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York Shakespeare Project invites you to a secret wedding at Holy Trinity Church, Goodramgate, as Summer Sonnets return

York Shakespeare Project’s poster for Summer Sonnets at Holy Trinity Church

YORK Shakespeare Project’s Summer Sonnets return to the churchyard of Holy Trinity, Goodramgate, York from August 9 to 17.

“After attracting a record audience of more than 600 people to the show last year in the Bar Convent gardens, we are delighted again to be offering a taste of Shakespeare that is both entertaining and accessible,” says YSP chair Tony Froud, who is directing the sonnet season for a second year.

Holy Trinity last hosted YSP’s Sit-Down Sonnets in September 2020, under social distancing restrictions during the Covid pandemic.

Writer Josie Campbell

“This year we plan to take full advantage of the historic and beautiful setting”, says Tony. “Many people will know the church as the site of the blessing of the relationship of Anne Lister (Gentleman Jack) and Ann Walker [at Easter 1834] and we are building this year’s show around that famous event” [now marked by a York Civic Trust rainbow plaque with the wording “took sacrament here to seal her union”).

The Summer Sonnets show has been scripted by Josie Campbell, who performed for YSP on the Rose Theatre’s Shakespeare Wagon in 2019 at the Eye of York.

Sharing her time between Yorkshire and Dubai, Josie is a professional actor/director and co-founder of Little Britches Theatre Company. In 2021 she toured Yorkshire with a pop-up production of Shakespeare’s Will, a one woman show about Anne Hathaway, Shakespeare’s wife.

Summer Sonnets director Tony Froud

For Summer Sonnets, Josie has come up with an entertaining plot, taking full advantage of the church’s setting and rich history. “I have thoroughly enjoyed writing a Sonnets show, which includes Anne Lister, one of Yorkshire’s most uncompromising and resilient women”, she says.

Audiences are “invited to a secret wedding in Holy Trinity, Goodramgate, in the heart of York”, where they will “meet the church’s most famous couple while enjoying a complimentary drink. As they witness the happy event, they may start to wonder: is everything quite what it seems?”

Debutant York Shakespeare Project sonneteer Grace Scott in rehearsal. Picture: John Saunders

“As ever, the show features a wide variety of colourful characters, each speaking in everyday English until they shift into their 14 lines of verse from one of Shakespeare’s sonnets to reveal the heart of their story,” says Tony.

“It’s a lovely experience. You can sip your complimentary drink on a summer’s evening in a delightful setting. Very often, the characters slip into a sonnet and the audience hardly notices that the language has become Shakespearean. And you should look forward to a surprise or two!”

2024 marks the tenth anniversary of YSP’s first show built around Shakespeare’s sonnets in the form of 2014’s Sonnet Walks, wherein groups of audience members met assorted characters as they walked through the streets of York.

Liam Godfrey: Making his Summer Sonnets debut. Picture: John Saunders

“Sadly, I never saw the Walks, but there’s an advantage in having a single setting where characters can meet, start a story and then reappear to complete it,” says Josie.

Tony’s cast is a blend of actors new* to the YSP Sonnets and seasoned sonneteers: Maurice Crichton; Marie-Louise Feeley*; Liam Godfrey*; Emily Hansen; Halina Jaroszewska*; Alexandra Logan*; Sally Mitcham; Grace Scott*; Effie Warboys*; Helen Wilson and Tony Froud himself.

York Shakespeare Project in Summer Sonnets, Holy Trinity Church, Goodramgate, York, August 9 to 17, except August 12, 6pm and 7.30pm, plus 4.30pm on August 10 and 17. Box office: 01904 623568 or yorktheatreroyal.co.uk/show/summer-sonnets/. Tickets: £10; £5, age 14 to 17; two under-14s per adult. The price includes a free drink.

Regular York Shakespeare Project sonneteer Helen Wilson in rehearsal. Picture: John Saunders
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Tempest Wisdom appointed director of York Shakespeare Project’s autumn production The Two Gentlemen Of Verona

Tempest Wisdom: Writer, director, performer and teaching artist

TEMPEST Wisdom, York theatre-maker and educator, will direct York Shakespeare Project’s autumn production of The Two Gentlemen Of Verona at Theatre@41, 41 Monkgate, York.

