She likes to moove it, moove it: Anna Soden’s Dave the talking cow in Jack And The Beanstalk at York Theatre Royal. Picture: S R Taylor
YORK Theatre Royal pantomime stars Mia Overfield and Anna Soden are in the running for the 2024 UK Pantomime Awards.
Mia is nominated in the Best Early Career Newcomer category for her role as Jack in her panto debut in Jack And The Beanstalk, a year after completing her musical theatre studies at Arden School of Theatre,Manchester.
In her home-city panto, Anna played Dave the talking cow, a very different kind of pantomime cow, in a scene-stealing turn that led to her nomination in the Best Supporting Artist category.
Mia Overfield’s Jack with the giant Blunderbore in Jack And The Beanstalk. Picture: S R Taylor
Anna, who grew up in York, was a member of York Youth Theatre for a decade and was part of the young people’s ensemble for Theatre Royal shows, including The Railway Children at the National Railway Museum and the 2006 panto Cinderella.
In 2020, she appeared as the bass guitar-playing Fairy in York Theatre Royal’s socially distanced Travelling Pantomime, toured to York community centres under Covid restrictions.
The awards ceremony, held in association with Stagecoach, will take place at G Live, Guildford, on June 18 after the 70 judges had their busiest year yet in the awards’ third year, collectively visiting 259 venues to see 728 performances across the UK.
Reason to be cheerful: 2024 UK Pantomime Awards nominees Mia Overfield and Anna Soden. Picture: S R Taylor
Among them, Jack And The Beanstalk was the third pantomime produced on the Theatre Royal stage in partnership with panto specialists Evolution Productions, directed by Theatre Royal creative director Juliet Forster and written by Evolution’s Paul Hendy.
After Cinderella, All New Adventures Of Peter Pan and Jack And The Beanstalk, the team will reunite for the 2024-2025 Theatre Royal pantomime, Aladdin, from December 3 to January 5, when Robin Simpson will return for a fifth winter as the Dame, joined by CBeebies and CBBC presenter Evie Pickerill as the Spirit of the Ring.
Evie, who has guest starred on Blue Peter, has been hosting CBeebies since 2018 and during that time she has performed leading roles in their Christmas and Shakespeare productions too.
Evie Pickerill: CBeebies presenter will reunite with York Theatre Royal pantomime director Juliet Forster for Aladdin
Aladdin director Juliet Forster will be directing her for a second time. “I’m absolutely delighted to be welcoming Evie to York Theatre Royal’s stage this Christmas. I worked with Evie on CBeebies’ Romeo & Juliet– she made a wonderful Juliet and was a joy to work with.
“I’m really looking forward to seeing her bring her unique, lovable style to pantomime. We are so lucky to have her, and York audiences are in for a treat!”
Aladdin writer and Evolution producer Paul Hendy enthuses: “We’re delighted Evie Pickerill will be joining Robin Simpson in our spectacular production. I’ve been lucky enough to see Evie in pantomime before and know that she’s going to bring a sparkle and flare to the show that our audiences will adore! This really is shaping up to be our biggest and funniest show ever!”
Evie is no stranger to pantomime, having played Cinderella and Snow White previously, and she also performed in the musical Shout! at the Edinburgh Fringe Festival after first appearing in the show during her Liverpool Institute for Performing Arts studies. Last year she hosted her first radio show on Heart North West.
Alongside her passion for the arts, Evie is a supporter of several children’s charities, taking part in fundraising events for Comic Relief and Children In Need and becoming a champion for Place2Be in 2022.
Mooving and grooving: Anna Soden’s Dave the Talking Cow in Jack And The Beanstalk at York Theatre Royal. Picture: SR Taylor Photography
YORK actress, musician, comedian and writer Anna Soden is playing not only Dave the Talking Cow but Dave the Trumpet-Playing Cow too in the Walking On Sunshine finale to Jack And The Beanstalk at York Theatre Royal.
“Acting comes first; I trained in straight acting at Mountview [in Peckham, London], but I’ve explored writing and music and comedy too,” says Anna, on her return to her home-city pantomime after starring as a rapping, funky, blue and pink-haired, multi-tasking Fairy, more likely to hit the bass line than wave a wand, in The Travelling Pantomime, toured by York Theatre Royal to community venues in the Covid winter of 2020.
“I play bass guitar and trumpet mostly and love it when I can incorporate singing or playing instruments into a job, and it’s ace to put on my own work, but I’m an actor first and foremost.”
In a first for the Theatre Royal pantomime, Patricia the cow, with its front and rear-end actors, fluttering eyes and nodding head, has made way for Anna’s Dave, the female Friesian with the male name and plenty to say, delivered not so much on the hoof as upright on two hooves in a pantomime variation on the “Four legs, two legs better”mantra in Orwell’s Animal Farm.
“I’m playing the front and back because of the cost-of living crisis” says Anna. “There were whispering throughout the year that they needed someone who would dress up as a cow. I think Hayley [choreographer Hayley Del Harrison] was thinking, ‘wouldn’t it be fun if Anna played it’, and hopefully it’s exactly that – fun – and not, ‘oh, that woman’s having a mental breakdown!”
Before attending the pantomime launch in September, she had been expecting to play Caroline the Cow. “To be honest, I had no idea [about the role]; I hadn’t read the script. I just heard ‘cow’, and that I’d be working again with Juliet [director Juliet Forster], Hayley and Robin [dame Robin Simpson], and my new pal James Mackenzie [after doing CBeebies’ Shakespeare together], and I thought, that sounds fun and said ‘yes’,” recalls Anna.
Anna Soden’s Dave the Talking Cow with James Mackenzie’s villain, Luke Backinanger, left, Giant Blunderbore, right, and surly teenage son Darren in Jack And The Beanstalk. Picture: S R Taylor Photography
“But big news, I’m going to be Dave the Talking Cow,” she announced that day. How did she react to writer Paul Hendy’s change of plan? “In terms of my panto career, Dave the Talking Cow is a big step forward! I feel like going from a Genie to a talking cow is a progression: it’s a great career moove!
“My first pantomime was the rock’n’roll panto at Liverpool Everyman, where everyone played instruments, It was Sleeping Beauty and I was the fairy and got to fly – and sing Golden Slumbers, a Beatles song, in Liverpool!
