Michael Akinsulire’s Othello in a street clash in Frantic Assembly’s 21st century Othello. Picture: Tristram Kenton
HOW reassuring to see packed houses for theatre shows in York this autumn, whether for Agatha Christie’s The Mirror Crack’d at the Theatre Royal or SIX The Musical at the Grand Opera House.
Sitting next to Theatre Royal chief executive Tom Bird on Tuesday night, he revealed that 60 schools – yes, 60 – had booked for Frantic Assembly’s combustible 21st century reimagining of Othello, Shakespeare’s tragedy of paranoia, sex and murder.
“That’s the draw of Frantic Assembly, not Othello,” he said. Maybe, but you don’t have one without the other.
The crackle of excitement in the air, the cheers that greeted the company’s arrival on stage, brought to mind the electric surge triggered by the visits of Emma Rice’s Wise Children company, most recently for Wuthering Heights, that again drew young audiences in abundance.
Drink it all in: Joe Layton’s Iago, left, Tom Gill’s Cassio, Felipe Pacheco’s Roderigo, Oliver Baines’s Montano and Matthew Trevannion’s Brabantio (right) in a scene from Frantic Assembly’s Othello. Picture: Tristram Kenton
You could draw comparisons between the two companies: the importance of choreography; the almost dangerous physicality of the performances; the unexpected moments of humour; the chemistry and one-for-all and all-for-one commitment between actors; the instant bond with the audience; the drive to bring text to thrilling life; the propulsive power of thunderous music.
Yorkshireman Joe Layton, who plays an incorrigible Iago, puts it this way: “The way Frantic work, you are creating a physical sequence, finding a physical connection between characters,” he says. “Then story and characters are layered in on top of that. You throw yourself in and trust the director. You have to give yourself and trust the process,” he says.
From the off, that working practice is borne out in a fast, furious and, yes, frantic Othello, adapted, directed and choreographed by Scott Graham and Steve Hoggett, newly updated for the 2022 tour co-produced with Curve, Leicester.
That opening feels like plugging into the powerlines of The Prodigy’s Firestarter in a wordless, breathless scene-setter that introduces characters (Shakespeare), setting (Laura Hopkins) and soundscape (Hybrid) all at once.
Michael Akinsulire’s Othello listens to Joe Layton’s poison-dripping Iago as Chanel Waddock’s Desdemona looks on. Picture: Tristram Kenton
Think Shameless or This England; a bar with a pool table and a slot machine; bottled beers; everyone off their heads or on a short fuse in high-street zip tops, trainers, hoodies, stretchy sportswear and joggers.
One long Friday night, full of broken glass, jealousy, betrayal, revenge and the darkest intents; a darker brew of John Godber’s Bouncers, where the booze meets the bruise.
Let Frantic Assembly light the fuse, then stand well back, but feel the fierce heat from all that brutal physicality as Layton’s mendacious manipulator Iago winds up Michael Akinsulire’s Othello, the Moor, who is as muscular with Shakespeare’s words as he is physically, his eyes bursting, his mind mangled, his baseball bat never far away.
This is an Othello of myriad street accents, making it universal, from Tom Gill’s Scouse Cassio to Akinsulire’s North London Othello; Chanel Waddock’s Essex Desdemona to Kirsty Stuart’s Scottish Emilia.
The pace is relentless, the dialogue hot on the tongue, the choreography dazzling, sometimes beautiful and sensuous, as in Akinsulire and Waddock’s pas de deux spread across the pool table, later to be repeated in such contrasting circumstances at the finale.
Frantic’s trademark physicality extends even to Hopkins’ design, suddenly coming to life in wave-like motions, first when a drunken Cassio staggers along the wall, and later when Othello is overcome with shock at what he has done, wishing it might swallow him.
Nothing sums up this Othello better than Iago’s prophetic T-shirt, Just Do It. Let’s hope Frantic Assembly will be back to “just do it” again, whatever the play, because Shakespeare all shook up this way demands a follow-up with more of this full-on brand of theatre.
Frantic Assembly’s Othello, York Theatre Royal, 7.30pm tonight until Saturday; 2pm, Thursday; 7.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk
What’s he plotting next?Joe Layton’s Iago in Frantic Assembly’s Othello, on tour at York Theatre Royal. Picture: Tristram Kenton
JOE Layton returns to his native Yorkshire from tonight to play Iago in Frantic Assembly’s electrifying reimagining of Shakespeare’s Othello at York Theatre Royal.
Once more he will confirming his English teacher’s hunch at a parents’ evening that Ilkley lad Joe “had some talent for acting”.
“He said, ‘I don’t say this very often, but I would encourage Joe to apply for drama school’,” he recalls.
He duly did so, supported by teacher Tony Johnson, who provided not only encouragement but help in preparing audition speeches. “I owe him a huge amount,” says Joe. “He came to see the last show I did in Leicester and hope he’s in the audience for Othello.”
This is Frantic Assembly’s third staging of their award-winning account of Othello, Shakespeare’s tragedy of paranoia, sex and murder, set in a volatile 21st century wherein Othello’s passionate affair with Desdemona becomes the catalyst for jealousy, betrayal, revenge and the darkest intents.
Shakespeare’s muscular yet beautiful text combines with the touring company’s own bruising physicality in a world of broken glass and broken promises, malicious manipulation and explosive violence, previously staged in 2008 and 2014 and now updated for 2022.
On the wind-up: Joe Layton’s Iago has a word with Michael Akinsulire’s Othello. Picture: Tristram Kenton
Frantic Assembly have had a marked effect on his career and aspirations already, as he was part of their Ignition programme – a free nationwide talent development programme for young people aged 16 to 24 – in 2009 and later appeared in Frantic’s The Unreturning.
“It’s for all genders now but Ignition started out as an all-male programme and was a space where sensitivity and masculinity were explored in a non-toxic way, which I hadn’t experienced before,” says Joe, one of no fewer than five Ignition graduates involved in Othello this season.
He saw Frantic Assembly’s original production in 2008 but it was another of the company’s shows that was particularly influential: Bryony Lavery’s two-hander Stockholm. “I must have been 15 years old,” says Joe. “It was one of those mind-blowing moments that gave you goosebumps. That was the moment I said to myself, ‘I want to work with Frantic one day’.”
His professional debut came two years later in Nikolai Foster’s production of George Orwell’s Animal Farm at West Yorkshire Playhouse. As a 17-year-old schoolboy, he was given special dispensation to leave early several days a week to do the Leeds show.
Looking back at his first encounter with Frantic Assembly’s Othello, Joe recalls how “it really leapt off the page for me and made it accessible, especially for teenagers. It was real, visceral and immediate”.
