On the king’s manor: The Sovereign figure of Henry VIII (Mark Gowland) stands over York Theatre Royal creative director Juliet Forster, playwright Mike Kenny and, front, Juliet’s co-directors John R Wilkinson and Mingyu Lin at the launch of the Theatre Royal’s community production of Sovereign. Picture: Ant Robling
IN the climax to York Theatre Royal’s Sovereign Season, a community cast will stage a majestic outdoor summer production in the grounds of King’s Manor in Exhibition Square.
Adapted for the stage by prolific York playwright Mike Kenny, the world premiere of CJ Sansom’s York-based Tudor thriller will run from July 15 to 30 under the direction of Juliet Forster, John R Wilkinson and Mingyu Lin.
York Theatre Royal is seeking to assemble a cast of 100 adults and young performers aged nine and over from this month’s auditions for a production “on a grand scale”.
The use of King’s Manor could not be more apt, given Sansom’s setting of the story in Tudor York in 1541, when the Council of the North would meet there.
History records that St Mary’s Abbey, in Museum Gardens immediately behind King’s Manor, was suppressed by Henry VIII in 1539, destroying most of the monastery. King’s Manor – or Abbot’s House as it was known – survived, however, and continued to be the Council of the North’s headquarters.
In anticipation of an “ostentatious” Royal visit by Henry VIII and Queen Catherine Howard in 1541, the city of York repaired and improved the building. The royal party duly occupied the manor house for 12 days, their visit leading to the building becoming known as King’s Manor.
In Sansom’s York of 1541, the play follows lawyer Matthew Shardlake and his assistant Jack Barak who await the arrival of Henry VIII on his northern progress.
Tasked with a secret mission, Shardlake is protecting a dangerous prisoner who is to be returned to London for interrogation. When the murder of a York glazier plunges Shardlake into a deep mystery that threatens the Tudor dynasty itself, he must work against time to avert a terrifying chain of events.
Told through the voices of the people of York, the Theatre Royal production promises to release all the intrigue, conspiracy and thrills of Sansom’s novel. Alongside the community ensemble, two professional actors will star in the production too. Rehearsals begin on April 15, taking in two weekday evenings and Saturday daytimes in the lead-up to the tech weeks from July 3 and 10.
Already the Sovereign Season has taken in the world premiere of David Reed’s Guy Fawkes, with the Royal Shakespeare Company’s political thriller Julius Caesar still to come from June 13 to 17, directed by Atri Banerjee.
“A lot of the plays in the season deal with different forms of leadership and resistance; what’s good leadership; what’s good sovereignty,” says Theatre Royal creative director Juliet Forster.
“The jewel in the crown is CJ Sansom’s historical thriller Sovereign, the third book in the Shardlake trilogy, where Henry VIII came up here to sort out the northern rebels, beat us into line and show his power in his northern progress.”
York playwright Mike Kenny: Adapating CJ Sansom’s Sovereign for the York Theatre Royal community production
Welcoming the chance to adapt Sovereign, Mike Kenny says: “It will push the form of community theatre in all sorts of ways. I got invited to a conference in Montpellier [France] about large-scale community theatre, and though I’d never thought of it as being a very British thing, I was asked to talk about the York experience of staging community plays.
“I was aware, as I was talking through the experience, that every time we’ve done such a play, we were pushing the envelope because, in York, we don’t take the pre-digested version, we take the local story and push it.
“In this instance, I don’t think anyone has done that with a whodunit like this one, where Shardlake, the central character is disabled and gets a lot of stick because of that.”
Mike continues. “The book is set in 1541, well before Shakespeare’s play Richard III was written [1592-93], which reflected attitudes towards disability. It’s an interesting development in community theatre to have a disabled actor in the lead role.”
Co-director John R Wilkinson points out: “Shardlake’s sidekick is Jewish, another prejudice of that time.”
Mike rejoins: “That’s particularly potent in York, where the play is set, more than 300 years after the Massacre at St Clifford’s Tower, where the Jewish pogrom happened in 1190. A couple of the scenes are set there, so it’s pushed the boat again.”
Juliet says: “It’s the first time we’ve done an adaptation as a community play. Normally we take history and creative a fictional history, like we did for Blood + Chocolate, In Fog And Falling Snow, Everything Is Possible: The York Suffragettes and The Coppergate Woman.
“This time, there’s already an historical fictional narrative and we’re then bringing out the really strong York connections.”
Mike notes how: “One of the things that hit me hard was how Henry VIII was directly responsible for the end of the medieval Mystery Plays, which had been a Catholic tradition in York. They came to an end in Henry’s time, finally being stopped 20 years after his visit.”
Just as the revived York Mystery Plays have set the benchmark for community productions in the city, so York Theatre Royal continues to relish picking up the baton and taking that theatrical form in new directions.
York Theatre Royal presents CJ Sansom’s Sovereign at King’s Manor, Exhibition Square, York, from July 15 to 30. Box office: 01904 623568 or yorktheatreroyal.co.uk.
John Ledger: Back To Normalism artist at Micklegate Social and Fossgate Social
IT’S time for back-to-normal service to resume as Charles Hutchinson wipes the sleep from the eyes of his diary for 2023.
Exhibition launch of the week: Back To Normalism, by John Ledger, Micklegate Social, Micklegate, and Fossgate Social, Fossgate, York, January 13 to March 13
ON the portentous Friday the 13th, the preview of Barnsley artist John Ledger’s solo show Back To Normalism begins at 7pm at Micklegate Social.
Ledger looks at the uncanny reality that has unfolded since the pandemic started, along with the underlying weirdness of trying to patch up the black holes in our collective experience of time, in a show about cultures uprooted and disjointed by a series of disasters and distorted by the consequences of trying to repeatedly return to a “before” moment.
Baaaaaarrrrgggghhhhhhbican frustration! Ricky Gervais’s brace of Armageddon dates at York Barbican sold out in 27 minutes
Apocalypse very soon: Ricky Gervais, Armageddon, York Barbican, Tuesday and Wednesday 7.30pm precisely
ARMAGEDDON is not the end of the world as we know it but the name of grouchy comedian, actor, screenwriter, director, singer, podcaster and awards ceremony host Ricky Gervais’s new tour show.
Gervais, 61, will be torching “woke over-earnestness and the contradictions of modern political correctness while imagining how it all might end for our ‘one species of narcissistic ape’,” according to the Guardian review of his Manchester Apollo gig. Box office? Oh dear, you’re too late for Armageddon; both nights have sold out.
Chris Helme: Revisiting his days in The Seahorses
Love Is The Law unto himself: Chris Helme, solo Do It Yourself 25th Anniversary Tour, Pocklington Arts Centre, January 14, 8pm
YORK singer-songwriter Chris Helme is marking the 25th anniversary of The Seahorses’ only album, Do It Yourself, released on May 26 1997 in guitarist John Squire’s short-lived post-Stone Roses project with Helme and fellow York musician Stuart Fletcher on bass.
Recorded in North Hollywood, California, the album was pipped to the number one spot by Gary Barlow while debut single Love Is The Law reached number three. A further highlight of Helme’s solo acoustic set will be Love Me And Leave Me, Liam Gallagher’s first songwriting credit, no less. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
The Lonesome Ace Stringband: Turning bluegrass bluer and grassier at Selby Town Hall
Better late than never: The Lonesome Ace Stringband, Selby Town Hall, January 18, 8pm
RE-SCHEDULED from January 20 2022, The Lonesome Ace Stringband’s gig features righteous folk and country music, played by an old-time band with bluegrass chops and a feel for deep grooves.
