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More Things To Do in York and beyond as green shoots emerge and Johnny’s here. List No. 85, courtesy of The Press, York

Butshilo Nleya: Drums and drama at Green Shoots at York Theatre Royal

NOT only a certain platinum jubilee is cause for a party. Charles Hutchinson finds reasons aplenty to head out.

What can you say in five minutes? Green Shoots, York Theatre Royal, Tuesday and Wednesday, 7.30pm

NEW work commissioned by York Theatre Royal from 20 York and North Yorkshire professional artists will be premiered in Green Shoots.

Poets, performers, singers, dancers and digital artists will be presenting bite-sized performances focused on “rebooting post-pandemic and looking to the future of the planet”.

Among them will be Fladam; Bolshee; Alexander Flanagan-Wright; Paul Birch; Hayley Del Harrison; Butshilo Nleya; Hannah Davies and Jack Woods; Gus Gowland; Joe Feeney and Dora Rubinstein. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Miles And The Chain Gang: Miles Salter’s new line-up plays the City of York (Roland Walls) Folk Weekend

That’s all folk: City of York (Roland Walls) Folk Weekend, Black Swan Inn, Peasholme Green, York, today, 1pm to 11pm, and tomorrow, 1.30pm to 10.30pm

THE Black Swan Folk Club’s two days and nights of free music and song take in a marquee concert stage; rolling folk club; musicians’ sessions; singarounds; Japanese drumming; indoor concerts; the Poems & Pints hour and workshops.

Playing over the weekend will be Kaminari Taiko, The Ale Marys, The Duncan McFarlane Band, White Sail, Clurachan, Two Black Sheep And A Stallion, Holly Taymar, Blonde On Bob, Les Rustiques, Caramba, Miles And The Chain Gang, Tommy Coyle, Chechelele, Leather’O and more besides. Full programme: blackswanfolkclub.org.uk.

Artwork by North Yorkshire Open Studios mixed-media artist Jo Yeates, who is inspired by the many possibilities of fabric, paper, paint and stitch, on show at South Bank Studios, Southlands Methodist Church, Bishopthorpe Road, York

Art event of the  month: North Yorkshire Open Studios 2022, today, tomorrow, then June 11 and 12, 10am to 5pm

FROM the rugged coastline near Whitby to the rolling Yorkshire Dales, 108 artists and makers invite you inside their studios and workshops.

Over four days, this is the chance to discover secret studio spaces and inspiring locations, watch artists at work, learn about their creative practices and buy contemporary art and design directly from the makers. To plan a route, visit nyos.org.uk to download a free brochure.

Jane McDonald: Headlining Yorkshire’s Platinum Jubilee Concert at Scarborough Open Air Theatre

Coastal party of the weekend: Yorkshire’s Platinum Jubilee Concert, Scarborough Open Air Theatre, today, 6pm

NATIONAL treasure Jane McDonald will be joined by musical theatre stars The Barricade Boys and drag artiste La Voix outdoors in Scarborough this evening.

“It’s going to be amazing,” says Wakefield singer and television presenter McDonald. “A really rousing night, full of song. It will be a real sing-along event, so bring your voices. I expect it’ll be emotional too, but above all else we’ll have a good old party.” Box office: scarboroughopenairtheatre.com.

Beck beckons: More than a year later than first planned, Jeff Beck plays York Barbican…and here’s Johnny too

Guitar god of the week and his (in)famous friend: Jeff Beck, with Johnny Depp, York Barbican, Tuesday, 8pm, sold out

NEWS flash. Fresh from winning his US defamation lawsuit against former wife Amber Heard, Hollywood frontman Johnny Depp, 58, is doing an impromptu victory lap as the special guest of South London rock, blues and jazz guitarist and Rock & Roll Hall of Fame inductee Jeff Beck, 77, on a tour rearranged from April 2021. 

Beck will take to the York stage with Rhonda Smith, bass, Vanessa Freebairn-Smith, cello, Anika Nilles, drums, Robert Adam Stevenson, keyboards, and Depp, riffing off his piratical Keith Richards vibe no doubt, on guitar. Box office for returns only: yorkbarbican.co.uk.

Beware the Ides of March…in June: Shakespeare’s Globe bring Julius Caesar to York Theatre Royal next week. Picture: Helen Murray

Political drama of the week: Shakespeare’s Globe in Julius Caesar, York Theatre Royal, June 10, 7.30pm; June 11, 2.30pm and 7.30pm

PREPARE to confront today’s political landscape as Shakespeare’s tragedy Julius Caesar takes on startlingly new relevance in Diane Page’s account of this brutal tale of ambition, incursion and revolution.

When Cassius (Charlotte Bate) and Brutus (Anna Crichton) decide Roman leader Julius Caesar (Dickson Tyrrell) poses a political threat to their beloved country, ancient Rome feels closer to home than ever amid the conspiracy to kill, the public broadcast of cunning rhetoric and a divisive fight for greatness. Box office: 01904 623568 or yorktheatreroyal.co.uk.