“Then I did Chipping Norton; they have a brilliant traditional show there, with original songs. I played a Boy Scout and a Weasel in Rapunzel – you know, the famous weasel in Rapunzel! – and that was gloriously silly. Last year I was at Derby Arena, which was a totally different vibe again, as it was massive! I played the Genie and a lot of other roles in Aladdin; it was a spectacle, I had a ball! Every city and town does panto so differently, so it’s really interesting experiencing them all.”
None was more “interesting” than the one-off Travelling Pantomime tour under Covid rules in York. “It was a really special thing. It kind of felt like a fever dream; it was a little explosion of glitter in an apocalypse,” says Anna. “Working in that cast of five with a skeleton creative team was a unique bonding experience. I really made such dear friends on that show, and I’m so happy to be reunited with lovely Robin [Simpson] this year.
“Performing on that little pop-up stage, our dressing rooms being disabled toilets or storage cupboards, touring to hotels, schools, churches, village halls… it felt like a really gorgeous way to do panto. It was bursting with a sense of community and local identity. I’d love to see more theatre being made like that, not just when there’s a deadly pandemic (although I’ll take a dressing room over a disabled toilet this year).”
Raised in York, Anna cut her stage teeth over a decade of York Youth Theatre shows. “I was in the young people’s ensemble for loads of York Theatre Royal shows growing up, including The Railway Children twice, The Wind In The Willows, Peter Pan and King Arthur, and the Cinderella pantomime in 2006,” she says.
Anna Soden’s bass guitar-playing funky Fairy in York Theatre Royal’s Travelling Pantomime in 2020. Picture: Anthony Robling
“I moved away at 18, so it’s lovely to sporadically come home to York Theatre Royal. In the pandemic, the theatre partnered with me, with the support of Arts Council England, to make my one-person family adaptation of Five Children And It, set on Scarborough beach.”
Presented in association with Scarborough community producing company Arcade, this collaboration marked the formation of Anna’s theatre-making company, Strawberry Lion, whose online premiere of her storytelling, puppetry and musical account of E Nesbit’s 1902 children’s novel was streamed on Explore York libraries’ You Tube channel in April 2021.
As well as playing Feste in CBeebies’ Twelfth Night at Shakespeare’s Globe, with Theatre Royal panto villain James Mackenzie as Duke Orsino and choreography by Hayley Del Harrison, Anna has taken to making “stupid videos”.
“I love to make online sketches,” she says. “Digital comedy is at a really exciting place where it’s so easily accessed, so I make a lot of silly stuff for TikTok and Instagram. It’s also easier than persuading the BBC to give me my own sketch show/sitcom.
“I’ve started doing stand-up comedy, mostly gigging in Brighton and London, which I’m loving, but making video sketches is my favourite format. They are very stupid but I did win the British Comedy Guide sketch competition last year, and Harry Hill said they were ‘very funny’, so there’s definitely merit in stupid!
“My comedy is pretty absurd, more alternative, but not particularly child-friendly! All my digital comedy is not necessarily rude but quite scary. I’ll be interested to see if the kids like a talking panto cow!”
Anna Soden in rehearsal for her adaptation of E Nesbit’s Five Children And It
Since graduating from Mountview in 2017, Anna has spent only the Covid Christmas of 2020 at home in York. “That was lovely but keeping sopcially distanced of course, but it’s part of an actor’s job that you work at Christmas and won’t be at home, so it’s great that this Christmas I get to see my family” says Anna.
“It’s also super exciting to be performing at York Theatre Royal because I used to chaperone here while I was at training at drama school, when I was doing my serious roles and played Juliet twice.
“When I graduated, I thought, ‘that’s enough for me, I’m going to be silly now’, but if you’d said back then I’d be playing a talking pantomime cow…”
Jack And The Beanstalk, co-produced by Evolution Productions, runs at York Theatre Royal until January 7 2024. Box office: 01904 623568 or yorktheatreroyal.co.uk
One final question for Anna
Do you have any unusual interests or hobbies away from the stage?
“Lying on the floor when it’s about to rain, producing dairy products, eating grass…” she says, slipping into Dave the Talking Cow mode. “…and tarot reading.”
Copyright of The Press, York
“I’m playing the front and back of the cow because of the cost-of living crisis,” jokes Anna
Cinderella choreographer Hayley Del Harrison, front, with the York Theatre Royal pantomime ensemble: middle row, dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row, Christian Mortimer, Amy Hammond and Luke Lucas
YORK freelance choreographer and movement director Hayley Del Harrison’s creativity can be seen at the double this festive season.
Not only has she choreographed York Theatre Royal and Evolution Productions’ effervescent pantomime Cinderella, up and running until January 2, but also CBeebies Presents: The Night Before Christmas.
Already this CBeebies Christmas show has made its cinema debut on November 28, and the TV launch on the Beeb will come rather sooner than the night before Christmas: Saturday, December 11 to be precise.
This is her second CBeebies project of the year, having worked with York Theatre Royal creative director (and Cinderella director) Juliet Forster on CBeebies Presents: Romeo And Juliet, filmed at Leeds Playhouse.
More on the Theatre Royal pantomime later, but first, Hayley, 50, recalls working on the CBeebies Christmas show from late-September through to October 10 in Plymouth, working under pandemic constraints that meant the company had to be put up in a hotel in social bubbles.
“We had the whole of the Plymouth Theatre Royal building to ourselves and the TR2 rehearsal room too,” she says.
“No-one else was allowed into the space because we knew the risk was too great. We had only that short window to rehearse it, a short window to film it, and that’s why we were so strict.
“We did it all in two weeks; the first week in the rehearsal space, and then in the second week we moved into the theatre, we teched it, and did two shows to invited audiences of schoolchildren and one without one for the couple of days of filming.”
York choreographer and movement director Hayley Del Harrison
Hayley worked with director Chris Jarvis, a “CBeebies legend” with a theatre background, who had played Lord Montague in Forster’s CBeebies Presents: Romeo And Juliet and has 25 years’ experience of directing, producing, writing and performing in pantomimes. This winter he is playing the dame, Betty Bonbon, in Beauty And The Beast at Poole’s Lighthouse, in Dorset.
Again the creative process was influenced by Covid strictures. “I got the songs [by Banks and Wag] and script in advance, and with everyone being so far away, we had the readthrough online, chats online with Chris Banks and a long Zoom meeting with Chris Jarvis about where my input would be, and I remember at one point jumping to my feet and saying, ‘I’m thinking of doing this’!” says Hayley.