Band members Chris Coole, banjo, John Showman, fiddle, and Max Heineman, bass, are three Canadians lost in the weird and wonderful traditional country music of the American South, having served their time in New Country Rehab, The David Francey Band, The Foggy Hogtown Boys and Fiver. Box office: 01757 708449 or selbytownhall.co.uk.
Robert Gammon: Relaxed concert of piano music at St Chad’s
Afternoon entertainment: Robert Gammon, Dementia Friendly Tea Concert, St Chad’s Church, Campleshon Road, York, January 19, 2.30pm
AT the first Dementia Friendly Tea Concert of 2023, pianist Robert Gammon plays J S Bach’s Prelude and Fugue in B flat major from The Well-Tempered Clavier Book 2, Mozart’s Piano Sonata in B flat major K. 570 and Schubert’s serene Impromptu in A flat major, D. 935 No. 2.
As usual, 45 minutes of music will be followed by tea and homemade cakes in the church hall. Next up will be University of York Students (violin and piano) on February 16. No charge, but donations welcome for church funds and Alzheimer’s charities.
Tales From Acorn Wood: Julia Donaldson and Axel Scheffler’s stories take to the York Theatre Royal stage
Children’s show of the month: Tales From Acorn Wood, York Theatre Royal, January 26, 4pm; January 27, 11am and 2pm
NLP’s world premiere staging of Tales From Acorn Wood is based on favourite stories from Julia Donaldson and Axel Scheffler’s lift-the flap books for pre-school children, featuring the sock-losing old Fox, the tired Rabbit, Postman Bear’s special surprise and Pig and Hen’s game of hide-and-seek.
Suitable for one-year-olds and upwards or anyone who loves books, this 50-minute touring show is full of songs, puppetry, projection and flap-lifting technology. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Rob Auton: Getting mighty Crowded in his new stand-up show
Crowd pleaser: Rob Auton, The Crowd Show, Theatre@41, Monkgate, York, February 24, 8pm; Hyde Park Book Club, Leeds, February 25, 7.30pm
CHARMINGLY eccentric, uplifting and poetic writer, comedian, actor and podcaster Rob Auton returns home to York on the 2023 leg of The Crowd Show tour.
After his philosophical observations on the colour yellow, the sky, faces, water, sleep, hair, talking and time, now he discusses crowds, people and connection in a night of comedy and theatre “suitable for anyone who wants to be in the crowd for this show”. Box office: York, tickets.41monkgate.co.uk; Leeds, hydeparkbookclub.co.uk.
Stewart Lee: Three nights, fully booked already, at York Theatre Royal in March
Too late for tickets already:Stewart Lee, Basic Lee, York Theatre Royal, March 20 to 22, 7.30pm
AFTER filming last May’s three-night run of his Snowflake/Tornado double bill for broadcast on the BBC, spiky comedian Stewart Lee returns to York with his back-to-basics new show.
Following a decade of ground-breaking high-concept gigs involving overarched interlinked narratives, Lee enters the post-pandemic era in streamlined solo stand-up mode: one man, one microphone, and one microphone in the wings in case the one on stage breaks. Tickets update: Sold out, basically.
Hands up who’s starring in Heathers: The black comedy musical to die for is heading to the Grand Opera House
Too cool for school: Heathers The Musical, Grand Opera House, York, May 9 to 13
WELCOME to Westerberg High, where Veronica Sawyer is just another nobody dreaming of a better day. When she joins the beautiful and impossibly cruel Heathers, however, her craving for popularity may finally come true, whereupon mysterious teen rebel JD teaches her that it might kill to be a nobody, but it is murder being a somebody.
Winner of the What’sOnStage Award for Best New Musical, Kevin Murphy and Laurence O’Keefe’s black comedy rock musical, based on the 1988 cult film, makes its York debut, produced by Bill Kenwright and Paul Taylor-Mills, directed by Andy Fickman and choreographed by Gary Lloyd. Box office: atgtickets.com/York.
Berwick Kaler’s dame, Mrs Plum-Duff, in The Adventures Of Old Granny Goose. Picture: David Harrison
DAME Berwick Kaler, David Leonard, Martin Barrass, Suzy Cooper and AJ Powell are into the final week of their second pantomime at the Grand Opera House, York.
The Adventures Of Old Granny Goose ends on Sunday in Berwick’s first variation on a Mother Goose theme since his Millennium pantomime, Old Mother Millie, at York Theatre Royal.
“That one gave me a panic attack,” he admitted. “There was no story, and it wasn’t based on a fairytale. To my surprise, we ended up being the only theatre doing a millennium-based panto!”
No such palpitations this time: Berwick completed his script by 6am on December 1, giving the writer, director and dowager dame plenty of rehearsal time to hone it with his regular team.
“It will either work or it won’t, but I still feel as fit as a fiddle, though I can’t jump through any more windows, but we make sure routines are properly done,” he said that day.
“I’m ageing up for the part,” joked Berwick, 76, as the Old Mother turned into the Old Granny. “I just think we can have a lot of fun with the audience about getting older. They know my age, Martin and Suzy’s age, playing my son and daughter, so each year I make them younger,” he says.
Surrounded by familiar faces, Berwick does have one new factor this year: the role of UK Productions as the Grand Opera House panto producers for the first time. “They’re the second largest panto company in the country, and they do know the history of our pantomime,” he says.
No Covid restrictions, no masks, means Berwick can revel in interaction with the audience once more. “Last year, we could only hear the laughter, not see the smiles,” he said. “But this year, I can go down the steps from the stage, get out to the audience, and I’m only interested in doing the show if I can still do that because there has to be ad-libbing.”
The Adventures Of Old Granny Goose runs at Grand Opera House, York, until Sunday. Performances: 2pm and 7pm, Thursday, Friday and Saturday; 1pm and 7pm, Sunday. Box office: atgtickets.com/York
The cast for Tilted Wig and York Theatre Royal’s Around The World In 80 Days
TILTED Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days from February 2 to July 22 2023. Rehearsals will begin in York next Monday.
Theatre Royal creative director Juliet Forster’s adaptation of Jules Verne’s story first toured all four corners of York in August 23 days in 2021, not in a hot-air balloon, but on a trailer, whose sides could be dropped down for the set to be built around, in the tradition of travelling players going from town to town.
Forster’s circus-themed production played four York playing fields – Carr Junior School, Copmanthorpe Primary School, Archbishop Holgate’s School and Joseph Rowntree School – followed by a last stop, back indoors, at the Theatre Royal, where Tilted Wig’s new tour of England, Scotland and Wales will open from February 2 to 4.
In Forster’s version, Verne’s original characters are transformed, embracing different modes of transport in the frantic race to travel around the world in 80 Days. Original cast member Eddie Mann will be joined by Alex Phelps, Katriona Brown, Wilson Benedito and Genevieve Sabherwal, who each multi-role as the rag-tag band of travelling circus performers embarks on a daring mission to recreate Phileas Fogg’s journey.
Eddie Mann: Returning to the roles of the Knife Thrower and Detective Fix
Phelps will play the determined Ringmaster and Fogg, having appeared in As You Like It for Shakespeare’s Globe/CBeebies, When Darkness Falls for Park Theatre and Hamlet for Shakespeare’s Rose Theatre.
Actor and puppeteer Brown will be the Acrobat and Nellie Bly; Sabherwal, the Trick Rider and Aouda; Wilson Benedito, the Clown and Passepartout, and New Zealander Mann, the sharp-witted Knife Thrower and Detective Fix.