She’s back to say farewell: Dionne Warwick makes a last visit to York Barbican next Friday

Soul legend of the week: Dionne Warwick, She’s Back: One Last Time, York Barbican, June 10, 8pm

DON’T walk on by. Dionne Warwick’s rescheduled She’s Back: One Last Time itinerary now carries the Farewell Tour tag too, making next Friday’s concert all the more a Must See event.

Now 81, the six-time Grammy Award-winning New Jersey singer, actress, television host and former United Nations Global Ambassador for the Food and Agriculture will be performing such Bacharach/David favourites as I Say A Little Prayer, Do You Know The Way To San Jose and Walk On By, plus material from her May 2019 album, She’s Back. Box office: yorkbarbican.co.uk.

The poster for Gary Barlow’s one-man theatre show A Different Stage, visiting the Grand Opera House for four performances

Hottest ticket of the week: Gary Barlow: A Different Stage, Grand Opera House, York, June 9, 10 and 11, 7.30pm; June 12, 2.30pm

FIRST, Take That’s Gary Barlow announced Friday and Saturday solo shows, then he added a Sunday matinee, and, finally, Thursday too. Ticket availability is best for the opening night; barely a handful remain for the others.

“I’ve done shows where it has just been me and a keyboard,” says the Wirral singer, songwriter, composer, producer, talent show judge and author. “I’ve done shows where I sit and talk to people. I’ve done shows where I’ve performed as part of a group.

“But this one, well, it’s like all of those, but none of them. When I walk out this time, well, it’s going to be a very different stage altogether.” Box office, without delay: 0844 871 7615 or atgtickets.com/York.

Getting mighty Crowded: Neil Finn’s band, Crowded House, head for the Yorkshire coast

Whatever the weather with you, Crowded House play Scarborough Open Air Theatre, July 11; gates open at 6pm

CROWDED House are heading out on their first European tour in more than ten years with a line-up of founding members Neil Finn and Nick Seymour, producer and keyboardist Mitchell Froom, guitarist and singer Liam Finn and drummer Elroy Finn, Neil’s sons.

Such favourites as Weather With You, Don’t Dream It’s Over, Distant Sun and Private Universe will be complemented by material from the Antipodeans’ seventh studio album, June 2021’s Dreamers Are Waiting, their first since 2010’s Intriguer. Box office: scarboroughopenairtheatre.com.

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Why Freddie Hayes is feeling chipper about her Faustian puppetry show Potatohead

Shed haven: Puppeteer Freddie Hayes contemplates life as a Potatohead

WHY is “gloriously bonkers” York performer, maker and writer Freddie Hayes a puppeteer?

“I’ve always made puppets from a young age,” she says. “But I lost in a puppet competition at Scarcroft School and it’s been revenge ever since.”

That act of revenge continues with the Edinburgh Fringe-bound Potatohead, her “starch-raving mad” solo adaptation of Christopher Marlowe’s cautionary tale Doctor Faustus And The Seven Deadly Sins, directed by Sh!t Theatre.

Combining puppetry, stand-up comedy, physical theatre, film, singing, dancing and a sack of potato puns, Freddie’s hour-long “one-potato show” plays York Theatre Royal Studio on June 10, the McCarthy at the Stepehen Joseph Theatre, Scarborough, on June 14, and Seven Arts in her adopted home of Leeds on July 20.

“I’ve always been interested in puppets as objects and creating characters from everyday people you might see in everyday life,” says Freddie, whose absurdist work hovers between childish puppetry and late-night entertainment in its story of humble York spud Charlotte, who dreams of becoming a cabaret superstar but is blighted by a chip on her shoulder.

 “I have quite a dark sense of humour too, and there seems to be something haunting about puppets that intrigues me.

“Puppetry can be very violent, with dark stories like Punch & Judy, where he defeats the Devil and death itself with his powers – so that story has a vague connection with Faust.”

After introducing York and beyond to grouchy pub landlords Fred and Sharon, unhappily married guvnors of a dated York boozer, in Fred’s Microbewery at the 2019 Great Yorkshire Fringe and York Theatre Royal Pop-up Festival, now Freddie switches her attention to the Swiss Army knife of the vegetable world, the potato, in her “unadulterated celebration of silliness”.

Jacket potato! Freddie Hayes in her Potatohead costume on stage

Expect elements of kitsch cabaret and old-school entertainment in her blend of puppetry, clowning and surrealist comedy with room for sexual content and references to religion and the devil, hence the age guidance of 14+.

Why re-tell Faustus, Freddie? “I like the darkness and the idea of being in between life and death, that power struggle, as you try to get your dream to become reality – and in the case of Potatohead, it becomes the struggle of trying to become a stand-up comedian,” she says.

Would that struggle involve selling your soul to the devil? “I’m yet to do so myself! I don’t have to worry about comeuppance! But there is connection between potatoes and Faustus…”

…Really? “The year that the potato arrived in Europe was the same year that Marlowe’s play was premiered,” says Freddie. “Back then, potatoes were very glamorous. They were considered to be exotic and aphrodisiacs too!”