“As the show is for young children, a lot of the choreography is designed so that they can copy it. It’s big on storytelling and simple to replicate because, once the show is on BBC iPlayer, they can watch it over and over again. These CBeebies shows are big on participation.”
Hayley worked with a CBeebies cast of 16. “I’d worked with eight of them before on Romeo And Juliet. It’s different from a theatre pantomime because it’s not like you have an ensemble,” she says.
“Everyone has their role, their unique selling point and their chance to shine, but they’re also brilliant at what they do whether as presenters or actors. it’s been nice to get to know them over the two projects, getting an understanding of how they work and then wrapping the show around their characters to present Clement Clarke Moore’s beautiful poem.
“You’re working with characters who are much loved, so, for example, the character playing the villain has to be silly, rather than frightening, because it’s a show for two to six year olds. It means you have to be very careful; everything is more gentle but really funny.”
Looking back on her two CBeebies’ shows in 2021, Hayley says: “I feel I’ve built up a really good relationship and would love to do more of this work. Fingers crossed.
“It already feels like being part of a family, similar to working at the Theatre Royal. When it feels right, it feels really collaborative and there’s a mutual understanding. I know how they work and they know how I work.”
CBeebies’ Andy Day (Dandini) with the ensemble in a song-and-dance routine from York Theatre Royal’s Cinderella, choreographed by Hayley Del Harrison
York-born Hayley’s focus then switched to Cinderella, working once more for York Theatre Royal after last year’s Travelling Pantomime (directed by Forster) and such previous productions as The Storm Whale and A View From The Bridge in 2019, For The Fallen in 2018 and In Fog And Falling Snow at the National Railway Museum in 2015.
She received Paul Hendy’s script in October, when most of the music was signed off by musical supervisor James Harrison by the end of that month. “For this kind of show, the more information I have up front, the better I do my job,” says Hayley.
“I can start getting my head around it, though I do like creating in the room too. I’m up for being flexible, but I like to have a clear vision, and that’s what’s great about working with Juliet.
“Yes, she likes being creative in the rehearsal room but her vision is always clear, and because it’s clear, it gives me freedom. I understand where she’s coming from, and she trusts me.”
For Cinderella, Hayley has worked with the seven principals, a six-strong ensemble and two aerial artists, Connor and Tiffany of Duo Fusion, who take part in some of the dancing too.
“We did the auditions for the ensemble just before I went off to Plymouth, and I’ve been delighted to find such versatile performers,” she says.
“They have to do three separate dance styles: lyrical pieces; fun, comedic, highly technical jazz and tap, and work with the text.
“ I wanted everyone to bring something different to the table to ensure there were different characters within the ensemble, and we’re really happy with them. It’s not, ‘here come the dancers’; they’re very much part of the story.”
Cinderella runs at York Theatre Royal until January 2 2022. Box office: 01904 623568 or at yorktheatreroyal.co.uk.CBeebies Presents: The Night Before Christmas premieres on December 11 and will then be available on BBC iPlayer.
CBeebies Presents: The Night Before Christmas, choreographed by Hayley Del Harrison. Picture copyright : BBC
York Theatre Royal’s pantomime cast and ensemble arrive for the first day of rehearsals for Cinderella
AFTER last winter’s resourceful response to Covid restrictions with the Travelling Pantomime, York Theatre Royal’s panto returns to the main house for Cinderella from tomorrow (3/12/2021).
This will be the second co-production with the award-garlanded Evolution Productions, whose director and producer, Paul Hendy, has again written the script for Juliet Forster’s cast.
In the company will be CBeebies’ Andy Day (Dandini); Faye Campell (Cinderella) and Robin Simpson (Sister) from the Travelling Pantomime cast; Paul Hawkyard (the other ugly Sister); comedian and ventriloquist Max Fulham (Buttons); Benjamin Lafayette (Prince Charming) and Sarah Leatherbarrow (Fairy Godmother).
“We’ve been looking forward to this moment for a long time now,” says creative director Juliet Forster. “It feels very emotional to be working with a full cast, rehearsing back in the De Grey Rooms.
“We had a great time taking the Travelling Pantomime around the city last Christmas, but, oh my word, it’s just lovely to be back inside the theatre and to give a massive Theatre Royal welcome to Evolution.”
York Theatre Royal creative director Juliet Forster and chief executive Tom Bird with Evolutions Productions’ Paul Hendy
After the exit of the gang of five, Berwick Kaler, David Leonard, Suzy Cooper, Martin Barrass and A J Powell, to the Grand Opera House, Forster’s pantomime cast has more of a diverse look, typical of her work. “I’ve almost always been able to do that with my casting because, in a lot of ways, I like to reflect the world we live in.
“For me, it’s more dynamic that way, and it was a policy with me before it became an Arts Council thing.”
Juliet believes the new Theatre Royal pantomime will appeal to a family audience and be marked by warmth. “That warmth will come from the performers, Paul’s script and from myself directing it,” she says.
“That’s not something you can manufacture. You have to feel it and encourage it, and the number one thing I learned from doing the Travelling Pantomime was the need to work with a cast that’s really funny and warm. When you get that mixture, you have a wonderful bond with the audience.”
Juliet adds: “I learned a lot from last year’s show being my first panto. Even though I’d done a lot of children’s shows, comedies and farces, pantomime is very much its own form, and I acquired a lot of respect for Paul’s panto-writing skills.
Andy Day: From CBeebies to Cinderella . Picture: Ant Robling
“The other thing I learned, and another big reason for wanting to do it again, was Hayley Del Harrison’s choreography, which was so playful and individual. I loved how she worked with each cast member really individually to bring out their character in their dancing.
“Hayley is back this year, and we’re doing more of that way of working – and we have the ensemble back too. Again, it was a big learning curve for me that dance can not only be beautiful and spectacular in panto but playful and fun too, and that’s something Hayley really brings out.”
Writer-producer Paul Hendy is delighted by the casting too. “It’s not by accident,” he says. “It’s done with this in mind: more than anything we want to appeal to a family audience. That’s my driving force.
“The cast must have that appeal; they must be talented, and they have to have that youthful energy to make the audience go, ‘wow, this is a great show, a different show from the norm’, mixing those qualities with spectacle and comedy. They’re all the ingredients that make a good panto.”
