El-ectric: Eleanor Leaper relishing the solo spotlight in Jukebox Divas. All pictures: Charlie Kirkpatrick
York Stage Musicals, Jukebox Divas, Rowntree Park Amphitheatre, York, tonight and tomorrow, 7pm. Box office: yorkstagemusicals.com
BLOWN away by the reaction to York Stage Musicals’ first ever open-air shows last month, artistic director Nik Briggs was quick to replicate the format for a second set of three shows.
Last time, the concert theme was a celebration of musical theatre’s favourite hits, performed by six professional performers with YSM history, accompanied by musical director Jessica Douglas’s crack band at Rowntree Park.
Now, Briggs assembles another quintet of professionals, whose ambitions took hold in their YSM days; cruise-ship crooner Conor Mellor returning from the first show, joined by Sophie Hammond, back home in old York after musical theatre training in New York; Grace Lancaster, Best Leading Female winner in the 2020 Great British Pantomime Awards, here with added sax appeal too; BBC Pitch Battle finalist Eleanor Leaper and Kinky Boots principal Dan Conway.
Conor Mellor: Ain’t no mountain high enough that he won’t conquer in Meat Loaf’s I’d Do Anything For Love
Party dresses have made way for leather jackets and fishnets for the girls, suits for sharp informality for the boys, while Jessica Douglas, celebrating her birthday at the keyboard last night, has put together another band line-up of all the talents: Neil Morgan, on guitar, Christian Topham, on bass, Clark Howard, on drums, and Sam Johnson, on keyboards.
Under Tech247’s ever-changing lighting of the igloo stage on the amphitheatre bandstand, YSM’s 85-minute show is performed to a socially-distanced audience, divided into ‘Bubble Blanket’ spaces on the embankment, everything running smoothly, from the exhilarating singing to the stewarding on a night for woollens, not rainwear. Hopefully, the occasional sound glitch can be ironed out for tonight.
Jukebox Divas turns the spotlight on the ever-extending branch of musical theatre that builds shows around a collection of pop hits, as opposed to songs written expressly for a show. Briggs and Douglas’s programme is up to the minute, accommodating current hit shows Beautiful, + Juliet and Moulin Rouge, as well as the well-established Queen and Abba vehicles We Will Rock You and Mamma Mia! and Eighties’ rockathon Rock Of Ages.
Grace and fervour: Grace Lancaster singing with feeling at Rowntree Park
The Jukebox format means the show can find room for an Elvis chart topper (Sophie’s all-action A Little Less Conversation) and close with a couple of Katy Perry belters (the ensemble Firework and Sophie-fronted Roar).
Dan, so smooth and sweet of tone, leads the way with Can’t Stop The Feeling; Conor’s I Want To Break Free and Eleanor’s Somebody To Love are early highlights; and Dan and Grace’s Under Pressure is a stupendous duet, stamping their own character on a Mercury and Bowie rock landmark.
You want the perfect balance of solo showcases, duets and ensemble set-pieces, and Jukebox Divas delivers. Step forward Eleanor’s The Winner Takes It All, Sophie’s No One But You, Dan’s My Eyes Adored You, Grace’s Natural Woman and Conor’s I’d Do Anything For Love, climbing every mountainous peak of Meat Loaf’s rock-opera showstopper.
Best support act in Jukebox Divas? It just has to be Sophie Hammond’s chair
You will hugely enjoy the interplay of Sophie, Grace and Eleanor in The Weather Girls’ It’s Raining Men, Harden My Heart and Girls Just Wanna Have Fun and even more so in Lady Marmalade, as they grow ever more assured in performing together, and when the five unite, you know why Briggs was so keen to stage this show.
Can’t Help Falling In Love suits its boy-meets-girl arrangement, Every Rose is full of drama and if one song encapsulates what we have missed in not being allowed to fill theatres with song and joy in these ever-more gruelling Covid times, it is Don’t Stop Believin’, a high point for singers, band and audience alike.
How apt the night should end with a mighty Roar. Theatre and music will continue to find their voice, whatever this pandemic throws our way. Do keep believin’.
The closed eyes have it: Dan Conway in an expressive moment in Jukebox Divas
Chairing the event: Richard Upton in a moment of high drama in York Stage Musicals At Rowntree Park in August. Picture: Jess Main
SHOULD theatre companies be more adventurous, like you, and crack on with finding ways of getting out there and performing, despite Culture Secretary Oliver Dowden’s caution over when theatres can reopen fully, Nik?
“AS long as people are being sensible, following the guidelines and keeping safe, then, yes, of course people should be pushing forward! It’s not easy, there is a hell of a lot of risk, but it’s certainly worth it.
“People can go sit in restaurants and bars, so I really dont see why, with social distancing and if it’s financially viable, we shouldn’t be producing?
“If any city can produce work in these weird times, it’s York, where we have a strong history of successfully mixing professional and community casts. Damien Cruden really led the way with this in the city, when he was artistic director at York Theatre Royal, and in fact was the inspiration for the way I have ran York Stage over the past seven years.
“There really is enough professional talent locally to make it work in some way, as shown by our Rowntree Park concerts, York Theatre Royal’s Pop-Up On The Patio series and Engine House Theatre’s Park Bench Theatre shows!
“My biggest fear for the future, though, is that we are going to be sat with our larger venues sitting empty and artists all around the city desperate to work.”
York Stage Musicals present Jukebox Divas at Rowntree Park Amphitheatre, York, September 18 to 20, 7pm. Box office: www.yorkstagemusicals.com
From Caribbean cruise-ship crooning in spring to York igloo in late-summertime: Conor Mellor performing at the August 23 performance of York Stage Musicals at Rowntree Park. Picture: Jess Main
YORK Stage are heading back to the Rowntree Park Amphitheatre from September 18 to 20, building on the sold-out success of last month’s debut open-air concerts by staging Jukebox Divas.
York Stage Musicals at Rowntree Park marked the company’s first ever outdoor venture, when six professional performers with YSM history, Joanne Theaker, Ashley Standland, May Tether, Richard Upton, Emily Ramsden and Conor Mellor, performed with Jessica Douglas’s band from August 23 to 25.
Conor, back in York from singing on the international cruise-ship circuit, returns for YSM show number two, joined by Dan Conway, Sophie Hammond, Grace Lancaster and Eleanor Leaper.
York Stage Musicals performers aglow with the joy of performing to an audience at last, after the lockdown hiatus, at the Rowntree Park Amphitheatre. Picture: Kirkpatrick Photography
Producer and director Nik Briggs says: “We really were blown away by the reaction to our York Stage Musicals at Rowntree Park concerts last month. To bring live musical theatre back to the city really was an honour and to sell out so quickly and feel the buzz that surrounded the concerts was just crazy!
“I knew, stood there watching the show, that we had to keep going, we had to do more…especially as we’d joked originally that we’d been compelled to do a thing, something, anything. This time we feel the need to do another thing.”
Jukebox Divas will celebrate the art of the Jukebox musical. “With music from shows such as We Will Rock You, Mamma Mia! and more modern releases like & Juliet and Moulin Rouge, audiences will be entertained with vocal tributes to artists such as Elvis Presley, Queen, Meat Loaf, Katy Perry, Carole King and many more,” says Nik.
