Scarborough’s Penny Whispers lost home and work but still make waves in lockdown

Penny Whispers: Scarborough duo Harry Bullen and Terri-Ann Prendergast

AN email nudge dropped into the inbox from the intriguingly named Penny Whispers, with its echo of Ian Fleming’s “Bond girls” or a one-hit-wonder Sixties’ pop ingenue.

“You may not remember me but in 2012 you wrote a review for The York Press on York Settlement Players’ version of ‘Black Potatoes’ and quoted me as ‘one to watch’ – a review I’ve held dear to this day,” it began.

Ah yes, Black Potatoes, a musical by Alan Combes and Steve Cassidy, the one with Irish accents, that ran at Upstage Centre Theatre @41 Monkgate, York, in November 2010 (not 2012!).

The “one to watch” – or “definitely one to watch” as the review said even more emphatically of her performance as young wife Peigi – was one Terri-Ann Prendergast, now one half of the Scarborough duo Penny Whispers.

On March 7, Terri-Ann and Harry Bullen release their third single, Upside Down, the follow-up to December’s “ray of hope” lockdown song Wave and their debut, Stay A While.

Penny for your thoughts, Terri-Ann. Here she answers CharlesHutchPress’s questions on her musical past and present, the name Penny Whispers, the impact of Covid lockdowns on musicians, song-writing in 2020/21, album plans and the year ahead.

When did Harry meet Terri-Ann?

“We’re both from sunny Scarborough and we met in 2015, having secured contracts to work on cruise ships, performing to audiences all over the world.   

“For the past five years, we’ve been travelling all over the world playing music and have never been in one place for very long. In 2020, we were heading back to the UK to record. We were aiming for London until the pandemic hit and we ended up grounded in Scarborough. It’s been quite nice really as it’s been ages since we were both at home.” 

What have you done since your performance theatre student days at York St John? You mention working on cruise ships…

“I’ve done lots of theatre work around Leeds and York, including a stint performing at the York Dungeon! While building up my solo singing career, I performed at some really amazing events including Camp Bestival [at Lulworth Castle, Dorset].

“I worked alongside The Prince’s Trust for a while and had the opportunity to perform at some really wonderful events for them. In 2015, I joined a band – where I met Harry – and we secured some contracts on cruise ships, travelling around the world and playing music.

“I’ve been song-writing the whole time and it was here that Harry and I started to write songs together.” 

Terri-Ann Prendergast, middle row, second from right, pictured in the role of Peigi in York Settlement Community Players’ production of Black Potatoes in 2010

When did Penny Whispers form and why are the duo called Penny Whispers?

“One night after a gig on the ship, Harry and I had a writing session in our cabin and we sort of haven’t stopped writing since! It’s so great when you find someone to write with who just hears what you hear in your head and the music just starts to flow.

“Since we met in 2015, we’ve written hundreds of songs and officially launched Penny Whispers in 2020. One of our first gigs was at The Hard Rock Cafe in Manchester, which was great. 

“We chose ‘Penny Whispers’ as we loved the idea that it sounds like some quaint Victorian service like ‘penny for your thoughts’ or ‘penny for a secret’. Because it’s not person specific – it could be a solo artist, or a whole band – it’s not a title that immediately paints the whole picture. It makes you think about it for a second and decide what it says to you. 

“One night after a gig, someone said to us, ‘Are you called ‘Penny Whispers’ because ‘money doesn’t talk’ but pennies whisper?’. We said, ‘No…but that’s really cool; we should’ve thought of that’.

“Pennies also have personal meaning to me because my Nan used to collect pennies in a jar for me and my brothers. She saved up so many 1p coins and we used to sit and count them all up into money bags.

“My Nan’s not here anymore but I still find pennies in the most bizarre places and at very peculiar times. One time I was having a bit of a panic in the toilet before an audition and right there in the toilet bowl was a penny! I like to think of it as Nan looking out for me a little, though I wish she would leave me £5 notes instead!”

Where did you record your self-produced pandemic song Wave?

“Wave was recorded in Harry’s mum’s basement. They turned the space into a recording studio and we recorded the vocals there.

“It’s a duet of emotionally charged harmony that balances tragedy and hope beautifully on the uplifting orchestration of Jon Pattison, co-founder and musical director of Beach Hut Theatre Company in Scarborough. He’s written loads of great material, including scores for many of Alan Ayckbourn’s plays at the Stephen Joseph Theatre.

“Harry produced the track after consuming hours of reading and watching YouTube videos. 2020 has given us a lot of time to explore new skills, other than just song-writing. We now aspire to do everything ourselves, 100 per cent DIY independent musicians, multi-tasking from writing and recording to marketing.”

The artwork for Penny Whispers’ pandemic single, Wave, released last December

What’s the story behind Wave, a song for these strange, enervating, fearful days?

“2020 has been a tough time for everyone across the globe, especially for creative people, but sometimes out of the darkest places, something good emerges.

“Amid lockdown 2020, we knew we wanted to say something in response to what was happening around us, but we didn’t want it to come solely from our point of view. 

“So, we reached out to our followers on social media, asking them how they were coping, and the response was astounding: an influx of words showing shared feelings of loneliness but also, overwhelmingly, a huge undertone of hope.

“We wrote the song as a direct response to the pandemic, taking the messages we received from our followers and turned them into Wave. They truly were the inspiration behind it.

“The reaction has been really positive. Jonathan Cowap, on BBC Radio York, said the song ‘radiated hope’, which is exactly what we wanted it to bring: hope. 

“Music has such a powerful way of lifting spirits and this is something everyone can embrace. We received messages telling us that it made people feel less alone when listening to the song and reading the comments we received from our followers.