Paul acknowledges the “big reputation” of York Theatre Royal’s pantomime built up over Berwick Kaler’s four-decade damehood. “It’s very significant. Berwick helped to really establish York as a pantomime city, and we will carry that on but with a different flavour. I have every confidence in what we do, and we think people will say, ‘oh yes, we love this show too’,” he says.
York Theatre Royal’s pantomime cast members at the September launch day for Cinderella. Picture: Ant Robling
“There is definitely room for two large-scale pantomimes in this city. People will come and see this show for what it is, done with a lot of love and care, done in a bespoke way for York audiences. If people want high quality, they will enjoy this show.”
After the positive response to the Travelling Pantomime, audiences can expect more of the same, but more of it! “I was so pleased and proud to be associated with last year’s show. Cinderella will be in that style but on a much bigger scale, with that humour, that spirit, that connectivity with the audience.
“It’s also ‘meta-theatre’ with a knowing awareness to it: it’s that thing of everyone knowing it’s not just Andy Day playing Dandini, but it’s Andy Day from CBeebies playing Dandini. It works better when everyone knows it.”
The last word goes to Juliet, who says: “It feels right to start the new era at the Theatre Royal with Evolution with Cinderella, the best known of all pantomimes, but also a pantomime without a dame, to give the transition time, not wanting someone to have to step into Berwick’s shoes straightaway, out of respect for him, but with a gradual progression to the future in mind.”
Cinderella runs at York Theatre Royal from tomorrow (3/12/2021) to January 2.Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Playing his hand: Emilio Iannucci’s Phileas Fogg with the scoffing gentlemen of the Reform Club (as played with bristling moustaches by Dora Rubinstein, Eddie Mann, Ali Azhar and Ulrika Krishnamurti) in York Theatre Royal’s Around The World In 80 days. All pictures: Charlotte Graham
REVIEW: York Theatre Royal in Around The World In 80 Days, Copmanthorpe Primary School Playing Fields, York
NO foreign holiday this summer? Let York Theatre Royal take you there, off the back of a trailer at a school playing field, transformed into a circus.
Wednesday, 7pm, Copmanthorpe Primary School: the yellow and red striped flags are fluttering in the night air in a circular formation to denote Vernes Circus is in town. Bobbing balloons and the persistently perky sound of a fairground organ add to the atmosphere.
Rather than inside a pop-up big top, we are in the open air, wrapped up for the English weather (last Friday evening’s show at Carr Junior School had to be called off after a thunderstorm warning). Safety first too, everyone is still mindful of social distancing, maintaining gaps between fold-up chairs.
Theatre Royal creative director Juliet Forster has form for such theatrical enterprises, rolling out last winter’s Travelling Pantomime to 16 city wards. A case of taking theatre to the people, rather than expecting them to take themselves to the Theatre Royal, although this summer’s production will end with four days of indoor shows there after going around four York schools in 16 days.
Dora Rubinstein’s resolute, irrepressible Nellie Bly, right, with Eddie Mann, Ali Azhar and Ulrika Krishnamurti’s circus performers in Around The World In 80 Days
She also repeats the panto template of a cast of five with multiple talents, while this time adding the writer’s credit to her directorial duties, just as she did when adapting Shakespeare’s Romeo & Juliet for CBeebies earlier this year.
We think we know French novelist Jules Verne’s story of a somewhat prickly English Victorian gentleman, Phileas Fogg, going around the globe in a hot air balloon. Stop right there. No sooner has Ali Azhar’s Clown started to blow up a balloon than he is told no such form of transportation was used by Fogg in the book; only in the myriad screen adaptations.
Financial constraints would prevent any balloon rides here, cautions Emilio Iannucci’s snappy Ringmaster.
Clown? Ringmaster? Surely, they were not in Verne’s story either? Indeed not, but Forster frames her adaptation around circus performers telling the tale, all her company taking on two main roles and more besides.
To complement the upstanding, moustachioed Iannucci’s Ringmaster/Fogg and French-Moroccan Azhar’s Clown/servant Passepartout, here come Ulrika Krishnamurti’s Trick Rider/Indian princess Aouda, New Zealander Eddie Mann’s Knife Thrower/spiv Detective Fox and Dora Rubinstein’s Acrobat/Nellie Bly.
The circus comes to town, or more specifically to four York school playing fields, as York Theatre Royal stages Around The World In 80 Days around York in 16 days, plus four days indoors at the Theatre Royal with Ali Azhar and Ulrika Krishnamurti as part of Juliet Forster’s cast of five
Mann will work his way through London, Liverpool, Scottish and American Deep South accents; the ultra-flexible Rubinstein, through Geordie, refined American, English South West and, a particular favourite, Hull, for a blunt sea captain.
Up against the clock, everything moves at pace, whether scene or character changes, storyline or the revolving signage that denotes arrival at the next destination.
Hold that thought. Not quite everything moves so quickly. Fogg is always in too much of a rush to bother with describing where he is, but Nellie Bly is a groundbreaking American journalist whose travelogues are a joy to behold whenever Rubinstein’s resolute character settles for a restorative breather in a brilliant directorial decision by Forster .
Unlike Verne’s Fogg and his wager with his Reform Club cronies, Bly is not mere fiction. She really did traverse the world in a flight that knocked days off Fogg’s total, and yet her history-making story is not well known. Forster puts that right, interweaving the tales in a way that both compliments and complements each other.
Forster’s production brings to mind the elasticity and stage electricity, the physical and mental fun and games, the deftness and daftness, of Patrick Barlow’s The 39 Steps and Mischief’s The Comedy About A Bank Robbery. Like those two West End hits, the more the show the progresses, the better it is, the more impressive the cast becomes, using props in unexpected ways, whether straw bales or bicycle wheels, or circus equipment that turns into a cell for Fogg.
Holed up: Emilio Iannucci’s Phileas Fogg in one of his myriad challenging scrapes in Around The World In 80 Days
One heavy-drinking scene with Mann’s Fix and Azhar’s Passepartout trying to balance but constantly on the move on a seesaw will live long in the memory.
Not only Forster and her livewire, fun, funny international company are on top form here: so too are Sara Perks’s evocative circus set and dapper costume designs; Asha Jennings-Grant’s dashing movement direction, circus acrobatics and smart choreography, and Ed Gray’s music and especially his 360-degree sound design that adds spectacularly to the rip-roaring drama.
Still haven’t the Foggiest idea of what family show to see this summer? This is the one. Roll up! Roll up!