York Stage director and producer Nik Briggs and musical director Jessica Douglas
York Stage musical director Jessica Douglas again will lead a live band on stage from her keyboards, backing the latest line-up of professional performers. “One of my hardest things to do last time was to decide who to choose to perform from all the professional talent that has worked with York Stage over the past few years; there are so many brilliant performers who I wanted to bring back!” says Nik.
“I had hoped to do two shows originally but only having three nights at first, this wasn’t possible, so when we were able to secure a second slot I knew straight away who to ask.”
Step forward Dan Conway (York Stage: Ghost; UK tour: Kinky Boots, where he understudied and played the male lead); Sophie Hammond (York Stage: Footloose; now back from training in musical theatre in New York), Grace Lancaster (York Stage: Footloose and Whistle Down The Wind; UK tour: Footloose; Watermill: Assassins; Eastbourne: Return To The Forbidden Planet); Eleanor Leaper (York Stage: Joseph; BBC’s Pitch Battle finalist) and Conor Mellor (York Stage: Rock Of Ages; international cruise vocalist).
“I knew, stood there watching the show, that we had to keep going, we had to do more,” says producer Nik Briggs, explaining why York Stage Musicals will perform in Rowntree Park again this month. Picture: Kirkpatrick Photography
Delighted with how well the first show went after three fast-moving weeks of preparation and rehearsal, followed by stage assembly in only two hours on a Sunday afternoon, Nik says: “Audiences can again expect to be wowed by brilliant sound and lighting from Adam Moore and his Tech247 team. The giant igloo stage covering will be back to glow like a Technicolor beacon in the heart of the park once more.
“We’re again working to ensure the safety of our performers, staff and of course audience in the planning of this event. We’re remaining up to date and working to ensure everything we do is guided and informed by City of York Council and the current Government guidance as the event approaches.
“We’ve had so many compliments about the brilliant front-of-house team and a lot of audience members messaged to say how safe they felt watching the show. This was one of the biggest compliments of all. We know for lots of people it was their first outing in months, so for them to feel safe and comfortable was great.”
Hitting the heights: Richard Upton leaps onto a chair in a high spot of the York Stage Musicals at Rowntree Park concert last month. Picture: Jess Main
As with last month’s shows, to ensure they can seat everyone and maintain suitable social distancing of two metres between groups, York Stage have taken the decision to sell spaces for a “Bubble Blanket” for families or support bubbles to sit in, rather than sell individual tickets.
“These spaces are positioned to make sure there’s a two-metre gap minimum between the spaces in every direction while keeping the audience three metres away from the performers,” says Nik. “We’ve created two sizes of ‘Bubble Blanket’ spaces: one holds up to three people and a larger one holds four to six people. Please note, no physical blanket is provided, but you can bring your own or a camping chair.”
Performances will start at 7pm and run for 90 minutes without an interval. Tickets: available only online at www.yorkstagemusicals.com; Bubble Blanket Space for 1-3 people, £40; for 4-6 people, £65.
Emily Ramsden performing at last month’s York Stage Musicals at Rowntree Park. Picture: Jess Main
Five questions for producer and director Nik Briggs
What did you learn from mounting your first outdoor venture last month?
“Working outside was a daunting prospect, having not done it before. Doing it , while also ensuring we were working within the ever-changing Covid guidelines, was a whole other ball to juggle.
“One thing we were certain about was we knew we wanted to give audiences the same high-quality production and performance standards that they have come to expect from a York Stage show.
“But with that comes a lot of wires, lights, instruments and of course electricity…in an outdoor area, where we can’t stop weather!
“When we arrived at our outdoor rehearsal venue in Leeds to tech the show, the weather was nothing short of torrential. Driving across the A64, my heart was sinking but, with the brilliant team of theatre professionals we work with, we came away from that day knowing that our planning and preparation had left us ready to succeed: ,we could do this in (nearly) all weathers!
Ashley Standland in the solo spotlight at last month’s open-air concert. Picture: Jess Main
“We were lucky to have great weather up to the final show when it was raining all day through to ten minutes into the show, but the audience were brilliant! They all showed up with waterproofs and wellies and really got into what we renamed our festival version of the concert! So the biggest lesson was to not be scared of rain!”
Are you doing anything differently this time?
“It’s a whole new set of songs, nearly a full set of new singers – Conor [Mellor] managed to wangle his way back in again – and a new band. We really wanted to reach out and help as many people as possible with the concerts when those who work in our industry have had such a tough time. There may be a few extra surprises this time around but we’re still working on those at the moment!”
How are you conducting rehearsals? On Zoom? In a room, socially distanced?
“Like last time, rehearsals are happening in a range of ways. There is lots of independent learning of harmonies etc, where we have sent out recordings to the performers, so we only have to come together to piece all the parts together and keep contact to a minimum.
“When we are together social distancing, temperature checks and hand sanitiser are all aplenty! We keep at least two metres apart and never sing face to face to also mitigate any risk.”
Joanne Theaker centre stage at York Stage Musicals’ first outdoor performance. Picture: Jess Main
Should other theatre companies be more adventurous, like you, and crack on with finding ways of getting out there and performing, despite Culture Secretary Oliver Dowden’s caution over when theatres can re-open fully?
“As long as people are being sensible, following the guidelines and keeping safe, then, yes, of course people should be pushing forward! It’s not easy, there is a hell of a lot of risk, but it’s certainly worth it.
“People can go sit in restaurants and bars so I really don’t see why, with social distancing and if it’s financially viable, we shouldn’t be producing?
“If any city can produce work in these weird times, it is York, where we have a strong history of successfully mixing professional and community casts. Damien Cruden really led the way with this in the city – when he was artistic director of York Theatre Royal – and in fact was the inspiration for the way I have ran York Stage over the past seven years.
Emily Ramsden, left, Joanne Theaker and May Tether keep their distance in the Rowntree Park igloo
“There really is enough professional talent locally to make it work in some way, as shown by our Rowntree Park concerts, York Theatre Royal’s Pop-Up Patio On The Patio series and Engine House Theatre’s Park Bench Theatre shows.
“My biggest fear for the future, though, is that we are going to be sat with our larger venues sitting empty and artists all around the city desperate to work.”
The definition of ‘Diva’ is: noun: ‘a famous female singer of popular music’…or ‘a self-important person who is temperamental and difficult to please (typically used of a woman)...but your Jukebox Divas show brazenly has a cast of three women and three men. Outrageous! Explain!
“Charles, it’s 2020, you can be whatever you want to be…and looking back, the men I’ve worked with are often way bigger divas! And no, I’m not naming any names!”
Emily Ramsden, left, Joanne Theaker and May Tether performing at the Rowntree Theatre Amphitheatre in York on Sunday night. Pictures: Jess Main
REVIEW: York Stage Musicals At Rowntree Park, Rowntree Park Amphitheatre, York, tonight and tomorrow, 7.30pm. Tickets update: Sold out.
NIK Briggs and Jessica Douglas were “so sick of bad news about the arts”, the York Stage Musicals duo decided they had to “do a thing…anything”.
Three weeks later, the director and musical director are staging three nights of open-air, socially distanced, family-favourite concerts of musical-movie hits at the Rowntree Park Amphitheatre in YMS’s first ever outdoor show.
The three-night run that began last night sold out within a week. Quick work all round, not least by Adam Moore’s Tech 247, who set up the stage in only two hours yesterday afternoon.
