Sunday, May 5

CATCH Arnold Schwarzenegger in action in the 40^th anniversary release of his legendary sci-fi classic The Terminator at 6.30pm and stay on for T2 Judgement Day at 8.45pm.

Monday, May 6

FOLLOW the adventures of Marcel The Shell With Shoes On in a big screen debut for this internet sensation at 2.30pm. Pay what you feel.

Rather more serious matters unfold that evening in Anatomy Of A Fall, Justine Triet’s Palme d’Or-winning legal drama that investigates the death of Samuel, found in the snow beneath the secluded chalet he shared with author wife Sandra. Did he fall or was he pushed? Find out if Sandra dunnit at 6.30pm.

Tuesday, May 7

“TO be or not to be” is the question at 7.30pm when the inimitable Ian McKellen appears in Hamlet, filmed using nearly every room of the Theatre Royal, Windsor, to recreate Elsinore Castle, from the basement dungeon to the roof-top battlement.

Wednesday, May 8

IN a 6.30pm programme of Social Cinema shorts from the Yorkshire Film Archive, the films explore everything from social and political issues – including gender equality, homelessness and poverty – to isolation and climate justice. An evening of thought-provoking topics that resonate with the present and question the future.

Friday May 10

HEAR the story of Hedwig’s life through her punk anthems and power ballads and be part of the action by putting your “head in a wig” at the 8pm screening of the cult classic musical Hedwig And The Angry Inch. Free glass of fizz for the most outrageous and inventive wigs!

Saturday, May 11

HOLD tight as Brooklyn teen Miles Morales discovers his new Spidey powers, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask in the animated Spider-Man: Into The Spider-Verse at 2.30pm. Pay what you feel.

At 7.30pm, Jonathan Demme’s documentary Talking Heads: Stop Making Sense captures David Byrne’s legendary New York band in one of the greatest concert films of all time at Hollywood’s Pantages Theater in December 1983. What’s more, the music doesn’t stop when the film does. Stay on afterwards for a drink and a dance to the hits of Talking Heads and fellow 1980s’ greats.

For more info and to book tickets visit Theatre@41 website: https://tickets.41monkgate.co.uk/venue