Hoglets Theatre’s poster for A Midsummer Night’s Mischief, playing York Theatre Royal Studio on March 8 and 9
THE fairies in the forest are starting a fight, but which side are you on? Team Titania or Team Oberon? Come on down! It’s all kicking off in the forest in Hoglets Theatre’s Shakespeare-loving children’s play A Midsummer Night’s Mischief at York Theatre Royal on March 8 and 9.
Based on Shakespeare’s comedy A Midsummer Night’s Dream, the York company’s interactive, larger-than-life, fun production is designed especially for five to 11-year-old children, but everyone is welcome.
“Expect wild characters, raucous singalong songs, puppets, stunts, and some frankly ridiculous disco dancing,” says Hoglets Theatre founder, writer and performer Gemma Curry. “While we love the bard, no previous experience of Shakespeare is required!”
A Midsummer Night’s Mischief is the tenth Hoglets production, following on from their sell-out Yorkshire tours of Wood Owl And The Box Of Wonders and The Sleep Pirates and December 9’s two spectacular Christmas performances of The Nutcracker at York Minster, accompanied by the cathedral organ no less.
Writer Gemma will be joined in the cast at York Theatre Royal by Claire Morley and Becky Lennon, who replaces Charlotte Wood from earlier performances. Song lyrics are by Andy Curry and Lara Pattison; costumes by Julia Smith; set design by Andy Curry and choreography by Charlotte Wood.
Hoglets Theatre in A Midsummer Night’s Mischief, York Theatre Royal Studio, March 8, 4.30pm; March 9, 10.30am. Box office: 01904 623568 or yorktheatreroyal.co.uk/show/midsummer-mischief/
Claire Morley, left, Charlotte Wood and Gemma Curry in an earlier performance of Hoglets Theatre’s A Midsummer Night’s Mischief
Hoglets Theatre CIC: the back story
Not-for-profit children’s theatre company and associate children’s theatre company of York Theatre Royal.
Stages original theatrical productions across the country, aimed at primary and preschool-aged children.
Runs interactive workshops for schools, libraries and groups.
Provides child-centric consultation and content creation for museums, organisations, apps and publications.
Mission statement: “Everything we do is centred around storytelling and the amazing impact that stories, imagination and creativity can have on young minds.”
Disagreement: Molly Kay’s Mrs Shankland and Chris Meadley’s Mr John Malcolm in Separate Tables. All pictures: John Saunders
THE rise of John Osborne and the angry young men in the Royal Court revolution knocked Terence Rattigan into the hedgerow: a theatrical changing of the guard to rival punk rock shunting aside prog rock.
However, Sex Pistol Johnny Rotten, contrary to his I Hate Pink Floyd T-shirt, later admitted he loved Dark Side Of The Moon, although he did object to the Floydian pretentiousness.
For Rattigan, his elegant plays, full of typically English, uptight, concealed emotions and ambivalent eloquence, were suddenly deemed old-fashioned, all polish, no spit.
Agreement: Young loves Jean Tanner (Nicola Holliday) and Charles Stratton (James Lee)
Rattigan’s resurrection has been gradual, accompanied by a renewed acknowledgement of his understanding of “our national psyche”. Ronald Harwood scripted Mike Figgis’s 1994 film adaptation of Rattigan’s 1948 play The Browning Version, with Albert Finney as a morose classics teacher, while Maxine Peake’s Hester Collyer in the West Yorkshire Playhouse production of Deep Blue Sea in 2011 made the headlines, but that was a rare Rattigan sighting for this reviewer.
Nevertheless, the Rattigan revival has been growing. Symbolically too, stonemasons completed the renovation of the rundown Rattigan family memorial at Kensal Green cemetery, west London, last year after the Terence Rattigan Memorial Fundraising Project raised £10, 507.
Good timing, then, for York Settlement Community Players stalwart Helen Wilson to pick Separate Tables as her first Settlement production since she completed her decade-long project to direct four Chekhov plays in 2020.
Unpalatable: Molly Kay’s Mrs Shanklandsurveys the menu forlornly as Jodie Fletcher’s waitress Mabel awaits her order. Matt Simpson’s Mr Fowler tucks in tentatively
Wilson’s first decision was to eschew Rattigan’s original format of having the same male and female actors in the differing lead roles for both plays under the Separate Tables umbrella, the winter-set Table By The Window and the summertime Table Number Seven. Separate plays, separate lead actors, for Wilson.
Both halves are set in the mid-1950s in the shabby, genteel Beauregard Private Hotel in Bournemouth, where guests, both permanent and transient, sit on separate tables. Such stiff formality, so characteristic of Rattigan’s writing, emphasises their loneliness, all the more so for the diners sitting head on to Thursday’s full house in the compact Studio, adding a layer of breathless claustrophobia.
In her interview, Wilson made an astute comparison with the series regulars in Fawlty Towers, both staff and guests. Here we particularly enjoy the “light relief” and comic friction of Jodie Fletcher’s blunt waitress, Mabel, Marie-Louise Feeley’s brusque, horseracing form-studying Miss Meacham and Linda Fletcher’s fellow perma-guest, the ever-disapproving Lady Matheson.
Bad news? Hotel manager Miss Cooper (Catherine Edge) in discussion with Major Pollock (Paul French)
Catherine Edge, meanwhile, looks and sounds every period inch the essence of a south coast hotel manager throughout: her Miss Cooper is calm, composed, attentive, decisive, thoroughly decent, serene, always putting others first. Rattigan elegance, in a nutshell.
James Lee’s medical student Charles Stratton and Nicola Holliday’s Jean Tanner are Rattigan’s unguarded young couple, initially finding amusement in the old sticks and minor irritation in each other, before taking divergent positions in the second half.
Table By The Window is the less successful piece, never losing a sense of awkwardness in its lead performances or their behaviour. Chris Meadley, Tadcaster Theatre Company’s panto dame for the past three years, makes his Settlement debut as disgraced former Labour Junior Minister John Ramsden.
Embittered: Chris Meadley’s politician-turned-journalist Mr John Malcolm
Now writing under the name Cato for the Socialist publication New Outlook, and staying at the Beauregard as John Malcolm, he looks at the world darkly through a haze of booze, surly and sarky, disputatious and dyspeptic.
Who should turn up – by chance, she protests – but ex-wife Mrs Shankland (Molly Kay), the woman he assaulted in his ministerial days. What ensues is an attritional psychological game, with shocks to come and sparks to fly, but everything feels uncomfortable, more collision than connection, with audience, subject and former partner alike.
By comparison, Table Number Seven is intriguing, compelling, surprising, radical even. Enter Paul French’s bogus Major Pollock, whose faux pas amusingly arouse the suspicions of Matt Simpson’s old academic stodge Mr Fowler.
Devastated: Jess Murray’s Miss Railton Bell in the second play, Table Number Seven
Edge, Lee, Holliday, Feeley and Fletcher times two keep doing their stuff, and Caroline Greenwood’s stultifying, insufferable, bigoted Mrs Railton-Bell keeps holding back her daughter, Jess Murray’s over-protected fledgling Sybil (or “Miss R-B”, as the Major calls her on their walks).
French and Murray’s scenes are terrific, capturing the repression and fear that grips the Major and Sybil alike. The local paper has been covering his court case for importuning, and here is where Rattigan confounds the naysayers, revealing himself to be liberal and progressive.