Writer-director Forster said in 2021: ““There was a risk that a show would have a stuffy gentlemen’s club, outdated feel to it because it’s a male-dominated story, so I thought, ‘how do we make it a play for today?’. That’s when I decided to put Nellie Bly’s story in there too.”
For the uninitiated, Nellie Bly was the pen name of Elizabeth Cochrane Seaman, an American journalist, industrialist, inventor and charity worker, who made her own record-breaking trip around the world – and did so with more alacrity than the fictional Fogg.
The original York Theatre Royal cast for Around The World In 80 Days in August 2021, including Eddie Mann, centre. Picture: Charlotte Graham
“I read her book about going around the world: a beautiful piece of travel journalism with such lovely detail, and I thought, ‘maybe we should just do her story’, but then I decided, ‘no, let’s look at finding a form for a play that fits bit both stories in’,” Juliet said.
Move forward to 2023’s revival, and the director says: “I was amazed that we generally know more about Jules Verne’s fictional characters than we do about Nellie Bly. I knew I had to tell her story. I found that this approach allowed interesting themes to emerge around whose stories get told, whose stories dominate and who should stand aside to give space to the untold ones.”
Tour producer Tilted Wig Productions was formed in 2017 by Katherine Senior and Matthew Parish, who have more than 15 years of experience producing and touring plays throughout the UK, taking 20-plus productions on the road, such as Philip Meeks’s Murder, Margaret, and Me, Lady Chatterley’s Lover and The Picture Of Dorian Gray.
York Theatre Royal creative director Juliet Forster: Writer-director of Around The World In 80 Days
“Our shows now tour around some of the biggest theatres in the UK, yet our original ethos has always remained the same: whether Titled Wig are producing a classic play or a vibrant new adaptation, we always aim to inspire a bright and innovative creative team to take our stories UK-wide,” they say.
Juliet is joined in the production team by set designer Sara Perks; lighting designer Alexandra Stafford; composer and sound designer Ed Gray; movement director Asha Jennings-Grant and fight director Jonathan Holby.
Tilted Wig and York Theatre Royal present Around The World In 80 Days at York Theatre Royal on February 2, 2pm and 7.30pm, February 3, 7.30pm, and February 4, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Also: Cast, Doncaster, July 5 to 8; castdoncaster.com. Age guidance: seven plus.
The tour poster for Tilted Wig and York Theatre Royal’s Around The World In 80 Days
UPDATE 9/1/2023
REHEARSALS have begun today for Tilted Wig and York Theatre Royal’s six-month tour of Around The World In 80 Days.
Gathering for the first time were Wilson Benedito, left, Katrina Brown, Genevieve Sabherwal and Alex Phelps. Missing was fifth cast member memberEddie Mann, who will join rehearsals later. Picture by Anthony Robling.
The horror, the horrror: Doctor Dorian Deathly swaps ghost walks for ghost talks at Theatre@41, Monkgate
AS the New Year fast approaches, Charles Hutchinson starts to fill the blank pages of a diary in need of cultural counters to so much front-page gloom.
From ghost walk to ghost talk: Doctor Dorian Deathly: A Night Of Face Melting Horror (or The Complete History Of Ghosts), Theatre@41, Monkgate, York, January 24 to 28, 8.30pm
COVID crocked York spookologist and ghost botherer Doctor Dorian Deathly’s Halloween season of macabre stories, paranormal sciences, theatrical trickery, horror, original music and perhaps the odd unexpected guest (with the emphasis on ‘odd’?) at Theatre@41.
The Visit York Tourism Awards winner has rearranged his five fright nights for late-January, when he will explore spine-chilling tales of hauntings, both local and further afield, dissemble horrors captured on film and trace the ghost story from its origins to Victorian classics and modern-day frights. Box office: tickets.41monkgate.co.uk.
Ukrainian National Opera: First visit to York with Carmen
Ukrainians in York: Dnipro Opera inCarmen, York Barbican, February 12, 7pm
DNIPRO Opera, from Ukraine, perform Georges Bizet’s opera of fiery passion, jealousy and violence in 19th century Seville in French with English surtitles, to the accompaniment of a 30-strong orchestra.
Carmen charts the downfall of Don José, a naïve soldier who falls head over heels in love with Carmen, a seductive, free-spirited femme fatale, abandoning his childhood sweetheart and neglecting his military duties, only to lose the fickle firebrand to the glamorous toreador Escamillo. Box office: yorkbarbican.co.uk
Robert Forster: New album to showcase at The Crescent
York’s Australian gig of the year: Robert Forster, The Crescent, York, March 14, 7.30pm
BRISBANE singer, songwriter, guitarist, music critic and author Robert Forster, co-founder of The Go-Betweens with the late Grant McLennan, plays a rearranged date in York, now in support of the February 3 release of his eighth solo album, The Candle And The Flame.
Made an honorary Doctor of Letters at Queensland University in 2015, Forster, 65, is writing a novel, overseeing the upcoming Volume 3 of The Go-Betweens’ boxset series, G Stands For Go-Betweens, and touring the UK, Europe and Australia in the first half of 2023. Box office: thecrescentyork.com.
Tommy Cannon: Comedian in conversation at the Joseph Rowntree Theatre
Rock on, Tommy, for charity: An Evening With Tommy Cannon, Joseph Rowntree Theatre, York, April 15, 7.30pm
KELFIELD comedian Tommy Cannon, 84, takes to the JoRo stage for an evening of songs, stories, anecdotes and conversation, reflecting on his double act on television and the boards with the late Bobby Ball.
Cannon – real name Thomas Derbyshire – will take questions from the audience at this fundraising event in aid of The Snappy Trust, the York charity that seeks to maximise the personal development of children and young people with wide-ranging disabilities. The Boro Blues Brothers will be the support act. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Composer Gus Gowland: Premiering new musical Mayflies at York Theatre Royal
New musical of the year: Gus Gowland’s Mayflies, York Theatre Royal, April 28 to May 13
GUS Gowland, an award-winning London composer, lyricist and playwright now living in York, presents the world premiere of Mayflies, the story of a romantic relationship from its first flourish to its final goodbye.
First making his mark with debut full-length musical Pieces Of String in 2018, Gowland now charts May and Fly’s progress from dating apps to tentative conversations and blossoming romance…and then they meet! Box office: 01904 623568 or yorktheatreroyal.co.uk.
The joy of SIX: Henry VIII’s wives weave their woes through Toby Marlow and Lucy Moss’s revenge musical on its return to the Grand Opera House, York. Picture: Pamela Raith
Quickfire return of the year: SIX The Musical, Grand Opera House, York, June 27 to July 2, 8pm, Tuesday to Thursday; 6pm and 8.30pm, Friday; 4pm and 8pm, Saturday, and 2pm, Sunday
HERE come the Spouse Girls again. After the history and hysteria of October’s sold-out debut run in York, the SIX pop queens make a regal return next summer in Toby Marlow and Lucy Moss’s all-female show for the millennial age.
In a pop concert with diva attitude, Henry VIII’s trouble-and-strife sextet air their grievances in song in chronological order to decide who suffered most at Henry’s hands once he put a ring on the wedding finger. From this talent-and-talons contest will emerge the group’s lead singer. Book early at atgtickets.com/York.
Miriam Margolyes: Booked into York Barbican for her Oh Miriam! musings
Outspoken national treasure speaks out: Miriam Margolyes, Oh Miriam! Live, York Barbican, October 16, 7.30pm
BAFTA-WINNING actress, chat-show regular and travel show presenter Miriam Margolyes, 81, will be telling tales from her new book, Oh Miriam!, “something that has been said to me a lot over the years, often in tones of strong disapproval,” she says.