Honest, Iago? Joe Layton keeps at arm’s length from the truth in Othello. Picture: Tristram Kenton
Now he is playing Iago, the poison-dripping baddie of the piece, or is he possibly misjudged? Psychopath or “a bit of a villain”, Joe must ask himself. “As an actor, you have to get inside them, understand them, what makes them tick, and do the things they do which, in Iago’s case, is hideous, unforgivable things,” he says.
Movement becomes as important as words in Frantic Assembly’s style book. “The way Frantic work, you are creating a physical sequence, finding a physical connection between characters. Then story and characters are layered in on top of that. You throw yourself in and trust the director [Scott Graham]. You have to give yourself and trust the process,” he says.
“We begin rehearsals with a one-hour workout and high intensity training. The rest of the morning is given over to movement sequences. Everything is really highly choreographed. There’s nothing that happens on stage that’s not choreographed.”
Joe grew up in Ilkley, moved to London for drama school, met his wife in New York and now lives in the United States, while working on both sides of the Atlantic.
He headed to America after being scouted by a top actors’ agency. “I don’t regret moving to Los Angeles because it was a really interesting period of my life, although challenging in a lot of ways. I moved away from family and friends and all that sort of stuff.
Turning the tables: Joe Layton’s Iago plays his mind games on Michael Akinsulire’s Othello as Chanel Waddock’s Desdemona looks on. Picture: Tristram Kenton
“I couldn’t work for six months because I was waiting for my work visa to come through. I was a 21-year-old with not much money just sitting around.”
One role to emerge from his USA move was Marvel’s Agents of SHIELD. He was not picked for the role for which he auditioned but was offered a different one. He took part in the series for only a few weeks but found working in the Marvel superhero world to be “a whole different ballgame”.
“I have an agent in the US and the UK,” he says. “One of the things that really changed through the pandemic is that everything, including casting, went online, which means there’s even less need to be in London. It seems the industry is getting less London-centric. You can audition on film anywhere, read a scene and be cast off the tape. That’s been great for me in terms of quality of life and being able to live in America.”
During lockdown, Joe spent an enforced period back in Leeds while visiting family for Christmas celebrations. Unable to go home, he spent six months living in his grandmother’s cottage near Pateley Bridge.
He will return to the USA during a break in the Othello tour. “My wife is at home in America. She’s a writer and working on a new book, so she’s pleased to have me out of the house and have time for herself and her writing.”
Frantic Assembly’s Othello runs at York Theatre Royal from tonight until Saturday, 7.30pm plus 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Did you know?
Joe Layton (Iago), associate director David Gilbert, co-choreographer Perry Johnson, Oliver Baines (Montano) and Felipe Pacheco (Roderigo) have all taken part in Frantic Assembly’s Ignition programme.
A collage of artwork from Navigators Art’s Coney St Jam: An Art Intervention exhibition at StreetLife’s project hub in Coney Street, York
TWELVE artists from York collective Navigators Art are opening their mixed-media exhibition at StreetLife’s project hub in Coney Street, York, this evening (17/10/2022).
Drawing inspiration from the city’s rich heritage and vibrant creative communities, the project explores new ways to revitalise and diversify Coney Street, York’s premium shopping street but one blighted with multiple empty premises.
In a creative response to Coney Street’s past, present and future, Navigators Art have made new work for StreetLife, designed to enhance and interpret its research, under the title Coney St Jam: An Art Intervention.
On show from today to November 19 will be painting, drawing, collage, photography, textiles, projections, music, poetry and 3D work. Entry to the exhibition space is accessible by one set of stairs.
Taking part are: Steve Beadle, figurative painting and drawing; Michael Dawson, mixed-media painting; Alfie Fox, creative photography; Alan Gillott, architectural and scenic photography; Oz Hardwick, creative photography, and Richard Kitchen, collage, abstract drawing, prints and poetry.
So too are: Katie Lewis, textiles; Tim Morrison, painting and constructions; Peter Roman, figurative painting; Amy Elena Thompson, prints and tattoos; Dylan Thompson, composer, and Nick Walters, painting, video and sculpture.
A painting by Nick Walters at Navigators Art’s Coney St Jam show
Here, CharlesHutchPress puts questions to Navigators Art co-founder, artist and poet Richard Kitchen.
How did the exhibition come about?
“I heard talk of this project rather belatedly in April this year. After our Moving Pictures show at City Screen and providing art for York Theatre Royal’s Takeover Festival, I was looking for a community project the group could really get to grips with and actively support.
“I rather cheekily offered our services to the StreetLife project leaders and, after a bit of convincing, they agreed to let us devise an exhibition for them.”
What relationship have you established with StreetLife?
“A very good one. They were a bit wary at first, as we hadn’t been part of the initial set-up, but we convinced them we were genuinely interested in the project and wanted to interpret and enhance their research and findings creatively for a wider audience. That’s one of our missions as Navigators Art. This isn’t just another art exhibition!
“They’ve been really helpful with practical arrangements, allocated us a budget and agreed to let us put on an evening of live performance in aid of the homeless to mark the end of the show on November 19. That’s going to be very exciting.”
Torrents (Willow Herald Speak), by Michael Dawson, from Coney St Jam
In turn, what relationship have you established with project participants University of York, City of York Council, Make It York, My City Centre, York Civic Trust, York Music Venues Network and Thin Ice Press?
“The project leaders are all from the university, so we’ve got to know them, and also Bethan [cultural development manager Bethan Gibb-Reid] at Make It York. We’re not directly involved with the other agents as such, but we’re all part of the same enterprise and hopefully we can continue to develop existing relationships and make new ones.
“Collaboration is what we’re all about, now and in the future. Making project-specific and even site-specific work has been a very positive creative challenge, from which we’ve all learnt something, and we’re looking forward to further opportunities.”
How do you foresee the future of Coney Street?
“It’s in an interesting state of flux. I can’t speak for the StreetLife project itself or even fellow artists, but personally I regret that a future seems securable only through the involvement of giant property developers.
“I wish a more grassroots solution could be sought and found. But the Helmsley Group’s plans are on show to all at the StreetLife hub in Coney Street and there are public feedback forms by way of consultation.
“It looks positive enough, with provision for new green spaces and so on; I just hope it’s not all about financial interest at the expense of those who live here, or about economics over culture and wellbeing. Naturally, I’d love to see a cheap, Bohemian cultural quarter there, but I doubt that’s top of the agenda!
“Whatever the plans, serious thought needs to be given to social issues such as the question of accessibility. If the street is to be traffic-free, it also has to be accessible to all. The present system of bollards means that some people are unable to use the street at all. That doesn’t make sense.”
An exhibit by Tim Morrison, purveyor of paintings and constructions
How much should the past of Coney Street feed into its future?