Performances: 7.45pm, February 13 to 17; 2pm, Saturday. Post-show discussion: February 16, 7.45pm performance. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Neil Vincent, left, Clare Halliday, Chris Pomfrett, Victoria Delaney and Mick Liversidge in rehearsal for York Actors Collective’s Beyond Caring
A GLUT of York theatre companies, a nocturnal sky festival, a Yorkshire musical and a colourful installation light up the dark nights of February for culture guide Charles Hutchinson.
Social drama of the week: York Actors Collective in Beyond Caring, Theatre@41, Monkgate, York, Tuesday to Friday, 7.30pm; Saturday, 2.30pm and 5.30pm
DEVISED by Alexander Zeldin and the original Yard Theatre cast in London, this 90-minute play highlighting the social damage inflicted by zero-hours contracts forms York Actors Collective’s second production, directed by founder Angie Millard.
Performed by Victoria Delaney, Clare Halliday, Mick Liversidge, Chris Pomfrett and Neil Vincent, Beyond Caring follows meat-packing factory cleaners Becky, Grace and Sam on the night shift as they confront the reality of low wage employment, never sure whether their ‘job’ will continue. Box office: tickets.41monkgate.co.uk.
Robert Rice: Recital at Unitarian Chapel, St Saviourgate tonight
Late Music at the double: Steve Bingham, violin and electronics, 1pm today; Robert Rice, baritone, and William Vann, piano, 7.30pm tonight, Unitarian Chapel, St Saviourgate, York
PET Shop Boys’ It’s A Sin chills with Bach’s Allemande in D minor, while a tango from Piazzolla is thrown in for good measure, as Steve Bingham explores four centuries of solo violin music this afternoon. World premieres of David Power’s Miniatures, Wayne Siegel’s Salamander (violin and electronics) and Rowan Alfred’s Cuckoo Phase will be performed too.
York composer David Power has curated Robert Rice and William Vann’s evening recital, featuring the first complete performance of Power’s Three Char Songs (1985 and 2016). Works by Gerald Finzi, Cecil Armstrong Gibbs, Herbert Howells, Robert Walker, William Rhys Meek, Charlotte Marlow, Liz Dilnot Johnson, David Lancaster, Hannah Garton, Ruth Lee, Hayley Jenkins and Phillip Cooke. Power gives a pre-concert talk at 6.45pm with a complimentary glass of wine or juice. Tickets: latemusic.org or on the door.
Jonny Holbek as Sebastian in York Light Opera Company’s production of Disney’s The Little Mermaid. Picture: Matthew Kitchen
Nautical adventure of the week: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, February 7 to 17, except February 12
BASED on the classic 1989 Disney animated film, The Little Mermaid tells the enchanting story of Ariel, a mermaid who dreams of trading her tail for legs and exploring the human world. Aided by her mischievous sidekick, Flounder, and the cunning Ursula, Ariel strikes a bargain that will change her life forever.
Martyn Knight’s production for York Light features stunning projection, dazzling costumes, unforgettable musical numbers, such as Under The Sea and Kiss The Girl, and choreography by Rachael Whitehead. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The poster for Colour & Light, soon to illuminate the facade of York Art Gallery
Installation launch of the week: Colour & Light, York Art Gallery, February 7 to 25
YORK BID is linking up with York Museums Trust for the return of Colour & Light: an innovative project that will transform the facade of York Art Gallery to counter the cold winter with a vibrant light installation.
This “high impact and large-scale visual arts project” uses 3D projection mapping to bring York’s iconic buildings to life, first York Minster last year, now York Art Gallery, where the projection will play every ten minutes from 6pm to 9pm daily in a non-ticketed free event.
Watching the detective: Steven Jobson’s Lieutenant Frank Cioffi in Joseph Rowntree Theatre Company’s Curtains. Picture: Jennifer Jones
It’s Curtains for…Joseph Rowntree Theatre Company, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm and 2.30pm Saturday matinee
WHEN the leading lady of a new musical mysteriously dies on stage, a plucky local detective must solve this 1959 case at Boston’s Colonial Theatre, where the entire cast and crew are suspects in Kander & Ebb’s musical with a book by Rupert Holmes.
Cue delightful characters, a witty and charming script and glorious tunes in the Joseph Rowntree Theatre Company’s staging of Curtains. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Sunflower power: The Calendar Girls cast on tour at the Grand Opera House, York, from Tuesday to Saturday
Touring musical of the week: Calendar Girls The Musical, Grand Opera House, York, Tuesday to Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
YOU know the story, the one where a husband’s death to leukaemia prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing, whereupon they set about creating a nude calendarto raise money for charity.
Premiered at Leeds Grand Theatre in 2015, Gary Barlow and Tim Firth’s musical is now touring with a cast of music, stage and television stars. Baring all will be Laurie Brettas Annie;Liz Carneyas Marie; Helen Pearson as Celia; Samantha Seager as Chris; Maureen Nolan as Ruth; Lyn Paul as Jessie and Honeysuckle Weeks as Cora. Once more the tour supports Blood Cancer UK. Box office: atgtickets.com/york.
Nicola Holliday (as Jean Tanner) and James Lee (as Charles Stratton) in rehearsal for Settlement Players’ Separate Tables. Picture: John Saunders
English manners of the week: York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees
AFTER directing four Russian plays by Chekhov, Helen Wilson turns her attention to Separate Tables, two very English Terence Rattigan tales of love and loss, set in a shabby Bournemouth hotel in the 1950s.
Guests, both permanent and transient, sit on separate tables, a formality that underlines the loneliness of these characters in a play about class, secrets and repressed emotions. Chris Meadley, Paul French, Molly Kay, Jess Murray, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher are among the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Festival of the month: North York Moors and Yorkshire Dales Dark Skies Festival, February 9 to 25
TEAMING up for the ninth time since 2016, the North York Moors and Yorkshire Dales National Park authorities celebrate the jewels of God’s Own Country’s night sky this month.
Discover nocturnal activities to heighten the senses such as the Dark Skies Experience (February 9 to 25) night navigation (February 16); trail run and yoga (February 17, sold out); canoeing; planet trail and constellation trail at Aysgarth Falls (February 9 to 25); astrophotography workshops at Castle Howard (February 22), stargazing safaris, children’s daytime trails, art workshops and mindful experiences. More details: darkskiesnationalparks.org.uk; yorkshiredales.org.uk/things-to-do/whats-on/shows/dark-skies-festival/.
Richard Ashcroft: Heading to the woods for Forest Live at Dalby Forest in June. Picture: Dean Chalkley
Outdoor gig announcement of the week: Richard Ashcroft, Forest Live, Dalby Forest, near Pickering, June 23
FORESTRY England completes its Forest Live return to Dalby Forest for the first time since 2019 with Richard Ashcroft, the two-time Ivor Novello Award-winning Wigan singer, songwriter and frontman of The Verve.
Canadian rocker Bryan Adams and disco icons Nile Rodgers & CHIC were confirmed already for June 21 and 22 respectively. New addition Ashcroft’s set list will draw on his five solo albums, along with The Verve’s anthems Bittersweet Symphony, The Drugs Don’t Work, Lucky Man and Sonnet. Leeds band Apollo Junction will be supporting. Box office: forestlive.com.