Tickets can be booked on 01904 623568 or at yorktheatreroyal.co.uk. Suitable for age seven upwards.
Around The World In 80 Days performances still to come:
Copmanthorpe Primary School, tonight, 7pm.
Archbishop Holgate’s School, August 14, 7pm; August 15, 2pm and 6pm; Aug 16, 3pm and 7pm.
Joseph Rowntree School, August 18, 7pm; August 19, 3pm and 7pm; August 20, 7pm; August 21, 2pm and 6pm.
York Theatre Royal, August 25 to 28, 2pm and 7pm. Signed performance: August 26, 2pm.
Roll up! Roll up! Emilio Iannucci’s Ringmaster offers his welcome to Vernes Circus in York Theatre Royal’s Around The World In 80 Days. On stage too are circus performers Ali Azhar, Dora Rubinstein, Eddie Mann and Ulrika Krishnamurti
Detective at work: Sir David Suchet will dig up his past at York Theatre Royal in October
SUMMER panto in a maze, David Suchet on Poirot, Yorkshire Day celebrations, a SeedBed of new ideas, riverside art, a cancer charity fundraiser and comedy at the double catch Charles Hutchinson’s eye.
New signing of the week: David Suchet, Poirot And More – A Retrospective, York Theatre Royal, October 13, 3pm and 8pm
SIR David Suchet retraces his steps as a young actor in his 20-theatre tour of Poirot And More, A Retrospective, where he looks back fondly at his five-decade career, shedding a new, intimate light on his most beloved performances.
Geoffrey Wansell, journalist, broadcaster, biographer and co-author of Poirot And Me, interviews the actor behind the detective and the many characters Suchet has portrayed on stage and screen. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Joshing around: After York Theatre Royal’s Travelling Pantomime last Christmas, now Josh Benson s magic beans have created the new Crowmania Ride summer panto at York Maze
Summer pantomime on wheels? Yes, on York Maze’s Crowmania Ride until September 6. Maze opening hours: 10am to 6.30pm; last admission, 3.30pm
CORNTROLLER of Entertainment Josh Benson is the creative mind behind the new Crowmania Ride at York Maze, Elvington Lane, York.
York Maze reopened for the first time since 2019 on July 17, with York actor, magician, comedy turn and pantomime star Benson and his team of actors taking the redeveloped Crowmania attraction “to a new level” on a trailer towed by a tractor every 20 to 30 minutes from 11am to 5pm. “The scariest thing is the bad puns!” promises director of operations David Leon.
In a 20-minute pantomime on wheels, Crowmania’s loose plot involves The Greatest Crowman encouraging the crows to eat farmer Tom’s corn, while his villainy stretches to creating genetically modified corn-based creatures too. Expect theatrical set-pieces, multitudinous curious animatronics and special effects.
Erika Noda: Reflecting on her dual heritage on tonight’s SeedBed bill at At The Mill, Stillington
“Fantastic nights of artistic creation”: SeedBed at At The Mill, Stillington, near York, tonight until Saturday, 7pm to 10pm nightly
BILLED as “New Work. Good Food. Big Conversations”, the first ever SeedBed promises three nights, three different line-ups, three opportunities to see new ideas on their first outings, each hosted by Polly from Jolly Allotment, who will cook a nutritious supper each evening and discuss nourishment.
Tonight features At The Mill’s resident artists, plus Paula Clark’s class-and-disadvantage monologue Girl, Jack Fielding’s stilt act in Deus and Erika Noda’s Ai, examining growing up dual heritage in predominantly white York.
Tomorrow combines Robert Douglas Finch’s Songs Of Sea And Sky; Jessa Liversidge’s Looping Around set of folk tunes, original songs and layered looping and Henry Bird’s combo of classical poetry extracts and his own words.
Saturday offers The Blow-Ins’ A Gentle Breeze, an acoustic Celtic harp and guitar set, to be experienced in silence; Gong Bath, a session of bathing in the sound of gongs, and Jessa Liversidge’s second Looping Around (Your Chance To Sing) session.
Papillon, by Adele Karmazyn, who is taking part in Saturday’s York River Art Market
York River Art Market, Dame Judi Dench Walk, by Lendal Bridge, York, Saturday and Sunday, 10.30am to 5.30pm
MORE than 30 artists and makers will take part in days five and six of this summer’s riverside weekend art markets, organised by York abstract painter and jewellery designer Charlotte Dawson.
Given the busy traffic across both days last weekend, Charlotte is considering doing more full weekends next year rather than the present emphasis on Saturdays.
Among Saturday’s artists will be York digital photomontage artist and 2021 YRAM poster designer Adele Karmazyn and Kwatz, the small indie fashion label directed by Amanda Roseveare.
On Sunday, look out for York College graphics tutor Monica Gabb’s Twenty Birds range of screen prints, tea towels, mugs, cards, bags and hanging decorations; York artist Linda Combi’s illustrations and Louise Taylor Designs, travelling over from Lancashire with her floral-patterned textile designs for cushions, tea towels, oven gloves and more besides.
Lightning Seeds’ Ian Broudie: Headlining Meadowfest
Festival of the week: Meadowfest, Malton, Saturday, 10am to 10pm
MALTON, alias “Yorkshire’s food capital”, plays host to the Meadowfest boutique summer music and street fodder festival this weekend in the riverside meadows and gardens of the Talbot Hotel.
On the bill, spread over two stages, will be headliners Lightning Seeds, Arthur “The God of Hellfire” Brown, York party band Huge, Ben Beattie’s After Midnight Band, Flatcap Carnival, Hyde Family Jam, Gary Stewart, Penny Whispers, The Tengu Taiku Drummers and more besides.
“Expect a relaxed festival of uplifting sunshine bands, all-day feasting and dancing like no-one’s watching,” says the organisers. Box office: tickettailor.com/events/visitmalton/
Forge Zine and Hallmark Theatre present Yorkshire Day: Night Of Arts! at The Crescent community venue in York on Sunday
Marking God’s Own Country’s wonderfulness: Yorkshire Day: Night Of Arts!, The Crescent, York, Sunday, 8pm
FORGE Zine and Hallmark Theatre band together for a Yorkshire Day night of creativity, fun and varied entertainment, replete with actors, musicians, writers and artists.
Expect spoken word, visual art, live music, scene extracts and comedy on a pleasant, relaxed, wholly Yorkshire evening, bolstered by the chance to buy artworks and books. Box office: thecrescentyork.seetickets.com.