“It was wonderful to hear that Wave could be a reflection of 2020, not just from our perspective, but from everyone else’s too. After all, we’ve all felt lonely at times throughout this, but we’ve been lonely together and there’s comfort to be taken from that.

“You can see the messages we received by watching the Wave lyric video on our YouTube channel at https://youtu.be/CnqcfeTuqXM, demonstrating the amazing strength of the human spirit to remain positive in these troubling times.” 

What have been the challenges of being a musician in Covid times? How has lockdown affected your life as well as your music-making?

“2020 was a really tough year for us. We were only just launching our first single and had a lot of plans mapped out that were completely wiped. We lost all our income and our home too. 

“The toughest thing is, not only did we lose our living, but we also lost the very thing that sort of gives us life! Music is everything; it isn’t just our job. We felt like we sort of lost our place in the world a little bit. 

“On a positive note, having the time to write and record has been great as we are often so busy. But after a while, inspiration started to dwindle. How can you write about life when it’s just Groundhog Day every day? We did some live-streams too to try keep people’s spirits up but nothing compares to performing live. 

“Making Wave really lifted our spirits at a time when we were feeling uninspired.”

Terri-Ann Prendergast and Harry Bullen wrote Wave in Scarborough as a direct response to the pandemic

What are your plans/hopes for Penny Whispers in 2021?

“All being well, we will be back gigging again by the summer! We’ve been waiting for this moment for so long. 

“There’s a fantastic organisation for Yorkshire-based musicians, The Sound of Scarborough, who are creating lots of fantastic opportunities and support for local artists, so we’ll hopefully be doing stuff with them.

“No matter what happens with live performances, we’ve got so much new music to release, so keep an eye on our socials for updates. We want to reach as many people as possible and keep writing songs that people enjoy.” 

New single Upside Down: what’s the musical style, theme and release format?

“It’s been described as ‘fierce lively indie rock and pop mixed with some triumphant energy and even a bit of a folk twang to it’. 

“It draws on a deep pool of genres that swim together with waves of influence to create an adrenaline-fuelling track! There’s a haunting quality to this song that’s comfortably uncomfortable. It highlights an inner battle that runs throughout us all, as we strive for meaning and deny unstoppable second guessing. 

“The lyrics highlight a push/pull vibe that’s present throughout the song: ‘Falling highs and climbing lows, grabbing hold to let you go’. It’s the idea of wanting something badly but then getting it and discovering it’s not what you expected, but you know you can’t walk away, because you’re already drawn in too deep.

“Upside Down is out everywhere on March 7. You can download the track directly from our Bandcamp and this is a great platform for musicians to be directly supported by their fans. The track is set at a certain price, but fans can pay more for it if they wish, and unlike streaming services, artists keep a much higher per cent of the royalties.”

Is an album on its way?

“We’ve talked a lot about release strategy and what is the best way to release our songs. The industry has changed so much in the past ten years and with music being so accessible, albums aren’t consumed in the way they once were. 

“As a new band, our plan is to release singles initially, to allow people to get to know us more and get to know our sound. 

“That being said, we do have plans for an album in the future.”

And finally, Terri-Ann, do you still perform in musical theatre shows?

“I haven’t done any musical theatre for a few years now; I decided to shelve it temporarily to focus on music, my first love.
“I do miss it, though! I wouldn’t rule it out for the future but for now it’s all about the music. Harry is keen on writing a musical in the future and is forever writing down ideas, so who knows…”

REVIEW: Big Ian Donaghy’s Boxing Day visit to York Stage’s Jack And The Beanstalk

Ian Stroughair’s Flesh Creep: “Joyously evil-turned-up-to-11 villain”. Picture: Kirkpatrick Photography

MONKGATE magic!

Every year like clockwork, you wolf down the first clutch of chocolates from your Advent calendar, then panto arrives.

Men as women.

Women as men.

Two crew members as a horse.

Oh yes, it is!

Oh no, it isn’t!

Jack And The Beanstalk: “The healthy, bright-eyed and slim” bean feast of a York Stage pantomime, as promised by the newly appropriated Biles Beans sign

Children’s eyes agog.

But not in 2020.

The year that the show MUSTN’T go on.

Just watch the news.

Tisn’t the season to be jolly!

As theatres up and down the land spend Christmas in darkness, a shard of light could be seen down an alleyway off Monkgate.

It’ll never work.

How could it work?

Jack….and the beanstalk: Jordan Fox’s Jack with stage manager Lisa Cameron’s hand-made beanstalk in the York Stage pantomime. Picture: Kirkpatrick Photography

Necessity is the Mother of Invention.

This needed ideas, creativity and the personnel to pull it off and even then one announcement could pull its plug at any moment.

This had failure written all over it.

As we walked past the finest piece of genius marketing on Boxing Night, extending the locals’ favourite landmark – the Bile Beans sign on Lord Mayor’s Walk – to read “Bile BeanSTALK”, we were smiling even before the first line.

“Where’s the Minster?”, people ask? “It’s just over the wall from the Bile Beans sign.”

After a balanced diet of cheese and Toblerones, could this be the panto to keep us “healthy, bright-eyed and slim?”.

Alex Weatherhill’s Dame Nanna Trott: “Showing off a range to stop Mariah Carey warbling her festive favourite”. Picture: Kirkpatrick Photography

As we walked through the door, greenery festooned every bannister and surface.

With a tiny capacity of only 60 to meet Covid safety requirements, this was not so much a family panto as a “bubble panto”.

Jack was played by the endearing Jordan Fox, who somehow managed to be both idiot and hero at once.