“Reliably outrageous” Margolyes promises a riotous evening full of life and surprises, her conversation spanning revelations, stories and discoveries that she cannot wait to share. Box office: yorkbarbican.co.uk.
Ross Noble: Geordie Jibber Jabber Jamboree joviality in Harrogate and York
Stream-of-consciousnonsense on tap: Ross Noble, Jibber Jabber Jamboree, Harrogate Royal Hall, October 26, 7.30pm; Grand Opera House, York, November 15, 8pm
GEORDIE surrealist Ross Noble ventures out on his 53-date Jibber Jabber Jamboree itinerary, his 21st solo tour, from October 2023 to March 2024. Expect inspired nonsense in his freewheeling stand-up.
“Imagine watching someone create a magic carpet on an enchanted loom,” says Noble, 46. “Oh, hang on… magic carpets fly; that would smash the loom as it took flight. I haven’t thought that through… That’s what people can expect. Razor-sharp observations on things I haven’t thought through.” Box office: atgtickets.com/York.
Hookline and singer: Paul Hawkyard’s Captain Hook performing his big number In All New Adventures Of Peter Pan at York Theatre Royal. All production pictures: Pamela Raith
AT the heart of York Theatre Royal’s pantomime, All New Adventures Of Peter Pan, is a tearaway triumvirate of madcap maritime mayhem.
Paul Hawkyard’s histrionic Captain Hook and fellow returnee Robin Simpson’s daft dame, Mrs Smee, are joined by Jonny Weldon’s cheeky piratical henchman, Starkey, in the troublemaking trio.
Over the past year, Hawkyard and Simpson have been regular partners on stage. “Peter Pan is our fourth show together in that time,” says Paul.
“We did our first panto together, as Mardy and Manky, the Ugly Sisters in Cinderella this time last year, then two shows in Harrogate Theatre’s rep season, Mike Leigh’s Abigail’s Party and John Godber’s Men Of The World, and now this panto. You [Robin] have probably spent more time with me than you have with your wife this year!”
Ship-shape: Robin Simpson’s Mrs Smee, the dame in All New Adventures Of Peter Pan
Pantomime is a demanding form of theatre, in terms of the intensity of the rehearsal period, the performance schedule and the boisterous audiences. “It’s that thing of belonging to the theatre for the winter,” says Paul. “You just go home to sleep.”
Robin concurs: “I just roll out of my bed as late as I can, pull on some clothes, shower at the theatre, grab a coffee and then the day starts again,” he says.
Paul and Robin have shared a dressing room as well as the stage since their days with Shakespeare’s Rose Theatre at the Eye of York. “There was a point where we just looked at each other on stage and we knew we were on the same wavelength,” says Paul.
“You can share a dressing room, but it’s when you’re on stage, and you catch each other’s eye, and you’re thinking, ‘this is Shakespeare’ and you know you can rely on the other person not to break the magic of the moment too early,” says Robin.
Starkey and stripes: Jonny Weldon in All New Adventures Of Peter Pan
“But we’re also respectful of each other’s space in the dressing room,” says Paul, assessing why their partnership works so well.
“Until you get in front of a crowd, you don’t know if that chemistry will click with them, but then you go, ‘oh, it works’,” says Robin. So well did it work in Cinderella that Paul and Robin were nominated for Best Ugly Sisters in the 2022 British Pantomime Awards.
Familiarity boosts their performances together. “It’s a safety thing, like when going into the clash with Robin’s character in Men Of The World,” says Paul. “You might be nervous beforehand, but that stops and you know it’s down to you to pull that scene together; you know you’ve got someone who has your back, without a competitive edge there.
“It’s like throwing the ball to each other, not taking it off someone, just knowing they will pass it back or say ‘have it back’.”
Nautical naughtiness from Jonny Weldon’s Starkey and Paul Hawkyard’s Captain Hook
Now there is a third player in that game, Jonny Weldon’s Starkey. “It’s two idiots led by an idiot,” says Paul. “Or the Three Stooges,” says Robin.
Jonny, an actor since childhood days in Mary Poppins in the West End and latterly a viral hit on social media with his comedy sketches, was lying on a beach when his panto role as Starkey was set up. “I was trying not to get a tan as I was filming something for TV that annoyingly I can’t talk about as I’m sworn to secrecy,” he says.
“Paul [Hendy, Evolution Productions’ writer for the York pantomime] called me in the spring to ask, ‘would you do the comedy role in York?’. Starkey wasn’t in the book, so Paul has invented this new character for me – and I barely leave the stage!”
He was attuned to Simpson and Hawkyard’s stage chemistry from seeing Cinderella last winter. “I came with my girlfriend, Lucy Carne, who was playing Belle in Beauty And The Beast at the Georgian Theatre Royal in Richmond,” he recalls. “I loved York; the Roman tour; I loved the panto.”
Last winter, Jonny had not one but two pantomime roles. “I was in the panto at St Albans, playing Muddles in Snow White, when it was stopped for asbestos in the building, so now I’m an expert on asbestos and how is stops actors from working,” he recalls.
Love-a-duck: Robin Simpson’s dame in All New Adventures Of Peter Pan
“When I got to Richmond, I thought I’d be having a nice three weeks off, only to be told, ‘the CBeebies presenter in the show at Canterbury has Covid; could you get on the train now?’!
“I got sent the script and a We Transfer recording of the show, where the signal kept cutting out and buffering on the train. I ended up doing a week of shows and was off the book in two days, playing Bobby, Jack’s best mate, in Jack And The Beanstalk, at the Marlowe Theatre.”
Earlier this year, Jonny appeared as Samwell, the Targarian family’s lute-playing minstrel, in the Game Of Thrones spin-off House Of The Dragon. “Just one episode, no sex, no death, just playing the lute,” he says.
This summer he played one of the puppy thieves in 101 Dalmatians at the Regents Park Open Air Theatre in London, and his sketch video success has brought him TV roles as an evil property developer in Christmas On Mistletoe Farm (Netflix) and The People We Hate At The Wedding (Amazon Studios).
Paul Hawkyard’s Captain Hook clashes with Jason Battersby’s Peter Pan
Talking of weddings, Jonny and Lucy will be tying the knot in March. “We’re getting married in Herefordshire. Neither of us is from there – I’m from Hampshire, Lucy from Cheshire – but we just like it,” says Jonny, whose grandad will be his best man at 91.
After six pantomimes and plenty of children’s shows too, Jonny is “not particularly sentimental about Christmas”. “I’m used to spending it with landladies,” he says.
Another comedy video could be on its way while he is in York to add to more than 25 so far. “When I get a new idea, I’ll be filming it in my dressing room and putting it up,” he says.
All New Adventures Of Peter Pan runs at York Theatre Royal until January 2 2023. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jonny Weldon’s poster pose for his specially created role as Starkey in All New Adventures Of Peter Pan
Hold on, is that Noddy Holder? No, it’s a nod to Noddy Holder as tribute band Slade UK invite you to Cum On Feel The Noize at the Victoria Vaults
SLEIGHS and that Slade song, pantomime mayhem and New Year parties signify the changing of the diary for Charles Hutchinson, with one eye on 2023.
Merry Xmas Everybody: Slade UK, Victoria Vaults, Nunnery Lane, York, Christmas Eve, 7pm
SO here it is, Merry Xmas, everybody’s having fun as Slade UK, tribute act to the Wolverhampton wonders, roll out that 1973 festive chart topper and a whole heap of misspelt Slade smashes, from Gudbuy T’ Jane to Cum On Feel The Noise, Coz I Luv You to Mama Weer All Crazee Now.