In Focus: York Ice Trail, City of Dreams, York city centre, today and tomorrow, from 10am
York Ice Trail: City of Dreams this weekend
THE theme for York Ice Trail 2024 transforms York into the City of Dreams, inviting visitors to dream big.
The last York Ice Trail, in February 2023, drew 40,000 visitors to York to view 36 sculptures. Organised by Make It York, the 2024 event again sees the “coolest” sculptures line the streets of York, each conceived and sponsored by businesses and designed and created by ice specialist Icebox.
Sarah Loftus, Make It York managing director, says: “York Ice Trail is one of the most-loved events in the city for residents and visitors alike, and we’re excited to be bringing it back for another year in 2024.
“It’s a huge celebration of our city and businesses, and the concept will inspire everyone’s inner child, encouraging people to let their imagination run wild.”
Icebox managing director Greg Pittard says: “Returning to York for the 2024 Ice Trail is a true honour for us. The York Ice Trail holds a special place in our hearts, and we are thrilled to bring this year’s theme to life.
“Our talented team of ice carvers pour their passion into crafting magnificent ice sculptures that will transport visitors to a world of wonder and delight.”
The 2024 ice sculptures:
Our City Of Dreams, provided by Make It York, Parliament Street.
A Field Of Dreams, Murton Park, Parliament Street.
A Journey In ice, Grand Central, Parliament Street.
City Of Trees, Dalby Forest, Parliament Street.
Chasing Rainbows, in celebration of York band Shed Seven topping the UK official album chart in January, York Mix Radio, Parliament Street.
I’m Late, I’m Late! For A Very Important Date!, Ate O’Clock, High Ousegate.
Sewing Like A Dream, Gillies Fabrics, Peter Lane.
Mythical Beasts: The Yeti, York BID, Walmgate.
Hop On Your Bike, Spark:York, Piccadilly (Spark:York will be open from 12 noon).
Belle Of The Ball, York Castle Museum, Eye of York.
The cast for York Settlement Community Players’ production of Terence Rattigan’s Separate Tables
AFTER being at the helm of four Chekhov plays, York Settlement Community Players stalwart Helen Wilson had considered checking out of directing altogether.
“I must say, I never thought I’d direct again,” says the York actress, stage director and York College tutor. “I felt like it was the end of the chapter, and I did think, ‘where would I go from here?’.”
Briefly she pondered the possibility of doing an Arthur Miller play, but after all those Russian plays – Uncle Vanya, Three Sisters, The Cherry Orchard and The Seagull – her thoughts turned to the quintessentially English work of Terence Rattigan and in particular Separate Tables.
“This play was something that I’d been considering directing years and years ago for Settlement because it has three really good parts for older women; it’s fairly easy to do set wise, and it’s a damn good play.”
Catching the directing bug once more, Helen is deep into rehearsals for Settlement’s staging of Separate Tables at York Theatre Royal Studio from February 8 to 17.
Technically Separate Tables comprises two interconnected one-act plays, two tales of love and loss, ageing and desperation, both set in the shabby Beauregard Private Hotel, Bournemouth, where events unfold 18 months apart in 1954 and the late-summer of 1955 respectively.
Only the two lead characters change from the first tale to the second, the supporting cast of hotel manager, staff and guests staying the same, as guests, both permanent and transient, sit on separate tables: a formality that underlines the loneliness of these characters in Rattigan’s depiction of class, secrets and repressed emotions.
“Terence Rattigan very much fell out of fashion with the rise of the ‘Angry Young Men’ in the 1950s,” recalls Helen of the new age of playwrights and novelists, John Osborne, Kingsley Amis, John Braine, Alan Sillitoe and John Wain.
“Famously, Kennth Tynan [the leading theatre critic of his day] turned against Rattigan, saying his plays were rendered irrelevant in the new ‘kitchen sink’ era. But, actually, Separate Tables is a play that was very daring for its time, and there will be a gasp when certain phrases are uttered, where you realise that nothing changes in the world of politics. On top of that, the character John Malcolm is like a forerunner of Jimmy Porter in Osborne’s Look Back In Anger, written only a year later.”
The first tale,Table By The Window, spotlights the troubled relationship of disgraced former Labour Cabinet Minister John Malcolm and his ex-wife, Mrs Shankland. Arriving as a seemingly random guest, she is dining with him, but earlier Malcolm had served time for assaulting her.
The second, Table Number Seven, focuses on the friendship of a repressed spinster and Major Pollock, outwardly generous but bogus behind his façade as an upper-class retired army officer. “It reminds me of Fawlty Towers, with those permanent characters of the two old ladies that always talk at the same time and the Major. It’s a play with lots of drama and a little bit of Victoria Wood thrown in at the beginning!”
Significantly too, Settlement will be using the variation on Rattigan’s drama favoured in American productions from an earlier draft, where Major Pollock is found guilty of approaching young men on the sea front for cigarettes and “other services”.
“You’ll find it as kind of an add-on at the back of the script, and officially that version was never done in Britain, but we’re using it, rather than the script from the premiere where Major Pollock was found to be sexually harassing women at a cinema,” says Helen. “Burt Lancaster and David Niven starred in the 1958 film, with Niven as Major Pollock, and it was very risqué for the time as it went with the homosexual storyline.”
For all Tynan’s judgement, rooted in how Rattigan contrasted with the new breed of working and middle-class writers, Rattigan was anything but a conformist. “He could never experience a safe, cosy relationship in his life; he always veered towards the dangerous,” says Helen.
“He was the son of a diplomat and went to Harrow and Oxford but never voted Tory. He didn’t sit his finals at Oxford, deciding he wanted to be a playwright instead. It was an open secret that he was gay, but it was never spoken of, and while he had lovers, they would never be seen together. He lived on the ground floor of a block of flats, with the lovers staying on the top floor.
“It’s interesting to see how taboos have changed, but there’s still shock value in the play, and we’ve had some really good discussions during rehearsals, with our two younger cast members, where they might not have realised how homosexuality was viewed at that time. I felt rather Victorian trying to explain those things to them.”
The lead roles in each tale were written to be played by the same performers, but Helen has gone with separate actors, casting Chris Meadley, from Tadcaster, as John Malcolm; Molly Kay, from Flamborough, as Mrs Ann Shankland; Settlement and York Shakespeare Project regular Paul French as Major Pollock, and another York stage familiar face, Jess Murray as Miss Sybil Railton Bell.
The roles of the aforementioned three older women go to Marie-Louise Feeley as bohemian racegoer Miss Meacham, Caroline Greenwood, from last summer’s community cast for York Theatre Royal’s Sovereign, as Mrs Railton Bell and Linda Fletcher as Lady Matheson.
Catherine Edge plays Miss Cooper; James Lee follows up his preening Piers Gaveston in York Shakespeare Project’s Edward II with Charles Stratton here; Nicola Strataridaki, soon to appear in one of Next Door But One’s Yorkshire Trios, is Jean Tanner and Matt Simpson takes the role of old school master Mr Fowler. Jodie Fletcher completes the cast as Mabel.
Helen concludes: “People might think it’s cosy to go to a Rattigan play, but a lot of Separate Tables will make audiences feel uncomfortable – and that subject of a disgraced MP is very apt for our times. There’s definitely more in common between Separate Tables and Look Back In Anger than you might first think.”