Richard Upton stands out front in Sunday’s concert
“A huge thank you to our audience tonight!” tweeted producer Briggs afterwards. “We loved performing for you!!”
They did indeed. Emily Ramsden, Ashley Standland, May Tether, Joanna Theaker, Richard Upton and late addition Conor Mellor, professional performers all, with York Stage credits to their name, could not have looked more glad to be back on a stage when theatres remain in the dark but thankfully outdoor shows are on the rise.
Tonight and tomorrow, the singing six will take to the blow-up polytunnel stage again, attired in black, cocktail party dresses on one side, suits on the other, Upton and Standland in white shirts, Mellor more informal in a black T-shirt.
Joanne Theaker in the solo spotlight
Picnicking audience members sit in Covid-secure designated bubbles, arranged in a crescent on the grass hillside opposite the bandstand stage that could, indeed should, be used more often each York summer.
As evening turns to night over the unbroken 100-minute span of the concert, the light show within the tubing matches the songs’ subjects and moods, while also picking out keyboardist Douglas’s fellow musicians: drummer Andy Hayes, guitarist Neil Morgan, bassist Rosie Morris and keyboard player Sam Johnson.
Songs from Hairspray, Grease, Cats, Cabaret, West Side Story and The Greatest Showman are to the fore, and a selection on the theme of Green is particularly inspired. Likewise, the teasing introduction seeking a diva to sing Hopelessly Devoted You that settles on…Conor Mellor, who should have been away at sea this month, after returning to York from his Caribbean cruise-ship shows in April, but is still grounded by the pandemic.
As darkness descends, Emily Ramsden, left, Ashley Standland, May Tether, Richard Upton, Joanne Theaker and Conor Mellor bring Sunday’s concert to a close
Highlights are many, from Ramsden’s All That Jazz and Saving All My Love For You to Tether’s Memory and Theaker’s Cabaret; Upton’s Luck Be A Lady to Tether and Standland’s Summer Nights. Mellor hits the heights in Kinky Boots’ Soul Of A Man, while Upton and Theaker’s Elephant Love Medley, from Moulin Rouge, is the fast-moving arrangement of the night.
How else could the show end but with Dirty Dancing’s uplifting I’ve Had The Time Of My Life, although social distancing ruled out any attempt at the film’s infamous climactic lift.
If Covid-19’s social-distancing requirements have reinforced the suitability of the Rowntree Park Amphitheatre for open-air shows, then at least something good has come out of these killjoy times for the York musical theatre and live music scene.
Conor Mellor, back home in Bishopthorpe from the Caribbean, wins the Best Socks In Show award while singing Soul Of A Man
Delighted by the response of singers, musicians and audiences alike to these Rowntree Park shows, Briggs says: “It’s just been overwhelming. I knew us ‘Theatre Crew’ who work in it were desperate to get back, but we didn’t appreciate how much it meant to our audiences!! Here’s to Bravery going forward. Give us a space and York Stage will get a show on.”
Alas, that show will not be September’s Covid-scuppered production of Kinky Boots, but in mentioning “Bravery”, Briggs is echoing the sentiments of one of last night’s outstanding numbers, This Is Me from The Greatest Showman. “I am brave, I am bruised…And I’m marching on to the drum I beat, I’m not scared to be seen, I make no apologies, this is me,” the lyrics assert.
Such positivity, in the face of understandable Covid fear, is the way forward, step by step, drum beat by drum beat, for deeply bruised live entertainment. Not recklessness, no-one would suggest such a course so irresponsibly, but a combination of ambition and practicality, as shown by Briggs and Douglas.
York Stage Musicals producer/director Nik Briggs and musical director Jess Douglas
Good to be back: Musician Phil Grainger and writer Alexander Flanagan-Wright in Alex’s back garden at Stillington Mill for their At The Mill week of shows. Now they will pop down to the Pop-Up On The Patio festival. Picture: Charlotte Graham
MUSEUMS, galleries and cinemas are welcoming you in, but in the summertime, when the weather is surprisingly fine, now is the chance to capitalise on the great outdoors, from pop-up patio shows to musical theatre in an amphitheatre.
In the interests of balance, Charles Hutchinson’s recommendations also take in a new exhibition indoors and a night in that drags on and on…in spectacular vocal and visual fashion.
Balloons, magic, jokes: Josh Benson in his Just Josh show for Pop-Up On The Patio at York Theatre Royal
Outdoors entertainment number one: Pop-Up On The Patio, at York Theatre Royal, August 14 to 29
TAKING part in a Covid-secure summer season of outdoor performances, on a terrace stage designed by Yorkshire theatre designer Hannah Sibai, will be “Yorkshire’s finest theatre and dance makers”.
Step forward York Dance Space’s Dance//Shorts; Mud Pie Arts; Story Craft Theatre for Crafty Tales; Paul Birch’s Fool(ish) Improv; The Flanagan Collective and Gobbledigook Theatre in Orpheus and Eurydice and puppeteer Freddie Hayes in Fred’s Microbrewery.
Look out, too, for Cosmic Collective Theatre in the cult show Heaven’s Gate; York performance poet Henry Raby in Apps & Austerity; Say Owt, the York outlet for slam poets, word-weavers and “gobheads”; magician, juggler and children’s entertainer Josh Benson in Just Josh and pop, soul and blues singer Jess Gardham.
One hat, one coat, one monologue: Chris Hannon in rehearsal for Park Bench Theatre’s production of Samuel Beckett’s First Love at Rowntree Park, York. Picture: Northedge Photography
Theatre in a summer’s garden: Engine House Theatre’s Park Bench Theatre, Friends Garden, Rowntree Park, York, until September 5
ROLL up, roll up, for Samuel Beckett’s rarely performed monologue, First Love, artistic director Matt Aston’s new play, Every Time A Bell Rings, and a family show inspired by a classic song, Teddy Bears’ Picnic.
Each production is presented in Covid-secure, carefully laid out and spacious gardens, allowing audience members to keep socially distanced from each other. Chris Hannon performs the Beckett piece; Lisa Howard, the play premiere; Aston’s co-creator, Cassie Vallance, the new children’s show.
Headphones or earphones will be required to hear the dialogue, sound effects and music in performances. All audience members will be given a receiver on entry; takeaway headphones cost £1 when booking a ticket online. Bring blankets or chairs.
Richard Upton as Stacee Jaxx in York Stage Musicals’ Rock Of Ages: Now he will be rocking up at Rowntree Park. Picture: Robin May
Musical celebration of the month: York Stage at Rowntree Park Amphitheatre, York, August 23 to 25
YORK Stage are bringing musical theatre back to life this summer with their first ever outdoor show, taking over the Rowntree Park Amphitheatre for three nights.
Songs from Grease, Hairspray, Cats, Cabaret, The Greatest Showman, West Side Story and many more will be sung by Emily Ramsden, Ashley Standland, May Tether, Joanna Theaker and Richard Upton under the musical direction of Jessica Douglas.
“We wanted to keep it light, with singers of great quality and a band of great quality performing songs we all know so well, presented as a concert rather than as a staged performance, so it’s very much about the music,” says producer and director Nik Briggs.