Yes, but why transform Faustus into a potato, or, rather, a couch potato with aspirations of becoming a golden wonder? “What’s great about potatoes is that they can be anything, and I feel like everyone has an inner potato in them. Some days everyone feels a bit like a potato,” says Freddie.

“On top of that, there was the idea that you can become great [not grate!] one day by taking a risk and being brave. That’s the moral of this story.”

Potatoes are even more chameleon than usual in Freddie’s show. “There’s actually a little bit of puppet potato nudity!” she reveals. “They can also fly and shape-shift, disappear and re-appear, so they’re quite magical!

“What’s great is that the potato puppets play these demon spirit characters and they do have this unworldly quality about them, which works well with the narrative of Faustus.”

Spud work: Freddie Hayes’s Potatohead gets digging in the garden. Picture: Amy D’Agorne

Seeking to capture the stupidity of life in her puppetry, she also reflects on her own life through her characters, scenarios and themes. “There’s a part of the show that’s slightly autobiographical in that I talk about my relationship with puppets and how they integrate with my life,” says Freddie, who studied for a BA in puppetry at the Royal Central School of Speech and Drama from 2015 to 2018.

“I have this awareness of being dressed as a potato running around with these puppet potatoes, so I give a side-eyed look at the audience, as if to say ‘what am I doing here?’!”

Puppet potatoes abound in Potatohead. “You can probably guess there are seven potatoes for the seven demons [the ‘deadly sins’ in Faustus], and there’s obviously a Mephistopheles, played by Maurice Piper! Beelzebub is a big secret I can’t reveal, though it’s something to do with a popular potato brand,” says Freddie.

Summing up Potatohead’s comedic style, Freddie says: “It’s a very strange one! Imagine if Cilla Black collaborated with The League Of Gentlemen and The Mighty Boosh, all in a one-potato show. Old-school glamour meets general weirdness!” What a mash-up!

As for Freddie’s favourite potato dish, “I love chips,” she says. “Keep it simple. Cheesy chips. Or cheesy chips and gravy if you’re feeling really naughty.”

As part of her debut national tour, Freddie Hayes presents Potatohead at York Theatre Royal, June 10, 7.45pm; Stephen Joseph Theatre, Scarborough, June 14, 7.45pm; Seven Arts, Chapel Allerton, Leeds, July 20, 8pm. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Scarborough, 01723 370541 or sjt.uk.com; Leeds, 0113 262 6777 or sevenleeds.co.uk.

Copyright of The Press, York

Question? What is Freddie’s favourite among the seven deadly sins in Doctor Faustus?

“Gluttony. I think I feel I don’t think it’s a terrible sin! It seems quite sweet,” she says.

Freddie Hayes, minus the Potatohead

Freddie Hayes Fact File

Born: York

Lives in: Leeds

Occupation: Performer, writer, puppeteer and maker, crafting bespoke puppets, props and costumes.

Studied for: BA in Puppetry at Royal Central School of Speech and Drama, London, 2015 to 2018.

Since graduating: Created solo shows Fred’s Microbrewery and Potatohead, performing on UK comedy, festival and cabaret circuit for four years, playing Shambala Festival, Camden Fringe and Leeds International Festival.

Who’s the guvnor here? Puppeteer Freddie Hayes with Yorkshire’s grouchiest pub landlord, Fred, mean host of Fred’s Microbrewery

Home city works: Strut Club cabaret; former artist-in-residence at Southlands Studios; presented Fred’s Microbrewery at 2019 Great Yorkshire Fringe and York Theatre Royal Pop-up Festival; created and filmed short puppet film Fred And Sharon on York’s streets.

Projects: Artist-in-residence at Slung Low Theatre, working with Sh!t Theatre mentors, at The Holbeck, Holbeck, Leeds; associate artist of Slap York; resident puppeteer at Folkestone Puppet Festival.

Debut national PotaTour: Potatohead, May 19 to July 20, playing Leeds, Camden, Brighton Fringe Festival, Bristol, York, Scarborough, Greater Manchester Fringe Festival (July 14, 7pm, 9pm) and Leeds again (Seven Arts, July 20, 8pm).

Support: Started work on Potatohead project with Slap York in 2019. “They’re great at helping emerging artists,” says Freddie. “Without them, I don’t think I would have got going on this show.”

Mash of the day: Freddie Hayes in a Potatoheadshot

Funding: Arts Council National Lottery Project Grant to create Potatohead; Luke Rollason Memorial Bursary Award winner to programme show at Brighton Fringe Festival.

Performance style: Hovering between childish puppetry and late-night entertainment. Often autobiographical, reflecting on her life through relatable characters, scenarios or themes.

Pulling strings: Makes all her puppets, costumes and props. “I see it as a sort of sculpture, and I love making props,” says Freddie. “I do a lot of puppet-making commissions, making them for York Maze and Leeds City Varieties and working freelance for Leeds Playhouse for a while.”

Next up: Presenting Potatohead at Below, The Pleasance Courtyard, 60 Pleasance, Edinburgh, at 2022 Edinburgh Fringe Festival, August 3 to 29, 2pm. Directed by Sh!t Theatre, Freddie’s production will be appearing as a York Theatre Royal supported show with Pleasance Edinburgh National Partnerships. Box office: tickets.edfringe.com/venues/pleasance-courtyard.