“Its past was very much involved with the river, and future plans include developing the river area as a public space and retying lost connections between the river and the street in general. The thriving, lively street of yore is a model for what it may become again. And no future is sustainable without a foundation in history.
“The past can be celebrated and kept alive. It doesn’t have to be enshrined as a museum piece; certainly not one that people have to pay to enjoy! That’s something artists can offer.
Who should be taking the lead in envisioning the future? Looking at that list of who’s involved already, how do you establish joined-up thinking?
“That’s a question for them rather than us, I think. We’re only putting up some pictures! But all walks of life and all sectors should be having an equal say. I don’t think any of those groups is acting independently of the others. There is consultation, including with the developers.”
Where do the arts and art fit into that future?
“The arts are essential to public, cultural and personal wellbeing, despite efforts to ignore, undermine, underfund and generally devalue them to a shocking and highly unintelligent extent. The arts should be central to every decision-making process in government and to education at every level.
“In the times we’re living through, we need creative solutions on a gigantic scale and we need the sheer energy of the arts to help us survive and adapt. Those things aren’t going to be provided by bureaucracy or petty squabbling between political parties.
Ana Alisia,Big Issue Seller, by Peter Roman
“I’d say give artists the kudos they deserve and let us help to turn things around. Pay us. Give us space to work in: let us use those empty buildings! Art isn’t just about old monuments. There are many living artists in York who could successfully take on social responsibilities because of the nature of what they do. We’re an asset to the city and should be valued and promoted as such.
“Make Coney Street a flagship enclave for creatives and independent small retailers and an affordable, inspiring resource for the public to enjoy. That’s something we provided when we were based at Piccadilly [Piccadilly Pop Up] and we came to realise more and more how much that environment meant to people and benefited them. Offer that on a much wider scale and we’ll see real change for the better in society.”
What else is coming up for Navigators Art? Are you any closer to finding a new home?
“From January to March next year, some of us will be exhibiting at Helmsley Arts Centre, and we’ll be at City Screen again in March and April. We may be involved with Archaeology York’s Roman dig next year too.
“We’re eager to take on future community projects and commissions. We’re all artists in our own right but collectively we’re about much more than making and selling. We want to make a difference to the city and its people.
“We’ve grown from being just Steve Beadle and myself in 2020 to a trio last spring with Tim Morrison, and now we’re 12, including writers and musicians, as well as visual artists. The group is fluid, though, and we won’t all be involved in every venture. Some will come and go, others will join.
“Many of us have jobs and families and we’ve all worked on this show voluntarily, but I think we can continue to match the size of the group to the size of the project. Clearly, we’re not going to find one home for all and that’s fine. It would be wonderful to have a studio identity but we don’t have the funds for it at the moment.
Cavern, by Richard Kitchen, from Navigatgors Art’s show in Coney Street, York
“Others are welcome to join us any time. Steve and I want to develop the other strand of Navigators Art’s mission statement, which we started at Piccadilly Pop Up last year: to mentor young and under-represented emerging artists. Not everyone at Piccadilly shared that vision but I think we’re better prepared to do it now.
“Apart from anything else, we’d like to shake things up a bit culturally for ourselves. The initial longlist for Coney St Jam artists was quite diverse, but for health-related and other reasons we’ve ended up with a bunch of mostly white males. We’re working on that!”
Coney St Jam: An Art Intervention by Navigators Art, at StreetLife Project Hub, 29-31 Coney Street, York, opening tonight, 6pm to 8pm; then 10am to 5pm, Monday to Saturday, except Wednesdays; 11am to 4pm, Sundays.Free entry.
A live performance event on November 19, from 7pm to 10pm, will mark the end of the show.
What is StreetLife?
FUNDED by the UK Government Community Renewal Fund, StreetLife explores new ways to revitalise and diversify Coney Street, drawing inspiration from York’s history, heritage and creative communities and involving businesses, the public and other stakeholders in shaping the future of the high street.
The project is led by the University of York, in partnership with City of York Council, including Make It York/My City Centre, York Civic Trust, York Music Venues Network and creative practitioners, such as Thin Ice Press.
The poster for Navigators Art’s art intervention at StreetLife
A scene from Frantic Assembly’s 21st century retelling of Shakespeare’s Othello, full of paranoia, sex and murder, on tour at York Theatre Royal. Picture: Tristram Kenton
REJOICE as doors to York’s grand designs ancient and modern are unlocked this weekend. Charles Hutchinson also checks out what’s on inside elsewhere.
Play of the week: Frantic Assembly in Othello, York Theatre Royal, Tuesday to Saturday, 7.30pm; 2pm, Thursday; 2.30pm, Saturday
FRANTIC Assembly’s award-winning, electrifying reimagining of Othello locates Shakespeare’s tragedy of paranoia, sex and murder in a volatile 21st century as Othello’s passionate affair with Desdemona becomes the catalyst for jealousy, betrayal, revenge and the darkest intents.
Shakespeare’s muscular yet beautiful text combines with the touring company’s own bruising physicality in a world of broken glass and broken promises, malicious manipulation and explosive violence, previously staged in 2008 and 2014 and now updated for 2022. Box office: 01904 623568 or yorktheatreroyal.co.uk.
“Rollercoaster romcom”: Olga Koch at Theatre@41
Comedy gig of the week: Olga Koch, Just Friends, Theatre@41, Monkgate, York, tonight, 8pm
OLGA Koch, Russian-born, English-dwelling, story-telling stand-up and BBC Radio 4 show host, makes a return visit to Monkgate this weekend, following up last October’s Homecoming show.
Directed by Charlie Dinkin, this time she promises a “rollercoaster romcom you aren’t tall enough to ride”. “Strap in,” she advises. Box office: tickets.41monkgate.co.uk.
Garforth House: One of 60 buildings opening up for York Unlocked this weekend
Tours of the week: York Unlocked, 60 locations, today and tomorrow
YORK joins the European Open Door cities and 60 Open House cities this weekend to showcase its urban landscape and buildings old and new. Among them will be Cumberland House (Kings Staith), Garforth House, York Guildhall, Bar Convent, Hiscox, Castlegate House, Duncombe Place Masonic Lodge, Hudson Quarter, Brew York (Walmgate), City Screen Picturehouse, Walmgate Bar, the Phoenix Inn and a plethora of churches.
“We aim to foster public appreciation of the architecture of York by organising the opening of 60 buildings and open spaces of merit for the public to explore for free,” say the organisers. “Our goal is to educate, engage and inspire.” For full details, head to: york-unlocked.org.uk/buildings-2022.
Will Clark: Violin soloist for York Guildhall Orchestra’s concert
Classical concert of the week: York Guildhall Orchestra, York Barbican, tonight, 7.30pm
THE first concert of York Guildhall Orchestra’s 42nd season also marks Simon Wright’s 30th anniversary as conductor. In a programme of popular music, local lad Will Clark is the violin soloist for Vaughan Williams’s The Lark Ascending, having earlier played with the orchestra as a youngster.