Out on the moors: North York Moors Chamber Music Festival artistic director, founder and cellist Jamie Walton. Picture: Paul Ingram
Outdoor festival of the month: North York Moors Chamber Music Festival, Welburn Abbey, Ryedale, until August 22
AN evolution as a much as a Revolution, the 2020 North York Moors Chamber Music Festival has swapped the indoors for the outdoors, now taking place in an open marquee sited in the grounds of Welburn Abbey, Welburn Manor Farms (YO62 7HH), between Helmsley and Kirkbymoorside, in Ryedale.
For its theme of Revolution! in the festival’s 12th year of celebrating chamber works, the focus is on and around the music of Beethoven – the “revolutionary” – and beyond to mark the 250th anniversary of the German composer’s birth in Bonn.
Full details can be found at northyorkmoorsfestival.com. Season tickets have sold out, but do check if tickets remain available for individual concerts on 07722 038990.
Under the spell of the fell: North Eastern artist Jill Campbell, inspired by her walks on Cockfield Fell
York exhibition of the week: Jill Campbell, Featured Artist, Blue Tree Gallery, Bootham, York, until September 19
BLUE Tree Gallery, York, is marking the opening of North Eastern artist Jill Campbell’s exhibition of intuitive and soulful landscape paintings by introducing temporary new opening hours on Tuesdays, Thursdays and Saturdays from 11am to 4pm.
“Most of my work is based on an ancient mining landscape called Cockfield Fell, where I walk nearly every day,” says Jill. “I use elements of what I see and combine these with my imagination to create my paintings.
“I’m fascinated by the fell’s strange, other worldly, abstract shapes defined by the morning shadows and framed by big dramatic skies. Its pools, pathways, mounds, dips and curves are my motifs.”
Showtime, darlings: Velma Celli in a late-summer night’s stream
Drag show of the week: Velma Celli in A Night At The Musicals, tomorrow, 8pm
YORK drag diva supreme Velma Celli has embraced the world of the live stream through lockdown and beyond.
Velma’s satellite nights from her Bishopthorpe kitchen started in quarantine, back home in York after her Australian travels, and now she has vowed to keep these glamorous, if remote, gatherings going.
“I’m thrilled to be doing another live streamed show on August 14,” says Velma, the exotic cabaret creation of Ian Stroughair. “As venues are now closing up again in London, I will be doing more of these again! Bring on the fun! Watch out for news of special guests.”
For tickets for the live stream from Case de Velma Celli, go to: ticketweb.uk/event/velma-cellis-a-live-stream-tickets/. Tickets come off sale at 5pm tomorrow (14/08/2020); the stream link arrives via email just after 5pm for the 8pm start.
Marilyn (2009/2011, by Joana Vasconcelos: Iconic oversized silver stilettos made from stainless-steel saucepans, on show at the Yorkshire Sculpture Park. Picture: Michael J Oakes
Trip out of the week: Joana Vasconcelos, Beyond, Underground Gallery and open air, Yorkshire Sculpture Park, near Wakefield, on show until January 3 2021
PORTUGUESE artist Joana Vasconcelos creates vibrant, often monumental sculpture, using fabric, needlework and crochet alongside everyday objects, from saucepans to wheel hubs.
She frequently uses items associated with domestic work and craft to comment from a feminist perspective on national and collective identity, cultural tradition and women’s roles in society.
Crack pot: Your host standing betwixt a crockery tree sculpture at the Himalayan Gardens at Grewelthorpe. Picture: Celestine Dubruel
And what about…
LIGHTS out, sit back and enjoy the big-screen experience anew at City Screen, York, and Cineworld, York, now with masks compulsory.
Discovering Barnsley folk siren Kate Rusby’s new album of unexpected cover versions, from Manic Monday to Friday I’m In Love to Shake It Off, out tomorrow.
Walking among the flowers and sculptures at the Himalayan Gardens, Grewelthorpe, near Ripon, a gem of design all round.
On fire: Emily Ramsden, when playing the Dragon in York Stage Musicals’ Shrek The Musical. PIcture: Charlie Kirkpatrick
YORK Stage are bringing musical theatre back to life this summer with their first ever outdoor show, taking over the Rowntree Park Amphitheatre for three nights from August 23 to 25.
“Combining a live band with a team of sensational professional singers, this socially distanced outdoor event will provide you with the musical theatre fix you’ve been craving,” promises producer and director Nik Briggs.
“Presenting a programme filled with all of your favourite movie-musical songs, be prepared to be amazed as our vocalists perform songs from Grease, Hairspray, Cats, Cabaret, The Greatest Showman, West Side Story and many more.”
Explaining the choice of programme, Nik says: “We decided to stay away from anything ‘niche’, although we’re renowned for bringing new pieces, as well as ‘blockbusters’, to the York stage.
“We wanted to keep it light, with singers of great quality singing songs of great quality, and a band of great quality, performing songs we all know so well, presented as a concert rather than as a staged performance, so it’s very much about the music. With lovely lighting, it’s going to look beautiful too, with Adam Moore, Lisa Cameron and Daniel Stephenson handling the technical side of the show.”
Joanne Theaker as Maria in York Stage Musicals’ production of The Sound Of Music. Picture: Charlie Kirkpatrick
Looking forward to restoring the sound of live music to Rowntree Park, Nik says: “We’re so excited to be creating the city’s first musical theatre event post-lockdown. We have built up a reputation of leading the way with our programming and bringing the latest show titles to the city in spectacular fashion, and so when the go ahead for outdoor performances was given, we knew we had to make theatre somehow and somewhere!”
The Rowntree Park Amphitheatre, with its bandstand and grass bank, is a long-standing presence in York’s outdoor performance portfolio, but really should be utilised more often.
Nik holds up his hands. “I’ve never lived in that part of York, so I’ve not used Rowntree Park a lot, and because the amphitheatre is tucked away in the far corner, it’s almost a hidden gem,” he says.
“During lockdown, I thought, ‘‘I’m sick of all the bad news, I need to create some good news, and find a good way of working outdoors this summer’, and it was my partner who suggested this beautiful space.
“When we came upon it, my reaction was, ‘why are we not using this space already?’. It’s perfect, surrounded by trees. It’s crazy that it’s not used more often when other performance spaces are over-subscribed.
Richard Upton as Stacee Jaxx in York Stage Musicals’ Rock Of Ages. Picture: Robin May
“So, we set about creating a concert of songs that will be the tonic we all need right now: family favourites from across the generations”.
Under the guidance of York Stage’s regular musical director, Jessica Douglas, York Stage are assembling “some very special performers” who have all trained and worked professionally in musical theatre and have a wealth of British and international credits to their names.
All five have performed in York Stage Musicals shows too. Step forward Emily Ramsden, Ashley Standland, May Tether, Joanne Theaker and Richard Upton.
“We saw this show as an opportunity to support actors left out of work by the Coronavirus shutdown of theatres, who would previously have been making their money from performing,” says Nik.
Musical director and pianist Jessica Douglas will be complemented by keyboards, guitar, bass and drums in the band of five. She is leading rehearsals too. “We’re doing a mix of outdoor rehearsals, along with some things pre-recorded they’ve all been sent online to rehearse,” says Nik.
Ashley Standland as Phantom in The Phantom Of The Opera. Picture: Richard J Tampion
“When they get together, it will be for the least time possible, with two of three rehearsals per person, with the joint rehearsals being socially distant, singing at least three metres apart.”