“We’re really looking forward to having Slade UK at the Vaults,” says owner/manager Chris White. “It’s going to be a great evening and a lot of fun.” DJ Garry Hornby will be on the decks. Box office: theyorkvaults.com.
Mayhem, mischief and nautical naughtiness: Jonny Weldon’s Starkey, left, and Paul Hawkyard’s Captain Hook in York Theatre Royal’s The All New Adventures Of Peter Pan
Still time for pantomime, part one: The All New Adventures Of Peter Pan, York Theatre Theatre Royal, until January 2 2023
CBEEBIES’ science ace Maddie Moate and three stars of last year’s Cinderella – Faye Campbell, Paul Hawkyard and Robin Simpson – head to Neverland in York Theatre Royal’s third collaboration with Evolution Productions.
Moate plays naughty fairy Tinkerbell, Campbell, plucky Elizabeth Sweet, Hawkyard, histrionic Captain Hook and Simpson, dame Mrs Smee, joined by Jason Battersby’s Peter Pan and Jonny Weldon’s madcap pirate Starkey in creative director Juliet Forster’s production, scripted by Evolution’s pun-loving Paul Hendy. Look out for acrobats Mohammed Iddi, Karina Ngade and Mbaraka Omari too. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Goose in the Grand Opera Hoose: Dame Berwick Kaler’s Mrs Plum-Duff in The Adventures Of Old Granny Goose. Picture: David Harrison
Still time for pantomime, part two: The Adventures Of Old Granny Goose, Grand Opera House, York, until January 8 2023
PETER Pan is not alone in flying across a York pantomime stage this winter. Dowager Dame Berwick Kaler does likewise at 76 in his second season at his adopted home, presented with the Grand Opera House’s new partners in panto, UK Productions.
Joining his ad-libbing granny, Mrs Plum-Duff, are sidekick Martin Barrass’s Jessie, villain David Leonard’s Lucifer Nauseus, principal gal Suzy Cooper’s Cissie, AJ Powell’s Brum Stoker and ever-game dancer Jake Lindsay’s Jakey Lad. Look out for Boris Johnson’s cameo as a dummy, me babbies, me bairns. Box office: 0844 871 7615 or atgtickets.com/York.
New Year Gala Concert, Harrogate-meets-Vienna style
Viennese waltzing into 2023: International Gilbert and Sullivan Festival’s New Year Gala Concert, Harrogate Royal Hall, January 7 2023, 7.30pm
CELEBRATE the dawning of the New Year in the company of the National Festival Orchestra on a whirlwind tour of bygone opulence, taking in the cafés of Vienna, the bars of Paris and the drawing rooms of London.
Enjoy waltzes, ballads and Gilbert and Sullivan favourites in a gala concert conducted by Christopher Milton and featuring international opera stars. Box office: gsfestivals-tickets.gsfestivals.org.
New Year Party, Ukrainian style: The Ukrainians mark Malanka at The Crescent, York
New Year on a different calendar: The Ukrainians: Malanka, The Crescent, York, January 14 2023, 7.30pm
ON the eastern calendar, New Year falls on January 13 and is marked in Ukraine with a variety of festivities known as Malanka.
The Ukrainians have been playing their brand of Ukrainian music for three decades on folk and roots stages, clocking up eight albums and 1,000 gigs. High-energy party songs and a few surprises are promised. Box office: thecrescentyork.com.
Heavy Spring Showers, by John David Petty, on show at Kentmere House Gallery from February 3
Exhibition on the horizon: Lost and Found, East Riding paintings by John David Petty, Kentmere House Gallery, Scarcroft Hill, York, February 3 to April 2 2023
WHERE does Kentmere House Gallery owner Ann Petherick find her artists, she is often asked. “The best ones always have to be searched out, and I think I first found John David Petty in Beverley Minster, showing a collection of wonderful paintings of doors and windows of Holderness churches,” she says.
Petty is more often to be spotted outdoors, among the flatlands of the East Riding, where this former graphic artist relishes the solitude and wide landscapes.
Favouring oils, acrylics and charcoal, his church work uses the same techniques of deeply etched lines, with the addition of paper collage to capture the texture of ancient stonework. For opening hours, go to: kentmerehouse.co.uk.
Matt Goss: Bros hits, new songs and a celebration of Cole Porter at York Barbican
What’s Matt doing next after Strictly? The Matt Goss Experience, with the MG Big Band and Royal Philharmonic, York Barbican, March 4 2023, 8pm
STRICTLY Come Dancing 2022 contestant and former Bros frontman Matt Goss, 54, performs his biggest hits, new original material and a tribute to songwriter Cole Porter in an evening of swing, glitz and swagger.
Having headlined Las Vegas for 11 years, Goss is back doing what he loves, singing with a big band and a philharmonic orchestra. Box office: yorkbarbican.co.uk.
Jimmy Carr: Still Terribly Funny in 2023
Repeat offender…or not?! Jimmy Carr, Terribly Funny 2.0, York Barbican, September 12 2023
AFTER completing a hattrick of York performances on his Terribly Funny tour – November 4 and 9 2021 and April 15 this year – provocative comedian and television panel show host Jimmy Carr is to return to the city on his Terribly Funny 2.0 itinerary.
Carr, 50, says his show “contains jokes about all kinds of terrible things. Terrible things that might have affected you or people you know and love. But they’re just jokes – they are not the terrible things”. New material is promised. Box office: yorkbarbican.co.uk or ticketmaster.co.uk.
Patrick Kelly: Journalist, editor and now novelist
YORK journalist and editor Patrick Kelly’s first foray into “the novel-writing business”, A Hard Place, will be launched in the Upstairs Bar at Everyman York, Blossom Streetr, York, at 6pm tonight (12/12/2022).
Inspired by his own childhood in Belfast, his ill-fated love story is set against the backdrop of a political event that foreshadowed the Troubles in Northern Ireland.
Inside every journalist is a novel, the saying goes – even if Austrian writer and journalist Karl Kraus (1874-1936) quipped “and if he’s smart, he’ll keep it there” – and now Patrick is joining that club, bringing all his experience of long service to the fourth estate.
What’s more he is doing so in York, the city where Kate Atkinson, Matt Haig and Fiona Mozley’s novel-writing talents blossomed.
“There’s an awful lot of writing going on in York, and that’s helpful if you’re going to write a novel – which I discovered was a hell of a lot harder than I thought it would be,” says Patrick.
“As a journalist, you think it will just be writing a long story, but it turns out it’s a completely different animal.
“What I found useful in this city is that there are lots of writers and writers’ groups, and I must praise Lizzi Linklater, who was a creative writing tutor at the University of York (and is now Teaching Fellow for Creative Writing at the university’s Centre for Lifelong Learning at Heslington).
“She convened this little group that met once a month at the library [now York Explore] and encouraged each other in our writing.”
How did Patrick find the novel-writing experience? “It can be very lonely writing, and even if you’re writing from home as a journalist, part of the job is going out and meeting people,” he says. “Writing a novel, you have to create an atmosphere of your own, but the great thing about being part of a group is that you do it in an atmosphere where you’re willing to accept criticism, and that criticism is informed criticism from people who are doing the same things as you are.
“When you show your writing to friends and family, they usually say, ‘I don’t like it, but I don’t know why,’ whereas fellow writers can spot common mistakes or things that don’t sound quite right.”
Lizzi Linklater’s group morphed into another one. “Now there are two or three around York, and York St Jon University now does a creative writing programme with poetry readings in various places around the city,” says Patrick.