Flesh Creep was played by the joyously evil-turned-up-to-11 Ian Stroughair, who was nearly eight feet tall with hat!

A three-piece dance troupe featuring dance captains from both the Grand Opera House (Emily Taylor) and Theatre Royal (Danielle Mullan) felt like a luxury as did a small house band (Jessica Douglas, Sam Johnson and Clark Howard).

Corners could have easily been cut but weren’t. Quality clearly means everything to writer-director Nik Briggs.

“Top-tier entertainment”: May Tether as Jill Gallop (on the podium) with ensemble trio Emily Taylor (left), Danielle Mullan and Matthew Ives. Picture: Kirkpatrick Photography

The cast faced magnetic north as a convoy of beautiful original songs and production numbers ran through the show, choreographed by West Ender Gary Lloyd .

The harmonies as all the cast sang together were spellbinding, as the hairs on the backs of your arms acknowledged this wasn’t another panto re-heat -this was fresh.

I could listen to May Tether (who played Jill) sing the terms and conditions of an insurance policy and she’d make it sound like Carole King had penned it.

Where many pantos have actors, singers or dancers with on obvious ‘also ran’ in their skill set, every cast member was a Swiss Army knife of lethally sharp talent.

Rarely do you get soulful vocals from a panto fairy (Livvy Evans) and even the Dame, played by Alex Weatherhill, showed off a range to stop Mariah Carey warbling her festive favourite.

Head’s gone: Writer-director Nik Briggs and stage manager Lisa Cameron in a revealing moment for the longer-than-usual pantomime cow, Daisy, in Jack And The Beanstalk. Picture: Kirkpatrick Photography

Surprisingly, the cast showed no fatigue from the three-shows-a-day schedule but it begs the question why this wasn’t in a bigger venue with Covid measures in place. I can only imagine that the paperwork and risk assessments took more paper than the script in this impossible year. The audience were even guided to do hand gestures, as everybody desisted from shouting “Oh yes he is” all night.

Every ticket in this traverse set-up was a golden ticket as each group was separated into plastic booths. This is “in your face” theatre – but socially distanced of course – that you can feel, not just watch.

Featuring some of the most original gags I have ever heard in a panto to reflect the times, plus a couple of very well-known faces on screen who could grace any stage in the land, this is a show full of surprises: doing the same things differently. Proving that theatre can adapt to fit around the safety of its audience to give a Christmas to remember to a year many of us would like to forget.

“Soulful vocals”: Livvy Evans as Fairy Mary in Jack And The Beanstalk. Picture: Kirkpatrick Photography

In 2020, when Amazon have delivered everything to your doorstep, Briggs has delivered not just a panto, but also West End-quality musical theatre, while maintaining a safe distance, and NOBODY will be writing ‘Return to Sender’ on this triple threat-laden package.

York’s Tier 2 status meant that the doors could open, but there is nothing Tier 2 about this show in Monkgate. This is top-tier entertainment for all of your bubble.

Review by Ian Donaghy

Show times: December 29, 2pm (sold out) and 7pm; December 30, 2pm (sold out) and 7pm; New Year’s Eve, December 31, 12 noon (sold out); January 2, 2pm (sold out) and 7pm; January 3, 1pm and 6pm.

Please visit yorkstagepanto.com for an update on performances once York’s new Tier status is confirmed in the Government briefing tomorrow (30/12/2020).

Name up in lights: The traverse stage for York Stage’s Jack And The Beanstalk, with the audience seated in Perspex-shielded bubbles. Picture: Kirkpatrick Photography

Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

Beanstalk of the town as Bile Beans sprouts size-doubling York Stage panto banner

Beanstalk of the town: York’s landmark Bile Beans sign, in Lord Mayor’s Walk, has grown today with a banner for York Stage’s Jack And The Beanstalk, the pantomime where “giant magic can grow in the smallest of places”

JACK’s magical extra vegan beans at Theatre @41 Monkgate are not the only bean in York to be growing suddenly.

Today, the iconic Bile Beans sign on the side of a building in nearby Lord Mayor’s Walk has doubled in size to now read Bile Beanstalk to publicise York Stage’s debut pantomime, Jack And The Beanstalk.

York Stage have joined forces with CSL Scaffolding, the York construction company, and Press Green, the York design and print agency in Lord Mayor’s Walk, to erect the complementary sign, advertising the show’s run with an arrow pointing in the direction of the theatre.

A sign of things to come: York Stage’s banner, made by Press Green, is ready to roll

Nik Briggs, York Stage’s artistic director and pantomime writer/director, says: “Mounting a panto in a pandemic was always going to be tricky. With lots of hurdles to overcome, we’ve really had to think outside of the box.

“I was sitting waiting at the traffic lights on Lord Mayor’s Walk a few weeks ago and chuckled to myself that we’d chosen to do Jack And The Beanstalk at a relatively unknown venue just down from a large sign that said Beans in big letters!”

Bright bean Nik promptly sowed the seeds for an eye-catching wind-permeable banner in a marketing coup on York’s most famous sign. “Nightly Bile Beans Keep You Healthy Bright-Eyed & Slim is such a large York landmark that we knew we had to bring it into play some way,” he says.

Workmen from York company CSL Scaffolding assemble the scaffolding to erect the new banner

“Obviously we didn’t want to touch the sign itself, so we again thought outside of the box and contacted Press Green, who are based in the row of properties that the sign is on, and also got in touch with the brilliant CSL Scaffolding Ltd.

“After the terrible year we’ve all had, we thought it’d be a fun thing to do to advertise where the panto is! We put our heads together and came up with the plan to do a little pop-up extension!”