Chair Tony Froud says: “Tempest [they/them] emerged from a strong field of applicants to direct the play. Their imagination, infectious enthusiasm and love of Shakespeare won the day. I cannot wait to see their production.”

Since moving to York in 2021, Tempest has made their mark with their work for York Theatre Royal Youth Theatre and as assistant director for York Theatre Royal and the Royal Shakespeare Company’s New Plays Festival, as well as in numerous stage appearances.

This year, they directed Jules Risingham’s Anorak in Next Door But One’s Yorkshire Trios at York Theatre Royal Studio and appeared in Shakespeare Speakeasy at Theatre@41 and Wittenberg Revisited, as part of the 2024 York International Shakespeare Festival.

Look out too for Tempest as the writer, producer and MC of Bard At The Bar, the bi-monthly “Shakespeare karaoke” readings at the Micklegate Social bar.

“I have exciting plans for the production, set in a Victorian music hall,” says Tempest. “I’m looking for a diverse and multi-talented ensemble of lively actors to bring Shakespeare’s comedy to life for a contemporary audience.”

Auditions for the October 23-26 production will be held at Southlands Methodist Church, in Bishopthorpe Road, on June 19 and 20 with callbacks on June 23. For further information and details of how to apply, contact Tempest via https://drive.google.com/file/d/1hVNoRWLyKhVQQfEcBn-hv-r0WfWj4mT0/view

Tempest Wisdom (they/them): the back story

Writer, director, performer and freelance teaching artist.

Originally hails from United States of America, where they wrote, directed, performed and taught for several years. Received Bachelor’s degree in theatre and performance studies from University of Chicago in 2018.

Relocated to York in 2021 to pursue Masters in theatre-making. Now here to stay!

Specialises in clown, mask and comedy work, with majority of training stemming from Italian tradition of commedia dell’arte.

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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.

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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.

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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.

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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

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More Things To Do in Ryedale, York and beyond “the carriage ride of your life”. Hutch’s List No. 11, from Gazette & Herald

Katherine Lea: Making her Hotbuckle Productions debut in Pride & Prejudice

BUCKLE up for Austen’s sister act, Shakespeare’s battle of the sexes and Sheridan’s scandalous comedy of manners, plus music, art and poetry in the library, baroque and blues concerts and tragic opera, advises Charles Hutchinson.   

Ryedale play of the week: Hotbuckle Productions in Pride & Prejudice, Helmsley Arts Centre, Saturday, 7.30pm

IN artistic director Adrian Preater’s humorous, multi role-playing adaptation of Jane Austen’s 1813 novel, Hotbuckle Productions enter the world of the Bennets.

From headstrong Elizabeth to proud Mr Darcy, rich characterisations abound as five sisters deal with marriage, morality and misconceptions. “Hotbuckle up for the carriage ride of your life” with Joanna Purslow, Tomas Mason and company newcomer Katherine Lea. Box office: 01439 771700 or helmsleyarts.co.uk.

Patricia Qua: Ceramicist and graphic designer taking part in York Open Studios for the first time in Hempland Drive, York

Art around every corner: York Open Studios, Saturday and Sunday, 10am to 5pm

AS many as 156 artists and makers who live or work within a ten-mile radius of York will be welcoming visitors to 106 workspaces to show and sell their art, ranging from ceramics, collage, digital, illustration, jewellery and mixed media to painting, print, photography, sculpture, textiles, glass and wood. Among them will be 31 new participants. Full details and a map can be found at yorkopenstudios.co.uk. Look out for booklets around the city too.

Keeping an eye on things: English Touring Opera in Puccini’s Manon Lescaut at York Theatre Royal

Opera of the week: English Touring Opera in Manon Lescaut, York Theatre Royal, Friday, 7.30pm

ENGLISH Touring Opera returns to York in Jude Christian radical production of Giacomo Puccini’s heartbreaking Manon Lescaut, for which she brings incisive direction to her sharp, poetic new translation.

Puccini’s 1892 breakthrough hit presents a devastating depiction of a woman wrestling with her desire for love on her own terms and the rigid double standards imposed on her by society. Box office: 01904 623568 or yorktheatreroyal.co.uk.

London Obbligato Collective: Opening the York Baroque+ Day at the NCEM

Classical concert of the week: London Obbligato Collective, York Baroque+ Day, National Centre for Early Music, York Saturday, 12 noon  

FORMED by Masumi Yamamoto, the new London Obbligato Collective focuses on “accompanied harpsichord sonatas”, where the harpsichord is given the solo role within the trio sonata texture, highlighting and enriching the colours and nuances of the instrument.