Old friends Leeds Festival Chorus join for Fauré’s Pavane and Lambert’s Rio Grande (piano soloist: Rebecca Taylor). Shostakovich’s Festive Overture will be the rousing opener; Márquez’s Danzón No. 2, the finale. In between come works by Porter, Wagner, Berlioz, Offenbach’s Can-Can; Handel, Tavener and Coleridge Taylor. Box office: yorkbarbican.co.uk.
Beth Orton: Leeds Brudenell Social Club beckonsthis weekend
Gig of the week outside York: Beth Orton, Leeds Brudenell Social Club, tomorrow, doors, 7.30pm
BRIT Award winner Beth Orton concludes her autumn tour in Leeds, promoting her seventh studio album, released last month on her new label, Partisan Records.
Written on a battered old piano that singer-songwriter Orton saved from Camden Market, Weather Alive collates memories and experiences spanning a lifetime, her story-telling, sonically experimental songs addressing struggles and healing. Box office: for returns only, brudenellsocialclub.co.uk.
John Hewer as Harold, left, and Jeremy Smith as Albert in The Steptoe And Son Radio Show
Nostalgia of the week: The Steptoe And Son Radio Show, Grand Opera House, York, Tuesday, 7.30pm
ADAPTED for the stage by John Hewer, The Steptoe And Son Radio Show doffs its cap to the 60th anniversary of the first broadcast of the classic BBC television comedy.
In a show based on the original TV scripts of Ray Galton and Alan Simpson, Jeremy Smith and Hewer play out the woes of warring Shepherd’s Bush rag-and-bone men Albert Steptoe and his son Harold in three episodes: Is That Your Horse Outside?, A Death In The Family and Upstairs, Downstairs, Upstairs, Downstairs. Box office: 0844 871 7615 or atgtickets.com/York.
The tour poster for The Proclaimers’ autumn travels
Tuneful twins of the week: The Proclaimers, York Barbican, Wednesday, 7.30pm
SCATHING Scottish siblings Craig and Charlie Reid return to York on their 35-date autumn tour in support of their end-of-empire 12th studio album, Dentures Out, ahead of their 40th anniversary in 2023 (stage time, 830pm).
Fellow Scot David Tennant names The Proclaimers as “probably my favourite band of all time”. “They write the most spectacular songs, big-hearted, uncynical passionate songs,” says the ubiquitous actor. John Bramwell opens the gig; good news for I Am Kloot devotees after a family bereavement led to the cancellation of his September 24 concert at Ellerton Priory. Box office: yorkbarbican.co.uk.
Marc Almond: Heading back to York Barbican
Leeds legend of the week in York: Marc Almond In Concert, York Barbican, Friday, 7.30pm
SOFT Cell frontman Marc Almond plays York Barbican for the third time in five years after his Hits And Pieces tour date in April 2017 and guest spot at Jools Holland and His Rhythm & Blues Orchestra’s November 2018 concert.
On his first solo tour in more than three years, Almond plays two sets, performing favourites from his extensive catalogue, his biggest hits and songs from his last album, January 2020’s Chaos And A Dancing Star, since when Soft Cell have released Happiness Not Included last year. Box office: yorkbarbican.co.uk.
Bolshee trio Lizzy Whynes, left, Megan Bailey and Paula Clark: Launching autobiographical performance project, Bolshee Women: Perform Yourself
THREE York women who set up an arts company this year to champion women and girls are to run a free project from October 20 with Make It York’s Cultural Wellbeing Grant funding.
Bolshee CIC– a female-led creative projects company – is run by artists and friends Paula Clark, creative director, Lizzy Whynes, associate director, and Megan Bailey, creative producer.
“We produce projects with the aim of helping everyone to feel heard, empowered and supported, regardless of their background, with a particular focus on women and girls,” they say.
“Collectively, as a team, we have 35 years’ experience in creating, producing and delivering creative arts projects with young people and adults, and in only six months, we’ve already made some noise in the city and beyond through collaborations with York St John University, At The Mill [at Stillington], Drawsome Festival, York Theatre Royal, ARC Stockton and York Design Week.”
Bolshee Women: Perform Yourself: New creative project funded through Make It York
Now, Bolshee CIC (community interest company) are launching an eight-week autobiographical performance project, Bolshee Women: Perform Yourself, for self-identifying women aged 25 and over to find their voice in collaboration with Make it York.
Paula explains: “It’s so important that we find our voice, take up space and share our truths. This is what Bolshee Women is all about. Coming together in solidarity to make friends, be creative and share our experiences has a hugely positive impact on our wellbeing.
“We wanted to offer a cultural provision, this time for women over the age of 25. We feel that this age group don’t have as many opportunities to get involved in performance in the city as younger people do. We also know that women will suffer disproportionately from the financial crisis we’re facing. That’s why Bolshee Women will be FREE to attend.”
Bolshee Women: Perform Yourself will be held at Friargate Theatre, Friargate, from October 20 to December 8 from 6.30pm to 8pm each week. “We will explore contemporary performance and autobiographical devising techniques, including free drawing and creative writing,” says Paula. “No experience is necessary. All materials will be provided.” To book for the workshops, go to: www.bolshee.com.
Full of drive: Lizzy Whynes, Megan Bailey and Paula Clark
Who are the Bolshee triumvirate?
Paula Clark is a creative director, theatre maker and community artist.
Lizzy Whynes is a performer, movement and theatre director and facilitator.
Putting the ‘new’ in All New Adventures Of Peter Pan: York Theatre Royal debutants Jason Battersby (Peter Pan) and Maddie Moate (Tinkerbell) on stage at the pantomime launch. Picture: Anthony Robling
REHEARSALS for All New Adventures Of Peter Pan will start on November 7 but already York Theatre Royal’s cast members have met up to launch the third pantomime collaboration with Evolution Productions.
In attendance for a photo-session and chat over sandwiches and brownies were Paul Hawkyard and Robin Simpson, last year’s award-nominated ugly sister double act Manky and Mardy; Faye Campbell, their fellow returnee from Cinderella, and two faces new to the Theatre Royal panto ranks, CBeebies’ Maddie Moate and Jason Battersby, promoted from Lead Shadow in Wendy And Peter at Leeds Playhouse last Christmas to Peter Pan this winter.
Absent that day was Jonny Weldon, a comedy video-making social media sensation with a “little part” in House Of The Dragon, who will play Starkey.
Hawkyard and Simpson had just finished Harrogate Theatre’s HT Rep season of three plays in three weeks, Simpson appearing in all three, Abigail’s Party, Gaslight and Men Of The World; Hawkyard in the first and last.