Steve Cassidy: Joining up with friends for the Songs And Stories For York Against Cancer fundraiser
Fundraiser of the week: Songs And Stories For York Against Cancer, with Steve Cassidy Band and friends, Joseph Rowntree Theatre, York, Sunday, 7.30pm
A NIGHT of songs and stories by some of York’s best-known performers, who “celebrate a return to normality” by supporting a charity that helps others still on the road to recovery.
Taking part will be Steve Cassidy, Mick Hull, John Lewis, Billy Leonard, Graham Hodge, Graham Metcalf, Geoff Earp and Ken Sanderson. Box office: josephrowntreetheatre.co.uk.
Sara Barron: Playing York, Leeds and Selby on her debut British tour of Enemies Closer
Barron nights: Sara Barron on autumn tour in Yorkshire in Enemies Closer
AMERICAN comedian Sara Barron examines kindness, meanness, ex-boyfriends, current husbands, all four remaining friends and two of her 12 enemies in Enemies Closer at Theatre@41, Monkgate, York, on October 9.
Further Yorkshire gigs on Barron’s debut British tour will be at Sheaf St, Leeds, on October 20 and Selby Town Hall on September 29.
“Touring this show is truly the fulfilment of a dream,” says Barron. “Come if you dig an artful rant. Stay at home if think you’re ‘a positive person’.” Box office: York, at tickets.41monkgate.co.uk; Leeds and Selby, via berksnest.com/sara.
In need of a reviving cuppa: Omid Djalili has just had to change his Pocklington plans for a second time
Third time lucky: Omid Djalili moves Pocklington gigs again, this time to 2022
OMID Djalili’s brace of shows on July 22 at Pocklington Arts Centre (PAC) have been moved to May 18 and 19 next spring.
British-Iranian comedian, actor, television producer, presenter, voice actor and writer Djalili, 55, originally had been booked for this month’s cancelled Platform Festival at the Old Station, Pocklington.
He subsequently agreed to do two shows in one night at PAC to ensure all those who had purchased tickets for his festival gig would not miss out. The uncertainty brought on by the Government’s delay to Step 4 scuppered those plans. Tickets remain valid for the new dates.
Anna Soden in rehearsal for her children’s show Five Children And It
YORK company Strawberry Lion will premiere its streamed production of E Nesbit’s Five Children And It on Explore York libraries’ YouTube channel on Wednesday (7/4/2021) at 6pm.
Written and performed by York actor, musician, writer, theatre-maker and company founder Anna Soden, the show will be available online for free until 5pm on April 14.
Directed by Theatre Royal youth theatre director Kate Veysey, with music and lyrics by Jim Harbourne, the show is presented in association with Scarborough community producing company Arcade.
Suitable for family audiences aged five and upwards, this adaptation of Nesbit’s 1902 children’s novel is set on a Scarborough beach, as Anna invites you to “join Anthea as she tells her magical story through music, story-telling and puppetry,” promising that “sometimes the best adventures can happen on your doorstep”.
Anna was last seen on a York stage, or, rather, myriad stages in York Theatre Royal’s Travelling Pantomime, touring the city wards as a rapping, funky, blue and pink-haired, multi-tasking Fairy, more likely to hit the bass line than wave a wand, as flashy as her lit-up boots, with guitar in hand or trumpet between her lips.
In the summer, she had popped up in the Theatre Royal’s Pop-Up On The Patio season in York company Cosmic Collective Theatre’s rain-sodden afternoon performance of Heaven’s Gate, Joe Feeney’s intergalactic pitch-black comedy.
Strawberry Lion’s show poster for Five Children And It
There is no need to book for Strawberry Lion’s Five Children And It; simply head to @yorkexplore’s YouTube channel.
Here, Anna answers CharlesHutchPress’s questions on Strawberry Lion, E Nesbit’s book, Scarborough beach, Cosmic Collective Theatre and York Theatre Royal’s Travelling Pantomime.
When and why did you form Strawberry Lion?
“I made Strawberry Lion in September 2020. I’d had a great time re-staging Heaven’s Gate with Cosmic Collective Theatre over the summer, and was keen to continue making my own work, and expand my practice outside of just acting into writing/making.
“I’d never had time to do it before, but when theatres shut and acting work dried up last year, I knew that was my opportunity.”
Why did you choose the name Strawberry Lion?
“I remember a conversation with a friend when I was really young about words that shouldn’t go together, but when they do, they evoke a really strong tactile taste/ texture/mood, like Strawberry, Lion.
Strawberry Lion’s logo
“That’s always stuck in my brain. I essentially love those two words together, and it somehow represents the work I want to make quite well.”
Who else is involved in the company?
“Kate Veysey, from York Theatre Royal, is directing this project, and Sophie Drury Bradey, of Arcade, has been a monumental help as a consultant producer.”
What shows have you done so far? “My play Mad For Our Daughters is being developed with [York-born, Manchester-based] singer-songwriter Harriet Forgan, and we performed an extract of the piece at the Belgrade Music Hall in Leeds in September, but Five Children and It will be Strawberry Lion’s first full-length show.”
Why adapt Five Children And It? Was this a story you read as a child? “Yes! My mum introduced me to it. I had a very, very old, battered copy as a child that I used to take on holidays and read.
“So, when I was on the look-out for the perfect family story to adapt, I couldn’t believe Five Children And It wasn’t more widely done. It’s such a magical story, and I love how the magical creature in it is so grumpy. There’s a lot of fun in that!”
“I couldn’t believe Five Children And It wasn’t more widely done,” says Anna. “It’s such a magical story, and I love how the magical creature in it is so grumpy”
What age group will you be aiming the show at? “It’s billed as ‘5+’, but I hope there’s something there for every age!”
Why set the story on Scarborough beach? “Despite living in London for six years, I feel like Yorkshire and the North is always present in my writing, so I really wanted to embrace that. I love Scarborough – Scarbados!
“A huge theme in my adaptation is about finding adventure where you are: a reflection of what we all have to do while we can’t travel outside of our local area. It’s also about learning to appreciate your home, and we certainly are lucky to have a prehistoric coastline here in North Yorkshire.”
Where and how did you record the streamed performance?
“We recorded the performance in February in York Theatre Royal’s Billiard Room, with a fantastic team: filmed by Wayne Sables and Stan Gaskell and audio mixed by Oliver Ibbotson.”