York Stage have worked for a long time with Press Green, who created the banner, but “Bile Beanstalk” marks a new partnership with CSL Scaffolding. “They’re already making their mark on the city, having done some great work up at Allerton Castle, near Knaresborough, and more locally have been giving back to the community through supporting soup kitchens across the city.”

“One of our main men also dressed up for the occasion,” says CSL Scaffolding’s Facebook post earlier today. Picture: CSL Scaffolding

CSL Scaffolding have been quick to put pictures on Facebook, calling their scaffolding work “our final job of the year, helping out York Stage with their Jack In [sic] The Beanstalk pantomime”.  “One of our main men also dressed up for the occasion,” it adds, with one comment referring to Paul Wright.

Explaining the thinking behind putting up the banner, Nik says on Facebook: “People ask us where exactly is Theatre at 41?! Well, after a brainstorming session with our friends at Press Green and thanks to the generosity of CSL Scaffolding Ltd, we’ve managed to make it a bit more obvious!

“Merry Xmas from us all at York Stage. We hope this makes your journey to the theatre a little easier!”

Jack (Jordan Fox) and his beanstalk, stitched together by stage manager Lisa Cameron for York Stage’s Jack And The Beanstalk. Picture: Charlie Kirkpatrick

Jack And The Beanstalk and the banner promotion will run until January 3 2021. “We hope the sign gives people a reason to smile,” says Nik. “It’s tongue in cheek and hopefully shows that there are still some things going on in and around York!”

Show times: December 23, 7pm; Christmas Eve, December 24, 11am, 1pm (sold out) and 5pm (sold out; Boxing Day, December 26, 11am, 2pm (sold out) and 7pm; December 27, 11am, 1pm (sold out) and 6pm; December 28, 11am, 2pm (sold out) and 7pm; December 29 and 30, 2pm and 7pm; New Year’s Eve, December 31, 12 noon. 

Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

York Stage’s poster for their debut pantomime, Jack And The Beanstalk, a show that will “grow and grow on you”

Who should Boris Johnson play in a panto? Ask York Stage star May Tether…

May Tether in her walkdown costume in York Stage’s Jack And The Beanstalk. Picture: Kirkpatrick Photography

MAY TETHER is back home in Yorkshire after leaving Trinity Laban Conservatoire of Music and Dance, London, with first-class honours.

Now, the Goole musical actress is making her professional debut as Jill Gallop in Jack Stage’s pantomime, Jack And The Beanstalk, at Theatre @41 Monkgate, York.

Here, May gallops her way through Charles Hutchinson’s questions during a hectic weekend of six performances.

What was the first pantomime you ever saw and what do you recall of it?

“Dick Whittington, when the Cat was a lady. She took me on stage and I remember being terrified.”

What was your first pantomime role?

“Jill in Jack And The Beanstalk when I was 14.”

What has been your favourite pantomime role?

“Well, since I’ve only ever played Jills, I have to say she’s rather fabulous!”

Who have you not yet played in pantomime that you would love to play?

“The baddie!!!!!!!”

Who is your favourite pantomime performer and why?

“The ensemble of any show but ours are insane! I don’t understand how they do it. They keep me going. If they can high kick and sing, I can find energy from somewhere too.”

This year’s pantomime will be an experience like no other…what are your expectations of performing a show in these strange circumstances?

“I don’t have much experience as I’ve only ever done one other panto, in the same role. But I just want to bring joy to people in a very dark time.”

Which pantomime role should Boris Johnson play and why?

“He would play the Giant…because ideally there wouldn’t be one.”

Who or what has been the villain of 2020?

“For me, Rishi Sunak…get the theatres open, pally!”

Who or what has been the fairy of 2020?

“Andrew Lloyd Webber. Saving the day trialling shows at the London Palladium and offering to trial the vaccine. What a joy.”

How would you sum up 2020 in five words?

“It’s not been for me.”

What are your wishes for 2021?

“Health, happiness, success, to everyone in the year ahead. I hope everyone gets the fire to get back to work, whatever it is they do, and to feel they are happy again.”

What are your hopes for the world of theatre in 2021?

“Let’s just get the theatres open and get these, cough, cough, ‘non-viable’ people high kicking and belting out highs Cs or dressing as cats, or whatever it is they do best, back where they belong. A STRANGE time, but it IS coming to an end!!!”

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, until January 3. Box office: yorkstagepanto.com

REVIEW: York Stage’s Jack And The Beanstalk, the “musical with panto braces”

Wickedly bad, yet wickedly good: Ian Stroughair as “Fleshius Creepius” in York Stage’s Jack And The Beanstalk. All pictures: Kirkpatrick Photography

York Stage in Jack And The Beanstalk, John Cooper Studio, Theatre @41 Monkgate, York, until January 3 2021. Box office: yorkstagepanto.com

THIS is a York pantomime season like none before.

York Theatre Royal has, like a council politician, taken to the wards seeking votes, in this case for the audience choice of Travelling Pantomime. Dame Berwick Kaler’s comeback on board Dick Turpin Rides Again, after his headline-making crosstown transfer to the Grand Opera House, has gone into Covid-enforced hibernation for a year. Likewise, Rowntree Players have taken the winter off.

Yet, what’s this? A newcomer bean-sprouting up at Theatre @41 Monkgate, courtesy of York Stage’s debut pantomime, Jack And The Beanstalk, a show stuffed with West End talent with York and wider Yorkshire roots, bedding in nicely with socially-distanced performances for maximum audiences of 55 at the Covid-secure heart of Monkgateshire.