York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Black’n’White the Zebra and Hiran Abeysekera (Pi) in Life Of Pi, bound for Leeds Grand Theatre from Wednesday. Picture: Johan Persson
DRAMAS, circus, musical theatre, rock’n’roll, sorrowful folk, one more pantomime and the return of forest concerts attract Charles Hutchinson’s attention.
Theatre event of the week: Life Of Pi, Leeds Grand Theatre, January 10 to 13; 2pm and 7pm, Wednesday, Thursday and Saturday; 7.30pm, Friday
WINNER of five Olivier Awards, not least Best Play, the West End spectacle Life Of Pi is heading north on its debut British tour with its combination of jaw-dropping visuals, magic and puppetry.
Adapted from Yann Martel’s 15 million-selling, 2002 Man Booker Prize-winning fantasy novel, Life Of Pi finds Pi stranded on a lifeboat with four other survivors – a hyena, a zebra, an orangutan and a Royal Bengal tiger. Time is against them, nature is harsh, who will survive on this epic journey of endurance and hope. Box office: 0113 243 0808 or leedsheritagetheatres.com.
The poster for Meat Loaf By Candlelight at Grand Opera House, York
Tribute show of the week: Meat Loaf By Candlelight, Grand Opera House, York, January 12, 7.30pm
STARS of the original West End and international productions of Bat Out Of Hell will be accompanied by a rock band in a tribute to Texan rock-operatic singer and actor Meat Loaf “as you have never heard before”.
On the Meat Loaf menu will be I’d Do Anything For Love (But I Won’t Do That), Bat Out Of Hell, Two Out Of Three Ain’t Bad, Dead Ringer For Love, You Took The Words Right Out Of My Mouth, Rock And Roll Dreams Come Through et al. Box office: atgtickets.com/york.
Cirque: Combining musical theatre bangers and circus skills at York Barbican
Move over PT Barnum and Hugh Jackman: Cirque: The Greatest Show, York Barbican, January 13, 2pm and 6pm
CIRQUE: The Greatest Show combines West End and Broadway musical theatre showstoppers with spectacular circus skills, ranging from aerialists and contortionists to thrilling feats of agility and flair.
West End performers join with mesmerising circus acts in the all-star cast for an enchanting variety show that vows to “charm and astonish in equal measure”. Box office: yorkbarbican.co.uk.
Peter Panto: The PQA York pantomime at the JoRo Theatre
Still time to squeeze in another pantomime: PQA York in Peter Panto, Joseph Rowntree Theatre, York, January 14, 7.30pm
PETER Panto, the high-flying PQA Pantomime, features the talented young performers of the Pauline Quirke Academy York’s Friday Academy.
Join Peter Pan as he flies off on a new adventure for one night only in a show featuring “stunning visuals, gorgeous music and barrel-loads of laughter on a swashbuckling journey to Neverland unlike any before”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Showaddywaddy’s 50th anniversary tour, taking in Grand Opera House, York
Hey, rock and roll nostalgia: Showaddywaddy 50th Anniversary Tour, Grand Opera House, York, January 19, 7.30pm
FORMED in Leicester in 1973, Showaddywaddy like to call themselves “the greatest rock’n’roll band in the world”. Their 50th anniversary travels rock’n’roll on into 2024 with a line-up featuring only one original member, drummer Romeo Challenger, aged 73.
Dave Bartram, the singer on such hits as Hey Rock And Roll, Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon and Pretty Little Angel Eyes, now manages the band, having performed his last gig in Ilkley in 2011. Andy Pelos takes lead vocals. Box office: atgtickets.com/york.
Angeline Morrison: Performing songs of sorrow at the NCEM, York
Leaping ahead: Angeline Morrison, National Centre for Early Music, York, February 29, 7.30pm
SEEKING to make the most of the extra day in this Leap Year? Why not discover why the Guardian picked Angeline Morrison’s The Sorrow Songs: Folk Songs Of Black British Experience (Topic Records) as the number one folk album of 2022.
Birmingham-born, Cornwall-based folk singer, songwriter and multi-instrumentalist Morrison explores traditional song with reverence, love and curiosity, a handmade sonic aesthetic and a feeling for the stories of ordinary human lives. York singer-songwriter Holly Taymar supports. Box office: 01904 658338 or ncem.co.uk.
Paul French: Soon to play Major role in Separate Tables at York Theatre Royal Studio
Classic play of the season: York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees
AFTER directing four Russian plays by Chekhov, Helen Wilson turns her attention to Separate Tables, two very English Terence Rattigan tales of love and loss, set in a shabby Bournemouth hotel in the 1950s.
Guests, both permanent and transient, sit on separate tables, a formality that underlines the loneliness of these characters in a play about class, secrets and repressed emotions. Chris Meadley, Paul French, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher lead the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Bryan Adams: Canadian rocker will play Dalby Forest on June 21
Going down to the woods again at last: Forest Live concerts, Dalby Forest, near Pickering, June 21 and 22; gates open at 4pm
FOREST Live concerts are to return to Dalby Forest for the first time since Paul Weller and Jess Glynne’s shows in June 2019. Covid put paid to 2020, since when three more silent summers have passed in the woods, but the hiatus will come to an end after Forestry England’s announcement of two outdoor gigs for 2024.
Bryan Adams, forever associated with (Everything I Do) I Do It For You’s 16-week chart-topping run from the 1991 film soundtrack to the forest tale of Robin Hood: Prince Of Thieves, will play on June 21. Nile Rodgers & CHIC will be supported by Sophie Ellis-Bextor and Deco on June 22. Ellis-Bextor previously guested at Erasure’s Dalby date in 2011. Box office: forestlive.com.
Nile Rodgers: Good times ahead at Dalby Forest on June 22 in the company of CHIC
In the line-up for Next Door But One’s Yorkshire Trios in the York Theatre Royal Studio next March: top row, Sarah Rumfitt, left, Kate Bramley, Connie Peel and Nicola Holliday; second row, Jules Risingham, Tempest Wisdom and Bailey Dowler; third row, Yixia Jiang, Jacob Ward and Claire Morley; bottom row, Paul Birch, Harri Marshall and Livy Potter
AFTER receiving more than four times as many applications as commissions available, York theatre company Next Door But One has assembled the next band of Yorkshire Trios – and a quartet – for March 2024.
“That many applicants is a sign of a few things,” says chief executive officer and artistic director Matt Harper-Hardcastle. “Just the sheer amount of talent that is within the local area; that there’s still a need after Covid for local creatives to be supported to get their own work out there, and hopefully that we as a company are seen as approachable and that people want to connect with us.”
Through a series of micro-commissions, York actors, writers and directors are being supported by NDB1 to produce original, short pieces of theatre that celebrate their individual skill and creativity.
“The brief is to create a five to 15-minute solo performance that in some way responds to the overall theme of ‘Top of the Hill’, so this is already resulting in stories of motherhood, grief, love, war and even Kate Bush!” says Matt.
“The writers are working on their second draft after receiving dramaturgical support from our team, and then rehearsals will begin in the early new year.”
The artists taking part will be Sarah Rumfitt, Kate Bramley, Connie Peel, Nicola Holliday, Jules Risingham, Tempest Wisdom, Bailey Dowler, Yixia Jiang, Jacob Ward, Claire Morley, Paul Birch, Harri Marshall and Livy Potter.
“This version is really building on everything that we learned and achieved from the first time around,” says Next Door But One artistic director Matthew Harper-Hardcastle
They will be working towards a showcase of original performances at York Theatre Royal next March, with more details on performance dates and how to book tickets to be released in the new year.
