From Ukraine, with love:Kyiv National Academic Molodyy Theatre in A Midsummer Night’s Dream. Picture: Oleksii Tovpyha
THE fifth edition of the York International Shakespeare Festival will begin tomorrow after tonight’s opening show, a Right Here Right Now Shakespeare Special comedy improv night at the home of Riding Lights Theatre, was scuppered by unforeseen circumstances.
Running until May 1, the 11-day programme comprises more than 40 live events, and others online, featuring international, national and York-made performances, talks, workshops, exhibitions and discussions.
Look out too for tomorrow’s Shakespeare Sonnet Marathon in the York Theatre Royal garden (weather permitting!) from 11am; storytelling in libraries and schools, and the launch of a book celebrating the festival’s community placemaking project in lockdown, York Loves Shakespeare (Friargate Theatre, Sunday, 5pm)
Flabbergast Theatre’s The Tragedy Of Macbeth. Picture: Michael Lynch
“We are delighted that the Kyiv National Academic Molodyy Theatre have accepted our invitation to showcase their dynamic and uplifting production of A Midsummer Night’s Dream (York St John University Creative Arts Centre Auditorium, April 28, 8pm)” says festival director Philip Parr.
“The Ukrainian company will also offer workshops for students and the community and will talk about the current nature of theatre in Ukraine. We are thrilled to have this company in York to not only present the quality of their work but also to demonstrate the significant cultural connection that is created through international festivals.”
Selected by the European Shakespeare Festival network from an international call-out, festival highlight Flabbergast Theatre’s visceral and lucid The Tragedy Of Macbeth (York St John University Creative Centre Auditorium, April 26, 8pm) has garnered responses such as comedian Stewart Lee’s recommendation: “Everything you want – stuff being banged, terrifying puppets, polyphonic singing, mess, mud, noise, wine, party hats, and an amazingly talented international cast”.
York actress Judith Ireland promoting York Loves Shakespeare, the York International Shakespeare Festival’s lockdown community project. Picture: John Saunders
The Stage critic Susan Elkin meanwhile enthused: “The term ‘physical theatre’ doesn’t actually do it justice. It’s an understatement.”
Bognor Regis-born experimental theatre maker, actor, writer and director Tim Crouch presents his Fringe First-winning Truth’s A Dog Must To Kennel (York St John University Creative Centre Auditorium and Atrium, April 29, 8pm) fresh from seasons in Edinburgh New York and London. In this daring modern piece of storytelling and stand-up, he explores King Lear in a post-pandemic world as a virtual reality headset meets Shakespeare as Crouch ponders the essence of live performance.
Artists from Poland, Croatia and Romania join the festival for a series of staged play readings of European texts inspired or influenced by Shakespeare or by writers roughly contemporary to him. All are in new English translations, each receiving first performances, and all three will be heard in the UK for the first time in any language.
Tim Crouch in his virtual reality head set for Truth’s A Dog Must To Kennel. Picture: Stuart Armitt
On the York front, York Shakespeare Project begins its second cycle with Dr Daniel Roy Connelly’s modern-day staging of Richard III, set in the House of Commons, at Friargate Theatre from April 26 to 29 and Elizabeth Elsworth’s innovative theatrical interpretation of Shakespeare’s long poem, here retitled Lucrece, at Friargate Theatre on Sunday and Monday.
“For 11 days, York will become the city of Shakespeare, but perhaps not the Shakespeare you might expect,” says Philip, artistic director of Parrabbola and chair of the European Shakespeare Festivals Network.
The full festival programme and ticket details can be found at www.yorkshakes.co.uk.
York International Shakespeare Festival: the back story
Philip Parr: Director of York International Shakespeare Festival
THE festival was established in 2014 and presented its first programme in 2015 with the aim of bringing exciting and innovative international productions to Great Britain and to showcase work from York and the North.
The festival is programmed and managed by Parrabbola, an arts organisation with many years’ experience in community arts and festivals.
Running every two years, the festival began as a partnership with Parrabbola, York Theatre Royal and the University of York, but has now broadened its reach to take in such York organisations as the National Centre for Early Music, Riding Lights Theatre Company, York Shakespeare Project, York Explore and Bronzehead, embedding the festival firmly in the city.
From 2023, YISF is working closely with York St John University in a new partnership designed to create a new opportunity for staff and students to produce this festival annually.
Harry Summers: Facing a winter of discontent as Richard, Duke of Gloucester in York Shakespeare Project’s Richard III
AS in 2002, York Shakespeare Project launches a mission to perform all of Shakespeare’s plays with Richard III, staged at Friargate Theatre, Lower Friargate, York, from April 26 to 29.
The first cycle concluded with a tour of The Tempest last September, and now YSP has initiated a bold endeavour to combine Shakespeare’s works with the best of his contemporaries over the next 25 years.
Esteemed York thespian John White directed YSP’s debut production of Richard III in Elizabethan garb at the Joseph Rowntree Theatre from October 30 to November 2 2002.
In contrast, Daniel Roy Connelly’s 2023 incarnation of “the York play”, part of the York International Shakespeare Festival, is rooted firmly in the 21st century. His production is set in a frenetic, calculating and brutal Westminster, with endless Machiavellian bloodletting and daily treacheries.
Connelly espouses that the England of Richard III could hardly be closer to today’s political minefield. “Telling Shakespeare through what is comfortably the most corrupt institution in the county, the play explores the cut and thrust of power’s crucible, with laws ignored and lies sown,” he contends.
“I believe that a parliamentary telling of Richard III is not only long overdue, it’s also bang on time. Prepare then for British politics as played out, murderously, on the floor of the House of Commons.”
Daniel Roy Connolly: Former diplomat directing York Shakespeare Project for the first time in Richard III
Audiences may find Connelly’s contemporary vision remarkably familiar. Richard and Buckingham excel as social media manipulators within a world of warring political parties. In the shadowy corridors of power, everyone is culpable.
Richard’s watchword? “My conscience hath a thousand several tongues, and every tongue brings in a several tale, and every tale condemns me for a villain”.
Making his YSP bow, Connelly is a former British diplomat, theatre director, actor, author and academic. He has acted in and directed theatre in the United States, the UK, Italy and China, where his 2009 production of David Henry Hwang’s M Butterfly was forced to close by the Chinese secret police.
In his cast will be: Harry Summers as Richard, Duke of Gloucester/Richard III; Rosy Rowley, Duke of Buckingham; Miranda Mufema, Lady Anne; Emily Hansen, Queen Margaret; Andrea Mitchell, Queen Elizabeth; Frankie Hayes, Duchess of York/Sir William Catesby, and Matt Simpson, Duke of Clarence.
So too will be: Jack Downey, Sir Richard Ratcliffe; Clive Lyons, Lord Hastings; Michael Peirce, Young York/Lord Grey/Murderer; Nell Frampton, Prince Edward/Rivers; Frank Brogan, King Edward IV/Stanley; Thomas Jennings, Sir James Tyrell; Nick Jones, Earl of Richmond; James Tyler, Archbishop, and Anna Kedge, Marquis of Dorset.
Tickets for the 7.30pm evening performances and 2.30pm Saturday matinee are on sale at ticketsource.co.uk/ridinglights and on 01904 655317.
Elizabeth Elsworth’s regal, calculating Queen of Egypt, Cleopatra, opposite Jim Paterson’s Mark Antony in York Shakespeare Project’s Antony And Cleopatra in 2019. Now she is directing YSP’s semi-staged version of Lucrece in her directorial debut
YORK Shakespeare Project will mark Shakespeare’s birthday on April 23 with three performances of Lucrece, a semi-staged version of his early narrative poem The Rape Of Lucrece, at Friargate Theatre, York.
Its original production was set to play at the Mansion House in April 2020 as a culminating feature of then YSP chair Councillor Janet Looker’s year as Lord Mayor, until the pandemic lockdown enforced its postponement.
Now it will be presented under Elizabeth Elsworth’s direction in performances at 2.30pm and 6pm on Sunday and 6pm on Monday as part of the York International Shakespeare Festival.
By the time of the poem’s publication in 1594, Shakespeare already had written the three parts of Henry VI, Two Gentlemen Of Verona and Richard III. When an outbreak of the plague caused a Tudor lockdown that closed London’s theatres, Shakespeare turned to poetry, exploring the theme of misplaced desire in Venus And Adonis and again in Lucrece, as it was entitled on the original frontispiece.
Extremely successful in his lifetime, these poems established Shakespeare as a poet but are rarely heard today. Just as his plays are celebrated for giving extraordinary life to their characters and stories, so he charts the inner worlds and challenges of the characters in The Rape Of Lucrece.