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Stranded in France, Kyiv City Ballet’s first show since Russia’s invasion of Ukraine at York Theatre Royal on June 14 has sold out

Poised: Kyiv City Ballet are heading to York Theatre Royal for one night

KYIV City Ballet’s first British performance since Ukraine came under attack from Russia at York Theatre Royal on June 14 has sold out.

One hundred per cent of ticket sale proceeds will be donated to UNICEF’s Ukraine Appeal from the two-and-a-half-hour special performance that will be split into two parts under the direction of Ivan Kozlov and Ekaterina Kozlova. A class from the Kyiv City Ballet company will be followed by excerpts from ballets such as Swan Lake and The Nutcracker. 

York Theatre Royal chief executive Tom Bird personally invited Kyiv City Ballet to perform in York after learning of the company being stranded in France, where they were on tour as the war broke out in Ukraine. The dancers have stayed there ever since, given that it is too unsafe for them to return home to Ukraine.

“We are proud that York is able to stand in solidarity with Kyiv,” says York Theatre Royal chief executive Tom Bird, who has invited Kyiv City Ballet to the Yorkshire city

“It’s a huge honour to be hosting Kyiv City Ballet at York Theatre Royal,” says Bird. “This is the company’s first UK appearance since their city came under attack, and we are proud that York is able to stand in solidarity with Kyiv by supporting these extraordinary dancers for this one-off visit.” 

City partners in York have come together to make this fundraising performance a reality. Make It York, City of York Council and York BID are all supporting the Theatre Royal with organisation and logistics to bring Kyiv City Ballet to the city. 

Eurostar and LNER have stepped in to arrange the company’s return travel from France to York; Visit York members Elmbank Hotel, Malmaison, Middletons, Sandburn Hall, The Grand, The Principal and York Marriott have offered to accommodate the company and crew during their stay, while City Cruises and Bettys will be providing additional hospitality. A Civic welcome awaits at Mansion House.

Class act: Kyiv City Ballet will combine a dance class with excerpts from Swan Lake and The Nutcracker in June 14’s fundraising show

First Bus will support on the visa costs to bring the company to York; remaining costs and company fees for the performance will be covered through corporate sponsorship. 

Sarah Loftus, managing director of Make It York, says: “We are so proud of our city pulling together to bring the Kyiv City Ballet to York. This is a special opportunity to celebrate world-class performers, while raising vital funds for the people of Ukraine. The generosity of businesses and residents in York has made this possible.”

Councillor Darryl Smalley, executive member for culture, leisure and communities, says: “In what are incredibly dark times, it has been heartening to see York’s response as the city has come together to show our support and solidarity with our Ukrainian friends here in York and in Ukraine.

“Art has a unique way of uniting people and that’s certainly what we need more now than ever ,” says Councillor Darryl Smalley as he welcomes Kyiv City Ballet to York

“From donations and heart-warming signs of solidarity to housing refugees, it’s clear that we as a city are united and ready to do all we can to stand with Ukraine and its people.

“Art has a unique way of uniting people and that’s certainly what we need more now than ever. I’m grateful to all those involved for their support in setting up this amazing event. It will certainly be an emotional and wonderful evening for a crucial cause.”

Andrew Lowson, executive director of York BID, says: “It is always good to hear of high-quality cultural offerings coming to York, but for our city to attract the Kyiv City Ballet will feel really special.

“We are so proud of our city pulling together to bring the Kyiv City Ballet to York,” says Sarah Loftus, Make It York’s managing director

“Many of us feel helpless on how we can support Ukraine, but I know residents and businesses will want to show support and solidarity, as well as celebrate the visit of a world-renowned group of performers.” 

Adam Wardale, chair of Hospitality Association York (HAY) and general manager at Middletons Hotel, said: “The members of HAY are incredibly proud to be able to offer Ukraine’s Kyiv City Ballet performers accommodation throughout their stay in York.

“This is a fantastic opportunity to support Ukraine, showing solidarity while also celebrating the arts.”

Kyiv City Ballet: York to host first UK appearance since Russia’s invasion of Ukraine
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Extraordinary Bodies reach out for Human contact with circus, dance, film, stories and silent disco headphones at Theatre Royal

Extraordinary Bodies: Genre and gravity-defying theatre in Human at York Theatre Royal

A TRAPEZE, circus rope, a drum kit and silent disco headphones are the essentials for Extraordinary Bodies’ storytelling show Human at York Theatre Royal on Wednesday.

Billed as both genre and gravity-defying, this touching serenade of intimate, delightful and funny real-life stories will be told through live circus, dance, film and original music at 7.30pm.

Ted Barnes’s live score and binaural sound will be played to the audience through silent disco headphones and the 70-minuite performance will be relaxed, BSL interpreted, captioned and audio described.

Performers John Kelly, Tilly Lee-Kronick, Jonny Leitch, Rosie Rowlands and Rebecca Solomon tell stories that stretch from childhood to the past 24 months: tales of uncertainty about times of big decisions and about getting through things together with the visual spectacle of circus.