How did Kate Veysey become involved as director? Does your link go back to York Theatre Royal Youth Theatre days? “Yes, I grew up in the youth theatre and adored my time there. I worked closely with Kate when I was playing Lyra in His Dark Materials as a teenager, and Kate also gave me support watching my audition speeches for drama school.
Director Kate Veysey in rehearsal for Five Children And It
“I’ve always come back to see the main-house shows and am constantly in awe of her Theatre Royal Youth Theatre productions. I think she’s an absolutely fantastic director, and I needed someone who knows theatre for young audiences inside out, so it was a no-brainer for me to ask her to direct. It’s a lovely full circle to be working with her as an adult.”
Jim Harbourne has written the music and lyrics. Have you worked with him before? “No, I met Jim in the Summerhall courtyard in Edinburgh in 2018. I was in a Fringe show there, and Jim’s show, Myth Of A Singular Moment, was on in the same venue.
“I went to see it and adored it, and I couldn’t get over how gorgeous his music was. I’ve been itching to work with him ever since. I’m so thrilled he said ‘yes’ as his work in Five Children And It is MAGICAL.”
How did Explore York Libraries become involved? “I approached them when I was putting in my Arts Council England project grant bid last autumn. Since it’s such a classic book, I felt the library was the perfect home for the show.”
Joe Feeney and Anna Soden in Cosmic Collective Theatre’s Heaven’s Gate
Any news on upcoming Cosmic Collective Theatre projects? “I know Joe [Feeney] has been writing non-stop over lockdown, so we’ll be looking forward to starting new projects once the world gets a bit safer.”
The ground-breaking Travelling Pantomime went so well. What did you learn from that performance experience?
“It was a glorious experience! I guess I learnt that we can find a safe way through all this: live theatre is possible, and can be super safe, even at the height of the pandemic!
“It was also a nice reminder to not take performing for granted. When it’s your job, and I’ve been lucky to have worked quite consistently, there’s a danger you can get into a routine – but with this scenario, and restrictions changing all the time, we were performing every show like it could have been our last!”
When and where might you perform Five Children And It once live performances are feasible?
“It hasn’t been announced yet, so I don’t think I can say, but there will be a performance next month.” [A cursory inspection of the Strawberry Lion website reveals a show date of May 29 at the Crucible Theatre, Sheffield, but watch this space for confirmation of the exact details.]
26/5/2021UPDATE
ANNA Soden has added a 3pm performance at the At The Mill pop-up theatre at Stillington, near York, on Sunday, May 30. SOLD OUT.
It’s all about the bass: Anna Soden’s funky Fairy in York Theatre Royal’s Travelling Pantomime last December
Harvey Harrison, aged eight, taking part in a York Theatre Royal Youth Theatre online session at home in York
YORK Theatre Royal’s Youth Theatre is back in action…online, complete with scavenger hunts and kitchen discos.
The St Leonard’s Place building remains closed under Lockdown 3 strictures, ruling out the usual face-to-face sessions there, but here comes Zoom to lift any feelings of doom and gloom for participants in one of the North’s largest youth theatres.
Youth Theatre membership takes in 150 children and young people from across York and the surrounding areas, divided into ten age groups spanning five to 19, with each group working towards developing skills and experience in a variety of theatre disciplines.
Five groups for the older members began in November but had to be moved online after the first session in response to the second lockdown.
“These proved really successful,” says Julian Ollive, head of creative engagement. “Face-to-face contact with our young people, being in the same space, working collaboratively and creatively, is really what we’re about and what we value. Unfortunately, this new lockdown has thwarted our ability to go live but we’re going ahead with running our classes online again.”
Julian continues: “In a time of great uncertainty, we believe it’s important to begin the process of coming back to a ‘normal’, which, for us, is working directly with children and young people in our community.
Martha and Wilf in an age five to eight group session on Zoom with practitioner Fiona Baistow, assistant Fiona and mentor Katherine
“Although we would have loved to welcome back our members face to face, we’re excited by the creative challenges and opportunities that working online will bring.”
Youth Theatre director Kate Veysey says: “Offering youth theatre online gives us new opportunities to connect with the young people in different ways. We feel this is even more important at a time when they have additional pressures on them.
“The chance to connect, to work with their friends and make new ones, and be creative together, is fantastic.
“It’s been really wonderful welcoming back our young people to youth theatre, as well as some new members. In our first week back, we’ve had scavenger hunts, kitchen discos and props and costumes from everyone’s homes. It’s a joy to work together.
“Our practitioners are relishing the challenge of making our online delivery as exciting and vibrant as our live sessions have been in the past until we can safely offer these again.”
The 14 to 19 age group is rehearsing the play Tuesday for NT Connections, a digital festival that brings together groups from around the country, this year remotely. In light of the festival going online, rehearsals are applying options within this format, such as breakout rooms to work on separate scenes, using props and making sound effects from home sources to support the text.
York Theatre Royal Youth Theatre’s 14 to 19 company working on the play Tuesday for the NT Connections festival
Among those joining in the new 2021 sessions from home in York is eight-year-old Harvey Harrison, pictured above, whose mother Hayley says: “Harvey has been a member of Youth Theatre for just over two years and in that time the activity has brought him a huge amount of pleasure.
“It’s been a fantastic creative outlet for a child who is often, socially anyway, quite reserved and he has developed a new-found bravery and sense of poise. The physical thrill he gets from the performance opportunities is perfectly complemented by his quiet and growing confidence.”
In part inspired by the impact of taking the York Theatre Royal Travelling Pantomime to community venues last month, the Theatre Royal is planning to move the Youth Theatre further out into the community once restrictions allow.
Friargate Meeting House and New Earswick Folk Hall will then host groups throughout the week, as well as the Youth Theatre continuing to work in spaces at the Theatre Royal.
“We’re excited by the prospect of continuing the reach into our community, so positively felt and received through the Travelling Pantomime,” said Julian.
Visit yorktheatreroyal.co.uk for more information on joining York Theatre Royal Youth Theatre and applying online for a Y card, the new youth membership scheme. The card costs £5 and provides notifications when spaces in the youth theatre become available, invitations to games sessions and tasters, discounted membership rates on tickets, events and much more.
Josh Benson: Ready to entertain you online all day on Sunday
JOSH Benson, “Just Joshing” comic star of York Theatre Royal’s Travelling Pantomime, is bored in Lockdown 3.