Emma Scott in the title role for York Shakespeare Project’s semi-staged version of Lucrece
In doing so, he gives voice to the unspeakable, his writing taking his audience to the heart of the matter. A voice is heard and actions will have consequences. In verse both gripping and heartfelt, he depicts an action resonating beyond Lucrece herself as she faces life-changing questions. How do you speak to power? To whom do you complain?
Lucrece speaks to the “MeToo” generation about situations and decisions that touch lives so deeply in a rare opportunity to experience Shakespeare’s writing at it most poignant and immediate.
Making her directorial debut, Elizabeth Elsworth has been a familiar face in many YSP productions, notably playing Katherine in Henry VIII in 2017 and Cleopatra in Antony And Cleopatra in 2019.
Emma Scott, who played Macbeth in Leo Doulton’s 2021 production of “the Scottish play”, takes the title role of Lucrece, alongside Stuart Lindsay as Tarquin; Diana Wyatt, Maid/Narrator; Judith Ireland, Player Queen/Narrator; Catherine Edge, Brutus/Narrator; Paul French, Lucretius/Narrator; Jay Wadhawan, Collatine and a female chorus of Sally Mitcham, Sonia De Lorenzo and Lydia McCudden.
Box office: ticketsource.co.uk/ridinglights or 01904 655317.
Jacob Ward directing a rehearsal for York Settlement Community Players’ production of The Real Thing. All pictures: Ben Lindley
YORK Settlement Community Players return to York Theatre Royal’s Studio this Eastertide with Tom Stoppard’s typically smart and unsettling comedy drama The Real Thing.
Premiered in 1982 by the Pocklington School alumnus, this beguiling play of surprises and erudite wit follows Henry – possibly the sharpest playwright of his generation – who is married to actress Charlotte. Into the story Stoppard weaves a second couple, Max and wife Annie.
Henry, meanwhile, has written a play about a couple, who happen to be called Max and Charlotte – just to muddy the water – whose marriage is on the brink of collapse.
Soon they will discover that sometimes life imitates art in Stoppard’s world of actors and writers, wherein his exploration of love and infidelity is designed to make audiences question: “What is the real thing?”
Alan Park’s Henry and Alice May Melton’s Annie rehearsing a scene from The Real Thing
Directing the Settlement Players for the first time, professional actor Jacob Ward says: “I’m very excited for an audience to interact with our modern-day version of this play. Its subject seems simple but, as we see through the eyes of various characters, we realise its complexity, and enjoy having our views on love and relationships broadened.
“The writing is nothing short of genius – it really is. Even after 20-plus times of reading, I’m still finding impossible connections and meaning. It’s a joy to direct and will be a thrill to watch: hilarious, heart-warming and thought-provoking all in one. We have a brilliant cast of actors to take you on the journey and a truly dedicated production team to bring the play to life.”
Ward’s cast will be led by Alan Park, chair of Theatre@41, Monkgate, as Henry and Alice May Melton, a stand-out in York Mystery Plays Supporters Trust’s December 2022 production of A Nativity of York, playing Annie.
Victoria Delaney quickly follows up her turn as Kath in York Actors Collective’s debut production of Joe Orton’s farce Entertaining Mr Sloane with her role as Charlotte. Mike Hickman will be Max, Rebecca Harrison, Billy, and Hannah Waring, Debbie. Settlement chair – and Ward’s partner to boot – Livy Potter has taken over the part of Brodie at short notice, only weeks after starring in Gary Owen’s one-woman drama Iphigenia In Splott.
Seeing the funny side: Victoria Delaney’s Charlotte in The Real Thing
“I’d been in The Real Inspector Hound in 2006, directed by Laura Attridge, the opera director, who now lives in York, by the way,” says Jacob, recalling his first experience of performing in a Stoppard play in his Newcastle University days where he also co-directed new writing pieces and did likewise on scratch nights for Northern Stage and Alphabetti Theatre.
“I went to see The Real Thing with my dad, when I was at university. I was at a loose end that day and it just happened to be on at the Old Vic. We both really enjoyed it, but I remember having no idea of what happened in the play as it’s designed in every way to confuse the audience!
“So, when Settlement put out a call to direct this season’s production, I thought, ‘here’s an opportunity to do the play that confused the hell out of me, to see if I could make any more sense of it for the audience!”
Reading the script, Jacob realised “it’s not meant to be anything but confusing”. “Stoppard says it’s like a magic trick,” he says. “As a director, I’m thinking, ‘well, why has he made it so difficult?’, but that’s the point. You have all these characters reading something different into the same situation, mainly relating to their relationships.”
Stepping in: Livy Potter is taking over the role of Brodie in The Real Thing
How has Jacob responded to the intricacies and layers of Stoppard’s script? “His writing has a uniqueness because so few writers are so good that every single stage direction, every piece of grammar, really matters.
“They’ve all been thought out so well that you know when you’ve hit the right note, as it’s intricately designed to perfection, so that ultimately it only works one way in my head – which is always a brilliant Stoppard way.
“Working with the cast, we have to keep playing with it, delving into it, to make sense of it, until suddenly it takes on a greater meaning when all the pieces fit together. Everyone in the cast has enjoyed doing the play because you get these Aha! Moments.”
What is real in The Real Thing, Jacob? “There are many real things that he’s talking about, in general and specific terms: love, relationships and sex as part of love,” he says.
Alan Park’s Henry and Hannah Waring’s Debbie in the rehearsal room
“He’s also looking at how people put on facades; what’s real and what’s a front; what’s real writing, what isn’t; what’s real art, what isn’t.
“Then ‘class’ feeds into it too, how someone who’s not been educated to a certain level can live a full life but not articulate it, whereas someone else can articulate but may not know as much about life as they think they do.
“We don’t get answers with Stoppard, but lots of viewpoints to go away and discuss. I love how this play has a reason to exist and that reason is to talk about it afterwards.”
York Settlement Community Players in Tom Stoppard’s The Real Thing, York Theatre Royal, April 5, 6 and 11 to 15, 7.30pm plus 2.30pm April 15 matinee. No performances from April 7 to 10. Post-show Q&A session on April 12. Box office: 01904 623568 or yorktheatreroyal.co.uk.
What is Jacob Ward directing next?
Director and actor Jacob Ward
JACOB Ward is directing a script-in-hand reading of Old Stan, aka A Fool Fooled, by Marin Držić , “the Croatian Shakespeare”, at the York International Shakespeare Festival next month.
The performance of the 1551 comedy’s first ever translation into English will take place in the Bowland Auditorium, Berrick Saul Building, Humanities Research Centre, University of York on April 27 at 6pm, preceded by an introduction to the work of the greatest Slavic Renaissance playwright at 5pm.
In Old Stan, an old peasant is fooled by tales of false fairies whose magic supposedly restores youth. Držić’s delicious, sparkly play, written entirely in verse, was commissioned for a wedding feast of a Ragusan nobleman, and he joked that nobody could marry without him in Dubrovnik, his home city.
Translated for the first time in 471 years by Filip Krenus – again entirely in verse – the comedy follows Stan’s misadventures that we might associate with Bottom or even Falstaff in riotous proof of Držić’s uncanny kinship with Shakespeare.
Držić devotees will be travelling over from Dubrovnik to attend the performance. Box office: yorkshakes.co.uk.
Did you know?
JACOB Ward played the god Tyr in York Theatre Royal’s community production of Maureen Lennon’s The Coppergate Woman last August.
In York Shakespeare Project’s final production of its first full cycle of Shakespeare plays, he took the role of suitor Ferdinand in The Tempest on tour last September.
Jacob Ward’s Ferdinand and Effie Warboys’ Miranda in York Shakespeare Project’s The Tempest. Picture: John Saunders
Harry Summers: Title role in York Shakespeare Project’s Richard III this spring
REHEARSALS are under way for Richard III, the first production of York Shakespeare Project’s phase two.
Dr Daniel Roy Connelly’s cast will be led by Harry Summers in the winter-of-discontent role of Richard Duke of Gloucester/Richard III.
Further roles will go to Rosy Rowley, Duke of Buckingham; Miranda Mufema, Lady Anne; Emily Hansen, Queen Margaret; Andrea Mitchell, Queen Elizabeth; Frankie Hayes, Duchess of York/Sir William Catesby; Matt Simpson, Duke of Clarence, and Jack Downey, Sir Richard Ratcliffe.