Human has been created by co-directors Claire Hodgson and Billy Alwen and film director Steven Lake and written by Hattie Naylor with the company.

Extraordinary Bodies’ cast members Rosie Rowlands, Rebecca Solomon Tilly Lee-Kronick, Jonny Leitch and John Kelly

“The character of Circus arrives in the show, interrupting the performers as she has fallen on hard times,” say Extraordinary Bodies. “The poetry of Circus weaves through the show, becoming part of the storytelling, and her bravery speaks to everyone.” 

Making their York debut, Extraordinary Bodies bring together Cirque Bijou and Diverse City, who have worked together for the past decade creating multi-disciplinary circus shows with disabled and non-disabled artists.

Their work seeks to push the boundaries of music, film, circus and theatre by “making circus for every body, embedding creative access techniques in the work from the outset, including sign language interpretation, captioning and audio description”.

At the heart of Extraordinary Bodies, performing artists Tilly Lee-Kronick and Jonny Leitch form a unique circus double act that combines wheelchair dance, floor work on hands and aerial doubles choreography.

Leitch says: “The relationship and artistry I have with Tilly has always stemmed from us exploring new or wacky ideas on the trapeze or other circus equipment. We explore storytelling in new ways through movement.

Jonny Leitch and Tilly Lee-Kronick: Circus double act combining wheelchair dance, floor work on hands and aerial doubles choreography

“The equipment that facilitates our artistic expression is essential to communicating with our audience and encourages us to be even more innovative in our performance. Human gets to the heart of how we are all feeling right now and I can’t wait to share it.”

Introducing Human as a “poetic record of our time”, artistic director Claire Hodgson says: “Weaving together real-life stories through circus, combined with our use of technology, we have created a show that connects with its audiences in a soothing, sublime, immersive way.

“It was important for us to work with our performers in a way that suited them and make a show that is accessible without compromise. With Extraordinary Bodies, we can experiment and develop work that is genre-defying as well as gravity-defying.”

Human is suitable for all ages, although it is “not a family show”. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Did you know?

Binaural sound relates to “sound recorded using two microphones and usually transmitted separately to the two ears of the listener”. Headphones for Human are provided by Silent Disco King.

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REVIEW: Caroline Bird’s political drama Red Ellen at York Theatre Royal ***

Bettrys Jones’s indefatigable Ellen Wilkinson MP in Red Ellen

Northern Stage, Nottingham Playhouse and Royal Lyceum Theatre, Edinburgh present Red Ellen, York Theatre Royal, 7.30pm tonight; 2.30pm and 7.30pm tomorrow. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

UNTIL 2017, all seven of Middlesbrough’s statues had been of men. A poll put Ellen Wilkinson at the top of the list to be the town’s first female on a plinth.

Ellen Wilkinson, you ask? British Communist Party founder member turned Labour MP for Middlesbrough East and later Jarrow. Left-leaning journalist. Leader of the Jarrow Crusade to London when 80 per cent of the workforce were unemployed. Mobiliser of the Spanish Medical Aid Committee, taking up the cause against General Franco’s Fascists in the Spanish Civil War.

Member of Churchill’s wartime coalition government, in charge of air raid shelters. As Labour’s first female Minister for Education, she introduced free school milk and raised the leaving age from 14 to 15. A heavy-smoking asthmatic, she died, struggling for breath, her pills ineffectual, in 1947.

That’s the politics; a working-class female MP campaigning for social justice in a toxic, male-dominated world. What else? She had affairs with married men, whether a Soviet Communist spy or Labour government minister Herbert Morrison. She encountered Albert Einstein and Ernest Hemingway. She was always in a hurry, a flame-haired, 4ft 9 pocket dynamo known as the Elfin Fury and Mighty Atom.  

“There are so many Ellens to choose from”, says playwright Caroline Bird, who has decided to highlight pretty much all of them, save for Ellen’s early Communist days, in her biographical play Red Ellen, wherein she picks up the story in 1933.

Just as Ellen, for all her failing health, tries to cram too much into each day, Bird seeks to squeeze too much into her three-hour play, where the diminutive Bettrys Jones brings extraordinary energy to an omnipresent role in which the constant speechifying leaves her voice shorn of light and shade, always pitched on the upwards, climbing a hill against the odds.

Bird’s first draft had run to five hours and it would take another six years of “Ellen running around her head like an unfinished ghost with unfinished business” for Northern Stage’s 2022 touring version to emerge from what became an obsession.

This week’s York run is the closing chapter of the premiere tour, presented in tandem with co-producers Nottingham Playhouse the Royal Lyceum Theatre, Edinburgh, and it is too late for director Wils Wilson to apply the scissors, but if Red Ellen is to have a further life, the story-telling will require more breathing space and selectivity, rather than the overwhelming feeling of needing to reach for an asthma inhaler.

The structure is a series of set pieces, rooted in gender politics and the agenda of politics, some scenes better than others: neither the Einstein scene, where Jones’s Ellen apologises to Mercedes Assad’s awkwardly bewigged Albert for the behaviour of The Anti-Fascist League, nor an exchange at the Europa Hotel with an over-the-top, drunken Hemingway, hits the right note.