Be assured, the safety of performers, staff and audience is “paramount” in York Stage’s planning of this three-day event.
“We’re remaining up to date and working to ensure everything we do is guided and informed by City of York Council and the current Government guidance as the event approaches,” says Nik.
“We want to ensure we can provide audiences with a brilliant night of musical theatre, while keeping them safe and comfortable.
“Under Government guidelines for public performances, for this venture, we’re only able to work with performers who have trained and work professionally, so although the total number of performers may be reduced from our usual blockbuster shows, we can still guarantee a host of powerhouse vocals.”
May Tether as Tracey in York Stage Musicals’ Hairspray. Picture: Tim Clarke
In order to make sure they can seat everyone and maintain suitable social distancing of two metres between groups, York Stage have taken the decision to sell spaces for a “Bubble Blanket” for families or support bubbles to sit in, rather than sell individual tickets.
“These spaces have been positioned to ensure there’s a minimum gap of two metres between the spaces in every direction, while keeping the audience three metres away from the performers,” says Nik.
York Stage are creating two sizes of “Bubble Blanket” spaces: one will hold up to three people; a larger one will accommodate four to six people. Please note, no actual blankets will be provided, so bring your own or a camping chair. “You can bring a picnic too, as long as you take away your rubbish,” requests Nik.
A one-way system will be in operation and the show will be 90 minutes straight through. “With no interval, we avoid any possibility of congestion,” reasons Nik.
The ticket price is £40 for the smaller Bubble Blanket; £65 for the bigger one, available online only at yorkstagemusicals.com and they MUST be bought in advance of the 7.30pm shows.
York Stage director Nik Briggs and musical director Jessica Douglas
York Stage have been anything but dormant through lockdown and beyond. “We’ve been doing Songs From The Settee online,” says Nik. “We thought there’d be four or five, but there were 11 in the end – we made a rod for our own back, but it was lovely to work with professional singers and musicians, and now we’re thanking them, and the technicians too, by doing the live shows.”
Meanwhile, York Stage School has continued to run through lockdown and beyond with online sessions. “We’re doing a summer school too, with sessions last week and this week,” says Nik.
“We’ve even had one student calling in from Estonia! Normally she stays with her grandma in York in the summer, but not this year, so she’s joining in from Estonia. We have just short of 30 students taking part, and we’re creating a ‘Zoomsical’, an online performance under licence, to show to family and friends in a premiere on YouTube on Saturday.
“The show’s called The Big One-Oh!, composed by Doug Besterman with lyrics by Dean Pitchford, and it’s an American high school piece that the licencees have managed to adapt to do on Zoom.”
Looking ahead, Nik says: “Hopefully, we can return to York Stage School lessons as normal in September, pending Government guidance.”
Oh, what a Knight: Chris Knight as Donkey in York Stage Musicals’ Shrek The Musical in September 2019. Shrek will return to the Grand Opera House in 2021
YORK Stage Musicals are to present The Hunchback Of Notre Dame in…2022.
“Theatres may be closed at the moment but that does not stop us planning for the future,” says artistic director Nik Briggs.
“We are honoured to be producing The Hunchback Of Notre Dame at the Grand Opera House in Autumn 2022. With lyrics by Wicked’s Stephen Schwartz and music by Aladdin’s Alan Menken, this is a very exciting project for us indeed.
“It was one where we were approached by the rights holders, like with Shrek The Musical. We love that because we’re not in the rat race to get it, and it’s nice they value the work we do, especially with Disney, who have very strict regulations.”
The York Stage diary for 2021 is taking shape with Shrek The Musical confirmed for a return to the Grand Opera House next spring, over the Easter holidays, and rights secured for Elf next winter.
Jacob Husband, as Adam, front, Alex Weatherhill, as Bernadette, and Joe Wawrzyniak, as Tick, in York Stage Musicals’ Priscilla Queen Of The Desert, The Musical, at the Grand Opera House, York. Picture: Benedict Tomlinson
More shows are being lined up too, not least a new work from Alex Weatherhill, who starred as Bernadette in York Stage Musicals’ production of Priscilla Queen Of The Desert, The Musical, in September 2017.
“Alex came to see us in Tim Firth’s The Flint Street Nativity and Steel Magnolias and said he wanted to do something for us, and we’re delighted as he writes the summer show at the Bridlington Spa,” says Nik.
Shrek The Musical will bring York Stage full circle, being the last show the company staged at the Grand Opera House before the Coronavirus pandemic shut down theatres and the first to be mounted by YSM once the Cumberland Street theatre re-opens.
As for The Hunchback Of Notre Dame, Nik says: “It’s a show we’ve always wanted to look at doing because it’s never been done in the West End, only in America, so it will be nice to bring it to York.”
Indeed it will but, after his tour de force as Shrek in Shrek The Musical last September, will Nik be playing the Hunchback? “Definitely not,” he insists. That Autumn 2022 slot still leaves plenty of time to change his mind, however.
YORK actor, director and choreographer Sam Rippon has won a place at the Royal Academy of Music, London, to study for an MA in musical theatre from September.
For the past three years, he has been reading for a BSc in Government and History at the LSE (London School of Economics).
During that time, nevertheless, Sam, has kept his love of theatre aflame by performing and directing while president of the LSE Drama Society.
“A one-year prestigious and intensive MA course was an attractive option,” he says. “Musical theatre has been of immense importance to me ever since I first stepped on stage in York Stage Musicals’ production of Oliver! over a decade ago.
Sam Rippon takes to the stage for the first time in Oliver in 2009
“It has been an essential part of my life, but often a subordinate one, based in extra-curricular activities. The decision to go and undertake this course is motivated by a long-term desire to put musical theatre first in my life, and to build the skills, connections, and foundations necessary to enter a career in the theatrical world.”
Sam, from Heslington, had a choice to make. “I’d received offers from the Guildford School of Acting and Mountview [Academy of Theatre Arts] too, but chose the course at the Royal Academy for its prestige and first-class alumni network.
“I was humbled to receive offers from all three of the places I auditioned for, but RAM felt, from the first audition, like the place that I wanted to be, and which would suit my existing skill set.”
Sam, 22, first auditioned at the Royal Academy last December with a 15-minute presentation of his prepared performances, before being invited to recall in April. “As I was based in London at university, it was easy to make my way to the academy to audition, but little did I know that my recall would have to be from right in my living room,” he says.
Sam Rippon in the role of Marius in York Light Youth’s production of Les Miserables School Edition in November 2014
“Due to the Coronavirus outbreak, our recall was adjusted to be a video audition, for which I was required to record my performances, a video about myself and some skill-based work.
“So, my living room turned into a makeshift recording studio with my phone carefully balanced on top of a step ladder!”
Recording performances was not something Sam found particularly enjoyable. “Perhaps, as a stage performer, the thrill of what I do is that it is live and changes, even lightly, each time. Having to get one perfect take, that I was happy with, was not an easy thing to do!” he recalls.
“Final decisions were made following these video submissions, and I was informed of the outcome at the end of April.”
No lying: That’s Sam Rippon, right, as Pinocchio, in York Stage Musicals’ Shrek The Musical at the Grand Opera House, York, last autumn
Will Sam be able to begin in September, given the on-going Covid-19 scenario? “As far as we know, we’re being prepared for a September start as usual,” he says. “Given the smaller classes, it may well be possible to conduct teaching as normal – to an extent – but I guess we should await confirmation of this.”