May Tether as Jill Gallop: “Investing personality in every line”

Once temperature tested at the doors and hands cleansed, you are led up the beanstalk-clad stairway to your brightly-coloured seat in the John Cooper Studio, a black-box theatre here configured as a traverse stage, the bubble-compliant audience sitting to either side or upstairs on the mezzanine level.

Safety division comes in the form of screens, like on Have I Got News For You, giving a different Perspextive on watching a show, but in no way impeding the view. Actors are socially distanced – they exchange elbow greetings; romance is replaced by best friendships – and audience members are close to the stage in this intimate setting, but not too close. The dame does not dispense sweets and we are asked to refrain from shouting.

Not your normal panto, then, in this all-too abnormal year, except that writer-director Nik Briggs’s 2020 vision for pantomime still has all the elements: the song and dance; the puns and punchlines;  the slapstick and the transformation scene; the dame (Alex Weatherhill) and Daisy the cow; the drama-queen baddie (Ian Stroughair) and his narcissism; the topical and the local references; the daft wannabe superhero dreamer (Jordan Fox) and the fairy (Livvy Evans);  the principal girl (May Tether) and her plain-speaking principles.

Slapstuck: Alex Weatherhill’s Dame Nancy Angelina Norma Nigella Alana Trott – Nanna for short – goes nuts in York Stage’s Jack And The Beanstalk

Then add the all-action ensemble (Matthew Ives, Danielle Mullan and Emily Taylor) and the band, a trio of musical director Jessica Douglas, fellow keyboard player Sam Johnson and York’s premier league drummer, Clark Howard, parked upstairs but omnipresent and on the button, The Great British Bake Off theme tune et al.

Briggs has called his show “a musical with pantomime braces on”; his choreographer, Gary Lloyd, a big signing from the West End and tour circuit, has coined the term “pansical”. That may suggest a slightly awkward new hybrid, but like the cult rock’n’roll pantomime at Leeds City Varieties, the musical driving force here is a winning addition to the tradition.

Danielle Mullan lights up the transformation scene in Jack And The Beanstalk

Ninety minutes straight through – intervals are so last year – Jack And The Beanstalk is full of beans, lovely to look at and lively too, loud at times but rarely lewd (blame the dame for those “innocent but guilty” moments, met with knowing laughter).

Surprise celebrity cameos pop up on video, and York Mix Radio’s morning team of Ben Fry and Laura Castle provide the pre-recorded countdown chat pre-show.

Briggs is breaking his duck as a pantomime writer, and his script is a little mannered by comparison with the highly experienced Paul Hendy’s way with words for the Travelling Pantomime, but he does know the notes, he does play them in the right order, and the jokes invariably hit home, especially those that play on the Covid conventions of 2020.

Making a cow’s head of himself: York Stage pantomime writer-director Nik Briggs steps out of character with stage manager Lisa Cameron as the socially distanced, elongated Daisy in Jack And The Beanstalk

His reinvention of the pantomime cow is a particular joy, even if the dame’s nutty slapstick routine is hampered by having to play safe.

Briggs’s characters, bold and playful and bright, will appeal to children and adults alike. The singing is the ace card. What voices, whether Weatherhill’s operatic entry; professional debutante Tether’s arrival as Yorkshire’s next Sheridan Smith with her gift for investing personality in every line or the appealing Fox’s top-notch prowess in big numbers and ballads alike.

Foxy, ladies! Jordan Fox in superhero mode as Jack Trott in Jack And The Beanstalk

Evans’s Fairy Mary is fun and feisty, especially in her battles with Stroughair’s long-fingered, stove-pipe top-hatted Flesh Creep, commanding the stage with that irrepressible swagger and spectacular singing we know from his drag diva, Velma Celli.

You will never have a better chance to see Gary Lloyd’s flamboyant, fab-u-lous choreography so close up it is almost personal, dazzlingly pretty in the transformation scene, bouncing madly on and off trampolines in Stroughair’s high point, Jump (the Van Halen anthem).

Bean there, done that? Not until you have seen this new brand of York pantomime.

Review by BARSTOW TEASDALE. Copyright of The Press, York

Fairy tale ending: Livvy Evans as Fairy Mary in Jack And The Beanstalk

Jordan Fox’s return to the stage as Jack is a dream true after anything but Beautiful year

“He’s just a dreamer, who wants to be up in the clouds,” says Jordan Fox of playing Jack. “I can get on board with that: I’m an actor; I can get lost in stories” Picture: Charlie Kirkpatrick

EVERYTHING should have been Beautiful for Jordan Fox in 2020.

“I was in the tour of Beautiful, the Carole King musical, at the start of the year, and then that got cancelled by the pandemic lockdown,” says the West End actor from West Yorkshire. “The tour had been such fun, but when I got back to London from Cardiff, I got the email to say ‘Don’t go to the next theatre’.”

Based in London for the past couple of years, starring in Kinky Boots and Friendsical, the Friends-parodying musical, Jordan has moved back to Yorkshire in lockdown.

Now he finds himself in the title role – Jack, not the allotment staple – in York Stage’s pantomime, Jack And The Beanstalk, from Friday at Theatre @41 Monkgate, York.

“Me and Nik [writer-director Nik Briggs] went to university together at Bretton Hall [the Grade 2 listed building on the Yorkshire Sculpture Park estate, near Wakefield]. It was like Hogwarts! I loved it!” says Jordan, who studied there from 2006 to 2009.

“I was in the first year when Nik was in the second year and we ended up doing some projects together and getting on really well.”

Now 32, Jordan says: “We’ve chatted a few times, but because he’s based in York and I’ve been in London we’ve kind of missed each other’s paths. So, it feels really lovely to be doing this panto.