Better by far are Ellen’s discussions with Jim Kitson’s north easterner David, burdened by ill health but desperate to undertake the Jarrow March; the political debate with Kitson’s Churchill (who is seen only from behind, with the audience eyes on Ellen); and the end-of-the-affair letdown with Kevin Lennon’s Morrison.

Director Wilson has fun with Ellen’s lack of inches, casting the towering Laura Evelyn as the British Communist activist Isabel for comic effect. Likewise, Wilson and designer Camilla Clarke play with scale: the gramophone player is a giant shell; houses in the street are represented by doll’s houses, on fire at one point for Ellen to put out while on air raid duty. There is visual wit throughout; on occasion, there could be more verbal comedy.

Ellen’s diaries were destroyed after her death, leading to Bird’s need to make “educated guesses” in her play, “imagining the contents in order to get personal”. When it comes to truths beyond political and historical fact, plenty can only be speculative, but the relationship that works best on stage is the one rooted in home truths: the volatile one with her loyal yet frank sister Annie (Helen Katamba), who absorbs all her wounding words but makes the most telling retort.

Passion abounds, in the pioneering Ellen herself, in Bird’s writing, in Jones’s performance, but if the enflamed, exasperated Ellen Wilkinson were to have encountered Red Ellen, she would be cracking the whip, demanding better results for all that exertion.

Review by Charles Hutchinson

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More Things To Do in York and beyond when not only the Mouse will play in all weathers. List No. 83, courtesy of The Press

Behind you! Behind you: Will The Gruffalo pounce on Mouse in Tall Stories’ The Gruffalo?

POLITICS, the weather, monsters, Sixties and Eighties’ favourites, comedy songs and a north eastern tornado all are talking points for Charles Hutchinson for the week ahead.

Children’s show of the week: Tall Stories in The Gruffalo, Grand Opera House, York, today, 1pm and 3pm; tomorrow, 11am and 2pm

JOIN Mouse on a daring adventure through the deep, dark wood in Tall Stories’ magical, musical, monstrous adaptation of Julia Donaldson and Axel Scheffler’s picture book, suitable for children aged three upwards.

Searching for hazelnuts, Mouse meets cunning Fox, eccentric old Owl and high-spirited Snake. Will the story of the terrifying Gruffalo save Mouse from becoming dinner for these hungry woodland creatures? After all, there is no such thing as a Gruffalo – or is there? Box office: 0844 871 7615 or atgtickets.com/York.

True or false: Is Tony Hadley playing York Barbican on Sunday? True!

Eighties’ nostalgia of the week: Tony Hadley, York Barbican, Sunday, 7.30pm

I KNOW this much is true: smooth London crooner Tony Hadley is celebrating 40 years in the music business with a 2022 tour that focuses on both his Spandau Ballet and solo years.

Once at the forefront of the New Romantic pop movement, Islington-born Hadley, 61, is the velvet voice of hits such as True, Gold, Chant No. 1, Instinction and Paint Me Down and solo numbers Lost In Your Love and Tonight Belongs To Us. Box office: yorkbarbican.co.uk.

Up and at’em, Fladam: York musical comedy duo Florence Poskitt and Adam Sowter

Comedy songs of the week: Fladam & Friends, Let’s Do It Again!, Theatre@41, Monkgate, York, today at 2.30pm and 7.30pm

YORK musical comedy duo Fladam, alias Florence Poskitt and piano-playing partner Adam Sowter, vowed to return after last year’s Hootenanny, and return they will this weekend. But can they really “do it again?”, they ask. Is a sequel ever as good?

Mixing comic classics from Victoria Wood with fabulous Fladam originals, plus a sneak peak of this summer’s Edinburgh Fringe debut, this new show will “either be the Empire Strikes Back of musical comedy sequels or another case of Grease 2”. Tickets to find out which one: tickets.41monkgate.co.uk.

Always take a brolly with you just in case: Mikron Theatre Company’s James Mclean, left, Hannah Bainbridge, Alice McKenna and Thomas Cotran on tour in Lindsay Rodden’s all-weathers play, Red Sky At Night. Picture: Liz Baker

Whatever the weather, nothing stops Mikron Theatre Company in Red Sky At Night, Scarcroft Allotments, York, Sunday, 2pm

HAYLEY’S sunny, beloved dad was the nation’s favourite weatherman. Now, she is following in his footsteps, joining the ranks of the forecasting fraternity, or at least local shoestring teatime telly.

When the pressure drops and dark clouds gather, Hayley melts faster than a lonely snowflake. She may be the future’s forecast, but will anyone listen in Lindsay Rodden’s premiere, toured by Marsden company Mikron’s 50th anniversary troupe of James Mclean, Hannah Bainbridge, Alice McKenna and Thomas Cotran. No tickets are required; a Pay What You Feel collection will be taken after the show.