Sam was seen most recently on the York stage in September 2019 as Pinocchio in York Stage Musicals’ Shrek The Musical and earlier last year as Rolf in York Stage Musicals’ The Sound Of Music, both at the Grand Opera House, where he also has worked front of house.
He had played Schlomo in the York Stage Experience summer school production of Fame at the same theatre in 2017.
At the LSE, he starred as Anthony in Sweeney Todd: The Demon Barber Of Fleet Street in 2019 and the multi role-playing Clown in The 39 Steps in 2018, as well as being the director and choreographer for Sister Act this year and Made In Dagenham in 2018.
“It is impossible to describe the extent to which York has had an impact on where I am today and hope to be in the future,” says Sam Rippon
“The 39 Steps was undoubtedly the most fun I have had on stage or in a rehearsal room,” says Sam. “Bringing so many different characters to life was not only the greatest joy but encouraged me to learn new accents and physical theatre skills that will stick with me.
“Playing Pinocchio last year was a highlight too. The entire Shrek company was oozing with talent and it was a privilege to perform with every one of them, but bringing to life such an iconic and fun character made the experience even more enjoyable.
“Working with Damien [Boston Spa director-choreographer Damien Poole] and the ever-professional York Stage team on this complex production was such a joy.”
York has had an “immeasurable” influence on Sam’s acting and musical skills. “The first show I watched was in York, my first venture on to a stage was in York, and my first classes were held here,” he says. “I was brought up here, and it is impossible to describe the extent to which the city has had an impact on where I am today and hope to be in the future.
“York is blessed to have so many fantastic amateur musical theatre companies, and I have personally been blessed to have performed in several of them.”
The stage awaits: Sam Rippon contemplates a career in theatre
Sam has indeed spread his talent widely in the city. “York Stage Musicals gave me the opportunity to step on stage for the first time in Oliver back in 2009; York Light Opera Company provided me with my first named part as Friedrich in The Sound Of Music in 2012, and York Light Youth have given me countless opportunities to develop new skills,” he says.
“Performing as Marius in Les Miserables in 2014 and Ugly in Honk! in 2015 remain some of the most formative experiences in my passion for musical theatre. This is not to mention York Stage Experience and York Musical Theatre Company, with whom I had further opportunities to develop new skills and make more friends.”
Sam considers himself “fortunate to have grown up in a city that has so much to offer with regards to theatre, and for that, I will be forever grateful”, he says.
“Crucial to my interest and passion too is my school, Archbishop Holgate’s, who have the most engaging and passionate music teachers, who taught me so much and gave me so many opportunities to develop.”
Looking ahead, to beyond his MA, Sam says: “I would love to turn this training into a career on stage. I understand and appreciate the difficulty in making this step in a competitive environment, probably exacerbated by current events, but that is where I want to be, and I wouldn’t be doing this if I wasn’t going to give everything to make it happen.”
Such determination, such talent too, deserves to be rewarded.
Louise Henry: From Liesl and Snow White to the musical theatre diploma at MTA in London
“FINALLYYYY the day has come that I can say this… I got into drama school!!!!!” So read Louise Henry’s ecstatic Facebook announcement that she has been accepted for the fast-track diploma course at the Musical Theatre Academy (MTA), in London, from October.
Louise, you may recall, made her professional debut in December as “York’s very own” Louise Henry – in reality from Knaresborough – playing Snow White in Snow White And The Seven Dwarfs at the Grand Opera House, York. From 30 auditionees, she had landed the part while working at the Hoxton North café bar in Royal Parade, Harrogate,
In the midst of the Covid-19 lockdown, she secured her MTA place through a Zoom audition – “how bizarre,” she says – and now comes the challenge of raising the finance for her two years of musical theatre studies in Tottenham Green.
“Some of the most vivid memories of my childhood are centred around shows and performing, the earliest being chosen to play Whoops A Daisy Angel in Year 1 – a role I played with absolute conviction, I’ll have you know.
Louise Henry as Shelby in York Stage’s Steel Magnolias at Theatre @41 Monkgate, York, her last role before securing her place at MTA
“If I were to ask you what your wildest dream was, beyond all imagination, what would you say? Genuinely, what would it be? Mine would be to perform for a living. My heart is so happy on stage.”
Now, the bad news. “To attend this phenomenal school and receive the training I have long yearned for, I must fund the £32,000 fees with no government funding,” she revealed on Facebook.
“The MTA is not linked with a university and therefore I cannot apply for a student loan in the same way other courses can. Yes. I know. BUT, and humour me here, if every one of my 1,481 Facebook Friends generously donated £20 (or £21.70 to be precise), I would make the amount in full.”
Louise understands that such a proposal is “wishful thinking on my part”, but her Facebook post added: “However, if, by chance of incredible generosity, half, a third, or even a quarter, of said friends donated anything possible, I would be in a much more promising position to be able to attend this school.
“If people kindly donated even £1, I’m £1 closer! If you could share it to reach your friends and family further afield, my chances are immediately increased.”
Louise Henry, back left, in her role as Liesl von Trapp in York Stage Musicals’ The Sound Of Music at the Grand Opera House, York, in 2019
CharlesHutchPress is delighted to spread the word, having enjoyed Louise’s performances in such York Stage Musicals roles as 16-year-old Liesl von Trapp in The Sound Of Music and 40-year-old Jane in Twilight Robbery, as well as a young Australian woman, Gabrielle York, in Rigmarole Theatre Company’s When The Rain Stops Falling last November.
Since then, there have been her dark-wigged Princess Snow White in pantoland and her latest York Stage outing as plucky, resolute but physically fragile Louisiana bride-to-be Shelby in Steel Magnolias in February.
“We are living in such strange, difficult times,” her Facebook open letter continued. “Everything is uncertain for everyone I know and the world is suffering every day. I’m hoping, by this point in the post, that you can appreciate that I simply have to continue as if we aren’t in the middle of a global pandemic.
“Please believe me, I wish I wasn’t asking for help at a time like this. I understand and agree that there are far more worthy and important causes but I feel I have to consider the potential of my future career.
“Of course, I have spent every minute since I received my offer considering how I could logistically, carefully and respectfully raise money under the current circumstances. But making sure I abide by the Government’s restrictions is leaving me with little I can offer by way of help in exchange.
Louise Henry after she learnt she had been picked to make her professional debut as Snow White in Snow White And The Seven Dwarfs, last winter’s Grand Opera House pantomime .Picture: David Harrison.
“Saying this, if there really is anything – walking dogs with my gloves on, helping in the garden, an online singalong or bedtime story for your children – I will help in any way I can! Equally, if you have any suggestions, please send them my way! Once these restrictions are lifted and we are all much less at risk I will, of course, help in any way possible.”
Summing up her situation, Louise says: “I have to be optimistic in that I don’t know who’s hands/Facebook timeline the post might fall into. I’m doing all I can to make this dream a reality, and that means, for me personally, asking kindly for any help I can get.”
To assist Louise, go to gofundme.com/f/mta-musical-theatre-training.