NDB1’s inaugural 2021 showcase of Yorkshire Trios in the garden performance space of The Gillygate pub marked the first live show in York after the lifting of Covid restrictions.
“At the time, many local performing arts professionals were feeling disconnected from their artistry and were extremely anxious about the future of their careers,” recalls Matt.
“So we listened to their concerns and created a series of micro-commissions to form new collaborative trios of an actor, writer and director, from which original work could be produced.”
One 2021 creative described Yorkshire Trios as “a total lifeline; a lighthouse in a stormy sea”. “Since then, Next Door But One has supported a further 44 creatives with mentoring in such areas as job applications and funding bid writing,” says Matt.
Yixia Jiang: Writing Love Letters Before Dawn for Yorkshire Trios
“We’ve always wanted to be an approachable company where creatives can hang their hat. We really believe in investing in the York cultural ecology, so this new iteration of Yorkshire Trios sits alongside our professional development programme, Opening Doors, and our Company Coaching provision.
“That provision is giving quarterly business and peer mentoring to five arts-based companies, Thunk-It Theatre, Story Craft Theatre, Terpsichoring dance company, Moon Dust and CoCreate, each with a different focus and at different stages of their development.”
Looking forward to next March’s showcase, NDB1 associate director Kate Veysey says: “It was really encouraging and humbling to read people’s honest reflections on what Yorkshire Trios could do for them within the application process.
“Some who had never been able to showcase their work in their hometown, others who had faced challenges in creating a professional network or establishing their careers on their own terms, and others who really respected our work and wanted to align their practice with our values. We feel really confident in being able to offer solutions to these points through this project.”
Emerging writer Yixia Jiang’s play Love Letters Before Dawn will be performed by Claire Morley, directed by Jacob Ward. “Working with this group of amazing people in York gives me a chance to take a glance into the local theatre industry and help establish myself as a playwright here,” he says.
York actor Bailey Dowler will perform Jules Risingham’s Anorak under the direction of Tempest Wisdom. “I wanted to get involved with Yorkshire Trios because there’s a lot of local talent in York and this is a perfect opportunity to widen my creative circle,” says Bailey.
“I cannot wait to work so closely with a writer and director. It’s such a rarity to have a one-to-one experience in the rehearsal room and so I’m excited to collaborate together, creating beautiful theatre, fuelled with passion.
“Next Door But One has a fantastic support system and I’m looking forward to being mentored and learning more about the process of creating a play, from outside the eyes of an actor.”
Fellow actor Nicola Holliday will present Sarah Rumfitt’s Toast, directed by Kate Bramley, artistic director of Badapple Theatre Company, and Connie Peel. “Having heard from friends what an incredible and inclusive company NDB1 was to work with, I was eager for the opportunity and chuffed to bits to be cast in Yorkshire Trios,” says Nicola.
“As an autistic, full-time working parent, finding flexible inclusive work can be a challenge and being welcomed with open arms, kindness and understanding by the whole NDB1 team has been lovely.
Nicola Holliday: Performer for Sarah Rumfitt’s Toast
“Meeting my Yorkshire quartet, such a talented creative and passionate bunch of local folks, I cannot wait to see our piece grow and develop, to be really challenged as an actor and to make some more meaningful connections here in York.”
Writer Sarah Rumfitt says: “Yorkshire Trios has given me an opportunity to explore my own voice within writing, something I have had little time for since becoming a mum.
“Being a creative is incredibly rewarding but also at times lonely. After an initial meeting with NDB1 and the other trios, I already feel more connected and part of an exciting community of Yorkshire-based creatives.”
Co-director Kate Bramley adds: “I’m really delighted to be working with Next Door But One on a brand new short play and mentoring another young director to boot, which makes us a unique four-person ‘trio’! I’ll be very excited to get started in the New Year.”
The fourth Yorkshire Trio comprises writer Paul Birch, actor Livy Potter and director Harri Marshall, combining on Running Up That Hill, the Kate Bush one.
Now that all the Yorkshire Trios have been introduced to one another, they can start creating performances that “really reflect who they are”. “We’ve provided the stimuli of ‘Top of The Hill’,” says NDB1 creative engagement manager El Stannage. “Not only because it then provides an overall theme to the final performances, but also because it brings a bit of the NDB1 ethos into the process.
Writer Sarah Rumfitt: Toast pops up at Next Door But One’s Yorkshire Trios showcase
“As a team, we often talk about what it’s like for us at the ‘top of the hill’; what it looks like when we are at our best, and that’s really what we want to instil in our trios. We want to celebrate each of them and applaud the incredible talent in our area.”
Highlighting how the 2024 Yorkshire Trios will differ from 2021, Matt says: “This version is really building on everything that we learned and achieved from the first time around.
“We’ve scheduled our Opening Doors programme to run alongside Yorkshire Trios this year, so we can offer development workshops for all the actors, writers and directors. We’ve included additional mentoring or adapted roles to suit the desired outcomes of certain creatives.
“The showcase of work will be performed in the York Theatre Royal Studio so we’ll be able to include more aesthetic decisions. And finally, we’ve reduced the number of commissions this time around so that we can increase the commission sum so that it’s more reflective of the work and energy each creative puts into it.”
Matt is delighted that the chosen artists are so diverse in representing York’s arts community in 2024. “As a company we really lead with who we are, and as an LGBTQ+ and disability-led company, we call to others who want to do the same, or want to be in those same spaces,” he says.
“Then the more that happens, the more others see themselves represented in both the industry and on stage, which then calls to more people, and so the process continues. So, it was really important to us that we had a real diversity across our trios, both in terms of identity and also experiences/stages in their career.”
The 2024 Yorkshire Trios – and a quartet
Kate Bramley: Co-directing Sarah Rumfitt’s Toast
Toast by Sarah Rumfitt
Performed by Nicola Holliday and directed by Kate Bramley and Connie Peel
AFTER giving birth, the midwife brings you toast; simple, medium cut, white Hovis that’s done a quick dip in the toaster, barely browned, overly buttered but the best thing Becky’s ever tasted. If only she knew what was coming…she’d have asked for the full loaf. Following a year-long struggle with post-natal depression, Becky and her son set off on their first walk together; they are going to the top of the hill; a place Becky would often walk alone before becoming “Mum”.
Livy Potter: Performing Paul Birch’s Running Up That Hill
Running Up That Hill by Paul Birch
Performed by Livy Potter and directed by Harri Marshall
ALEX is lost. Alex hates running but loves Kate Bush. They know all the facts about Kate Bush. Kate Bush drinks milk before recording and knows Lenny Henry. Alex is
running and Kate’s voice seems to help. Hill running is the worst and one (bastard) hill has them (almost) beat. This is the story of what Alex is running from and what they are running towards.
Prison is behind them as is their escape from a controlling relationship. Running up that hill is presently painful but it’s a different kind of pain from the past; besides, running up that hill might finally give Alex a clear view…
Harri Marshall: Directing Running Up That Hill
Love Letters Before Dawn by Yixia Jiang
Performed by Claire Morley and directed by Jacob Ward
A SOLDIER has been defending a battlefield from a hill for the past 100 days. Today he has given up on all chances to defend this place. All hopes seem lost.