Stop Stop Start: The Hollies’ rearranged 60th anniversary tour will arrive at York Barbican on Monday

Sixties’ nostalgia of the week: The Hollies, 60th Anniversary Tour, York Barbican, Monday, 7.30pm

MOVED from September 2021, with tickets still valid, this 60th anniversary celebration of the Manchester band features a line-up of two original members, drummer Bobby Elliott and lead guitarist Tony Hicks, joined by lead singer Peter Howarth, bassist Ray Stiles, keyboardist Ian Parker and rhythm guitarist Steve Lauri.

Expect He Ain’t Heavy, He’s My Brother, I Can’t Let Go, Just One Look, Bus Stop, I’m Alive, Carrie Anne, On A Carousel, Jennifer Eccles, Sorry Suzanne, The Air That I Breathe and more besides. Box office: yorkbarbican.co.uk.

Giving an earful: Bettrys Jones’s Ellen Wilkinson MP, left, has a word with Laura Evelyn’s British Communist activist Isabel Brown in Red Ellen

A bit of politics of the week: Northern Stage in Red Ellen, York Theatre Royal, Tuesday to Saturday, 7.30pm; 2pm, Thursday; 2.30pm, Saturday

CAROLINE Bird’s new play turns the overdue spotlight on “Mighty Atom” Ellen Wilkinson, the crusading Labour MP cast forever on the right side of history, but the wrong side of life.

Caught between revolutionary and parliamentary politics, Ellen fights with an unstoppable, reckless energy for a better world, whether battling to save Jewish refugees in Nazi Germany; leading 200 workers on the Jarrow Crusade; serving in Churchill’s war cabinet or becoming the first female Minister for Education. Yet somehow she still finds herself on the outside looking in.​ Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Steven Jobson, as Jekyll/Hyde, and Nicola Holliday, as Lucy Harris, in York Musical Theatre Company’s photocall for Jekyll & Hyde The Musical at York Castle Museum

Musical of the week: York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm; 2.30pm, Saturday matinee

BE immersed in the myth and mystery of London’s fog-bound streets where love, betrayal and murder lurk at every chilling twist and turn in Matthew Clare’s production of Frank Wildhorn and Leslie Bricusse’s musical adaptation of Robert Louis Stevenson’s epic struggle between good and evil.

Steven Jobson plays the dual role of Dr Henry Jekyll and Mr Edward Hyde in the evocative tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself– both women in love with the same man and both unaware of his dark secret. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Coastal call: Sam Fender kicks off the 2022 season at Scarborough Open Air Theatre

Award winner of the week: Sam Fender, Scarborough Open Air Theatre, May 27, gates open at 6pm

WINNER earlier this week of the Ivor Novello Award for Best Song Musically and Lyrically for his Seventeen Going Under single, North Shields singer-songwriter Sam Fender opens the 2022 Scarborough Open Air Theatre summer season next Friday.

Already Fender, 28, has the 2022 Brit Award for Best British Alternative/Rock Act in his bag as he heads down the coast to perform his frank, intensely personal, high-octane songs from 2019’s Hypersonic Missiles and 2021’s Seventeen Going Under. Box office: scarboroughopenairtheatre.com. 

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Who was Ellen Wilkinson, the pocket dynamo revolutionary Labour politician? Let Red Ellen tell her crusading story

Rallying call: Bettrys Jones as Ellen Wilkinson MP, the groundbreaking first female Minister for Education, in Red Ellen

WHO was the Elfin Fury, the Mighty Atom, the Fiery Particle?

The answer is Labour MP Ellen Wilkinson (1891-1947), a working-class northern woman in a man’s world, whose presence inside the walls of Westminster prompted the reaction: “If that is not espionage, I do not know what is.”

Seven years since the initial commission from Lorne Campbell – Northern Stage’s artistic director at the time – playwright and poet Caroline Bird’s play Red Ellen has taken flight at last, “full of life, passion and humour” in Wils Wilson’s touring production.

Next stop, York Theatre Royal, from May 24 to 28, in the wake of Northern Stage turning the spotlight on another should-be-better-known inspiring political story in The Ballad Of Johnny Longstaff at the Theatre Royal last October.

Labour of love: “I knew little about Ellen, but then I got obsessed,” says playwright Caroline Bird

“Ellen was a complex person by anyone’s standards and she never stopped, but despite her herculean efforts, she is largely forgotten by history,” says Leeds-born Caroline. “The irony, of course, about ‘forgotten women of history’ is invariably the facts of their lives turn out to be acutely memorable: they’re not forgotten because they’re forgettable.

“I’ve been living with Ellen Wilkinson in my head for seven years now and I can honestly say, after writing this play, Ellen has done the impossible: she has given me back a glimmer of faith in politics.

“We need politicians like Ellen, and we also need to look after them and support them. She failed at so many things, and yet she was a total, stonking, miraculous, life-affirming, bl**dy wonderful triumph. A bright and particular star. I hope that some of Ellen’s light can still reach us all the way down here, and that this play might reignite a spark or two.” 

In a nutshell, Red Ellen depicts a woman “forever on the right side of history, forever on the wrong side of life, caught between revolutionary and parliamentary politics, as she fights against the odds with an unstoppable, reckless energy for a better world”. 