Caught on the hook: Paul Hawkyard’s Captain Hook, “the all-time best baddie”. Picture: Anthony Robling
“Robin and I have worked together before, for Shakespeare’s Rose Theatre in York, sharing a dressing room from the day we started. We get on well, we have a laugh, and it’ll be great working with my mate again,” says Paul, who is delighted to be playing Captain Hook.
“As soon as I found out they were doing Peter Pan here, I really wanted the part because he’s one of the all-time best baddies.”
Tall, imposing, but naturally comedic too, Paul is playing around with ideas, probably not entirely seriously. “I’m going to switch the hook from arm to arm, to see if anyone notices!” he says.
Rather more definitely, he adds: “There’ll be lots of comedy opportunities together with Robin.”
Maddie chips in: “I think people just enjoy seeing friendships, partnerships, on stage. People like that familiarity in panto.” Faye concurs: “If we’re having fun, the audience will have fun too.”
“It’s Smee!”: Or, rather, it’s Mrs Smee, the specially created dame’s role for Robin Simpson in All New Adventures Of Peter Pan. Picture: Anthony Robling
Robin may have worked flat out on HT Rep, rehearsing the next play from Wednesday to Saturday in the daytime before performing in the evening, but he has had no time to rest. Already he is hitting his straps in rehearsals at the Central Methodist Church for David Reed’s play Guy Fawkes ahead of its York Theatre Royal premiere from October 28 to November 12.
Come panto-time, he will be playing Mrs Smee, effectively the dame’s role in these All New Adventures, written by Evolution’s Paul Hendy and directed by Theatre Royal creative director Juliet Forster.
Not Mrs Darling, Robin? “As far as I’m aware, I’ll be Mrs Smee, though there’s still time to change that! The character is normally Smee, the pirate, Hook’s mate. Now it will be Mrs Smee and a sidekick, Starkey.”
Like Simpson, Faye Campbell will be completing a hattrick of Theatre Royal-Evolution pantos after her fairy in 2020’s Travelling Panto and title role in 2021’s Cinderella. “I’m playing Emily, who’s Wendy’s daughter, so it’s moved on in time from J M Barrie’s original story. Now it’s Emily who goes on the adventures, after hearing of the story of Peter Pan from her mother,” she says.
Maddie Moate, who follows Andy Day from the CBeebies team into the Theatre Royal panto, says: “For those who love the traditional story of Peter Pan, you will still meet Peter Pan, Hook, the Lost Boys, the crocodile. They won’t be disappointed. It will all be instantly recognisable,” she says.
Welcome back Faye Campbell: Returning to the York Theatre Royal pantomime for a third year, cast as Wendy Darling’s feistier daughter, Emily. Picture: Anthony Robling
“I’ll be playing Tinkerbell, after I played Fairy Phoenix, the good fairy, at Leicester De Montford Hall last year, who was a bit of a nerd, a fairy in training!”
Jason Battersby took a deep dive into JM Barrie’s world when researching his role as Lead Shadow at Leeds Playhouse. “I love the book and the way you can tell it’s written for children but from an intellectual viewpoint,” he says, as he turns his attention to leading the Theatre Royal show as Peter Pan. “It’s almost like it was written by an incredibly clever child.
“As I know from last year, there are so many different ways to tell the story, and it’s one of those stories where you can really bring your own thing to it. All New Adventures Of Peter Pan is completely different from Wendy And Peter. Different theatrical conventions. Different songs. Different characters.
“There’s a line in the book that says Peter Pan takes children who die to Neverland, so there are darker elements to him, but he’s never a character who’s set in stone. There are suggestions in the book, so you can play him dark, or you can play him for his childish, playful qualities, but, yes, he has some demons.
“Sometimes, some of those darker elements are not the ones you want to put in, and certainly I don’t want to play sad Peter Pan. That would be the wrong choice.”
All New Adventures Of Peter Pan will run at York Theatre Royal from December 2 to January 2 2023. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Dr Richard Shepherd: Pathologist, professor, lecturer, author, apiarist and aviator, presenting Unnatural Causes at York Theatre Royal on Thursday and Leeds City Varieties on Friday
FORENSIC pathologist Dr Richard Shepherd is unearthing Unnatural Causes on his 22-date autumn tour, visiting York Theatre Royal on Thursday and Leeds City Varieties the next night.
Already this autumn, his latest true crime television series, The Truth About My Murder, has been running on CBS Reality since September 21, wherein he revisits high-profile cases from Great Britain and the United States of America.
“I know how the living send out signals which are designed to appeal to our hearts. But the dead can only tell the unadorned truth. I listen to their stories,” he says.
Now retired, Dr Shepherd, 69, has worked for the Home Office on multiple cases and was the forensic expert for the Bloody Sunday inquiry, the Hungerford Massacre and the death of Princess Diana, also advising on the management of British fatalities following 9/11 in New York.
He has performed more than 23,000 autopsies and is a detective in his own right,solving the mysteries of countless sudden and unexplained deaths. He has faced serial killers, natural disasters, perfect murders and freak accidents.
His evidence has put killers behind bars, freed the innocent and turned open-and-shut cases on their heads. Yet all this has come at personal cost, having been diagnosed with diagnosed with Post-Traumatic Stress Disorder after suffering flashbacks.
Heading out on tour from Wednesday (12/10/2022) to November 11 with Unnatural Causes, a title shared with his book that spent ten weeks on the Sunday Times bestseller chart, Dr Shepherdtells the stories of the cases and bodies that have both fascinated and haunted him the most.
Additionally, he will explain his admiration for the complexities of the human body and examine how he has lived a life steeped in death. This week’s York and Leeds audiences can take part in solving a real-life crime scene mystery too when he invites their involvement.
Why pick pathology as a career choice, Dr Shepherd? “Really, it’s quite simple,” he says. “It was a Damascene moment. A schoolmate’s dad was a GP and when he smuggled a book on forensic medicine into the classroom, like any curious 14-year-old boy, I thought that’s amazing and took it home,” he recalls.
“My dad was quite an ‘anorak bloke’, and instead of saying ‘that’s disgusting, you shouldn’t be interested in that’, he said, ‘you have to work hard if you’re interested in that’, and I ended up going to medical school. All because of that moment at Watford High School.”
Dr Shepherd trained as a doctor at St George’s Hospital medical school from October 1971, qualifying in 1977. It was a great place to be, at that time a very small school at Hyde Park Corner – it’s since moved to Tooting – with a very forensic component to it.
“I oscillated a bit around pathology. Bizarrely, I really liked obstetrics, but came back to qualifying in forensic pathology.”