Clive Lyons will play Lord Hastings; Michael Peirce, Young York/Lord Grey/Murderer; Nell Frampton, Prince Edward/Rivers; Frank Brogan, King Edward IV/Stanley; Thomas Jennings, Sir James Tyrell; Nick Jones, Earl of Richmond; James Tyler, Archbishop, and Anna Kedge, Marquis of Dorset.
Dr Daniel Roy Connelly: Making his York Shakespeare Project debut as director of Richard III
As was the case when YSP began its 20-year mission to present all 37 of the Bard’s works with the 2002 production of Richard III at the Joseph Rowntree Theatre, so Richard III will be the opening play once more, this time at Friargate Theatre, Lower Friargate, York from April 26 to 29.
A newcomer to York, theatre director, actor, poet, professor and former British diplomat Dr Connelly is at the helm after directing in places as diverse as Shanghai, Rome, America and the Edinburgh Festival. He will refract Richard’s turbulent tale of politics, power and corruption through today’s lens.
Richard III will be one of two YSP productions at the 2023 York International Shakespeare Festival, along with Liz Elsworth’s semi-staged version of Shakespeare’s narrative poem The Rape Of Lucrece.
YSP begins a new chapter in 2023 with a 25-year project to stage not only those plays again, but also the best works by his Elizabethan and Jacobean contemporaries.
Tony Froud: Directing York Shakespeare Project’s rehearsed reading of the rarely performed Edward III
PHASE Two of York Shakespeare Project begins with a staged rehearsed reading of Edward III upstairs at the Black Swan Inn, Peasholme Green, York, on February 7.
This rarely performed 1592 history play is now widely accepted as a collaboration between William Shakespeare and Thomas Kyd, replete with its celebration of Edward’s victories over the French, satirical digs at the Scots and depiction of the Black Prince.
Rehearsed February readings will be a regular part of YSP’s broadened remit to include work by the best of Shakespeare’s contemporaries, alongside a second staging of all his works, over the next 25 years.
Tony Froud’s cast will be led by Pick Me Up Theatre luminary Mark Hird in the title role. “At short notice, I’ve been able to bring together a strong cast that mixes YSP stalwarts, such as Liz Elsworth and Emma Scott, with new faces to us, such as Mark,” says Tony.
Hird’s King Edward will be joined by Elsworth’s Derby and Queen Philippa; Scott’s Gobin de Grey, Villiers, Frenchman 3 and Captain; Ben Thorburn’s Prince Edward; Nell Frampton’s Warwick and Salisbury; Bill Laverick’s Audley and Messenger and Stuart Lindsay’s Lodowick, Frenchman 4 and King David.
Mark Hird: Cast as King Edward in Edward II, his York Shakespeare Project debut
In the company too are: Sally Mitcham’s William Montague, Jon Copland, Herald 1, Frenchman 2 and Earl Douglas; Joy Warner’s Squire, Artois and Frenchman 1; Tom Jennings’s Herald 2 and Prince Charles; Jodie Fletcher’s Herald 3, Lorraine, Mariner and Messenger 2; Harry Summers’ King John and Lara Stafford’s Prince Philip and Countess Salisbury.
“It will be a one-night-only show, following the pattern of Ben Prusiner’s season of John Fletcher comedies and Jim Paterson’s A Midsummer Night’s Dream, which showed the impressive quality of performance that can be achieved in a short time by a good cast,” says Tony.
“The rehearsed reading puts a great emphasis on the language, so do come along to meet some colourful characters and hear some fabulous language in a plot that will take you from London to Calais via Northumberland and Crecy.”
Tickets for the 7.30pm performance cost £5 on the door or at eventbrite.com/e/edward-iii-tickets-518511741577.
Meanwhile, preparations are well under way for Dr Daniel Roy Connelly’s debut YSP production of Richard III at Friargate Theatre, Lower Friargate, York, from April 26 to 29. Auditions are in their “final phase”.
FROM giant dinosaurs to a heavyweight comedian, hardcore songs to a royal reading, Charles Hutchinson seeks to make life eventful.
Dinosaurs make a comeback: Jurassic Earth, Grand Opera House, York, January 28, 1pm and 4pm
JURASSIC Earth’s “live dinosaur show” roams York in an immersive, interactive, 75-minute, storytelling experience for all ages with state-of-the-art, animatronic, life-like creatures.
Audiences are invited to “bring your biggest roar and your fastest feet as you take Ranger Danger’s masterclass to become an Official Dinosaur Ranger – gaining the skills you need to come face-to-face with the world’s largest walking T Rex, a big-hearted Brontosaurus, tricky Triceratops, uncontrollable Carnotaurus, vicious Velociraptors and sneaky Spinosaurus”. Box office: atgtickets.com/york.
Tim Lowe: Cellist and York Chamber Music Festival director, performing Messiaen’s Quartet For The End Of Time at York Minster
Holocaust memorial concert of the week: York Chamber Music Festival, Olivier Messiaen’s Quartet For The End Of Time, York Minster, Tuesday, 7pm
YORK Chamber Music Festival marks Holocaust Memorial Week – and the start of the festival’s tenth anniversary – with a performance of “one of the greatest pieces of music from the 20th century”, written and premiered in the German prisoner-of-war camp at Stalag VIIIa, Gorlitz, in 1941.
Olivier Messiaen’s Quartet For The End Of Time will be played by John Lenehan, piano, Sacha Rattle, clarinet, John Mills, violin, and festival director Tim Lowe, cello, in York Minster’s Lady Chapel under John Thornton’s restored 15th century Great East Window (the “Apocalypse Window”). Box office: tickets.yorkminster.org.
Lloyd Griffith: Comedy measured out as One Tonne Of Fun at The Crescent, York. Picture: Matt Crockett
Comedy gig of the week: Burning Duck Comedy Club presents Lloyd Griffith, One Tonne Of Fun, The Crescent, York, Thursday, 7.30pm
AFTER Covid stretched Lloyd Griffith’s last tour to “eight years or so”, he returns with his biggest itinerary to date, One Tonne Of Fun.
Since school, he has always been a show-off, and 20-odd years later, nothing’s changed, so expect stand-up, dubious impressions and a sprinkling of his (incredible) singing from the comic with Ted Lasso, 8 Out Of 10 Cats, Soccer AM, Question Of Sport, Not Going Out and House Of Games credits. Box office: thecrescentyork.com.
Ewa Salecka: Directing Prima Vocal Ensemble at the Joseph Rowntree Theatre
Choral concert of the week: Prima Vocal Ensemble, Lift Every Voice, Joseph Rowntree Theatre, York, January 29, 7.30pm
EWA Salecka directs Prima Vocal Ensemble in a life-affirming concert that weaves its way through diverse generations and genres with live accompaniment.
Living composers Lauridsen, Gjeilo, Whitacre and Jenkins sit alongside favourite numbers from Les Misérablesand The Greatest Showman, complemented by songs by Annie Lennox, Elbow, the Gershwins and Cole Porter and a tribute to the people of Ukraine. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Frank Turner & The Sleeping Souls: Playing York Barbican at the end of January
Hardcore York gig of the month: Frank Turner & The Sleeping Souls, York Barbican, January 31, 8pm
FRANK Turner, punk and folk singer-songwriter from Meonstoke, Hampshire, will be accompanied by The Sleeping Souls in York as he draws on his nine studio albums from a 17-year solo career.
Last year, the former Million Dead frontman, 41, topped the UK Official Album Chart for the first time with FTHC (his anagram for Frank Turner Hardcore) after his previous four all made the top three. Support slots go to Lottery Winners & Wilswood Buoys. Box office: yorkbarbican.co.uk.
Rosemary Brown: Author gives an insight into the remarkable life of Nellie Bly at York Theatre Royal
Who was Nellie Bly? In Conversation With Rosemary Brown, York Theatre Royal, February 4, 5.15pm, free admission
YORK Theatre Royal and Tilted Wig’s touring adaptation of Jules Verne’s madcap adventure Around The World In 80 days features not only the fictional feats of Phileas Fogg but also the real-life story of Nellie Bly, American journalist, industrialist, inventor, charity worker and globe-crossing record breaker.
In a free talk, director and adaptor Juliet Forster will be in conversation with Rosemary Brown, author of Following Nellie Bly, Her Record-Breaking Race Around The World, a book inspired by this human rights and environmental campaigner’s aim to put female adventurers back on the map. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Tony Froud: Directing York Shakespeare Project’s rehearsed reading of Edward II
The second coming of…York Shakespeare Project, Edward III, rehearsed reading, upstairs at Black Swan Inn, Peasholme Green, York, February 7, 7.30pm
PHASE Two of York Shakespeare Project begins with a staged rehearsed reading of Edward III, the rarely performed 1592 history play now widely accepted as a collaboration between William Shakespeare and Thomas Kyd, replete with its celebration of Edward’s victories over the French, depiction of the Black Prince and satirical digs at the Scots.