So, to the business of writing A Hard Place. “I knew I didn’t want to write a Troubles novel,” he says. “That’s been done to death, and there are some appalling novels…as well as good ones.
“I wanted to focus on Northern Ireland before the Troubles and maybe explain how the Troubles came to be, and also what it was like growing up there at that time.
“I left in 1973, pretty much at the start of the Troubles, but I had five years’ experience of what it was like before I left at 18 to study History and Politics at Warwick University.”
Those studies could be called on all these years later when writing the book. “It’s about looking at the evidence,” he says.
Patrick had grown up as a Roman Catholic living in a Protestant area of east Belfast. “Everything was more mixed in those days than it is now, which is one of the legacies of the Troubles,” he says. “Communities have become more divided, physically, geographically and politically.
“As a child, I would play with both Protestant and Catholic children. You went to a Catholic school, but your neighbourhood was mixed. I mainly played with Protestant children, and we all went to watch the Protestant football team because they were the local club.
“Those were the days when you were lifted over the turnstiles by friendly adults, and I saw George Best play at Windsor Park. He was a beacon on a dark day, a shining light who transcended the whole Protestant-Catholic thing.
“There’s now a programme to replaces sectarian murals with ones that are more acceptable: Bestie, Van Morrison, CS Lewis, because he was born in east Belfast.”
Patrick vowed to write about not only the roots of the Troubles but also about the society that existed in Northern Ireland at the time and just how different it was. “The storyline is based on a true incident, when the Northern Irish government employed an English academic, Sir John Lockwood, to decide on the siting of a new university,” he says.
“He was a knight of the realm, a Latin scholar, a man who had experience of setting up universities…in colonial Rhodesia, South Africa and Nigeria. So, he was the obvious man to go to Northern Ireland!
“He comes along with a bunch of his mates from English academia and a smattering of locals, but not a single Catholic among them.”
The assumption was that Derry/Londonderry would be the obvious place to site the university. “But the committee, at the end of their deliberations, decided not on Derry, the largest centre of population after Belfast, but on Coleraine, a small Protestant town some 20 miles from Derry, which had lobbied hard, and it caused a huge outcry.
“In the book, I try to be fair to Sir John, who was trying to do his best in a difficult situation he didn’t really understand, but it emerged that people high up in the Unionist Party had persuaded the Northern Ireland government not to place it in Derry.
“The reason being that they didn’t want a Catholic city to prosper, which having a university there definitely would have helped it to do. This was the 1960s, when the idea of an influx of politically minded students into a Catholic city was not considered desirable – though Derry now has a campus that’s part of the University of Ulster.”
In A Hard Place, Sir John Lockwood employs the entirely fictional David McMaster, a young English Oxford graduate, recruited in 1965 to help look for a site for the new university in Ulster. “His job is to act as secretary to the committee and to be Sir John’s eyes and ears in Northern Ireland when he’s elsewhere,” says Patrick.
“So, this young man, intelligent but naïve, finds himself at a complete loss within this world, but he makes a friend who shows him the ropes and, more importantly, he falls in love with a young Catholic girl, Catherine Connolly, and it’s their ill-starred love story that’s at the core of the book.
“He’s Protestant but not religious at all; she’s Catholic, religious, but quite critical and radical in her views, a political firebrand. Through their relationship, they learn something from each other.”
Patrick says that “when you start writing, you’re not entirely certain what they will do”, “but I I knew from the beginning of their relationship that it would not work out. I think I even say in the blurb on the back that it’s not going to be a happy ending.
“They’re in their 20s, she’s a student, reading English Literature, and they meet at the Maritime Hotel, in Belfast, where Van Morrison used to have a residency, when he was in the band Them, (so there’s a scene where Van sings Gloria).
“Anyway, I wanted to say something about how Northern Ireland was changing at the time, how young people were throwing off the shackles of their elders and enjoying a different kind of music – and who knows where it might have led, had it been allowed to develop [in Derry].
“I try to suggest what could have happened. If you think of all the new universities being built in the 1960s, like in York and Warwick, when the idea was to bring a new dynamic, to create a future economy and a society that was highly educated, open to the world and to new horizons.
“That was the political consensus at the time, for the Conservatives and Labour, that what you needed to do to prosper was to invest in education. So there’s something in the book about a lost opportunity, though I’m hoping the book is not a polemic.
“It’s not meant to be polemical; it’s a novel about a time and a place when opportunities were opening up but in Northern Ireland that vision was closed down because of a narrow, sectarian view of the world, which sadly triumphed briefly.”
Explaining the title, Patrick says: “It’s an acknowledgement of both being between a rock and a hard place and in that hard place. The reason I went with that title is that I thought it captured how the protagonist, David, experienced Northern Ireland in the end.”
Patrick has settled on the self-publishing route, in tandem with Silverwood Books, with A Hard Place being available in paperback at £10.99 and on Kindle at £3.99, initially via Amazon. Orders also can be made directly to Patrick at patrickkelly1@hotmail.co.uk or www.jornalistpatrickkelly.com.
Patrick Kelly’s book launch for A Hard Place takes place at Everyman York, Blossom Street, York, tonight (12/12/2022) at 6pm. Drinks and nibbles provided. RSVP to patrickkelly1@hotmail.co.uk.
Patrick Kelly biography
Born and brought up in Belfast, Patrick has been living in York for many years. He is a freelance journalist and editor, who has contributed to many newspapers and magazines in the United KIngdom and Spain, including the Guardian, Daily Telegraph, Independent, Independent On Sunday, Irish Times, Evening Standard, New Statesman and The Times.
He has written regularly on the arts for Museums Journal, Arts Industry and a number of other publications.
He is a former board member of York Theatre Royal, York Music Hub and York at Large.
Simon Loxley’s book cover for Patrick Kelly’s A Hard Place
A Hard Place synopsis
PATRICK Kelly’s ill-fated love story is set against the backdrop of a political event that foreshadowed the Troubles in Northern Ireland.
David McMaster returns to Belfast after discovering a cryptic, posthumous note from his friend Roddy, whom he last saw 40 years ago.
As a young English Oxford graduate in 1965, David had been recruited to help look for a site for a new university in Ulster. David is excited by the job, one he sees as a kind of undercover operation.
But he finds Belfast strange and unwelcoming, until he befriends Roddy and falls in love with Catherine Connolly, a political firebrand from a working-class Roman Catholic family.
However, David fails to tell her why he is in Northern Ireland and as their relationship develops, his secret is a burden, particularly as the university becomes the cause of a major sectarian row.
A quarrel between Roddy and Catherine exposes David’s subterfuge and Catherine leaves. After failing to find her at a rowdy political meeting in Derry, David has to be rescued and bundled on a plane back to London. He never sees Catherine again, but thanks to Roddy’s note, he eventually learns of her fate.
The book cover was designed by Felixstowe graphic designer Simon Loxley.
Abbanazar, Rock God: Michael Lambourne’s pantomime villain performing George Thorogood And The Destroyers’ Bad To The Bone… or Bad To The Boom in Michael’s stentorian growl
CASTING an eye over the cast list for Harrogate Theatre’s pantomime, Aladdin, what a delight to espy the name of one Michael Lambourne.
Once a mainstay of the York professional theatre scene, whether at York Theatre Royal or in Alexander Flanagan Wright’s work with The Flanagan Collective and the Guild of Misrule’s immersive The Great Gatsby during eight years of living in the city, he had since returned to his native Fenlands with wife Katie Posner, co-artistic director of Paines Plough, and daughter Heidi.