Next Saturday’s programme includes 18th century music by Felice Giardini, Johann Christian Bach and Carl Friedrich. Box office: 01904 658338 or ncem.co.uk.

Lydea Perkins, as Lady Teazle, and Joseph Marcell, as Sir Peter Teazle, in Tilted Wig’s The School For Scandal. Picture: Anthony Robling

Touring play of the week: Tilted Wig, Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, April 23 to 27, 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees

JOSEPH Marcell, fondly remembered as Geoffrey the butler in the American comedy series Fresh Prince of Bel Air, stars in Seán Aydon’s new production of Richard B Sheridan’s comedy of manners The School For Scandal, where gossip never goes out of fashion.

Marcell plays Sir Peter Teazle, who believes his young wife is sleeping with someone else. Not true, but she is starting to think that if her husband believes it, she should give it a go. After all, if you are going to cause a scandal, you may as well enjoy it. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Florence Poskitt: Stepping in to play Kate in York Shakespeare Project’s The Taming Of The Shrew

Seventies’ Shakespeare play of the week: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday

IN a late change of cast, actor-musician Florence Poskitt, from the York musical comedy duo Fladam, is taking over the principal role of Kate in Maggie Smales’s production of Shakespeare’s controversial battle of the sexes, now set in 1970.

A psychedelic world is opening up, promising peace, love and equality, but Kate was born to be wild and wants a voice of her own. The times they are a’changin’ and the old order is dead…or is it? Let battle commence. Box office: tickets.41monkgate.co.uk.

Redfish Blues Band: Returning to Milton Rooms, Malton

Blues gig of the week: Redfish Blues Band, Ryedale Blues Club, Milton Rooms, Malton, April 25, 8pm

NOMINATED for Blues Band of the Year and Blues Album of the Year in the UK 2024 Blues Awards, Redfish Blues Band return to Malton with Christian Sharpe on vocals and guitar, Steve McGuckin on Hammond, Rod Mackay on bass and Steve Gibson on drums.

As witnessed on their Together Is Better album and Soho Rising (Girls, Girls, Girls) single, they play a delicious, bubbling gumbo of blues, soul, gospel and funk in live performances defined by energy and restraint. Box office: 01653 696240 or themiltonrooms.com.

Kai West’s poster for Bull’s Live At The Library day on May 19, based on the Cluedo board game design

Gig announcement of the week: Bull present Live At The Library, York Explore Library & Archive, Library Square, York, May 19, from 12 noon

YORK Explore and Please Please You team up with York band Bull for a day of music, art and poetry to celebrate Explore York’s tenth birthday and raise funds for York’s libraries. The climax will be a 6.30pm to 10pm gig by Bull, Marnie Glum, Rowan and performance poet Stu Freestone (tickets, tickettailor.com/events/exploreyorklibrariesandarchives/1216274).

Free activities include open mic-style performances run by Bull frontman Tom Beer in the Marriott Room from midday, featuring Gabbie Lord, Maggie, Gilles, She Choir, Filipe, Old Time Rags, Eve Thomas & Co and more,  plus art workshops for all ages hosted by Izzy Williamson (lino printing, 1pm) and Bull bassist and illustrator Kai West (T-shirt design and screen printing, 12 noon to 2pm) in the Garden Room, with donations welcome.

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Maggie Smales to direct The Taming Of The Shrew for York Shakespeare Project at York International Shakespeare Festival

Maggie Smales: Directing York Shakespeare Project in The Taming Of The Shrew. All pictures: SR Taylor

YORK Shakespeare Project welcomes back Maggie Smales to direct The Taming Of The Shrew, Shakespeare’s controversial battle of the sexes, at Theatre@41, Monkgate, York, from April 23 to 27.

“We are absolutely delighted to have Maggie as our director,” says YSP chair Tony Froud. “We know that she will find an exciting way to let the play speak to us in 2024.”

This is the first time that Maggie has directed for York Shakespeare Project since her all-female version of Henry V, chosen as “York Play of the Year” in the 2015 Hutch Awards.

Chesca Downes: Playing Kate in The Taming Of The Shrew

YSP’s multi-coloured psychedelic poster announces the production’s setting in 1970. The Sixties have shaken off the post-Second World War 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’s production.