“Nik messaged me and said, ‘I know you’re based in London but we’re looking for Yorkshire actors’, and I said, ‘well, I’m coming back, can I do it?’.”

Jordan was born in Bradford and grew up in Huddersfield and his family now lives in Holmfirth. “I’ve moved back home, living with my partner in Holmfirth, and if I get a West End show again, I’ll rent down there and keep the house up here,” he says.

He performed in Lawrence Batley Theatre pantomimes in Huddersfield in his childhood. “Then, in 2014-2015, I was Peter Pan in Peter Pan with Dean Gaffney as my Captain Hook, and now I’m doing Jack And The Beanstalk, so I’ve had a green theme to my pantos, it seems!”

Deep into tech week now for his role as Jack, Jordan says: “The great thing that Nik has done with the script is that he’s really massively acknowledged the present pandemic situation, with all the social distancing.

Feeling good to be back: Jordan Fox in an early rehearsal for York Stage’s Jack And The Beanstalk. Picture: Charlie Kirkpatrick

“We make lots of references: we can air-hug, play air guitar, without us breaking any rules. We’re using a traverse stage design too [with the audience seated in bubbles to either side], and we can really fill that space in a different way when, even though we can’t do traditional panto things, we can figure out new ways and it’s always nice to do that.”

Jordan is enjoying reacquainting himself with the pantomime world for a second time. “For me, there was a really big gap between doing it when I was young and then getting back into it for Peter Pan, and now it’s good to be doing it again,” he says.

“I love the simple fairy-tales, the silliness of it all, whereas normally [with musicals] you don’t ever have the free rein to do anything like that. With panto, if something goes wrong, it’s great to be able to include the audience in it.”

As for playing Jack, Jordan says: “As I’ve read him, he’s northern, probably sounding like I did before going to London! I’ll be letting my Yorkshire heritage take over.

“He’s just a dreamer, who wants to be up in the clouds. I can get on board with that: I’m an actor; I can get lost in stories! Jack is simplistic in his ideals, not weighed down by anything. Instead of the norms of adulthood, he’s still letting himself dream, which we can all connect with.”

Dreams have been put on hold in Covid-19 2020. “It was so disorientating when Beautiful stopped. A lot of actors, when we’re not working in shows, work in bars, teach kids, do gigs, basically anything where there’s a crowd, but because everything stopped, it was an anxiety-ridden couple of months,” says Jordan.

“It felt like the world falling from beneath you, but luckily I had some savings, and I started doing some ‘assisting engineering’ work, basically handing people tools.”

Then came Nik’s invitation to climb a beanstalk in a York theatre. “This is a dream come true and I’m so happy to be here,” says Jordan. “It’s been so frustrating for the theatre world this year, when it seems like the Government doesn’t make the effort to go and get someone like [theatre producer] Cameron Mackintosh to ‘tell us what we should be doing’.”

Treading the boards once more at last, Jordan says: “When you come to a show, you never leave the theatre the same person as when you arrived, and that’s what we’ve all been missing.”

Dare to dream, like Jack, like Jordan, of better times ahead. In the meantime, enjoy the uplift, the joy, the daftness, of pantomime.

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

“How do you fancy getting your dame on this Christmas, Alex?”. The answer is Yes!

Trott along now: Alex Weatherhill in all Dame Trott’s finery in York Stage’s pantomime Jack And The Beanstalk. Picture: Charlie Kirkpatrick

ALEX Weatherhill took a call from York Stage artistic director Nik Briggs in the quietude of September.

“How do you fancy getting your dame on this Christmas,” asked Nik, having decided he would stage a pantomime at Theatre @ 41 Monkgate to close out a year blighted by the Coronavirus pandemic.

The sight of Alex in full dame attire and face paint at the October 30 photocall to launch Jack And The Beanstalk provided the answer to that request.

“Right now, I would normally be in Spain, as quite often I do a guest musical-directing spot for the Institute of Arts in Barcelona,” he said that autumn day. “I very luckily have managed to get on board to do projects there three times with their second and third-year students, then flying back to go straight into working on pantos.”

Alas, this accursed year has been different, however. No musical directing in Barcelona, nor his usual pantomime commitments for Paul Holman Associates. “I’ve been a musical director for Paul, including for pantomimes at The Carriageworks in Leeds, and then, four years ago, I made the move across to director,” says Alex.

“I directed the panto [at the Spotlight] in Hoddesdon, in Hertfordshire, for three years and I was due to direct Sleeping Beauty at The Harlequin Theatre in Redhill, Surrey, this winter until it was cancelled.”

Hence the September call from Nik Briggs, inviting him to make the journey from his home in Speeton, the easternmost village in North Yorkshire, on the cliff top between Filey and Bridlington, to be Dame Trott in Jack And The Beanstalk.

Alex Weatherhill, as Bernadette, right, with Joe Wawrzyniak, as Tick, left, and Jacob Husband, as Adam, front, in York Stage Musicals’ Priscilla Queen Of The Desert, The Musical, at the Grand Opera House, York., in September 2017. Picture: Benedict Tomlinson

“I would last have been on a York stage for York Stage Musicals in Priscilla, Queen Of The Desert,” says Alex, recalling his drag-queen role as Bernadette at the Grand Opera House. “It was so much fun to do, but very intense.”

He is no stranger to wearing women’s clothing on stage. “I’ve played a lot of middle-aged ladies: the number is probably running into double figures by now, so I suppose it was inevitable I would play dame one day,” says Alex.

“But I’d shied away from it, as it’s a role unto itself, particularly here in York, with all the history of Berwick Kaler’s shows, but now I’m looking forward to it, my first time as the dame, and any trepidation will go during rehearsals.”