“My first love has always been musical theatre,” says MTA-bound Louise
Charles Hutchinson puts the questions to Louise Henry as she chases her acting dream and the means to secure that future
WHAT attracted you to MTA in particular? How long will you be studying there and what are your hopes and expectations with this course, Louise?
“MTA’s diploma is only a two-year course and so your training is intensified throughout this time.
“The school only accepts 22 students per year and, therefore, you’re in a very elite group of performers, and the contact time, as with many drama schools, is incredibly high at 40 hours per week.
“Equally, the course is split 50/50, 50 per cent focused on stage and 50 per cent on screen acting, which is always something I have wanted to study alongside musical theatre. Everything I read about MTA made me feel as though the course would fully prepare you to be a triple-threat musical theatre performer, but also be trained thoroughly as a screen actor.”
Louise Henry as a young Australian woman, Gabrielle York, in Rigmarole Theatre Company’s When The Rain Stops Falling at Theatre @41 Monkgate, York, last autumn
What steps did you have to go through to land a place at MTA?
“The audition process was obviously very different to that I’m used to: the lockdown implemented by the Government on the outbreak of Covid-19 meant that travelling to the audition would be impossible and potentially very dangerous.
“I soon received an email from Annemarie [Lewis Thomas], the school’s principal, who stated that the auditions would go ahead regardless and instead be held over Zoom, which I was actually very excited about as it would be a totally different experience!
“When the day came, I set up my laptop in my bedroom and had prepared the monologue and song I’d have taken to the audition anyway and from then on it was actually very simple!
“It felt much less daunting than actually being in the room, and I suppose if that translates through people’s auditions it would make the panel’s decision much easier in that it’s based off a very true and honest performance.
“We were even able to do some improv over Zoom with the other auditionees, which was such an interesting experience, led by their head of acting, Tilly Vosburgh, and a group vocal workshop with the head of voice, Josh Mathieson.
“They work very quickly there and so once I had sent in a dance audition – to a song of my choice – I heard back within about 24 hours actually! It was record timing and meant I didn’t spend two anxious weeks refreshing my emails – a feeling I’d grown used to over the past few years’ auditioning.”
Louise Henry playing Liesl von Trapp in York Stage Musicals’ The Sound Of Music
Over the past year, you have done a variety of roles on the York stage – musicals, a pantomime, an Aussie play, an American play – showing an all-round talent. Why pick a musical theatre course?
“My first love has always been musical theatre and was initially what I wanted to study straight out of A-Levels. However, it felt as though my dance ability was always letting me down and so I spent a few years going to dance classes with Lyndsay Wells in Harrogate and instead chose to audition for a few years for straight acting. “That being said, singing and acting have always been my strong point and so musical theatre was always my preference.
“Working with Nik Briggs’s York Stage has been invaluable and being able to perform in a few predominantly acting roles has been a great opportunity to exercise that skill without relying on song and dance.
“Equally, working in the Grand Opera House pantomime over Christmas only intensified my drive to pursue musical theatre and so, on being recommended the MTA, I felt led to audition.”
Louise Henry’s Princess Snow White lies prone after biting the poison-drugged apple in Snow White And The Seven Dwarfs at the Grand Opera House, as the distraught dwarfs and Martin Daniels’ Muddles, right, look on. Picture: David Harrison.
What did you learn from making your professional debut in the 2019-2020 Grand Opera House pantomime?
“Performing in the pantomime was such a brilliant insight to the kind of life I could be working towards. Every day I would try to remind myself that actually soon it would be over and everyday life would assume, and in actual fact you don’t go through every day singing and dancing and dressing up!
“I constantly allowed myself to feel grateful for each performance and despite the intense hard work put into every show, I never tired of performing it. In fact, I really wish we could’ve had more shows somehow crammed into that mad month!
“It taught me that performances can be put together under your very nose and all of a sudden your show is ready and you’re opening. It also taught me that the illusion of a show is one of the most magical and fulfilling experiences for both the performer and the audience member.
“There was no better feeling than getting to the end of the show and being able to see our audiences dancing in the aisles and singing along with us. I’m just really grateful I had that experience and insight to what my life could be like – with a lot of hard work and luck obviously!”
Louise Henry as Princess Snow White, before the dark wig was added, at the press day to launch Snow White And The Seven Dwarfs. Picture: David Harrison
How did it feel playing the title role in your professional debut in Snow White?
“Playing the title role was a little bit of a shellshock experience every day really; everyone else I was working with – even the incredible children playing the dwarves – had worked a panto run previously, so I was a total newbie.
“The cast and crew made me feel so welcome and I learnt so much from the friends I made. There was also something pretty lovely in that, because I wore the black wig, which was in total contrast to my hair at the time, very few people recognised me leaving the stage door. This was nice as it kind of protected the magic of the show for the kids who had come to watch.”
Louise Henry, right, front, with fellow Snow White And The Seven Dwarfs cast members Mark Little, left, Steve Wickenden, Martin Daniels, Jonny Muir and Vicki Michelle at the Grand Opera House, York. Picture by David Harrison.
Did you pick up any good tips from the old pros in the company such as Vicki Michelle, Martin Daniels and Mark Little?
“Working so closely with Vicki, Martin and Mark was incredibly insightful and I got so many opportunities to chat with them about their experiences with performing and acting.
“Mark and I were interviewed by BBC Radio York at the same time and so we had a good chat that morning about his career and I spoke to him about how different things are now, in terms of getting into performing.
“Everyone was so encouraging and supportive, they were always spurring me on to try and keep working for this career. It was incredible watching the show being put together and acting with them was a real joy.”
Louise Henry as Shelby in Steel Magnolias: “Probably my favourite show I’ve ever been involved with,” she says
How had your year gone before lockdown, on stage and off?
“Before lockdown, I was applying to any auditions I could find via the National Youth Theatre member’s board, having been a member since 2015 when I was lucky enough to be invited to attend their intensive summer-school course.
“I sent off applications for a film in which I was cast as an extra, so drove down to London to film for a couple of days in February. That was a fab experience and something I’d never done before.
“I auditioned to attend a workshop with Katie Greenall, a National Youth Theatre associate, and was asked to go down and work for three days on an idea of a performance she is devising.
“I had a couple of auditions and recalls for National Youth Theatre’s REP company, and throughout all the trips to and from London I was working on Steel Magnolias back in York with York Stage.
“This was probably my favourite show I’ve ever been involved with, from the incredible cast I was lucky enough to work with, to the direction and production of the play.
“I just feel so grateful that it came together and we could perform before this lockdown was implemented. So, actually, I had quite a busy few months!”
“I’ve been training my family in ‘bootcamp’ sessions three times a week, then one big workout on a Sunday morning,” says Louise of her lockdown routine
How are you coping with lockdown?
“Lockdown has been a little bizarre and definitely an adjustment. But I really do love a routine, so once I’d established my routine at home, I got comfortable very quickly! “I love exercise and training in different ways, so I’ve been training my family in ‘bootcamp’ sessions three times a week, then one big workout on a Sunday morning.
“I’ve been creating workouts for three friends separately and doing many Zoom dance classes and yoga sessions. It’s probably the most active I’ve ever been! “Alongside this, I’ve been trying to learn a new song each week, focusing on songs that I wouldn’t usually go for. I try and sing these when my family are out walking, so I don’t deafen them with a loud belt!