Now, at the behest of Harrogate Theatre pantomime director Marcus Romer (founder and former artistic director of York Theatre Royal company-in-residence Pilot Theatre), Michael’s unmistakable voice – the “Lam-boom” – can be heard across North Yorkshire as he takes on the villainous role of Abbanazar. Yes, you read that right, Abbanazar with a double B. More of that later.
But first, “I’d worked with Marcus on The Twits at Bolton Octagon and Fungus The Bogeyman at ArtsDepot in London, written while he was at Pilot,” recalls actor, director, teacher and writer Michael.
“That was the show where I met Katie, when I was painted green! Ebony [Feare] did both those productions with me as well, so Marcus has brought to Harrogate two people who he knows will thrive in the pantomime here.”
He first experienced pantomime as a child at the Cambridge Corn Exchange, and he has seen plenty since, but maybe surprisingly, given his outlandish stage presence and natural bond with young audiences, Aladdin will be only his third panto production.
“I did Alice In Wonderland at Darwen, near Blackburn, in the early 2000s, a loose pantomime, rather than a classic one, where I played the Mad Hatter. Later I was Igor, the evil henchman, and Daddy Bear in Goldilocks And The Three Bears at the Georgian Theatre Royal in Richmond,” he recalls.
“Harrogate Theatre’s show is very much in the classic pantomime style, like the villain always entering from the left. There’s a sense of legacy too, after Phil Lowe, the long-time director and co-writer, died last year, and what you try to foster with your audience is a sense of community, as we did at York Theatre Royal.”
He is relishing the villain’s role. “I love playing the baddie, because the audience straightaway knows what you’re up to,” says Michael. “I have that sense of what they expect from me, want from me, and as a performer I can really play off that.
Michael Lambourne, centre, as another baddie, Chief Weasel, in The Wind In The Willows at York Theatre Royal in 2014
“To already have that dialogue with the audience and to know how they’re going to respond is a wonderful feeling, whereas a comedian worries about how they’ll react. With the baddie, you know they’re going to boo, and it’s all the better if the booing gets louder and louder.
“I’m naturally positive, but Abbanazar is definitely not, so that means I can luxuriate in the boos, especially at the children’s shows, where I’ve just lapped up the wall of sound. The more they give, the more I’m going to give back!”
Michael “doesn’t really like insulting people”. “That’s why you insult the collective as the baddie, rather than picking on any individual,” he says. “It’s about them all being idiots, all being fools. Why take on one person? I’ll take on 500.”
Back to that name, Michael, Abbanazar with the double B. How come? “Well, he’s the brother of the Emperor of Peking, relocated to Scandinavia, and he’s now Abba’s number one fan,” he reveals.
“So there are ‘subtle’ references to Sweden’s best pop export, and there’s an Abba number in there that’s very appropriate to Abbanazar – Money, Money, Money – as he’s so materialistic.” No opportunity for a reference to an Abba song title is knowingly turned down in the script too.
This year, Michael has appeared in Shakespeare’s The Comedy Of Errors at Colchester’s Mercury Theatre and filmed his role as The Messenger in Warchief, Stuart Brennan’s fantasy feature film, made in Bury St Edmunds and set for release next September.
For now, his acts of deception and the dark arts are focused on Abbanazar. “This is the longest I’ve ever grown my moustache! I’ve gone from the baddie [a Victorian whiskered Chief Weasel] in The Wind In The Willows at York Theatre Royal to now playing the ultimate panto baddie with more curl to the moustache, still using Captain Fawcett’s moustache wax to shape it!” says Michael.
“If you think of what a baddie should have, a curly moustache is a must. Twiddling a moustache in that vaudevillian way tells you ‘he must be the villain’!”
Looking ahead to next year, walking and cycling enthusiast Michael will be turning his attention to running. Running the London Marathon, more precisely, in aid of Lymphoma Action, having come successfully through chemotherapy and radiotherapy for the blood cancer at 40.
Donations can be made at https://www.justgiving.com/fundraising/michael-lambourne3
Michael Lambourne is appearing in Aladdin at Harrogate Theatre until January 15 2023. Box office: 01423 502116 or harrogatetheatre.co.uk.
Colin Kiyani’s Aladdin, Stephanie Costi’s Pandora, Tim Stedman’s Wishee Washee and Howard Chadwick’s Widow Twankey in Harrogate Theatre’s Aladdin. All pictures: Karl Andre
REVIEW: Aladdin, Harrogate Theatre, until January 15 2023 *****
PANTOMIME matters to Harrogate Theatre, all the more so after the “disappointment” – I would have used a stronger word – of Arts Council England’s bewildering decision to drop this high-achieving theatre from National Portfolio funding status for 2023 to 2026 after many years.
This is the northern home of a comedy festival with headline names, the wonderful HT Rep season of three plays in three weeks, a big community play on a topical theme, concerts, touring shows, children’s theatre and performances by long-established Harrogate thespian troupes, overseen by the canny management of chief executive David Bown and the increasing artistic input of ever-progressive Pilot Theatre founder Marcus Romer as associate producer.
Oh, and the pantomime, THE pantomime, the one that Bown and the late Phil Lowe have made so special with wit, inventiveness and the magic ingredient of daft lad Tim Stedman (who set the benchmark for fast-rising Pannal-raised comedian Maisie Adam, she says, never one to miss a show each Christmas, by the way). What more do you want, ACE?
Anyway, clear-headed thinking by the board is assured, as testified by chair Deborah Larwood’s November statement: “Following this news, the board and leadership team will take some time to reflect and reimagine our plans from April 2023, as we continue to support the Let’s Create agenda and ensure that Harrogate Theatre continues to deliver a vibrant cultural offer for people of all ages across the Harrogate district.”
In the meantime, Harrogate Theatre has been delivering the Harrogate Theatre pantomime at its best, 78 performances in all by the time it closes on January 15.
For the 2021-2022 season, experienced hand Joyce Branagh stepped in to direct Cinderella after the sudden death of long-time director and co-writer Phil Lowe, and did so with panache.
Tim Stedman: Not as daft as he looks in Aladdin!
This time, Marcus Romer is at the helm, steering a script that retains a credit for Phil Lowe alongside regular writing cohort David Bown. Romer, who has written additional material alongside Stedman, has made one decision that struck a false note, changing the walkdown song from the long-standing exhilaration of Let Me Entertain You to a reprise of the opening number. Symmetry, yes, but finale impact lessened.
On the other hand, however, as soon as he heard Sam Ryder’s Eurovision galactic belter, Space Man, Romer knew he had found the song for Aladdin’s carpet-ride out into the Harrogate night sky.
Beautiful, magical and unexpected – your reviewer has seen no other panto use 2022’s most uplifting big number – it is sung with a lovely sense of wonder by Colin Kiyani, modern-day principal boy par excellence in his fifth Harrogate panto.
Christina Harris returns too for her third Harrogate show – “a place that feels like home,” she says – now playing a not-so-shy Princess So-Shy with plenty of principal girl pluck.
Romer has called on two trusted lieutenants from his past shows to make their Harrogate panto bows: Ebony Feare’s fun, high-energy Caribbean-accented Genie and A Line Of Duty-spoofing DCI Kate, and Michael Lambourne, he of the booming voice so cherished over the years by York audiences.
The “Lam-boom” is in mighty good form here, venturing deep into the dark side for a rumbustious, roaring Abbanazar, an Abba-loving, humanity-hating villain since his exile to Sweden.