Reflecting on past roles, Alex says: “Everything that I’ve done has been character acting, almost trying to fool the audience so they don’t know they’re watching a man playing a woman, starting with Mary Sunshine in Chicago, where there’s no drag element to it. You are there to trick the audience. The way of becoming a woman for that role is very different from playing the pantomime dame.”

Alex has been settling on his brand of dame “who happens to be in Jack And The Beanstalk this year”. “I’m drawing on Patricia Routledge, Maureen Lipman and Julie Walters as my influences, so Nik has been writing with those influences and mannerisms in mind, and they’ll come out in my voice and movements,” he says.

Routledge crossed with Lipman and Walters? What fabulous fun awaits!

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

Jacob Husband, as Adam, front, Alex Weatherhill, as Bernadette, and Joe Wawrzyniak, as Tick, in York Stage Musicals’ Priscilla Queen Of The Desert, The Musical, at the Grand Opera House, York. Picture: Benedict Tomlinson.  September 2017

May is so at home with her Yorkshire accent in professional panto debut for York Stage

May Tether as Jill in her professional debut in York Stage’s pantomime, Jack And The Beanstalk. Picture: Charlie Kirkpatrick

MAY Tether will make her professional stage debut in Jack And The Beanstalk back home in Yorkshire after her graduation from London drama school Trinity Laban in July with first class honours. 

From December 11, she will play Jill in York Stage’s debut pantomime at Theatre @41 Monnkgate, as she rejoins the company where she became a favourite in such roles as Tracy Turnblad in Hairspray, Elle Woods in Legally Blonde: The Musical and office martinet Roz in 9 To 5: The Musical: American roles all.

Back then, May was known as Maya, studying musical theatre at York College before heading from Goole to London.

“Do you know what I’m loving about the panto script?” she says on the first day of rehearsals under writer-director Nik Briggs. “It reads really well in my own accent when I’m used to playing parts with heavy American accents or Cockney character roles as I’m a character actress, but for this, when people put on a Yorkshire accent, they sound like me!

“I’ve never had the chance to use my own accent, so this will be the first role in my native tongue, which is great.”

May Tether – in her earlier York Stage Musicals days as Maya – in the lead role of Elle Woods in Legally Blonde The Musical

May, 23, has worked with Nik plenty of times previously, most recently when performing in York Stage Musicals’ first open-air concert to a socially distanced audience at the Rowntree Park amphitheatre in August post-Lockdown 1.

Exciting too is the rehearsal-room presence of West End choreographer Gary Lloyd, a Premier League signing to Briggs’s production team. “I’m thrilled to be working with Gary because doing  a show on this scale, with a cast of eight, rather than a big West End cast, gives a lovely insight into how he choreographs,” says May.

“When I was Trinity Laban, I did a piece for my dissertation about Gary’s choreography because some of his work is so abstract!”

In a year when the pandemic brought theatre to a stop, May is shaking off the dust from the quiet months. “What’s strange for me is that it does feel like riding a bike, acting again…though not the singing! With the acting, I was thinking, ‘I’m back and I’m really in my comfort zone!’,” she says.

May Tether performing in York Stage Musicals’ open-air concert in Rowntree Park, York, in August. Picture: Charlie Kirkpatrick

“I’m known as being quite ‘belty’ as a singer, and I couldn’t do it just straight out, so I had a bit of a panic attack, but actually then it was OK for the Rowntree Park concert.

”Singing in that tent in that field, I’ve never been so happy to see everyone there, watching a show in the rain. It was unbelievable to see how much people cared about going out to see a show after so long with no theatre.”

May is looking forward to performing on a traverse stage, a configuration with the audience on either side of the performance space. “I love traverse. It’s my favourite,” she says. “I just enjoy being able to look around and taking in everyone’s gaze. You’ve got to include everyone, be unselfish and keep moving. It’s very Shakespearean and I love Shakespeare.

“With the audience sitting in bubbles, we need to make the panto feel as inclusive as possible. Where normally you have a ‘fourth wall’ to break down, this show isn’t traditional. There’s a pandemic going on, audience sizes have to be reduced, but it’s very exciting to be doing a panto in such an intimate setting. Nik has a way of making everything he does a huge spectacle and this will be no exception.”

May in December is focusing fully on her return to the stage. “Now I’m back working in the theatre, I’m not thinking about Christmas. I just want to do my job again,” she says. “It’s really nice to be thinking, ‘I’m back on my feet, doing something I love so much’. My family haven’t thought about Christmas yet either because they just want to see the show. They can’t wait!”.

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

Move over drag diva Velma Celli, here’s Ian Stroughair’s York panto villain Flesh Creep

Welcome to the dark side: York musical actor, singer and dancer Ian Stroughair casts off his drag diva act, Velma Celli, to play Flesh Creep in York Stage’s Jack And The Beanstalk this winter

YORK has seen plenty of Ian Stroughair this year, online largely, from his Bishopthorpe kitchen in his cabaret guise as drag diva divine Velma Celli.

From December 11, the West End musical actor, singer and dancer can be enjoyed in his home city like never before, making his York pantomime bow in York Stage’s Jack And The Beanstalk at the Covid-secure, socially distanced Theatre @41 Monkgate.

Given his glamorous, glorious-voiced alter ego as Velma, you may have expected Ian to slip into the dame’s costumes, but “perhaps I’m a little young for dame,” he says.

Instead, 6ft 5 in his boots and stove pipe top hat, Ian will be switching to the dark side, entering stage left as Flesh Creep in writer-director Nik Briggs’s 90-minute production on a traverse stage.