However, the soldier keeps hold of his bravery and pride by remembering his fallen commander’s words: “We don’t persist because there is hope. It’s because of persisting, there shall be hope.”
Jacob Ward: Directing Yixia Jiang’s Love Letters Before Dawn
Anorak by Jules Risingham
Performed by Bailey Dowler and directed by Tempest Wisdom
THOMAS (no relation to The Tank Engine) loves trains. His whole life has been spent chasing trains, and always chasing after him was his partner, Charlie. Charlie did not like trains but loved Thomas. Thomas sits alone in his camping chair, on the top of his and Charlie’s favourite hill, looking down on the valley below, waiting for a train to pass that never seems to arrive.
With little to write about in his journal, he spends this time reflecting on his life with Charlie – and working out how to overcome his newfound grief. Thomas achieves a new understanding of grief, and how to keep living in the absence of our loved ones.
Laura Kaye Thomson, Ewan S Pires and Finn Kebbe in Concete Youth’s The Whispering Jungle. All photos: Charles Flint
THE Whispering Jungle, Concrete Youth’s new multi-sensory theatre production for young audiences with profound and multiple learning disabilities, plays York Theatre Royal Studio on Thursday and Friday.
The 50-minute show was developed off the back of Concrete Youth’s pioneering ASMR Project, an international research project that brought together British, American and Singaporean academics, artists and professionals to explore for the very first time the impact of autonomous sensory meridian response (ASMR) on people labelled with these disabilities.
What can humans do to make the world better for rainforest animals, ask Concrete Youth in The Whispering Jungle. Laura Kaye Thomson sets to work, brush in hand
The ASMR Project’s research findings from 750 people led to this stage production being developed by Hull company Concrete Youth in association with Mercury Theatre, Colchester, supported by Arts Council England, Hull City Council and Back To Ours.
Bringing together ASMR, sensory play and sensory puppets, the immersive The Whispering Jungle invites the audience to help the animals of the rainforest realise that home really is wherever you are with your family.
Ewan S Pires in a scene from The Whispering Jungle
In the story, the Turtle (Ewan S Pires), the Monkey (Finn Kebbe) and the Bird (Laura Kaye Thomson) have all lost their home after men in big, bright, yellow jackets chopped down all the trees.
Now the animals are forced to fend for themselves, make their own new homes and pick up the pieces of the mess left behind by humans. How will they cope on their own? What can humans do to make the world better for rainforest animals? And why is the Turtle so clumsy?
Hard hats at the ready for Ewan S Pires, left, Laura Kaye Thomson and Finn Kebbe
Discover the answers in performances at 11am and 1.30pm on both days. Tickets can be booked on 01904 623568or viaboxoffice@yorktheatreroyal.co.uk. Watch the tour trailer at: https://www.youtube.com/watch?v=_M3EINUA1yg.
The Whispering Jungle was devised by the company with music, lyrics and musical direction by Frew, lyrics and direction by Belle Streeton, set design by Lu Herbert, sound design by Tom Smith, puppet design by Amy Nicholson and lighting design by Jessie Addinall. Daniel Smith is the creative producer and associate director.
Finn Kebbe playing the Monkey in Concrete Youth’s The Whispering Jungle
Anna Johnston as Cate in Next Door But One’s She Was Walking Home. Picture: James Drury
WHEN York community arts collective Next Door But One first took She Was Walking Home on tour in 2022, the Office for National Statistics (ONS) had just released data on safety in different public settings.
One in two women felt unsafe walking alone after dark in a quiet street near their home or in a busy public place, and two out of three women aged 16 to 34 had experienced one form of harassment in the previous 12 months.
Now, as NDB1 take their revived testimonial-based performance to schools, colleges and universities throughout York and North Yorkshire, as well as to York Theatre Royal Studio tonight (5/10/2023), the need for more conversations around women’s safety and the role we all play in it has been strengthened by a report from the National Police Chiefs’ Council.
It reveals that more than half a million offences against women and girls were recorded in England and Wales between October 1 2021 and March 31 2022 and that violence against women and girls accounts for at least 15.8 per cent of all recorded crime.
Director Kate Veysey in rehearsal for Next Door But One’s She Was Walking Home. Picture: James Drury
First produced as an audio walk around York city centre in 2021, She Was Walking Home is a series of monologues created by writer Rachel Price from the testimonies of women living, working and studying in York.
“This project was initially called into action by the female creatives and participants we work with, who were all having more and more conversations around their own safety after a number of attacks and murders reported in the media,” says director Kate Veysey.
“With each stage of development, it has been the community that has guided us: the audio walk was created from 33 testimonies of local women; the 2022 tour was produced through feedback from listeners who wished to bring their friends, colleagues and social groups to engage in the conversation.
“The resounding message from that audience was the want from parents for their children to see this, for teachers wanting their schools to witness, and young women wanting their male peers to come with them. So that’s what we are doing.”
Emma Liversidge-Smith’s Joanne in She Was Walking Home. Picture: James Drury
People think of York as a safe place to be, says NDB1 creative engagement manager El Stannage, “but as a woman I can tell you it isn’t”. “We collected documentary information both written and conversational, keeping that door open for information for about a month, and it came streaming in,” she says.
“We had plenty to work with, then collected our own thoughts and commissioned Rachel to put those stories together as one tapestry, telling stories of women at different stages of life, their different experiences, whether harassment or abuse, focusing on the impact it’s had on their their lives, the ripples it’s had.
“For the latest tour, we’ve stayed with the original piece of theatre but kept abreast with what’s been happening, and we’ve kept in touch too with IDAS [Independent Domestic Abuse Services] and the Kyra Women’s Project, the York charity that helps women to make positive change in their lives.”
This autumn’s performances in schools, colleges and universities will not only inform students of the lived experience of women in their own communities, but also empower them to make the change now and see the benefits in their own futures; understanding the impact of their actions, ways in which they could intervene, question their own thinking or those of their peers.
Mandy Newby’s Jackie. Picture: James Drury
El says: “We’re really excited to be working with schools [age 14 upwards], colleges and universities this time, after the feedback we got from last year’s public performances that we needed to do that.
“The young people we get to work with in our participation programmes are bright, forward thinking and actively seeking ways to play a part in the growing world around them, so for us it just makes sense to bring this conversation to them, as they are the next generation to make change.
“But also, real change can only happen when the full community listen up and play their part too. That’s why we’re hosting public performances in the evenings at the same schools, colleges and universities, so that parents, carers, siblings, friends, teachers and other local residents can join in the same vital conversation.”
Through the autumn tour of this all-female production, performed by a cast of Fiona Baistow, Anna Johnson, Emma Liversidge-Smith and Mandy Newby, the mission will be to amplify the voices of York women, while also prompting conversations around where responsibility and accountability lies for their safety.
Fiona Baistow’s Millie in a scene from She Was Walking Home. Picture: James Drury
“Since the original walk, listened to by almost 800 people, there have been further attacks and murders of women, and still the rhetoric seems to be skewed towards rape alarms, trackers, self-defence classes and dress codes being the solution,” says NDB1 artistic director Matthew Harper-Hardcastle. “We needed to continue and challenge this conversation. The invitation is to come and watch but also to think.”
One audience feedback quote on NDB1’s website is particularly illuminating. “I like to think I’m aware of these issues and as a man have been ultra-conscious that just being on the same street can heighten anxiety,” it reads.