“This will actually be my third encounter with this play,” she says. “I played in it as a youngster in Rotherham in South Yorkshire Theatre for Youth in the 1960s, then as a Bretton Hall drama student in 1970, and it was experiences of those days that gave me the inspiration for my ideas for this production.”

At the centre of the play are Kate and Petruchio, played in Franco Zeffirelli’s 1967 film version by Elizabeth Taylor and Richard Burton. YSP’s Kate is University of York student Chesca Downes, in her first YSP role after playing a number of major roles at the university, such as the duchess in The Duchess Of Malfi.

Jim Paterson: Playing Petruchio for a second time

Opposite her will be Jim Paterson, a face more familiar to YSP audiences, who will recall his lead roles in The Two Noble Kinsmen, Cymbeline and Antony And Cleopatra. He is no stranger to the part of Petruchio, having played him in Cole Porter’s musical Kiss Me Kate in 2019.

Further roles go to Rosy Rowley as Baptista Minola; Kirsty Farrow, Bianca; Mark Payton, Gremio; Nick Patrick Jones, Hortensio; Sam Jackson, Lucentio; Mark Simmonds, Vincentio; Lara Stafford, Tranio; Cari Hughes, Biondello; Stuart Green, Grumio, and Joy Warner, Merchant and Widow.

As YSP’s second cycle of staging all of Shakespeare’s plays over 25 years rolls on, The Taming Of The Shrew will be performed as part of the 2024 York International Shakespeare Festival. Tickets for the 7.30pm evening performances and 2.30pm Saturday matinee are on sale at boxoffice@41monkgate.co.uk.

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Claire Morley to perform reading of Rachel E Thorn’s Me For You at SJT and take part in Yorkshire Trios at York Theatre Royal

Claire Morley: Performing new works in Scarborough and York

YORK actresses Claire Morley and Elizabeth Hope will perform a script-in-hand reading of Rachel E Thorn’s new play, Me For You, at the Stephen Joseph Theatre, Scarborough, on January 30.

This is the latest in the SJT’s regular series of readings of works by up-and-coming writers, chosen from submissions to the literary department, in this case one longlisted for the Kenneth Branagh Award for New Drama Writing.

In Me For You, Holly (played by Elizabeth Hope) knows that human beings have screwed the planet, but she is still desperate to have a baby of her own. She has tried doing the right thing, but can using a bamboo toothbrush really reverse global warming?

In a bid to save the planet, Holly has joined Extinction Rebellion and just wishes her girlfriend, Alex (Claire Morley), would sign up too.

Me For You writer Rachel E Thorn

“Me For You is a play all about love in the face of overwhelming evidence that we’re a despicable race of selfish parasites,” says Rachel E Thorn, a writer and actress from Sheffield, who pens comedy for BBC Radio 4 and has collaborated with impressionists Alistair McGowan, Charlie Hopkinson and Darren Altman.

Rachel also tours the country with her improvised shows that have taken home the Best Improv Show awards from the Leicester Comedy Festival and Edinburgh Fringe.

Claire’s preparations are under way for this month’s one-off reading. “I was sent a draft of the script in November, so that I can get an idea of the themes of the play and the characters, but really most of the work is done on the day as there might be new edits,” she says. 

“On the morning of the performance, I’ll meet with Fleur Hebditch, a producer at the SJT, writer Rachel and Elizabeth for the first time. We’ll spend the day discussing the script and have a rehearsal before a sharing in the evening, script in hand.

Elizabeth Hope: Performing Me For You with Claire Morley at the SJT

“There’ll also be a Q&A with the writer afterwards. Rachel has written a cracking piece so I’m excited to get stuck in.”

Claire first took part in a Stephen Joseph Theatre reading in August 2021. “We did Emma Geraghty’s play Lagan,” she recalls. “It then became These Majestic Creatures, which was produced by the SJT as a fully realised production last autumn [in the McCarthy].

“The emphasis is really on the development of the work for the writer. That’s why it’s so great to work with them during the day as you can find out their vision and do your best in fleshing out this character for them, often for the first time.”

Claire continues: “Rehearsed readings are a great opportunity to work on complex characters and interesting writing without the pressure of line-learning! I enjoyed being part of one with Live Theatre, Newcastle, last April as part of their 50th anniversary celebrations, along with their special guest, Roger Allam, who played my father in Shelagh Stephenson’s An Experiment With An Air Pump.”