“Yeah, finally I’m doing a panto in York,” he says, wiping away the face paint from his photo-call session. “Before the pandemic lockdown changed everything, I was supposed to be auditioning for the York Theatre Royal pantomime [Cinderella, pre-lockdown], but that didn’t happen.

Smokin’! The poster for Large & Lit In Lockdown, one of Velma Celli’s kitchen-sing dramas streamed from
Ian Stroughair’s Bishopthorpe kitchen

“Just like I was going to be doing Funny Girls for three months, taking over from Betty Legs Diamond, so I should have been going up to Blackpool for that, but then all the theatres shut suddenly. So instead I got on the train and came home to York.”

In globe-strutting Velma Celli mode, Ian had been performing in Australia before the escalating Coronavirus pandemic sent him packing back to Blighty, quarantining in York from a week before lockdown.

He refused to be downtrodden, instead writing and cycling to keep show-fit and embracing the nascent possibilities of steaming concerts live and sparkly from the improvised Case De Velma Celli kitchen stage.

“It was tricky at first because we were trying to navigate the technology to make it look and sound good, so it was a big learning curve, but so many friends were just sitting at home moaning, and I thought, ‘no, there are still ways to be artistic and you just have to think outside the box and work harder than everyone else,” recalls Ian, who began with an April 29 fundraiser by Velma for St Leonard’s Hospice, York.

Later, for his kitchen-sing dramas, he presented Velma in Large & Lit In Lockdown and virtual versions of the cabaret queen’s hit shows Equinox, Me & My Divas and A Night At The Musicals.

Minus the make-up: York actor and international drag queen Ian Stroughair

Usually to be found once a month gracing The Basement stage at City Screen, York, Velma returned to live performance in York by signing up for a rugby club – York RI Rugby Union Football Club, in New Lane, Acomb, to be precise – for An Evening Of Song outdoors under the September stars.

Velma playing to playing a rugby club crowd in York on a Friday night…that’s brave, Ian? “Someone suggested there and I went down and met the lovely Caroline Knight and I was sold. Lovely people there and I grew up in Acomb, so it just felt right,” he says.

“The crowd turned out to be mainly people who come to my shows at City Screen, but we did have a LGBTQ rugby team in!”

Rehearsals for Jack And The Beanstalk began at Theatre @41 on November 23, reuniting Ian with West End choreographer Gary Lloyd, who has headed north to York, where his sister, Jo Theaker, is a leading light with York Stage.

“Gary directed and choreographed me in a show called What A Feeling! for a UK tour and the London Palladium,” Ian recalls. “I was 23, so it was nearly 15 years ago. It’s still the hardest-working show I’ve ever done because Gary’s choreography is always spectacular, so it’s great to be working with him again. He’s one of the very best.”

Ian has previous form in pantomime, playing Dandini in 2015/16 in Cinderella at the Regent Theatre, Stoke.  “I loved every minute. We were fortunate to win a couple of Great British Pantomine Awards,” he says.

Ian Stroughair in Velma Celli mode

“I was nominated too, for Best Actor, which was lovely. Julian Clary beat me. It was me, Julian and Samuel Holmes, who were nominated; they’re both panto veterans, Julian with his £20,000 worth of costumes at the Palladium…and then me in my panto debut!”

Now comes the sinister sidestep to playing the baddie Flesh Creep in Jack And The Beanstalk. “I’ve never done baddie before, so I’m going to take out Velma’s ‘potty’ mouth and replace it with some sinisterly articulated elocution,” says Ian, elongating his words.

Having lost his mother a few years ago, Ian says Christmas “can be a difficult time”, but “if you can’t laugh at a pantomime you must be dead inside”. “So, I can’t wait to be spreading the joy this Christmas. I’m loving it, after the only things that got me through this year were fried food and wine!”

Looking to the day when he may yet emulate his “idol and a living legend”, York’s long-running dame Berwick Kaler, Ian says: ”Panto producers do keep trying to get me to play Ugly Sister, and  should I ever play dame, it’s a role where it’s all in the rhythm and instinctive comedy timing. That’s something you can’t teach but you can get better at it.

“It’s an exhausting role and should be the heart of every great panto. I prefer the dame to not be too polished aesthetically; a tad rough around the edges ideally.”

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

Be a brick! Step up to the plate by signing fundraising support for Theatre @41

Emily Taylor, left, and Danielle Mullan demonstrate the bricks at the John Cooper Studio Theatre at Theatre @41 Monkgate, York. They will be performing there from December 11 to January 3 in York Stage’s pantomime, Jack And The Beanstalk

THEATRE @41 Monkgate is selling personalised bricks to create a new display at York’s black-box studio theatre.

Sales of the inscribed slates will help to make up some of the revenue shortfall created by the Coronavirus pandemic. Theatre @41’s new chairman, Alan Park, hopes theatre participants and supporters alike will show their fundraising backing by digging deep.

“Anyone who has been to Theatre @41 knows what a special place it is,” he says. “We have obviously lost revenue while having to close and we need to make sure we can keep going. Every donation we receive helps us continue to provide an accessible and affordable theatre space to the York community.

“These bricks are a great way for anyone who uses our space, or has been to a show they love, to help us achieve this. They will be able to see their words and messages every time they visit and know they have played a part in the heritage of Theatre @41.”

To buy a brick for £40 or two for £70, visit: 41monkgate.co.uk/bricks. Alternatively, email: info@41monkgate.co.uk.

On message: Guy Wilson shows off a fundraising brick for Theatre @41 Monkgate. Guy has attended shows there regularly, takes LAMDA exams and performs for resident companies York Stage and Pick Me Up Theatre