Thirteen years later, in 1984, he was fully qualified, studies completed in Gower Street. “Most of those years, you’re being paid, remember, which makes it easier to study,” says Dr Shepherd, who took up a post at Guy’s Hospital in 1987. “It’s important to say that though I studied for 13 years, that’s the usual time for most consultants, but you do have a clear finishing point of a fellowship at the Royal College of Pathologists.”
Pathologist, author, professor and lecturer, Dr Shepherd spread his wings into television presenting (The Death Detective, Autopsy: The Last Hours Of…, Murder, Mystery And My Family) and theatre tours.
“I always did a lot of lecturing, mainly to medical student groups, but also to Rotary groups sometimes, and then did The Death Detective. It was going to be called Dr Dick, bit it was pointed out, ‘No, that might not be appropriate’!
“I wanted to not only tell the story of a case, putting the jigsaw pieces together, but also to say, ‘here is the face of forensic pathology’,” says Dr Shepherd. “I’m a nice bloke doing a terrible job with care and compassion.”
Looking back over the years, Dr Shepherd says: “I think society has changed. Often people don’t talk about ‘death’ now but about ‘passing’ and ‘passing on’, and we’re beginning to fudge the process; I suspect it’s becoming more hidden,” he says.
“I had to have my 14-year-old Jack Russell put down in my arms, and I thought it was important to feel that emotion in death, whereas now people are turning funerals into a bit of a media presentation with My Way and You’ll Never Walk Alone.”
Dr Shepherd does not watch such series as Silent Witness. “Not because I dislike them, but because they are so far from what I know to be the truth, like not showing bits of a brain. The reality is not there, but then people think that what they see on TV must be close to reality, but then it happens to them and it’s not like it is on the TV, and it’s a double blow. Deaths are sanitised, even in Casualty,” he says.
“A lot of people love how the forensic pathologists looks very clever on Silent Witness, and it all looks very exciting, but the reality is I don’t go around arresting people.”
How does he transfer his forensic expertise to the theatre stage? “I can talk about how I see things in my profession, but I can also talk about more about emotions; how the body has failed; how I can detect injuries and how they’ve been caused,” says Dr Shepherd.
“I have to be very careful for it not to be like a forensic lecture that I would give to students about how they would deal with injuries. On this tour, I’ll bring an imitation ‘body’ on stage with a knife sticking out of the chest. It’s a theatrical moment, and it’s always great to hear the audience gasp, so it’s close to reality, with no fudging. It’s the truth, but not the absolute truth because that’s too hard. The reality is, it’s that thing of life and death and going from one to the other.”
You may have seen Dr Shepherd contributing to Channel 4’s documentary Investigating Diana: Death In Paris on the 25th anniversary of her death in August. “It’s one of those deaths that I can feel viscerally, as many of us do,” he says, but he does not buy into any conspiracy theories. “She should have put her seat belt on.”
This month, his forensic mind is on his Unnatural Causes tour. “It’s the starting pointy of every report I’ve written: ‘Death is not due to natural causes’. ‘Death is due to unnatural causes’. It’s a phrase I have used all my professional life.”
Dr Richard Shepherd, Unnatural Causes, York Theatre Royal, Thursday; Leeds City Varieties Music Hall, Friday, both 7.30pm. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.co.uk .
CBS Reality’s The Truth About My Murder is available on Freeview (67), Sky (146), Virgin (148) and Freesat (135). From a state-of-the-art laboratory, with ground-breaking digital technology, viewers will hear directly from the victim as Dr Shepherd uncovers the truth behind these perplexing crimes as told through the victims’ bodies.
These victims’ narratives are often re-written, hidden, manipulated, weaponised and concealed by their evil killers. In each case, Dr Shepherd will “separate fact from fiction and ensure the truth always prevails”.
Did you know?
Dr Richard Shepherd is an apiarist (beekeeper) and aviator (with a private pilot’s licence since 2004).
Did you know too?
His latest book, The Seven Ages Of Death, explores what death can teach us about living.
Tudor girl power: Jennifer Caldwell’s Anne Boleyn in SIX The Musical. Picture: Pamela Raith
HENRY VIII’s vengeful wives are not the only show in town. Charles Hutchinson finds alternatives aplenty.
Don’t lose your head over this but…SIX The Musical has sold out at Grand Opera House, York,October 11 to 16.8pm, Tuesday to Thursday; 6pm and 8.30pm, Friday; 5pm and 8pm, Saturday; 3pm, Sunday
DIVORCED, beheaded, scuppered. Those without a ticket for York’s hottest theatre show of the autumn are too late. Not one seat, even with a restricted view, is still available for Toby Marlow and Lucy Marlow’s irreverent historical musical romp that began as a Cambridge University show at the Edinburgh Fringe.
Welcome to their Queendom where Tudor queens turn into pop princesses as the six wives of Henry VIII take to the mic to tell their tales, remixing 500 years of heartbreak into a 75-minute celebration of 21st-century girl power.
Tom Chaplin: Solo songs of midlife musings from the Keane frontman
Take your pick at York Barbican: Uriah Heep, tomorrow, 8pm; Tom Chaplin, Tuesday, 8pm; Will Young: 20 Years Tour, Thursday, 7.30pm; Boyzlife, Friday, 7.30pm
SPOILT for choice at York Barbican in a busy, busy week. British rock titans Uriah Heep’s 50th Anniversary Tour is now taking place in their 52nd year after playing 4,000 shows in 60 countries. Keane frontman Tom Chaplin showcases September’s release of his second solo album, Midpoint, exploring a part of life that everyone goes through: midlife.
On the pop front, singer, radio presenter, actor and writer Will Young marks two decades since his Pop Idol blossoming. No sooner have Boyzlife performed to 20,000 people at the Yorkshire Balloon Fiesta on Knavesmire than their Old School Tour sends the boy band duo of Boyzone’s Keith Duffy and Westlife’s Brian McFadden back to York. Box office: yorkbarbican.co.uk.
Will Young: From Pop Idol young man to the polymath of today
Toasting the trailblazers: A Celebration Of Gilbert & Sullivan, Grand Opera House, York, tonight, 7.30pm
A 26-piece orchestra and soloists perform favourites from The Mikado, The Pirates Of Penzance and HMS Pinafore, complemented by less familiar gems in a glorious night at the light opera.
Taking part will be singers from Opera North, English National Opera, Scottish Opera, Welsh National Opera, Carl Rosa and D’Oyly Carte, such as Alexander Robin Baker, Rebecca Bottone, Barry Clark, Siân Dicker, Yvonne Howard, Judith Le Breuilly, Timothy Nelson and Matthew Siveter. Box office: 0844 8717615 or atgtickets.com/York.