Claire Morley’s Henry V, centre, at Agincourt in York Shakespeare Project’s Henry V in 2015

Born and bred in York, Claire is a graduate of ALRA (Academy of Live & Recorded Arts) North Drama School, in Wigan, Greater Manchester, and a former teacher.

She caught the eye on the York stage in the title role in Maggie Smales’s all-female version of Henry V for York Shakespeare Project (YSP) in 2015 and as Kastril in Bronzehead Theatre’s masked production of Ben Jonson’s The Alchemist at the 2019 York International Shakespeare Festival.

In 2022, she completed a hattrick of all-female Shakespeare performances, after YSP’s Henry V and Coriolanus in 2019, starring as Macbeth in Chris Connaughton’s three-hander version of Macbeth for Northumberland Theatre Company in a tour that visited Stillington Village Hall, near York, and Pocklington Arts Centre.

Claire Morley’s Kastril, right, in Bronzehead Theatre’s The Alchemist in 2019. Picture: Jtu Photography

Coming next after Me For You will be Claire’s participation in York community arts collective Next Door But One’s Yorkshire Trios at York Theatre Royal Studio on March 26 and 27.

Through a series of commissions, York actors, writers and directors are being supported by NDB1 to produce original, short pieces of theatre – five to 15-minute solo performances – that respond to the overall theme of Top of the Hill.

Directed Jacob Ward, Claire will perform Yixia Jiang’s Love Letters Before Dawn. ”Jacob and I should be receiving Yixia’s script later this week, so I actually know very little at this stage,” she says.

Claire Morley’s Macbeth in Northumberland Theatre Company’s 2022 tour of Macbeth

“I do know it’s about a soldier defending a battlefield despite all seeming lost, and how to persevere and find hope. I’m excited to read it. We’ll be having a handful of rehearsals between now and joining up with the other trios for the performances in March.” 

Me For You, Stephen Joseph Theatre, Scarborough, January 30, 7.15pm. Tickets: £5, on 01723 370541 or at www.sjt.uk.com. Next Door But One’s Yorkshire Trios, York Theatre Royal Studio, March 26 and 27, 7.45pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Did you know?

CLAIRE Morley first made the pages of The Press, York, on August 18 2007 after she achieved A grades in five A-levels at All Saints’ RC School, York.

Claire, from Osbaldwick, achieved top marks in English literature, German, history, philosophy & ethics and general studies at 17, going on to study a four-year modern languages course at Somerville College, Oxford University, specialising in German.

York Shakespeare Project’s psychedelic promotional image for Maggie Smales’s production of The Taming Of The Shrew, set in 1970

Did you know too?

CLAIRE Morley will reunite with Henry V director Maggie Smales to be her assistant director for York Shakespeare Project’s spring production of The Taming Of The Shrew.

“Make Love Not War,” reads the invitation to Maggie’s 1970 setting of Shakespeare’s problematic comedy. “As they emerge from the post-Second World War greyness, the baby boomers are growing up, primed and ready to do their own thing.

“A psychedelic world is opening up, promising peace, love and equality. Kate was born, born to be wild. She wants a voice of her own. The Times They Are A’Changin’ and the old order is dead. Or is it? Find out in The Taming Of The Shrew, Shakespeare’s controversial battle of the sexes.”

York Shakespeare Project’s The Taming Of The Shrew runs at Theatre@41, Monkgate, York, from April 23 to 27, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

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REVIEW: York Shakespeare Project in Edward II, Theatre@41, Monkgate, York ****

The power of love and the love of power: James Lee’s Gaveston, left, entwined with Jack Downey’s Edward II in York Shakespeare Project’s Edward II. All pictures: John Saunders

BE warned. Expect to be splashed by water if you sit in the front row, comes the polite advice on arrival at Theatre@41, Monkgate.

Welcome to the new age of York Shakespeare Project, splashing around in works by Shakespeare’s rivals as a key part of phase two over the next 25 years. Rival number one: the ill-fated Christopher “Kit” Marlowe.

We are used to the spillage of blood as the bodies pile up in Elizabethan and Jacobean tragedies, but water? Jack Downey’s Edward II will end up bedraggled, buckets of water poured over his head, containing autumnal leaves too, in a child’s paddling pool: a fate almost as ignominious as his fabled “lamentable” death by red polka hot.