“Obviously, I had a lot of preparation for my audition and also was asked by Nik [Briggs] at York Stage to get involved with his Songs From The Settee, singing Doctor’s Orders from Catch Me If You Can.
“I’m really glad to have the offer from MTA, so it feels like I have something to work towards once this is all over.”
Louise Henry, top left, in a promotional picture for York Stage’s Steel Magnolias
What would going to MTA mean to you after all the work you have put in already to develop your skills?
“I’m not going to lie… it’s been a long few years, auditioning to train at drama school, and it has always felt really gutting to have not secured a place despite usually getting to final recalls.
“Every time you feel so close and then can’t help but wonder what it is you were lacking? Or if they already have ‘x’ amount of 5’6 females with brunette hair? You hear that it can be down to issues that small, and it becomes really frustrating trying to pinpoint what it was about you that they didn’t want.
“So, this year, to finally secure a place, in the middle of so much uncertainty, I really feel overwhelmed by it! I know it is so clichéd but this is really my one dream to try and achieve making a career of performing, so the place at MTA, I believe, is the first step towards that dream becoming reality.
“I can’t put into words what it was like finally seeing ‘we are delighted to inform you…’ on my acceptance email. I ran downstairs screaming; I feel bad for my neighbours!”
“Your whole chest is just full and you feel like you might just ‘Mary Poppins’ it at any second and take off,” says Louise Henry, describing her love of performing
It may be an obvious question, but what makes you want to be an actor?
“Not at all an obvious question as I have absolutely had moments over the years of ‘oh god, why am I doing this?’. ‘Why am I putting myself through this?’. But quite simply, there’s no better feeling to me than being on stage and performing.
“I don’t know how I can describe this concisely, but there’s a feeling I get when I’m taking my bow or at the end of a run or in the ‘big bit’ of a song and it’s just like you’ve won the marathon or the lottery or you’re reunited with someone, and your whole chest is just full and you feel like you might just ‘Mary Poppins’ it at any second and take off.
“And that feeling to me makes everything else worth it. It’s massive lows but MASSIVE highs and for some peculiar reason the highs make you forget all the lows.
“It’s all I could ever see myself doing, and I would regret it forever if I didn’t throw myself at it and give it everything I have.”
Grim question: If you can’t get the money together, what happens to your plans to go to MTA?
“Interesting. I suppose I can’t really answer this, as that simply isn’t an option for me. I will, and am, doing everything I possibly can, given the current circumstances, and I truly believe I will make this work.
“To me, there is really no alternative: this training is all I have longed for over the past four years. Obviously, so far, I have received some wonderful and incredibly generous help from friends and family, and alongside that I’m saving every penny and plan to work alongside my course.”
No turning back: Louise Henry, pictured in the promotional shots for Steel Magnolias, is determined to take up her place at the Musical Theatre Academy in London in October
“I plan on creating a series of videos, mini-performances of songs or spoken word to post online hopefully for the viewer’s enjoyment – which might encourage people to donate whatever they can.
“The payments are termly and so that breaks down the sum, and I’m incredibly lucky as the MTA are very keen on not letting money be an issue between you attending the course.
“As I said, they choose only 22 students per year and so they have spent a lot of time in selecting who they truly want to train. Not only is this a real honour to have been offered a place, but it also reassures me that the school wants me there. There’s no better feeling after working so hard over the years.”
York Stage School principal Nik Briggs with fellow On Screen teachers Jessica Douglas (singing/musical theatre), left, Danielle Hill-Mullan (musical theatre) and Joanne Theaker (acting/musical theatre)
YORK Stage School will celebrate its second birthday from behind closed doors but with the launch of on-screen activities.
“Wherever you have a
camera, we have a class,” will be the new school rule, prompted by Government
strictures brought on by the Covid-19 pandemic.
Principal
Nik Briggs says: “After a brilliant two years, where we have worked
with hundreds of students and seen them flourish in our classrooms, we now
face the possibility of not being able to work with them under the current
Government guidance for some time and the necessary social distancing
and self-isolation policies that come with that.
“Consequently,
we are fully committed to ensuring our students are always kept safe and
well and will not be running classes while schools are closed to students.”
Cue York Stage School’s new “homework” instead. “It is with this in mind that we have been busy working on this new project, which will see us joining up with lots of our teachers’ contacts from the theatre, TV and film industry to introduce our exciting new programme, York Stage School…On Screen, over the coming weeks and months.”
Are you ready to watch, explore, react and create, asks Nik.“If so, then sign up, stop waiting in the wings…and join us on screen for a programme where we’ll be sending out weekly briefs, scripts and stimuli to children via email and through videos from both our regular teachers and special weekly industry-professional guest tutors,” he says.
Homework for when you must stay at home: York Stage School prepares to launch Stage School…On Screen
Students
will have six days to watch the videos, explore the stimuli given and then
react and create their own videos at home. “These will then be sent back
to us at York Stage School HQ,” says Nik.
“Children
will receive feedback on their creations via email and video calls from our
staff; each week we will celebrate their work across our social channels with
weekly industry recognition from our guest tutors.”
To take part, students will need either a mobile phone, tablet or PC with a built-in camera and microphone, plus an internet connection and an email address. “This can be either their own or a parent’s,” says Nik.
“While
we will be using the York Stage School social media channels to celebrate
students’ work – if parents are happy for their child’s image to be broadcast –
access to these is not needed to take part in the project.”
The first “issue” of York Stage School…On Screen is being given away free of charge. “This is in order for you to decide if this programme is something your child will enjoy and genuinely benefit from,” reasons Nik. “After the initial week, there’ll be a weekly charge of £10 to take part. To receive the first issue, please sign up by clicking Register Now on the website, yorkstageschool.com.”
Mary, Mary, very contrary: Fiona Baistow., left. and Florence Poskitt clash over who plays Mary in York Stage Musicals’ The Flint Street Nativity last Christmas
Putting on his other cap as artistic director of York Stage Musicals, Nik says: “At the moment we are very much all up in the air with regards to shows.
“We were scheduled to be performing Bugsy
Malone at the Grand Opera House from April 23 to 26, but that has now been
cancelled, now that theatres have been closed in response to the Coronavirus
epidemic. However, we do hope for the children’s sake to remount this at a
later date.”
York Stage Musicals had a trio of premieres in the pipeline too: Sondheim On Sondheim, Kinky Boots and Soho Cinders. “We had just auditioned for the UK premiere of Sondheim On Sondheim’s run at the John Cooper Studio @41 Monkgate, from May 20 to 23, but casting has had to be put on hold,” says Nik.
“This will mean the production will now have to
take place at a later date, hopefully in the autumn.
“Our big September show is the York premiere of
Kinky Boots at the Grand Opera House from September 10 to 19, and at the moment
no changes have been made on this production’s scheduling.”
Nik is still hopeful too of bringing another
alternative Christmas show to the John Cooper Studio @41 Monkgate in the wake
of 2019’s gleeful production of Tim Firth’s The Flint Street Nativity.
“After that success, we’ve now secured the rights to bring George Stiles and Anthony Drewe’s Soho Cinders to the city for the first time ever,” says Nik.
“This musical romp transports the classic Cinderella story to the streets of Soho, where the action is definitely more suitable for an adult audience and the ugly sisters are more Gemma Collins than Berwick Kaler!”