Bongo’s Bingo: A rave new world for a British classic at York Barbican
House music but not as you know it: Bongo’s Bingo, York Barbican, tonight; doors, 6pm; last entry, 7:30pm; first game of bingo, 8pm
MAKING its York debut only a stone’s throw from the demolished Mecca Bingo, Bongo’s Bingo “rejuvenates a quintessentially quaint British pastime with an immersive live show featuring rave rounds, nostalgia-soaked revelry, dance-offs, audience participation and crazy prizes in a night of pure and unadulterated escapism”.
Looking for a full house, promoter Jonny Bongo promises magic and music, mischief and mayhem in a bingo rave experience. Box office: bongosbingo.co.uk or yorkbarbican.co.uk.
Sayaka Ichikawa in Ballet Black’s Black Sun at York Theatre Royal. Picture: Bill Cooper
Dance pioneers of the week: Ballet Black, Say It Loud & Black Sun, York Theatre Royal, Tuesday, 7.30pm
CELEBRATING their 20th anniversary, Black Ballet present two new works on tour. Choreographed and directed by founder and artistic director Cassa Pancho and company artists, Say It Loud charts this pioneering company’s progress, from the uncomfortable reasons behind its existence to the frenetic, creative energy that makes it such a necessary part of the British ballet industry.
South African choreographer Gregory Maqoma’s Black Sun, danced to an original score by Michael ‘Mikey J’ Asante, extracts energy from the sun and the moon giving rise to descendants of ancestors. These forces only meet to blacken, allowing us to draw from their powers as we prepare for life after life. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Dr Richard Shepherd: Pathologist, professor, lecturer, author, television presenter, apiarist and aviator, whose Unnatural Causes theatre tour will York and Leeds
Bringing death to life: Dr Richard Shepherd, Unnatural Causes theatre tour, York Theatre Royal, Thursday; Leeds City Varieties Music Hall, Friday, both 7.30pm
MEET Dr Richard Shepherd, a forensic pathologist who has solved the mystery of sudden and unexplained deaths aplenty, performed 23,000 autopsies and handled such cases the Hungerford Massacre, the Princess Diana inquiry and 9/11.
In Unnatural Causes, he not only tells the story of the cases and bodies that have haunted him the most, but also reflects on how to live a life steeped in death. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.co.uk
Make It Better: The theme for Day One of York Design Week
Festival of the week: Kaizen Arts Agency, United by Design and Dogeatcog unite for York Design Week 2022, Make It Work, October 13 to 17
YORK Design Week turns the spotlight on projects, organisations and people who are breaking and bending rules to create a fairer society, inviting you to explore how we can come together to “Make It Work”. “Let’s find creative and practical solutions to complex problems through collaboration, performance, and play,” say the organisers.
“The idea is to positively shift conversation and behaviour around what design means and how it can offer innovative solutions to knotty problems. Our approach is open, accessible, and seeks to provide space for participants to experience unexpected perspectives and express their own voice.” Full details can be found at: yorkdesignweek.com.
Make It Grow: The green theme for Day Four of York Design Week
120 years and still going strong: York Musical Theatre Company in A Musical Celebration, Theatre@41, Monkgate, York, Thursday and Friday, 7,30pm
YORK Musical Theatre Company’s 120th anniversary will be marked with two evenings of songs from past productions such as West Side Story, Oklahoma, Guys & Dolls, Annie, Acorn Antiques, Jekyll & Hyde, Jesus Christ Superstar and The Pirates Of Penzance, the company’s first show in April 1903.
Company members combine with guest solo artists in a celebratory production directed by John Atkin. Founded in 1902 as York Amateur Operatic and Dramatic Society, York’s longest established amateur theatre company changed its name in its centenary year. Box office: tickets.41monkgate.co.uk.
Ellen Carnazza, Andrew Purcell and Zach Atkinson in Badapple Theatre’s revival of The Frozen Roman, on tour this autumn. Picture: Karl Andre
What did the Romans ever do for us? Badapple Theatre in The Frozen Roman, on tour until November 13
GREEN Hammerton’s theatre-on-your-doorstep proponents Badapple Theatre take to the road this autumn with three actors new to the company: Zach Atkinson, Andrew Purcell and Ellen Carnazza.
In this revival of Kate Bramley’s play, they came, they saw, they built a wall, they went away again….or did they? When hapless villagers try to prevent a housing development being built in their midst, could the discovery of a burial site throw them a lifeline? Expect twists, turns and Latin puns as the situation in the village goes “ballisticus maximus”. For tour details, go to: badappletheatre.co.uk.
Ocean travel: Billy Ocean heads for Harrogate and Sheffield in 2023
Looking ahead: Billy Ocean, The Very Best Of Billy Ocean Tour, Harrogate Convention Centre, March 31 2023
BILLY Ocean will perform a hand-picked set of greatest hits and fan favourites on his 21-date tour next spring.
The Trinidad and Tobago-born British R&B singer, 72, has notched 30 million worldwide record sales and top ten singles on both sides of the Atlantic, such as Love Really Hurts Without You, Red Light Spells Danger, Caribbean Queen (No More Love On The Run), When The Going Gets Tough, The Tough Get Going, There’ll Be Sad Songs (To Make You Cry) and Get Outta My Dreams, Get Into My Car. The tour also takes in Sheffield City Hall on April 6. Box office: harrogatetheatre.co.uk; sheffieldcityhall.co.uk.
Graham Norton: Forever Home and first ever away day in York
MAKE that An Entire Evening With Graham Norton and part of an evening with Konnie Huq that should have been the first half but became the second at this novel event of the week.
The first clue was the change of start time to 7.45pm and the accompanying note, “We Apologise For Any Inconvenience”.
The inconvenience, it turned out, had been caused to chatterbox Graham, BBC broadcaster, Virgin Radio presenter, own label wine & gin dispenser, agony uncle and novelist, and the late-arriving Konnie, TV and radio presenter, screenwriter and children’s author, once of Blue Peter (1997 to 2008).
Train delays. A problem on the track. Exit Graham from King’s Cross, taking the car to York, for his first ever visit. “What a lovely city,” he said, dashing hopes of a more waspish critique in the manner of his quizzical Eurovision quips.
Konnie would be taking a later train, he explained. From Peterborough. “Not going well,” he stage-whispered. Once a stand-up, always at ease on stage, and if part one should have been Graham in conversation with Konnie about his fourth novel, Forever Home, newly published by Coronet, instead it became Graham in conversation with the full house, roaming back and forth in a suit that tricked the eye at first. Not stains, surely, dapper Graham? No, some far trendier detailing!
Ask away. “Did you get the book we left for you in reception, Graham?”. Come on, York. Ah, here comes the excitable woman in the front row, the one in a group all (bar one) wearing T-shirts emblazoned with cherry-topped buns. Buns, geddit. “Did you get the cakes we left for you, Graham?”. Come on, York, you really can do better than such distractions, handled knowingly by gracious Graham.