That exit awaits his malevolent executioner: Thomas Jennings, back on crop-haired hitman duty again as Lightborn after his cutthroat cameos, camera in hand, in April’s Richard III. Stereotyping maybe, but again he takes the scene-stealing honours.

Lipstick, power and paint: Emma Scott’s Young Mortimer making plans and leaving messages in Edward II

Not only water is splashed about in director-designer Tom Straszewski’s Edward II. So is gold, chucked across the back wall like a Roy Lichtenstein Pop Art explosion; splattered on Edward II’s trousers and across his forehead; emerging from his back pocket in the colour of his handkerchief.

In paper and ribbon, gold is wrapped around a heap of presents that Edward will bestow, along with titles, as freely and as ill-deserved as those winners of the Boris Johnson lottery, otherwise known as the 2022 Prime Minister’s Resignation Honours list.

Always touched by your presents, dear, but all that glisters is not gold for Downey’s Edward II, although he puts up a better fight than the weak king of earlier incarnations.

Straszewki, or Strasz as he likes to be known for short, introduces his bravura production from the end-on stage with a mischievous look in his eye, directing YSP for the third time with flinty humour, dollops of drag culture. fresh faces aplenty, and serious points to make about cancel culture, identity (Young Edward/Princess Edie), sexuality and social mobility (or immobility).

“Like Marlowe himself, we wanted to focus less on historical accuracy or psychological realism, and instead as a fantasia of power and love. This is a fearful England,” mused the director.

A woman scorned: Danae Artega Hernandez’s Queen Isabel, ready to turn tables on wanderlust husband Edward in Tom Straszewski’s bravura production of Edward II

Not only the power of love, but the love of power, craving it, attaining it, keeping it, losing it, or even not wanting it in the case of Edward’s young daughter Princess Edie (Effie Warboys), who treats the crown like a poisoned chalice.

We first encounter Miss Warboys seated at a table, in front of a dressing-room mirror, being filmed on a screen that carries the text for the benefit of deaf audience members. Playing Edward and Queen Isabel’s daughter, she is flicking idly through fashion magazines, cutting out pictures of the glitterati, silently watching from the shadows, “desperate to mend her broken family and nation”…or “bring them to heel”, as Strasz adds in his notes.

This is indeed the essence of a dysfunctional family. Edward has his irons in another fire, obsessed with Piers Gaveston (James Lee), his jumped-up, preening, exiled lover who so angers the court (James Tyler’s overwrought Lancaster, York tour guide Alan Sharp’s Warwick, Harry Summers’ Mortimer Senior) and the clergy (Stuart Lindsay’s Bishop) alike.

And above all, Queen Isabel (Danae Artega Hernandez, in her first full-scale role since playing the Angel Gabriel in high school days), who duly takes her own lover. Ever glummer, despite the glamour, divorce and plans to bring down Edward will inevitably follow.

Director Tom Straszewski: “Striving for something glorious”

There is no place for a quiet life here, much as Princess Edie might initially crave one, and safety may be sought but is never found. Social climbing is all the rage, whether Lee’s flash-harry, Beatle-booted Gaveston, Emma Scott’s outstanding Mortimer Junior or Adam Kadow’s foppish Spenser, beneath a bird’s nest of peroxide Johnson hair.

Strasz wanted to wanted to “treat Edward II as a queer play, not just in terms of the love between Edward and Gaveston, but as something that challenges what it means to be powerful”. He does exactly that, and successfully too, as power proves to be as slippery as soap.

“Underneath all that [shimmering gold] are ordinary people, striving for something glorious,” he argues. He has found it with this modern-day reading of Edward II that gives both the play and YSP new life.

Lee, Scott and Downey are the new generation of bold YSP leads, and there is much else to enjoy here, especially the use of make-up as a source of power; the lipstick slashes across the throat to signify imminent exits stage left, and the music: serenades and a power ballad, and each of Edward’s lovers crooning The Ink Spots’ I Don’t Want To Set The World On Fire. Maybe not, but Strasz does.

Performances: 7.30pm tonight; 2.30pm, 7.30pm tomorrow. Box office: tickets.41monkgate.co.uk.

Party time in York Shakespeare Project’s Edward II