Rehearsed readings in February will be a regular part of YSP’s revamped remit to include work by the best of Shakespeare’s contemporaries. Tony Froud’s cast includes Liz Elsworth, Emma Scott and Mark Hird, best known for his work with Pick Me Up Theatre. Tickets: on the door or via eventbrite.com.
Home work: Sara Howlett, Sophie Bullivant and Laura Castle in rehearsal for Rowntree Players’ spring production of Teachers Leavers ’22
Spring term school play: Rowntree Players in Teechers Leavers ’22, Joseph Rowntree Theatre, York, March 16 to 18, 7.30pm and 2.30pm Saturday matinee
REHEARSALS are underway for Rowntree Players’ production of Teechers Leavers ’22, former teacher John Godber’s update of his state-of-education play, commissioned for £100 by Hull Truck Theatre in 1984.
Actor Jamie McKeller, familiar to York ghost-walk enthusiasts as Deathly Dark Tours spookologist Doctor Dorian Deathly, is working with a cast of Sara Howlett, Sophie Bullivant and Laura Castle as they “put in the hard work needed for this very physically demanding play”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Paul French’s Prospero, right, with Effie Warboys’ Miranda and Jacob Ward’s Ferdinand in York Shakespeare Project’s The Tempest. Picture: John Saunders
PAUL French first performed in a Shakespeare play in his York Shakespeare Project debut in All’s Well That Ends Well in 2014.
By 2016, he was playing Lear in King Lear and now is the lead once more, cast as Prospero in The Tempest, in YSP’s climax to performing all 37 Shakespeare plays in 20 years, concluding at York Theatre Royal tonight.
“I’d never done any Shakespeare until 2014, so it was an amazing development for me,” he says. “I didn’t start acting until my early forties, then I moved up here, and I had no idea I would like doing Shakespeare until I did it.
“I had a family and job but now I’ve retired, though it’s been a slow process with doing theatre, after doing a job that gave me the flexibility to do the York Mystery Plays [in York Minster] in 2016, and it just so happened that Ben Prusiner, from that production, was directing Lear, and then I did Volpone with Ben’s own company [Re:Verse Theatre].
Paul French’s Lear and Charlotte Wood’s Cordelia in Ben Prusiner’s King Lear in 2016. Picture John Saunders
“It’s all been pretty fortuitous. None of it was planned. My wife is now asking, ‘is this going to be your last Shakespeare?’, and I say, ‘I don’t know’, because I didn’t know I’d ever do one, but I love it, especially the rehearsals.”
Over the past few years, Paul has attended acting classes to develop his skills further and done films to diversify his craft too. Everything helps towards playing such a demanding role as Prospero.
“I remember when I did All’s Well That Ends Well, playing the king, which is not a huge part, saying to a fellow actor, ‘I’d love to do Lear and I’d love to do Prospero’, and you think, ‘how will that work out, with all the people who can do it?’, and yet here we are now, with all these blessed words to get out of my head!” says Paul.
He has enjoyed that experience. “It’s been very interesting to develop Prospero from having first read the play and having ideas of what he’s about and then exploring it. It’s a pleasure working with the other actors, starting with the huge scene with Miranda [Effie Warboys], setting up the story,” he says.
Paul French’s Prospero and Effie Warboys’ Miranda in rehearsal for Philip Parr’s production of The Tempest. Picture: John Saunders
“It’s fascinating how it all develops, and I now think Prospero is more like me than I first thought he was.”
Director Philip Parr chips in: “That’s sort of how it should work. The part should become greater than the actor by an alchemical process.”
Assessing the art of acting, Paul goes on to say: “Acting is reacting; acting is listening; acting is being in the moment.” Philip chips in again: “Acting is not acting!”
“I think it won’t happen with this cast, but with actors who are not experienced, there’s a tendency to not know how to react if the performance is suddenly different on one night,” says Paul. “But here, for The Tempest, we want it to be different, to just see what happens!”
York Shakespeare Project in The Tempest, York Theatre Royal, tonight (1/10/2022), 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Ariel Collective confronts Stuart Lindsay’s Sebastian in York Shakespeare Project’s The Tempest at Thorganby Village Hall. All pictures: John Saunders
YORK Shakespeare Project (YSP) is completing its 20-year mission to perform all 37 of Shakespeare’s plays with its 35th production and first tour.
Only 35 productions? Twice, plays were amalgamated into a unified presentation. Whatever path was taken, however, The Tempest was always to be the finale, concluding in an “icing on the cake” staging at York Theatre Royal this weekend.
The tour opened at Thorganby Village Hall last Friday and then headed to Strensall and Towthorpe Village Hall for two Saturday performances.
Tonight comes Helmsley Arts Centre; tomorrow, Selby Town Hall; Thursday, The Junction, Goole; Friday, Acomb Parish Church Hall; Saturday, the York climax, to be followed by a Sunday party.
Paul French’s Prospero laying down the lore to suitor Ferdinand (Jacob Ward) and daughter Miranda (Effie Warboys)
Each venue presents different challenges: some have lighting, others do not; some have stage exits,others not so. This has led to one-size-fits-all halls design: Richard Hampton’s stage cloth with a tree daubed on it, along with a brace of monkeys on the branches, and a Pride/rainbow-coloured band, sand and sea around the edge. On that perimeter are placed wooden boxes and chests, swept ashore from the storm.
Thorganby Village Hall’s interior is cream coloured and equipped with most welcoming facilities for serving tea and biscuits. Paul French’s Prospero takes a seat by the door as everyone enters, overseeing proceedings even before the start.
The lighting is of the harsh, stripped variety, beloved of such village halls since the Seventies. Director Philip Parr (of Parrabbola and York International Shakespeare Festival) had talked of touring with a rig for Ian Frampton’s lighting design but decided on keeping the Thorganby hall lights on. Not ideal, but them are the breaks, as a departing Prime Minister quaffed only the other week.
On first night, that denied The Tempest of one of its primary elements in a play as rooted in nature as Macbeth is. In its absence, sound and spectacle became more important, indeed the crux of Parr’s interpretation. Maybe lighting can further add to the atmosphere elsewhere.
Tom Jennings’s Stefano happens across Andrew Isherwood’s Caliban and Jodie Fletcher’s Trincula (covered) with the offer of a reviving stiff drink
One key asset of community productions is the potential for a large cast without the professional companies’ burden of having to pay actors. This manifests itself in the role of Ariel, the freedom-craving spirit. Make that 17, yes, seventeen Ariels: any one of the 350 actors who had appeared in a YSP play had an open invitation from Parr to be part of The Ariel Collective.
Good call! These restless Ariels are everywhere, seated on the boxes, or suddenly springing up to assault the reckless shipwrecked; sometimes speaking separately, sometimes together; scoffing at Caliban’s claim to own the island; mocking anyone with pretensions. Not only shape-shifting sprites, but voice-shifting too, they speak for the island, as much as they answer to Prospero.
In the two decades of YSP, this is one of the very best directorial innovations, rivalling Maggie Smales’s all-female Henry V. A round of applause too, please, for Blacksmith Shop Crafts, in Foggathorpe, and cast members who conjured the Ariel costumes, as decorative as an African wedding.
Head of wardrobe Judith Ireland has overseen The Tempest’s array of costumery, whether dandy for Jacob Ward’s Ferdinand or elegant for French’s waistcoated Prospero or free-floating for Effie Warboys’ Miranda.
Young lovers: Jacob Ward’s Ferdinand and Effie Warboys’ Miranda
The all-important storm scene is drowned in sound, the multitude of Ariels kicking up a right swell of noise, through which Harry Summers’ Boatswain and Lara Stafford’s Gonzala must strive to be heard as they cling to the mast. Yes, words are lost, but they would be in a tempest.
Having already played Lear for YSP, now Paul French takes on Shakespeare’s other veteran role. He has no book of spells, no rod, he must craft his own magic, and his Prospero, the wronged, exiled Duke of Milan, is a man no longer wild with anger, but sanguine and aware of his fading powers in pursuance of revenge.
He prefers calm control, a quiet word, whether in proudly coaching young daughter Miranda (full of wonderment in Warboys’ turn) or seeking to tame Andrew Isherwood’s enslaved monster, Caliban, before administering forgiveness in a radiant glow.
Often too, French will pause for thought before delivering both sentence and his next sentence, always choosing the mellifluous when greater variation of tone could be explored.