“This performance made me cry, but it’s such an important way to foster change, I left feeling that if more men could see and engage with it, we might just be able to smash that ‘block of granite’.”
Next Door But One’s She Was Walking Home is on tour until October 27 with student performances complemented by public performances at York High School, Malton School, York College, Scarborough TEC, York Theatre Royal Studio tonight at 7.45pm, University of York, October 20 at 7.45pm and York St John University, October 25 at 7.30pm. Box office details: www.nextdoorbutone.co.uk
From stand-up to sit-down: Mark Thomas devours the stage in England & Son. Picture: Alex Brenner
GROUCHY godfather of political comedy Mark Thomas is taking to the stage for the first time in a one-man show written by someone else, playwright Ed Edwards.
Warmed up for last month’s award-laden Edinburgh Fringe run in a work-in-progress performance at Selby Town Hall in July, England & Son returns to North Yorkshire tomorrow (22/9/2023) and on Saturday in the York Theatre Royal Studio.
Set when The Great Devouring comes home, Edwards’s play has emerged from characters Thomas knew in his childhood and from Edwards’s experience in prison in the early 1990s, when jailed for three years for drug offences. [Edwards would write the first of his five novels while inside].
Promising deep, dark laughs and deep, dark love, Thomas undertakes a kaleidoscopic odyssey where disaster capitalism, empire, Thatcherite politics, stolen youth and robbed wealth, domestic violence, addiction, hope and recovery merge into the simple tale of a working-class boy who just wants his dad to smile at him.
Serendipity brought the two polemicists together in 2018. “I came out of a performance of Ed’s play The Political History Of Smack And Crack at Edinburgh and turned to my mate and said, ‘that was amazing’. This voice behind me said, ‘I wrote that’!” recalls Mark.
“So we met up, got on like a house on fire and became mates, coming to gigs, talking till the early hours about politics, and we always said it would be great to work together.”
Two years ago, they made the commitment to crack on with it. “We used to talk about stories, his story, my story, and then we’d work on it. I’d remember half of it, then make up the rest, and then I didn’t see the finished script until the first day of rehearsals, but I knew he’d written a banger, an absolute stormer.”
So much so, England & Son has won a Scotsman Fringe First Award, Entertainment Now Best Theatre Award, Lustrum Award for Unforgettable Festival Shows and Holden Street Theatres’ Award for its run under the direction of Cressida Brown at The Roundabout, a theatre-in-the-round tent.
Now Londoner Mark, 60, is back on familiar territory, on the road, albeit in an unfamiliar setting. “I get to play characters, be the narrator and me, all of that, in a show that’s all about how you tell a story, where you will do the voices, little shrugs and mannerisms, with me charging around the stage and knowing you can’t take your foot off the pedal for a second,” he says.
“The thing about stand-up is you have to be in the moment, but there’s a massively structured script with this show, though we always call it jazz, because if you do the same show twice, you will fail, but that’s good because it makes each show special.
“If you put yourself on stage telling a story, you can’t coast, you can’t cruise, you have to put in 100 per cent, otherwise cancel the show,” says Mark Thomas. Picture: Steve Ullathorne
“I’ve got a great opportunity to go and do something I’ve never done before, and because I’d never done it before, I didn’t know what to expect – I’ve been doing stand-up for 37 years – and what’s brilliant is you see the impact and you want that every night.
“If you put yourself on stage telling a story, you can’t coast, you can’t cruise, you have to put in 100 per cent, otherwise cancel the show.”
Mark “wants people to be rent asunder in the desolation of the emotional wreckage” in England & Son. “I’ve always tried to do stuff that does more than make people laugh. Stand-up is in the moment, whereas theatre takes you into an emotional place and I’ve always dabbled in both, but now I’ve taken the reins off and it’s thrilling. I’ve loved it, but I got Covid at the end of the [Edinburgh] Fringe, so I was livid! I couldn’t wait to get back out there.”
Already Mark has “some ideas to get another play out there”, having so enjoyed working with Edwards. “The interesting thing with Ed is that he’s an addict, who got clean before going to jail, and I’ve had issues with alcohol, so we both recognise addiction. There’s something about being in a room with brutally honest people, which has been an influence on this show,” he says.
“Addicts and alcoholics are always telling their stories at meetings and consultations, and what we do in the comedy workshops I run with addicts is to turn it into something beautiful, making it into art.
“Because of my own issues, I’d ask them questions and say, ‘go and write something stupid that you did’, and then I’ll give them my list. It’s a meeting of people as equals.”
More of those workshops are on the way, along with Mark’s England & Son travels, rooted in the political philosophy that any nation that devours another will one day devour itself. “It’s Ed’s title and it’s about England’s relationships, about fathers and sons and families, the damage they can do to each other, but also the hope,” he says.
“As Studs Terkel’s book said, hope dies last, and there’s something with addiction where there can be a thin line between hope and illusion, and that’s why people keep going to those meetings that are profoundly honest.”
England And Son captures a basic human instinct too: “Every single one of us, from the moment we are born, we want the love of our parents,” says Mark. “We want their attention.”
Wanting attention? That applies to writers, performers, comedians too. Give England & Son yours. Five-star reviews demand it.
Mark Thomas in England & Son, York Theatre Royal Studio, September 22, 7.45pm; September 23, 2pm and 7.45pm.Box office: 01904 623568 or yorktheatreroyal.co.uk.
The artwork for Mark Thomas in Ed Edwards’s England & Son. Picture: Design By Greg
Ed Edwards: the back story
STARTED his creative career as a circus performer but stopped at the age when you start to think, “This is actually dangerous”. He now juggles a writing career, lecturing, making films and rearing two sons.
Virtually illiterate at the age of 11, Ed eventually managed to educate himself, go to university and become a professional writer. Today he is “only one-third illiterate”, he says.
He did three-and-a-half years in prison in the early 1990s for drugs offences, publishing his first novel while inside. He has five novels and a children’s book to his name and has worked for several continuing television dramas, including Holby City and the now defunct Brookside and The Bill, although he maintains that is not the reason they died.
He has written several original plays for BBC Radio 4 and made short films for Channel 4. He has turned to guerrilla film-making, directing short films and co-directing and producing the feature film Scrambled.
His plays include The Political History Of Smack And Crack and England And Son. He misses the Soviet Union and Fidel Castro and loves making jam and writing about himself in the third person.
Did you know?
MARK Thomas has done shows about visiting the West Bank, starting a comedy club in Jenin, espionage, lobbying Parliament, walking in the footsteps of the highest NHS officials, playing at the Royal Opera House, stopping arms deals and creating manifestos.
Devouring the stage: Mark Thomas in England & Son. Picture: Alex Banner
The artwork for Mark Thomas in England & Son. Picture: Design By Greg
“If you put yourself on stage telling a story, you can’t coast, you can’t cruise, you have to put in 100 per cent, otherwise cancel the show,” says Mark Thomas. Picture: Steve Ullathorne
Dawn French: Frank confessions of a comedian at York Barbican
FRENCH comedy, a very English murder thriller, state-of-the-nation politics and police procedures stir Charles Hutchinson into action for the week ahead.
Comedy gigs of the week: Dawn French Is A Huge Twat, York Barbican, tonight and tomorrow, 7.30pm
HER show is so named because, unfortunately, it is horribly accurate, says self-mocking comedian and actress Dawn French. “There have been far too many times I have made stupid mistakes or misunderstood something vital or jumped the gun in a spectacular display of twattery,” she explains.