“Anyone up for Josh Day?” asks the York magician, actor, children’s entertainer, music hall act and Corntroller of Entertainment at York Maze, on his Facebook feed.
The online day in question is “Funday Sunday”, January 24. “Several different lil’ shows/workshops/general front room daftness, throughout the day and into the evening on Facebook Live,” he promises. “Various content/times TBC. I’m open to suggestions…!”
To make those suggestions for his full day of virtual live shows, contact Josh via facebook.com/JoshBensonEntertainer
Joshing around: Josh Benson in the comic’s role in York Theatre Royal’s Travelling Pantomime in December. Picture: Ant Robling
Robin Simpson’s dame and Reuben Johnson’s villain in far-from-subtle disguise in York Theatre Royal’s Travelling Pantomime. Picture: Ant Robling
YORK Theatre Royal’s Travelling Pantomime has been brought to a sudden stop by the Spectre of Christmas Present: the rapid rise in Covid cases in York.
Nevertheless, despite the loss of four post-Christmas shows this week, the decision to go on the road to as many of York’s 21 wards as possible has been vindicated.
Creative director Juliet Forster’s cast of Josh Benson’s rubber-bodied comic turn, Reuben Johnson’s Meerkat-accented villain, Anna Soden’s bass-playing funky fairy, Faye Campbell’s assertive hero and Robin Simpson’s droll dame played to full house after full house.
Despite no recorded transmission of the virus at any performance from December 2 to 23, the Theatre Royal has ruled the show must not go on, foregoing the resumption of its 70-minutes-straight-through, socially distanced touring production, having initially added a handful of post-Christmas shows.
Exit stage left too early, but we still learnt that Josh “Just Joshing” Benson, pocket-dynamo York magician, clown, comic, actor and children’s entertainer, is a natural fit for the silly billy/daft lad role. No magic tricks this time, but that skill is up his sleeve for the future.
Likewise, Robin Simpson’s dame, less outwardly demonstrative but more subtly sophisticated than the average panto man in a dress, is utterly comfortable, cheekily conspiratorial and joyful in the most revered of all pantomime parts.
Victory: Faye Campbell’s hero in York Theatre Royal’s Travelling Pantomime. Picture: Ant Robling
So far, so good, but the still-blossoming Josh is tied into a contract as the Viaduct Theatre’s pantomime comic turn in Halifax, after making his debut there in Beauty And The Beast last winter, while Robin lives in Huddersfield, where he is bedded in as the Lawrence Batley Theatre’s dame. Both are set to return to fruitful past pastures next winter.
Johnson, York actor Soden and Campbell all made their mark too in shows blessed with terrific scripts by Paul Hendy, the award-winning co-founder of Evolution Productions, the Theatre Royal’s new partner in pantomime.
The handing-over of the panto baton after last winter’s toxic severance from Berwick Kaler’s 41-year venerated damehood should have seen the triumvirate of Theatre Royal chief executive Tom Bird, creative director Juliet Forster and Evolution director, producer and writer Paul Hendy presenting Cinderella on the main-house stage.
However, the pestilent Coronavirus pandemic cancelled invitations to the ball, after the St Leonard’s Place building was cast into darkness on March 16. Lockdown 1 and ever-changing rules ensued but in mid-September, the panto trio made the decision to take theatre to the people in the form of the pop-up Travelling Pantomime.
Each location, ranging from church halls to community centres, the Theatre Royal pop-up stage to social clubs and sports halls, had to be Covid-secure, adhering to Government guidance for staging socially distanced performances with capacities ranging from 35 to 50.
At each show, the audience members could vote for whether they wanted to see Dick Whittington, Jack And The Beanstalk or Snow White And The Seven Dwarfs.
“The one thing I always want to do is bring joy,” says Evolution Productions’ Paul Hendy, writer of York Theatre Royal’s Travelling Pantomime. Picture: Ant Robling
Hendy switched smoothly to this new writing task, for a cast of five, with no dance ensemble and no house band: just another challenge faced by Evolution Productions, who have still been involved in seven pantomime productions in this Covid-compromised year.
“In a strange way, I quite enjoyed Lockdown, time with the kids, and not the constant pressure of putting on shows; just the contrast of going out and listening to the birds,” says Paul.
Once the path ahead became clearer, although still shrouded in uncertainty, he and Evolution set to work on co-producing six shows, along with Paul providing the York scripts and directing Dick Whittington, The Pompey Panto at the Kings Theatre, Portsmouth.
From Operation Sleeping Beauty to Nurse Nanny Saves Panto to Damian Saves Panto, Paul penned a series of one-off new shows attuned to Covid times, while his York scripts sought to bottle and preserve the essence of pantomime.
“Awaiting the Government pandemic update on December 16, all we could do was roll with it, go ahead and start rehearsals – which qualified as ‘going to work’ and set about our aim to save pantomime,” says Paul.
“It doesn’t feel fair that the Government can say, ‘No, you can’t go ahead’, when there’s no evidence there’s been an outburst of Covid after theatres reopened with social distancing, especially as a lot of theatres have spent a lot of money on the infrastructure to make theatres a safe place to go, but what can we do?
Travelling players: Robin Simpson’s dame, Faye Campbell’s hero, Reuben Johnson’s villain, Anna Soden’s fairy and Josh Benson’s comic in the York Theatre Royal pantomime roadshow
“But then the pandemic is not fair on anyone in all sorts of industries, and that’s why, at this time, people needed pantomime more than ever.”
Thankfully, York’s Tier 2 status ensured that the Theatre Royal’s Travelling Pantomime could roll out across York with Hendy’s scripts built around the baddie trying to steal the essence of pantomime. “The shows had to be full of laughter, community spirit and topical gags, as there’s so much material there this year,” he says.
Paul relished the opportunity to take pantomime into all manner of venues. “I’ve always said that pantomime can work in a black-box setting with just five actors because of that compact configuration and connection with the audience, and this year that’s what’s happened,” he says.
“It still works because pantomime is an interactive theatre genre – and how many other forms of theatre can you say appeal to five year olds and 95 year olds alike?”
One emotion above all others permeated through Paul’s pantos. “The one thing I always want to do is bring joy, make it funny of course, but ultimately make it a show driven by joy – and we did that,” he says.
Josh Benson and Robin Simpson may not be back in Theatre Royal colours next winter, but Paul Hendy most definitely will, when Cinderella and York alike will have a ball.