In his Northern Broadside actor-manager days, Barrie Rutter decried the convention of Shakespeare’s swansong play being very dark in hue, bringing in blues and yellows and jettisoning the black thunder and rough magic.
Swept ashore: Tony Froud’s prone Alonso and Lara Stafford’s Gonzala, attended to by Andrea Mitchell’s Antonia and Stuart Lindsay’s Sebastian
Parr has retained the thunder but matched Rutter, not only in the bright garb of the Ariel Collective, but also in the humour to be found in those Ariels and Ward’s love-struck Ferdinand, working up a sweat in the interval as he keeps moving the Ariels’ boxes, only for them to move them back (in a representation of collecting wood for Miranda).
Not for the first time in YSP colours, Jodie Fletcher mines the comedy to broadest effect in her Trincula, matched by Tom Jennings’s vainglorious, preening butler Stefano.
Nick Jones, with a dozen YSP productions to his name, combines Ariel duties with composer and musical director credits. He favours Early Music instrumentation and delivers one of the highlights of Parr’s production, the Masque, where Emma Scott and Nell Frampton, last seen as Macbeth and Lady Macbeth, reveal pure singing voices as Ceres and Iris, joined by Tracey Rea, always a belting-good singer.
Like the play itself – the prog-rock final flourish to Shakespeare’s gilded career – YSP’s The Tempest is good in parts, underwhelming in others, but that Ariel Collective will live long in the memory.
What next for YSP? Apparently, they will be starting all over again, adding plays by the Bard’s contemporaries too. This represents a chance to shake, rattle and roll out Shakespeare in disparate ways, reflecting changing times through the years ahead and the changing character – and characters – of York too.
The first steps will be taken at YSP’s annual general meeting on October 26 at the Black Swan Inn when the “shadow” committee will table its proposals for the next phase and a and a new chair will be elected.
Box office: yorkshakespeareproject.org; Helmsley, 01439 771700 or helmsleyarts.co.uk; Selby, 01757 708449 or selbytownhall.co.uk; Goole, 01405 763652 or junctiongoole.co.uk; Acomb, eventbrite.com/e/the-tempest-tickets-400909710737; York, 01904 623568 or yorktheatreroyal.co.uk.
Storm brewing:York Shakespeare Project cast members in rehearsal for Philip Parr’s production of The Tempest. Picture: John Saunders
YORK Shakespeare Project completes its mission to perform all 37 of Shakespeare’s plays inside 20 years with its first tour, staging The Tempest across North and East Yorkshire from tomorrow (Friday).
Once described by Professor Michael Dobson, Shakespeare Institute director at the University of Birmingham, as “the most ambitious amateur Shakespearean venture in the country”, the project has drawn 350 actors and 300 backstage crew since its debut with Richard III in 2002.
Parrabbola director Philip Parr, founding council member and chair of the European Shakespeare Festivals network and director of York International Shakespeare Festival, has the honour of overseeing YSP reaching its target with a company led by Paul French as Prospero, Effie Warboys as Miranda and Jacob Ward as Ferdinand.
“It’s the final fling, putting pressure on Philip and Paul,” says YSP chair Councillor Janet Looker, former Lord Mayor of York and a stalwart of the project since its inception in 2001.
“Certainly, it comes with issues of responsibility, not just for the production, but for the whole project,” says Philip. “I don’t think you can divorce the play from the event, or the nature of that event, the final production, so there’s a responsibility to those who first thought of doing it 20 years to bring it to a conclusion that feels right.
Lara Stafford’s Gonzala in rehearsal. Remember her Rosalind in As You Like It in the Residence Garden, York Minster, in July 2008 when she was Lara Pattison?
“It’s been impossible not to plan this production without thinking about the context of it being the end of this remarkable mission. We’ve been able to recruit a cast full of people who have performed in different YSP productions across the years, along with some who are performing with YSP for the first time.”
Fiona Mozley, 2017 Man Booker Prize-nominated author of Elmet, Hot Stew and Soho (AdN) had hoped to re-join the YSP ranks for The Tempest but is no longer able to add to her teenage performances in The Taming Of The Shrew and Love’s Labours Lost.
Bringing the stormy play’s island setting and disrupted world to life through communal storytelling in a new interpretation that highlights colonisation, reconciliation and change, The Tempest is an ideal grand finale, argues Philip.
“Shakespeare’s last play deals with many themes that are relevant both to this moment for YSP, but also ones that our society continues to grapple with today: disconnection, corruption, reconciliation and the difficulty of generational change,” he says.
“I’m excited about the way we’re approaching telling this story, using the performing collective to create the island and the ‘magic’ that permeates it, and using the musical skills of many of the performers to ensure the ‘isle is full of noises’.
““Creating a sense of place in the audience’s mind is even more important in this play, because so much of it is storytelling, narration. There’s very little theatre in terms of dramatic events. People just talk a lot and you have to frame that up.”
Effie Warboys’ Miranda makes her point to Paul French’s Prospero in rehearsals for The Tempest. Picture: John Saunders
The YSP committee had taken the decision to undertake a tour as the finale long before Philip was involved. “Originally, we’d always intended to do the last week at York Theatre Royal but the finances got too complex, so it was suggested, ‘well, let’s do something completely different’: a tour. Being at the Theatre Royal on the last night will be the icing on the cake,” says Janet.
“Doing this tour is an example of how YSP has never sat still but has always looked at new ways of doing things, taking on new challenges dynamically.”
Philip adds: “It has a sense of reward for the project to finish at York Theatre Royal and to end with these eight performances, seven on the road, at six venues, concluding back in York. That’s more performances than many productions get; a two-week run with a big cast to present it.
“It’s a big commitment to make and it’s a tour that comes with different demands: some venues have stage exits, some don’t; some have lighting, some don’t, so we’ll be taking a small lighting rig to illuminate the stage.
“I haven’t been to all the venues. I’ve been to some, had video tours of some, but that’s not unusual for a tour. We’ve created a set that’s not difficult to grapple with too, fitting easily into each venue.”
York Shakespeare Project’s banner image for The Tempest
The cast will feature no fewer than 17 Ariel spirits, “The Ariel Collective” as they will be known. “You want to do a celebratory production, so I had a rule that said, ‘if you have been in a YSP production, you have the right to be Ariel’, and it’s been nice that so many people have come out of the woods!” says Philip.
Twenty years of YSP leads to this finale, a play that reflects on ageing, politics and leadership, acquiring knowledge, and the power of magic to transform. “The more experiences you bring into it, the more you see in the conversations about human nature and the chance the play gives to all the characters to go back to where they were but with new knowledge, just as we’d like to be able to go back 20 years but with the knowledge acquired in those years.
“The Tempest might have been Shakespeare wishing that too, and now it’s a treat to find that across all the characters. Because Shakespeare has learnt it all, he can do it all in this play at a time when everyone believed in magic.
“Part of what I was looking at was, if you don’t believe in magic, who is Ariel? By having so many Ariels, Ariel can be in anything that is there. They can make things happen, but in a natural way.”
Janet adds: “Having so many Ariels means they can project from all around the stage because is Ariel is never in only one place.”
Jacob Ward’s Ferdinand and Effie Warboys’ Miranda in a scene from York Shakespeare Project’s The Tempest. Dress rehearsal picture: John Saunders
Philip rejoins: “With so many voices, you have a spectrum from high soprano to low bass, and how Ariel speaks depends on Prospero’s tone. Then, if they want to tell him off, a lower voice will be used. Prospero has to learn that ruling is about husbanding your resources.”
Philip could not have been more thorough in his preparations for staging The Tempest. “I’ve seen 15 productions this year,” he says. “Three in Poland at the last Shakespeare festival there, which was all about The Tempest. Two in Rumania, one in Italy. A couple here, and more! I had to stop in the end, but every one of them has been an influence.
“You take ideas from past productions, then come up with a thousand ideas and throw 999 of them away.”
Janet says: “The actors then have to take it over and you can’t stop them at that point.” Philip agrees: “That ownership is important because you have to make a choice and then everyone needs to go with that decision. At each performance, that decision is inspired by all sorts of things: the audience, the space, the mood of the night, the actors.”
Twenty years, 37 plays in 35 productions, the mission is complete. Appropriately, the last word goes to Janet, the chair: “It’s difficult to believe that it’s been 20 years since our very first production. We thought we were being rather ambitious when we started – would we really be able to keep this going for 20 years? And we weren’t always sure we’d get there, especially with the events of the past two years.