“I thought I might tell some of these buttock-clenching embarrassing stories to give the audience a peek behind the scenes of my work life.” Tickets update: Limited availability at yorkbarbican.co.uk.
Tonight, meanwhile, Sarah Millican plays a Work In Progress gig at Pocklington Arts Centre at 8pm. Sold out already alas.
A scene from Original Theatre Company’s touring production of Torben Betts’s new play, Murder In The Dark, starring Tom Chambers and Susie Blake. Picture: Pamela Raith
Thriller of the week: Original Theatre Company in Murder In The Dark, York Theatre Royal, Tuesday to Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
TOM Chambers and Susie Blake star in Torben Betts’s new ghost story chiller cum psychological thriller, set on New Year’s Eve, when a crash on a deserted road brings washed-up singer Danny Sierra and his dysfunctional family to an isolated holiday cottage in rural England.
From the moment they arrive, inexplicable events begin to occur…and then the lights go out, whereupon deeply buried secrets come to light. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Robin Simpson: Pantomime dame and storyteller, bringing Magic, Monsters and Mayhem to York tomorrow afternoon. Picture: Joel Rowbottom
Children’s show of the week: Magic, Monsters and Mayhem with Robin Simpson, Bluebird Bakery, Acomb Road, Acomb, tomorrow, 4.30pm
YORK Theatre Royal pantomime dame Robin Simpson – he will be playing Dame Trott in Jack And The Beanstalk this winter – switches to storyteller mode to journey back to magic school on Sunday afternoon.
He will be telling stories of wonderful creatures, exciting adventures and “more magic than you can wave a wand” as he places the audience in charge of an interactive show ideal for Harry Potter fans. Suitable for Key Stage 2, but smaller siblings are welcome too, along with Potter-potty grown-ups. Box office: bluebirdbakery.co.uk.
Hannah Baker, left, Harvey Badger, Eddie Ahrens and Rachel Hammond in Mikron Theatre’s A Force To Be Reckoned With. Picture: Anthony Robling
Police spotted operating in the vicinity: Mikron Theatre in A Force To Be Reckoned With, Clements Hall, Nunthorpe Road, York, tomorrow, 4pm
IN Amanda Whittington’s new play for Marsden travelling players Mikron Theatre, fresh from police training school, WPC Iris Armstrong is ready for whatever the mean streets of a 1950s’ northern market town can throw at her.
Joining forces with fellow WPC Ruby Weston, they make an unlikely partnership, a two-woman department, called to any case involving women and children, from troublesome teens to fraudulent fortune tellers. Box office: 07974 867301 or 01904 466086, or in person from Pextons, Bishopthorpe Road, York.
Kathryn Williams and Polly Paulusma: Songwriters at the double at Pocklington Arts Centre
Songwriting bond of the week: Kathryn Williams & Polly Paulusma: The Big Sky Tour, Pocklington Arts Centre, Tuesday, 8pm
AS label buddies on One Little Independent Records, Kathryn Williams and Polly Paulusma met on a song-writing retreat. They wrote songs together and tutored courses at Arvon Foundation and as their friendship developed and strengthened, they supported each other over lockdown.
It seemed a foregone conclusion that they would tour together at some point. Finally, those Thelma and Louise dreams – hopefully without the killing or the cliff finale – come true on a month-long itinerary, playing solo sets and uniting for a few songs. Box office: pocklingtonartscentre.co.uk.
Mike Skinner: The Streets’ composer-turned-filmmaker discusses his debut film in Q&A appearances at Everyman Leeds and Everyman York
Streets ahead: Mike Skinner’s film The Darker The Shadow The Brighter The Light and Q&A, Everyman Leeds, September 21, 8pm; Everyman York, September 25, 7pm
THE Streets’ Mike Skinner presents his debut feature film, the “neo-noir” clubland thriller The Darker The Shadow The Brighter The Light, in an exclusive Q&A tour to Everyman cinemas.
Birmingham multi-instrumentalist and vocalist Skinner funded, wrote, directed, filmed, edited and scored his cinematic account of the seemingly mundane life of a DJ whose journey through London’s nightclubs turns into a tripped-out modern-day murder mystery. Each screening will be followed by a live question-and-answer session with Skinner, giving an insight into the music and story behind the film. Box office: thestreets.co.uk.
Mark Thomas: Comedian stars in Ed Edwards’s one-man play England And Son at York Theatre Royal Studio
Political drama of the week: Mark Thomas in England And Son, York Theatre Royal Studio, September 22, 7.45pm; September 23, 2pm and 7.45pm
POLITICAL comedian Mark Thomas stars in this one-man play, set when The Great Devouring comes home: the first he has performed not written by the polemicist himself but by playwright Ed Edwards.
Edinburgh Fringe award winner England And Son has emerged from characters Thomas knew in his childhood and from Edwards’s lived experience in jail. Promising deep, dark laughs and deep, dark love, Thomas undertakes a kaleidoscopic odyssey where disaster capitalism, Thatcherite politics and stolen wealth merge into the simple tale of a working-class boy who just wants his dad to smile at him. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Rowntree Park, by Jo Rodwell, one of 26 printmakers taking part in the York Printmakers Autumn Fair
Print deadline: York Printmakers Autumn Fair, York Cemetery Chapel and Harriet Room, September 23 and 24, 10am to 5pm
IN its sixth year, the York Printmakers Autumn Fair features work by 26 members, exhibiting and selling hand-printed original prints, including Russell Hughes, Rachel Holborow, Michelle Hughes, Harriette Rymer and Jo Rodwell.
On display will be a variety of printmaking techniques, such as linocut, collagraphs, woodcut, screen printing, stencilling and etching. Artists will be on hand to discuss their working methods and to show the blocks, plates and tools they use.
Sir Alan Ayckbourn: The truth will out when he takes to the SJT stage tomorrow afternoon. Picture: Tony Bartholomew
In Focus:Theatre event of the week: Alan Ayckbourn’s Truth Will Out, Stephen Joseph Theatre, Scarborough, tomorrow, 2.30pm
IN a rare stage appearance, Sir Alan Ayckbourn plays Jim in a rehearsed reading of his Covic-crocked 2020 SJT premiere Truth Will Out, joined by John Branwell, Frances Marshall and the cast of his 89th play, Constant Companions.
Truth Will Out is an up-to-the-minute satire on family, relationships, politics and the state of the nation, wherein everyone has secrets. Certainly former shop steward George, his right-wing MP daughter Janet, investigative journalist Peggy and senior civil servant Sefton do.
Enter a tech-savvy, chippy teenager with a mind of his own and time on his hands to bring their worlds tumbling down, and maybe everyone else’s along with them, in Ayckbourn’s own “virus” storyline, written before Coronavirus stopped play.
“It’s ‘the one that got away’, with most of the cast in place, and we even did a season launch,” says Sir Alan. “The play was one of my ‘What ifs’: what if a teenager invented a virus that brought the whole thing down. A ‘virus’ play, like Covid, with the virus escaping and the play ending in the dark, waiting till dawn.”
Racism, trade unionism and infidelity all play their part in Truth Will Out too. “It’s a melting pot of wrongdoings,” says Sir Alan. Tickets update: limited availability on 01723 370541 or sjt.uk.com.