Ebony Feare’s Genie and Colin Kiyani Aladdin in a song-and-dance number with the ensemble in Aladdin
Mamma mia, no chance to dig out an Abba song title is knowingly missed in the script (until the titles run out), and of course he sings Money, Money, Money, although his thunderous, rock-god rendition of George Thorogood & The Destroyers’ Bad To The Bone surpasses it.
In his 22nd Harrogate show – where have those years gone? – the clowning Tim Stedman’s Wishee Washee is anything but wishy-washy. From his strawberry cheeks to a voice that somehow combines a state of near-constant perplexity with the not-so-daft-after-all wit of a Shakespearean Fool, he is the crowd-pleasing, crowd-teasing lead yet totally the team player too.
The cracker jokes may be absent this time, but this is a crackerjack of a Stedman performance, all the better for being reunited for slapstick with Howard Chadwick, a stalwart actor with Richard III in his repertoire but so comfortable in the roly-poly guise of the unruly, frolicsome dame, Widow Twankey in his 11th Harrogate winter of panto contentment. His costumery, courtesy of costume designer Morgan Brind, is fab-u-lous throughout.
Look out too for topical Harrogate references, nods to I’m A Celebrity, dance captain Stephanie Costa’s lovable panda Pandora and David Kar-Hing Lee’s zesty choreography.
Roll on next winter when Dick Whittington and his cat will head to London from November 22 to January 14 2024. Box office: 01423 502116 or harrogatetheatre.co.uk.
Hook, line and singer: Paul Hawkyard’s Captain Hook in his big nuumber in All New Adventures Of Peter Pan. All pictures: Pamela Raith
York Theatre Royal and Evolution Productions present All New Adventures Of Peter Pan at York Theatre Royal. Box office: 01904 623568 or yorktheatreroyal.co.uk
THE show title signifies changes afoot and freshness, but York Theatre Royal knows continuity is important too.
In the third year of the pantomime partnership with Evolution Productions – with a fourth year already rubber stamped for Jack And The Beanstalk next winter – Juliet Forster remains the director, Paul Hendy, the writer, and Hayley Del Harrison, the choreographer.
Children’s favourite Faye Campbell returns too, alongside the double-the-trouble double act of Paul Hawkyard and Robin Simpson, Cinderella’s award-nominated Ugly Sisters last year and now villainous Captain Hook and dame Mrs Smee respectively.
Ship-shape and bristling fashion: Robin Simpson’s dame, Mrs Smee
Having a CBeebies TV presenter to the fore last year in Andy Day proved a hit, and so science whizz Maddie Moate fronts the poster and flyer campaign this time as a feisty, fearless, even fractious Tinkerbell.
What’s new? The story for a start, still rooted in JM Barrie, but for the next generation. Wendy Darling is now Wendy Sweet (Theatre Royal newcomer Francesca Benton-Stace), mum to single-minded Elizabeth (Campbell), who craves her own flight to Neverland with Peter Pan (Jason Battersby). Elizabeth is more of a feminist, never attracted to Peter in the way Wendy was, but very much a dab hand at the “Lizzie Mother” role to the Lost Boys and Lost Girls.
There’s a new Newfoundland nanny dog in the house too, Nana being replaced by Minton, who leaves a mark on the show in more than one way. Naughty, Minton.
The father of the house, Hawkyard’s Mr Sweet, still turns into Captain Hook; Simpson’s dame makes a rather smaller leap for pantokind from home help Mrs Smee to Hook’s henchperson Mrs Smee. Likewise, Jonny Weldon, actor since childhood and social media comedy-sketch phenomenon since Covid lockdowns, switches from butler Mr Starkey to Hook’s other henchman, Starkey.
Balancing act: The Black Diamonds in acrobatic mode in All New Adventures Of Peter Pan
The double act becomes a mischief-making trio, Hawkyard’s dandy, intemperate Hook still ridiculously vainglorious but the butt of multiple jokes as shock-haired cheeky chappy Weedon and Simpson’s savvy dame conduct a pun fight to the last.
Oh, how writer Paul Hendy loves a pun, no matter how convoluted the set-up, and when it is combined with visual gags in a fish-name routine, reprising the magazine-title routine from 2020’s Travelling Pantomime, the jokes really get their skates on, faster, funnier, fishier.
Act One hits its stride amid the mayhem of Hawkyard, Simpson and Weldon struggling to manoeuvre a boat across the stage, dangerously close to the orchestra pit, reducing fourth occupant Moate’s to fits of laughter on the stern. This scene, already ripe for improvisation, will grow ever more chaotic as the run progresses.
Moate’s beaming Tinkerbell had made her first entry from above, flying high over the stage. Soon Battersby’s Pan, a magical, mysterious yet damaged perennial child, will lead Campbell’s Elizabeth across the London night sky to a duet of Take That’s Rule The World and onwards to Neverland in a gorgeous video projection by Dr Andy.
Drop in. centre: Maddie Moate’s Tinkerbell makes her entry as Faye Campbell’s Elizabeth and Jason Battersby’s Peter Pan look on
Later, in Act Two, Simpson’s Mrs Smee will emerge from on high too to the accompaniment of the James Bond theme, now playing flipper-clad Caroline Bond on a hoist that stubbornly refuses to touch the ground despite Simpson’s increasingly desperate pleas. Comic timing is exquisite here, and again, for all Simpson’s self-sacrificing physical discomfort, this scene is sure to expand.
Hendy and director Juliet Forster love the magic of pantomime as much as the comic mayhem rendered by haughty Hawkyard and co. This applies equally to Helga Wood, Michelle Marden and Stuart Relph’s set design, for London house, island and aboard the Jolly Roger, and to Harrison’s fizzing and fun choreography, and they are never happier than when magic and mirth elide in the Mermaids, beautiful and shimmering at first, but then turning into gossipy fish wives.
Benton-Stace’s scene-stealing Myrtle the Mermaid gives the outstanding vocal performance under Benjamin Dovey’s musical direction, run close by Hawkyard’s riotous Guns N’ Roses number, Neil Morgan guitar solo et al.
Cultural references play their part, from departing Boris Johnson and Matt Hancock to departing Dr Who Jodie Whittaker; Moate is granted a brief science bit about the sun; Campbell’s Elizabeth turns on the girl power and dance captain Emily Taylor drives on her troupe of Lost Boys and Girls with boundless energy.
Jonny Weldon’s Starkey, piratical mischief maker in chief
Big, big cheers go to the show’s speciality act, East African acrobats Teddy, Muba and Mohamed, alias The Black Diamonds, who defy the compact space to pull off dazzling feats of athleticism.
“All New” these adventures may be, but the increasingly tedious Sweet Caroline is an unimaginative choice for the song-sheet singalong. Not so good, so good, alas. Far better is the impact of Duncan Woodruff’s fight direction for Hook’s clashes with magic-powered fairy Tinkerbell, Elizabeth and Pan alike.
Michael J Batchelor and Joey Arthurs’ beautiful but bonkers costumes for Simpson’s dame keep topping the last one, and it is lovely to see the Theatre Royal walkdown scene in full pomp once more in gold, cream and white.
Something of the darkness of Barrie’s original story is lost in pursuit of pantomime frolics, but York Theatre Royal and Evolution unquestionably have found their groove, their own schtick, that appeals to children and adults alike.Simpson’s convivial dame is already confirmed for next year, another sign of continuity in this new age for the Theatre Royal pantomime.
“Lizzie Mother’s” storytelling sit-down: Maddie Moate’s Tinkerbell, left, and the Lost Boys and Girls listen to Faye Campbell’s Elizabeth. Jason Battersby’s Peter Pan prefers to keep watch