The Ariel Collective confronting Stuart Lindsay’s Sebastian in the dress rehearsal at Thorganby Village Hall. Picture: John Saunders
“But the commitment of the many supporters who have participated in our productions over the years has seen us reach this last play. We always knew we wanted to finish with something special, and this tour and a finale at York Theatre Royal will be an exciting and unique experience for all the actors and crew, and will give us a chance to share not just the story of The Tempest, but the community ethos of York Shakespeare Project, with a much wider audience. It is a very fitting way to mark the end of this journey.”
The celebratory party the next day (October 2) will be well deserved.
York Shakespeare Project presents The Tempest on tour at Thorganby Village Hall tomorrow (23/9/2022), 7.30pm; Strensall and Towthorpe Village Hall, Saturday, 2.30, 7.30pm; Helmsley Arts Centre, September 27, 7.30pm; Selby Town Hall, September 28, 7.30pm; The Junction, Goole, September 29; Acomb Parish Church Hall, September 30, 7.30pm and York Theatre Royal, October 1, 7.30pm. Box office: yorkshakespeareproject.org and venue box offices; York, 01904 623568 or yorktheatreroyal.co.uk.
York Shakespeare Project’s plot summary for The Tempest:
PROSPERO uses magic to conjure a storm and torment the survivors of a shipwreck, including the King of Naples and Prospero’s treacherous sister, Antonia. The embittered Caliban plots to rid himself of Prospero but is thwarted by the spirit Ariel.
The King’s young son Ferdinand, thought to be dead, falls in love with Prospero’s daughter Miranda. Their celebrations are cut short when Prospero confronts his sister and reveals his identity as the usurped Duke of Milan.
The cast comprises:
David Denbigh; Sonia Di Lorenzo; Jodie Fletcher; Nell Frampton; Paul French; Tony Froud; Emily Hansen; David Harrison; Bronte Hobson; Judith Ireland; Andrew Isherwood; Tom Jennings; Nick Jones; Stuart Lindsay; Michael Maybridge; Sally Maybridge; Sally Mitcham; Andrea Mitchell; Tim Olive-Besley; Megan Ollerhead; Tracy Rea; Eleanor Royse; Emma Scott; Julie Speedie; Lara Stafford; Harry Summers, Effie Warboys and Jacob Ward.
Production team:
Director, Philip Parr; assistant director, Terry Ram; stage managers, Janice Newton and David Harrison; musical director, Nick Jones.
History in the making as York Shakespeare Project completes mission to perform all 37 plays with plans to start all over again!
How it all began: John White’s production of Richard III at Joseph Rowntree Theatre, York, in 2002. Picture: Jeremy Muldowney
YORK Shakespeare Project’s tour of The Tempest will complete “the most ambitious amateur Shakespearean venture in the country”.
Such is the judgement of Professor Michael Dobson, Shakespeare Institute director at the University of Birmingham, describing the mission to perform all 37 of Shakespeare’s plays inside 20 years.
York Shakespeare Project (YSP) was formed in 2002 by a group of actors seeking to replace the challenge and excitement of taking part in the York Minster Millennium Mystery Plays in 2000.
Alan Lyons, an early chair of the project, described its origins in the programme for YSP’s first play, Richard III, staged at the Joseph Rowntree Theatre from October 30 to November 2 2002. “There I was, sitting with Frank Brogan as he dreamt up the idea of the York Shakespeare Project. ‘It won’t work,’ I said. An hour later I changed my mind.
“Maybe I was captivated by the idea. Maybe it was Frank’s persuasive tongue. I am still not sure why. This show [Richard III] is the result of hard work and effort put in by a great number of people since Frank had his original idea.”
After a few years away, Frank Brogan is once more a member of the YSP committee that oversees the project. “In the early days, it was said that the actor who would play Miranda in our concluding production of The Tempest had yet to be born”, Frank recalls.
It almost worked out that way. University student Effie Warboys was not even three months old at the time of Richard III’s opening night in 2002. Now she has been cast by director Philip Parr as Miranda in a tour that adds up to eight performances, seven on the road, at six venues, climaxing at York Theatre Royal on October 1.
Janet Looker, YSP chair and former Lord Mayor of York, has seen every YSP play. “There have been so many memorable productions”, she says. “For 20 years, York Shakespeare Project has frequently surprised and delighted me with the wide variety of performances put on under its banner.
York Shakespeare Project’s 2019 production of Cymbeline. Picture: John Saunders
“So many highlights! A memorable Romeo And Juliet, set in the Fifties’ street gang culture with an amazing female Mercutio [Cecily Boys]: a bravura performance!
“As You Like It in the shade of York Minster, an outdoor production that used the trees and landscaping of the Minster garden to brilliant effect in creating the Forest of Arden – and a Rosalind [Lara Pattison] and Orlando [Toby Gordon] who were probably genuinely as young as the original concept.
“A funny, but moving outdoor production of Much Ado about Nothing, set in the immediate post-war era of the 1940s with Land Girls and ARP wardens and brilliantly evocative use of contemporary music.”
More highlights, Janet? “Hamlet in an old church with ghost and eavesdroppers appearing from behind gloomy pillars, and the background of a dim church around us.
“Henry VI – in two parts – in York’s Guildhall, a building older than the play, but less than a mile from the very gate where the Duke of York’s head was placed: “that York may overlook the stones of York”.
“A stunning all-women cast for Henry V, which was set during the First World War and movingly married the France through which Henry marched, with the trenches in Flanders Field. As an added bonus, one night it was acted on St Crispin’s Day, giving an added shiver to the famous speech.
“Henry VIII, set in King’s Manor, the house where Henry himself stayed when he visited the city, again adding an extra frisson.
“So many memories, and I look forward to adding The Tempest, our last production, to that list. Thank you a hundred times to YSP for giving one Shakespeare fan so much pleasure over the project.”
Toby Gordon: Progressed from York Shakespeare Project minor roles to playing the Devil in the 2016 York Mystery Plays at York Minster. Picture: T Figgins
Since 2002, more than 350 performers have taken part in the plays, aided by 300 backstage crew. Some have appeared only once, but one, retired lecturer Nick Jones, has made as many as 12 appearances. “The project was always a crazy but wonderful idea,” he says. “When I returned to York in 2010, it was already 15 plays in, so of course I couldn’t resist getting involved.
“It was never obvious that we would survive but here we are, approaching our last play, in which I’ve got a small part and am arranging the music. It’s been a unique experience.”
In the desire to avoid a clique, no company of regulars was ever established. Every play has started with genuinely open auditions, with each of the 24 directors being granted total discretion over casting.
YSP has been the stepping stone for many a York actor to move onto greater things. Toby Gordon progressed from minor parts in the 2007 production of Henry VI and a volatile Hotspur in the 2010 Henry IV to star as the Devil in the 2016 York Mystery Plays at York Minster.
He will be playing Joey in the final London run of The Guild of Misrule’s immersive staging of The Great Gatsby, produced by Immersive Everywhere at Gatsby’s Mansion within Immersive/LDN, in Mayfair, until January 7 2023.
Charlotte Wood, who played Cordelia in King Lear in 2016, will take the title role in Cinderella, this winter’s pantomime at the Lighthouse Theatre in Poole.
After appearing for YSP in Maggie Smales’s Henry V in 2015 and Madeleine O’Reilly’s Coriolanus in 2018, Claire Morley is completing her hattrick of all-female Shakespeare productions inChris Connaughton’s three-hander version of Macbeth for Northumberland Theatre Company, whose tour visits Pocklington Arts Centre on September 29.
Mediaevalist and 2017 Man Booker Prize-nominated authorFiona Mozley cites her appearances in YSP productions not only as an essential formative influence on her writing but as fun: “Aged 15, I was cast as Biondello in YSP’s second production, The Taming Of The Shrew. I had a great time and have fond memories of the rehearsals and performances,” says the writer of Elmet, Hot Stew and Soho (AdN) .
Claire Morley, centre, as Henry V in Maggie Smales’s all-female Henry V. Picture: Michael Oakes
“Early exposure to the arts is gold. We all know that the books we read as teenagers stay with us for life, and this is doubly true of acting in plays. I can vividly remember whole passages of the text and regularly think about the complex ideas Shakespeare was teasing out. I learnt a huge amount from my participation in YSP, not only The Taming Of The Shrew but also Love’s Labours Lost, and carry it with me in my own writing.”
Fiona had hoped to re-join the YSP ranks as part of the Collective Ariel (18 actors in total), returning to the boards alongside her father Harold Mozley, who has been an active member of YSP for the past 20 years, but now neither Fiona, nor Harold, is able to do so.