York did thankfully do much better than that, mainly asking about his TV shows, the big interviews, one about his wines, another about the beard – should it stay or should it go? – but not the books, leaving that to Konnie.
Favourite guests? The list kept growing. Worst guest? Very definitely, Harvey Weinstein, accompanied by an anecdote that revealed much about the jailed film producer’s sense of entitlement. Most wanted guests yet to appear? Brad Pitt. Julia Roberts. William & Kate.
Does he ever watch back old episodes? No, he said, the question prompting Graham to imagine himself sitting there thinking, “aren’t I marvellous”. Eurovision popped up too, reflections on Sam Ryder and Ukraine, and no, he couldn’t say where 2023’s jamboree would be held, Liverpool or Glasgow, until Friday. Liverpool, for the record.
Part stand-up, part Q&A, he held back his own excruciating Red Chair revelation to the last, ever the comedian with timing. In a nutshell. Gentleman caller. Departs. Next morning, stretchy item gone missing. Dog. Morning walk in the park. What’s that protruding from pet Bailey’s posterior? Graham stretched the story to the max. Just look at his face.
Time for a break, then Graham reading an excerpt from his new book on the screen, and… here’s Konnie. She’d arrived halfway through act one, watching from the wings, laughing as much as the rest of us. Time to discuss Forever Home, its themes, characters, locations, set in a small Irish town, where divorced teacher Carol’s second chance of love brings her unexpected connection, a shared home and a sense of belonging in a darkly comic story of coping with life’s extraordinary challenges.
Darkly comic. Why darkly comic, Graham? Small rural Irish communities, where they live outside rather than inside the villages, have that darkness to them, that mystery, that something to hide, even if everyone thinks they know everything but everyone else. That side comes out in Graham’s novels, rooted in his experiences of growing up (as Graham William Walker) at 48, St Brigid’s Road, Clondalkin, County Dublin, and leaving at 20, first for America, then London.
Not until three decades later did he reconnect, both physically and in his novels that he began writing as a new challenge on turning 50. His mother’s habits, the butt of his humour, but in affectionate way rather than the mother-in-law jokes of Les Dawson, feed into one of the characters in Forever Home. He has given her a copy, but not told her about the resemblance. No doubt he will delight audiences with an update as and when.
Graham, newly married in West Cork in July, turns 60 next April. A new decade, another new venture? To beard or not to beard? These are the questions. Can’t wait for the answers.
Doing her research: Susie Blake’s Miss Marple in The Mirror Crack’d, on tour at York Theatre Royal. Picture: Ali Wright
THIS is Agatha Christie’s The Mirror Crack’d, but it is Rachel Wagstaff’s play.
For the stage, she has adapted Sebastian Faulks’s novel Birdsong and Dan Brown’s The Da Vinci Code (whose 2022 tour was cut short before its Grand Opera House run in York) and co-adapted Paula Hawkins’ The Girl On The Train too.
An earlier version of her take on Christie’s 1962 mystery The Mirror Crack’d From Side To Side toured the UK in 2019. Now comes another crack at it for the Original Theatre Company, one that has modern sensibilities to shake up its outwardly old-fashioned mien.
Self-harm, repressed homosexuality and child loss burst through the surface in Wagstaff’s multi-layered drama rooted in the turbulence of fracturing mental health. The thunderbolt is Jane Marple’s explanation of why she has remained unmarried, still consumed by grief at her young love being shot for cowardice when serving in the First World War.
Philip Franks’s production is stylish, sharply dressed, light on its feet, played out in rooms with almost an excess of glass, in reference to the mirror of the title, reflective but also see-through. There may be plenty to hide but it can’t be hidden from view.
Adrian Linford’s open-plan, rotating setting is two-fold, serving as the grand English manor house newly acquired by an unsettling presence, American film star Marina Gregg (Sophie Ward), and her film director sixth husband of eight years, Jason Rudd (Joe McFadden), and as the home of “spinster sleuth” Jane Marple (Susie Blake) too.
Housebound and frustrated by a sprained ankle, she either sits with her knitting or takes to crutches or a walking stick, ever restless both physically and mentally.
A third, unseen setting plays its part, a new housing estate that “alarms the villagers as much as it intrigues them”. Miss Marple’s home help, Cherry Baker (Mara Allen), has moved in there, and there is more to her than first meets the eye. It was ever thus in Christie’s world.
The price of love? Joe McFadden’s Jason Rudd and Sophie Ward’s Marina Gregg in The Mirror Crack’d. Picture: Ali Wright
Marina and hubby are making her first film in 12 years at the manor house, bringing an entourage that includes loyal servant Giuseppe Renzo (Lorenzo Martelli) and production assistant Ella Zielensky (Sarah Lowrie). Young co-star Lola Brewster (Christine Symone) is acting even more oddly than they are, as the plot thickens.
The story unfolds in flashbacks as Oliver Boot’s Inspector Craddock, sorry Chief Inspector, as he keeps correcting, conducts a murder investigation. Blake’s Miss Marple nudges her way into the case, asking the better questions, frustrating Craddock, who delightfully refers to her as his aunt.
Putting her oar in too is Dolly Bantry, former owner of the manor house, exquisitely played by character actress supreme Veronica Roberts, a superb piece of casting by Ellie Collyer-Bristow, who happened to be watching Wednesday’s performance in the next seat.
Miss Marple’s relationships with both Boot’s exasperated Craddock and Roberts’s dabbling Dolly, forever calling by, are suffused with humour in Blake’s performance, but there is intelligence, a seriousness of purpose, to her marvellous Marple. Kindness, sadness, wit and wits about her too.
McFadden’s Rudd is fiery, protective, deeply concerned for Marina’s mental wellbeing, but what is his motive? Ward’s Marina is damaged, graceful, charming when the moment takes her, but capricious, cold, dismissive…and mysterious. Ice and fire, guilt and regret, where will it lead?
Franks’s direction skilfully balances the humour, the double-act to-and fro of both Marple & Dolly and Marple and Craddock, with the darkness of Marina’s troubles. The smoothly interjected yet jolting flashbacks intensify the intrigue, bringing super-fan Heather Leigh (Jules Melvin) into the plot, although Craddock keeps on blocking the attempts of her husband Cyril (David Partridge) to do likewise in a well-worked running gag.
Why do theatres – as well as TV – keep doing whodunits? A midweek packed auditorium would tell you why: we love a mystery to solve, trying to work it out before the sleuth, and when that story is told as adeptly as it is by Wagstaff with direction and performances to match, then crack on with The Mirror Crack’d.
Original Theatre Company in Agatha Christie’s The Mirror Crack’d, York Theatre Royal, Saturday, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