Janet Looker looks back with pride and forward with optimism. “I’ll be passing on the baton to a new chair and a revitalised committee, which will take the project forward. Plans are in place. It’s not in our nature to sit on our laurels.
“The project will continue and intends to perform all of Shakespeare’s plays all over again, this time alongside the best of his contemporaries, and maybe some of the modern takes on the plays too. That might take a little longer. Maybe a 25- year project this time.
“This is the end of York Shakespeare Project One, completed with the odd slippage, given the impact of Covid, but there’s a very strong desire to take the project onwards with YSP Two. We have a very committed committee wanting to take on the next step.
“Some of us will bow out, but YSP Two will find its feet; the challenge is to keep driving it forward. We’ve never had a consistent committee, we’ve always had different people coming on board, but there’s always been a core vision. I look forward to supporting YSP, and particularly the younger faces very keen to give it new momentum.”
York Shakespeare Company’s productions
Richard III, Joseph Rowntree Theatre, York, October 30 to November 2 2002. Director: John White
The Taming Of The Shrew, Pocklington Arts Centre, June 13 and 14; Joseph Rowntree Theatre, York, June 17 to 21 2003. Director: Paul Toy
The Comedy Of Errors, Friargate Theatre, York, December 3 to 6 2003. Director: Chris Rawson
Titus Andronicus, Joseph Rowntree Theatre, York, April 21 to 24 2004. Director: Paul Toy
Peter Watts’s Hamlet in John Topping’s 2013 production. Picture: John Saunders
Love’s Labours Lost, Friargate Theatre, York, December 1 to 11 2004. Director: Chris Rawson
Romeo And Juliet, Rowntree Park, York, July 13 to 24 2005. Director: Sarah Punshon
Two Gentlemen Of Verona, Friargate Theatre, York, November 29 to December 3 2005. Director: Ali Borthwick
A Midsummer Night’s Dream, Rowntree Park, York, July 19 to 30 2006. Director: Mark France
King John, Friargate Theatre, December 5 to 9 2006. Director: Jeremy Muldowney
Henry VI, Parts 1, 2 & 3, produced in two parts, York Guildhall, July 12 to 22 2007. Director: Mark France
As You Like It, Residence Garden, York Minster, July 16 to 27 2008. Director: Roger Calvert
The Merchant Of Venice, Studio Theatre, 41 Monkgate, York, November 12 to 22 2008. Director: Cecily Boys
Julius Caesar, Studio Theatre, 41 Monkgate, York, June 10 to 20 2009. Director: Mark Smith
Richard II, Studio Theatre, 41 Monkgate, York, November 17 to 21 2009. Director: Hugh Allinson
Henry IV, Parts 1 and 2, Church of St Martin-cum-Gregory, Micklegate, York, July 29 to August 15 2010. Director: Tom Cooper
Much Ado About Nothing, Rowntree Park, York, June 29 to July 9 2011; The Dell, Stratford-upon-Avon, July 16 2011. Director: Paul Taylor-Mills
Troilus And Cressida, Upstage Centre Youth Theatre, 41 Monkgate, York, November 15 to 19 2011. Director: Paul Toy
The Merry Wives Of Windsor, Rowntree Park, York, June 25 to June 27, May 30 to Diamond Jubilee Tuesday, June 5 2012. Three performances rained off. The Dell, Stratford-upon-Avon, June 10 2012. Director: Tom Straszewski
Paul French’s Lear and Charlotte Wood’s Cordelia in Ben Prusiner’s King Lear in 2016. Picture John Saunders
Othello, York Theatre Royal Studio, October 23 to 27 2012. Director: Mark France
Hamlet, St Martin-cum-Gregory Church, Micklegate, York, July 18 to August 3 2013; The Dell, Stratford-upon-Avon, August 11 2013. Director: John Topping
Measure For Measure, Friargate Theatre, York, December 5 to 8 2013. Director: Matt Simpson
Twelfth Night, York Theatre Royal Studio, April 3 to 12 2014; The Dell, Stratford-upon-Avon, June 7 2014. Director: Mark Smith
All’s Well That Ends Well, Friargate Theatre, York, November 27 to 30 2014. Director: Maurice Crichton
Timon Of Athens, De Grey Rooms Ballroom, York, May 14 to 17 2015. Director: Ruby Clarke
Henry V, Upstage Centre Youth Theatre, 41 Monkgate, York, October 21 to 31 2015. Director Maggie Smales
Pericles, Prince Of Tyre, Upstage Centre Youth Theatre, 41 Monkgate, York, April 19 to 23 2016. Director: Sophie Paterson
King Lear, Upstage Centre Youth Theatre, 41 Monkgate, York, November 30 to December 10 2016. Director: Ben Prusiner
Henry VIII, King’s Manor, Exhibition Square, York, March 30 to April 1 2017. Director: Ben Prusiner
The Winter’s Tale, John Cooper Studio@41 Monkgate, York, October 24 to 28 2017. Director: Natalie Quatermass
The Two Noble Kinsmen, by John Fletcher and William Shakespeare, De Grey Rooms Ballroom, York, May 2 to 5 2018. Director: Tom Straszewski
Coriolanus, Friargate Theatre, York, November 28 to December 1 2018. Director: Madeleine O’Reilly
Cymbeline, Merchant Taylors’ Hall, Aldwark, York, March 1 to 3 2019. Director: Ben Prusiner
Antony & Cleopatra, John Cooper Studio, 41 Monkgate, York, October 28 to November 2 2019. Director: Leo Doulton
Macbeth, Theatre@41, Monkgate, York, October 26 to 30 2021. Director: Leo Doulton
The Tempest, on tour, September 23 to October 1 2022. Director: Philip Parr
Did you know?
YORK Shakespeare Project’s tour of The Tempest is being accompanied by a retrospective exhibition in celebration of 20 years of YSP productions, running in the York Theatre Royal foyer until October 1. Admission is free.
Paul French’s Prospero and Effie Warboys’ Miranda in rehearsal for York Shakespeare Project’s touring production of The Tempest. Picture: John Saunders
STORMY Shakespeare, bountiful balloons, rebellious schoolchildren, heaps of horror movies and Sherlock’s farewell tour are right up Charles Hutchinson’s street.
Theatre event of the week: York Shakespeare Project in The Tempest, on tour from September 23 to October 1
YORK Shakespeare Project’s 20-year journey to stage every Shakespeare play concludes with a Yorkshire tour of The Tempest, the Bard’s powerful last play, directed by Parrabbola artistic director Philip Parr with Paul French as Prospero.
When an unusual collection of people is thrown together on an island by a storm, old injuries must be resolved, a new generation makes new plans and everyone is driven to find something of themselves in a disrupted world.
Parr uses communal storytelling in a new interpretation to highlight themes of colonisation, reconciliation and change. Full tour and ticket details can be found at beta.yorkshakespeareproject.org/the-tempest/.
What’s on Watson’s mind? Mark Watson reckons This Can’t Be It in comedy tour dates in York, Helmsley and Selby. Picture: Matt Crockett
Comedy gig of the week: Mark Watson, This Can’t Be It, Burning Duck Comedy Club, The Crescent, York, tonight (17/9/2022), 7.30pm
EVERYONE has been pondering the fragility of life in Covid’s shadow. Don’t worry, Bristol comic Mark has it covered. At 42, he is halfway through his days on Earth, according to his £1.49 life expectancy calculator app.
That life is in the best shape in living memory, but one huge problem remains. Spiritual investigation meets observational comedy as Watson crams two years’ pathological overthinking into one night’s stand-up. “Maybe we’ll even solve the huge problem,” he ponders. “Doubt it, though.”
Watson also plays Helmsley Arts Centre on October 7 and Selby Town Hall on November 17. Box office: York, thecrescentyork.com; Helmsley, 01439 771700 or helmsleyarts.co.uk; Selby, 01757 708449 orselbytownhall.co.uk.
Mikron Theatre Company’s tour poster for Raising Agents
History in the baking: Mikron Theatre Company in Raising Agents, Clements Hall, Nunthorpe Road, York, Sunday, 4pm
MIKRON Theatre Company’s 50th anniversary tour brings the Marsden travelling players to York for a second time this summer this weekend. After the premiere of Lindsay Rodden’s Red Sky At Night at Scarcroft Allotments in May, here comes Rachel Gee’s revival of Maeve Larkin’s play about the Women’s Institute, Raising Agents.
Bunnington WI is somewhat down-at-heel, with memberships dwindling, meaning they can barely afford the hall, let alone a decent speaker. However, when a PR guru becomes a member, the women are glad of new blood, but the milk of WI kindness begins to sour after she re-brands them as the Bunnington Bunnies.
A battle ensues for the very soul of Bunnington, perhaps the WI itself, in a tale of hobbyists and lobbyists that asks how much we should know of our past or how much we should let go of it.
Raising Agents features not only a cast of Hannah Bainbridge, Thomas Cotran, Alice McKenna and James McLean but also songs by folk duo O’Hooley & Tidow, Mikron’s Marsden neighbours of Gentleman Jack theme-tune fame. Box office: email willyh@phonecoop.coop; ring 07974 867301 or 01904 466086; call in at Pextons, Bishopthorpe Road, York.
Boyzlife and balloons: Keith Duffy and Brian McFadden headline next Saturday’s line-up at the Yorkshire Balloon Fiesta
Festival of the week: Yorkshire Balloon Fiesta, Knavesmire, York, September 23 to 25
THE largest hot air balloon and music festival in the north will take off in York for the last time from Friday before moving elsewhere next year. Expect hot-air balloon launches, children’s entertainment, live music, a funfair, a Labyrinth Challenge obstacle course, food and drink and Friday and Saturday Night Glow lit-up balloons.
Friday’s acts will be Sam Sax, Scouting For Girls and DJ Craig Charles’s Funk and Soul Show; on Saturday, Huge, Brainiac Live (science show), Gabrielle, Heather Small and Boyzlife; on Sunday, YolanDa’s Band Jam, Andy & The Odd Socks, Howard Donald (DJ set) and Symphonic Ibiza, before a fireworks finale. Full details and tickets: yorkshireballoonfiesta.co.uk.
Clash of wills: Sam Steel’s headmistress Miss Trunchbull and Juliette Sellamuttu’s special-powered pupil, Matilda, in Pick Me Up Theatre’s Matilda: The Musical Jr. Picture: Matthew Kitchen
Children’s show of the week: Pick Me Up Theatre in Roald Dahl’s Matilda: The Musical Jr, Theatre@41, Monkgate, York, September 23 to October 2
REBELLION is nigh when Robert Readman’s York company Pick Me Up Theatre presents Matilda Jr, a gleefully witty ode to the anarchy of childhood and the power of imagination.
Packed with high-energy dance numbers and catchy Tim Minchin songs, this joyous girl power romp will have audiences rooting for the “revolting children” who are out to teach mean headmistress Miss Trunchbull a lesson, led by Matilda, the child with astonishing wit, intelligence, courage and…special powers! Box office: tickets.41monkgate.co.uk.
All’s well that’s John Bramwell: I Am Kloot frontman to play “super-intimate” gig at Ellerton Priory. Picture: Ian Percival
Whatever happened to I Am Kloot? Off The Beaten Track presents John Bramwell, Ellerton Priory, Ellerton, near York, September 24, 7.30pm. UPDATE: 22/9/2022: GIG CANCELLED AFTER FAMILY BEREAVEMENT
FROM the team behind shows by Super Furry Animals’ Gruff Rhys and The Beta Band’s Steve Mason in Stockton on the Forest Village Hall comes a “super-intimate” gig by I Am Kloot singer, songwriter and guitarist John Bramwell.
Since 2016, Bramwell has reverted to being a solo artist, releasing the home-recorded Leave Alone The Empty Spaces in 2018 and performing with John Bramwell & The Full Harmonic Convergence. The follow-up album, a more expansive affair with a working title of The Light Fantastic, is “scheduled for 2022”. Tickets are on sale via thecrescentyork.com or seetickets.com.
20 years later: Danny Boyle’s 2002 British post-apocalyptic horror film 28 Days Later will be shown in the Classic slot at the Dead Northern Horror Festival at City Screen. Copyright: Fox Searchlight
Film event of the week: Dead Northern Horror Festival ’22, City Screen Picturehouse, York, September 23 to 25
YORK’S only horror film festival returns to City Screen for three days, “bigger and bloodier than ever”, with a line-up of horror and fantasy-themed entertainment, new and classic feature films, live horror entertainment, parties, Q&As, special guests and exclusive merchandise.
Among the feature films will be After She Died, The Lies Of Our Confines, Shadow Vaults and Dog Soldiers on September 23; three world premieres with Q&As, Searching For Veslomy, Calling Nurse Meow and The Stranger, plus Eating Miss Campbell, on September 24, and The Creeping, The Group and 28 Days Later on the last day, when Paul Forster will host a séance at 7pm. Box office and full programme: deadnorthern.co.uk.
Farewell, but not goodbye: Dominic Goodwin’s Dr Watson, left, and Julian Finnegan’s Sherlock Holmes return in their long-running show, Holmes And Watson: The Farewell Tour
Double act of the week: Pyramus & Thisbe Productions in Holmes And Watson: The Farewell Tour, York Theatre Royal Studio, September 23 and 24, 7.45pm
JULIAN Finnegan’s Sherlock Holmes and Dominic Goodwin’s Dr Watson team up in Stuart Fortey’s “utterly bonkers” two-man play, wherein the detective has prevailed on the doctor, landlady Mrs Hudson and Inspector Lestrade of Scotland Yard to join him in a farewell tour of the British Isles before he retires.
For the first time ever, they will re-enact one of Holmes’s most baffling unrecorded cases, The Case Of The Prime Minister, The Floozie And The Lummock Rock Lighthouse, an affair on whose outcome the security of Europe once hung by a thread. Will Professor James Moriarty, the Napoleon of crime, make an appearance? Box office: 01904 623568 or yorktheatreroyal.co.uk.
Not before time: Suede announce their first York Barbican gig in a quarter of a century. Picture: Dean Chalkley
Gig announcement of the week: Suede, York Barbican, March 15 2023
SUEDE are to play York Barbican for the first time in 25 years on the closing night of their 2023 tour, in the wake of this week’s release of their ninth studio album, Autofiction, their first since 2018.
Next March’s tour will combine the London band’s classics, hits and selections from Autofiction, climaxing with their first Barbican appearance since April 23 1997. Box office: yorkbarbican.co.uk and ticketmaster.co.uk.
The poster for the York Printmakers Autumn Print Fair
Art event of the week: York Printmakers Autumn Print Fair, York Cemetery Chapel & Harriet Room, York, September 24 and 25, 10am to 5pm
INNOVATIVE printmaking can be discovered at York Cemetery Chapel, spanning etching, linocut, collagraph, monotype, screen print, solar plate and stencilling. Now in its fifth year, the York Printmakers Autumn Print Fair brings together a thriving, diverse group of enthusiastic artists who work independently but support and challenge each other by sharing opportunities, ideas and processes.
Hundreds of original prints will be on show and entry is free; prices range from £2 to £300. Some members run printmaking courses, so next weekend is a chance to find out more by chatting to the artists behind the prints.
York Printmakers’ member Russell Hughes printing in his “pop-up studio” in an empty office in York
York Printmakers: the background
EMILY Harvey started the group in 2015. “A new arrival in York contacted me via my website to ask if there was a printmakers’ group in the city, at that time the answer was ’no’,” she recalls.
“But I knew there were quite a few printmakers here, so I thought ‘why not?’. A few phone calls later, nine printmakers were sat round a table in the pub, and York Printmakers was born.”
The group now numbers about 50 from a wide range of printmaking backgrounds, from art students to professional artists who exhibit widely.
Emily loves the group’s “unconventional streak”. “We like to experiment with new methods and ideas,” she says. “Printing plates made from eggshells and prints developed using GPS tracking are just some of our recent adventures. Sharing these innovations helps to keep our work lively and relevant.”
York Printmakers’ member Jane Dignum in lino-printingmode
The group’s monthly meetings feature a sharing practice slot where printing problems and solutions are discussed. During the Covid lockdown, the group started a themed postcard-sized print challenge, the results being shared in Zoom meetings. Not only did this help the printmakers maintain their creativity, but it also produced some surprising and innovative results. Many of these small prints will be on display during the fair.
Group member Jo Ruth says: ‘One of the joys of being part of this group is the variety of experience among us. Some members are expert printmakers, others are just starting out, but we all have a lot to offer and to learn from each other.”
Members produce their work in their own spaces, some in purpose-built studios but many in far more humble surroundings, such as at their kitchen tables. Exhibitions and events showcase the group’s array of skills with printing processes that date back hundreds of years, through to those that push the boundaries of contemporary practice with innovation in laser-cut plates, digital elements and 3D techniques.
During the past year, work from the group has featured in events across the country, including the Rheged Centre in Penrith, The Inspired By…Gallery in Danby and Ferens Art Gallery in Hull.