On the front foot: Ellen Wilkinson (Bettrys Jones, centre) leading the Jarrow March

These are the facts: Ellen Wilkinson, MP for Middlesbrough East and later Jarrow, campaigned tirelessly for social change, raising the school-leaving age, bringing in free school meals and leading the Jarrow March from the North East to London through York, Nottingham and the Midlands to deliver a petition to reduce unemployment and poverty. 

Not only was she the only female minister in Attlee’s government, she also served as a vital member of Churchill’s war cabinet, taking sole charge of air raid shelters as “the Shelter Queen” during the Second World War.  

Further afield, Ellen campaigned for Britain to aid the fight against Franco’s Fascists in Spain, battled to save Jewish refugees in Nazi Germany and published some of the first anti-fascist literature in Britain. 

She encountered Albert Einstein and Ernest Hemingway, had affairs with Communist spies and government ministers alike but still found herself on the outside looking in.  

The short and the long of it: “Mighty Atom” Ellen Wilkinson MP (Bettrys Jones) and British Communist activist Isabel Brown (Laura Evelyn) in Red Ellen

Rather like her under-appreciated place in British political history, Caroline? “When I was commissioned, I knew little about Ellen, but then I got obsessed,” she says. “I found most people hadn’t heard of her, but it’s like a magician’s top hat: the more you reach in, the more material you find.”

Ellen’s personal papers were burnt after her death, leaving gaps in the story. “I wasn’t interested in writing a eulogy; I wanted to focus on both the personal and political side of her and how her personal side affected her political life,” says Caroline.

“In the absence of her papers, the play is fictionalised, in that I don’t have written proof, but everything has been written with the clout of research behind it for me to make a dramatic representation of her personality and what makes her a beacon of humanity.”

Ellen was always in such a rush, always running, that she often fell over. “She was only 4ft 9 tall, she just couldn’t move fast enough to do everything she wanted to do – and she had asthma too – but nothing would stop her,” says Caroline. “Like when she was driving in a blackout in the war, colliding with lorry and fracturing her skull but went back to work.”

Ellen Wilkinson (Bettrys Jones) speaks out as a lone working-class northern woman in a man’s world in Caroline Bird’s Red Ellen

Caroline felt “sad and reflective” when being struck by Red Ellen’s pertinence as she wrote her story. “There’s a feeling that Ellen spent her whole life walking, marching down a moving walkway that was going in the opposite direction,” she says.

“She had the wind in her face. Sometimes she was having to fight just to stay still. And sometimes it feels like that now. We have to fight to keep what we’ve got before we can even move further along – and there was so much further to go on this march, so much further to go. 

“And the left is divided. That’s the other thing that Ellen really fought for. She wanted unity.”

Northern Stage, Nottingham Playhouse and Royal Lyceum Theatre, Edinburgh present Red Ellen, York Theatre Royal, May 24 to 28, 7.30pm nightly; 2pm, Thursday; 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

The tour poster for Red Ellen, marching into York from Tuesday
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REVIEW: Harold Pinter’s The Homecoming at York Theatre Royal, until Saturday

Sticking it to them: Keith Allen’s cruel patriach Max pours scorn on sons Teddy (Sam Alexander), left, and Lenny (Mathew Horne)

Theatre Royal Bath presents The Homecoming, York Theatre Royal, 7.30pm, tonight; 2.30pm and 7.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk

KEITH Allen, actor and comedian, reckons Jamie Glover’s revival of Harold Pinter’s bewildering 1965 psychodrama is the funniest of his three acquaintances with The Homecoming, spread over 25 years.

That assessment just adds to the puzzle emanating from Pinter’s fantasist family wars. Funny, you say, Keith? Well, not as in funny ha-ha, but darkly, bitterly humorous in its jaw-dropping mind games, sexual power plays and gruff misogyny, even more uncomfortable to observe in this age of #MeToo and heightened gender politics.

As a programme note forewarns, Pinter gave short shrift to “any director or actor who dared to ask him what a line or a scene might actually mean”. You may well be on the side of those befuddled actors and directors, feeling cast adrift on a sea of ambiguity, unsure of what is going on, maybe incredulous too, and yet somehow still fascinated by the shenanigans unfolding.

It turns out Noel Coward was a fan, writing to Pinter after experiencing the convention-smashing, fragmented, disturbing The Homecoming. “You cheerfully break every rule of the theatre that I was brought up to believe in, except the cardinal one of never boring for a split-second,” The Master voiced.

Urbane airs: Mathew Horne’s smooth operator pimp Lenny in The Homecoming

“I love your choice of words, your resolute refusal to explain anything, and the arrogant but triumphant demands you make on the audience’s imagination,” he enthused.

There you have it: the “resolute refusal to explain anything”. Over the years, that baton has been passed to the theatre critic, student and historian, and this particular critic has too often found his Pinter to be half empty, rather than half full, frustrating rather than fulfilling, a night to endure, more than enjoy.

Glover’s production, however, is a more rewarding encounter, the mystery, menacing comedy and muscular machismo language brought to the boil by a superb cast on a memorably distorted set design by Liz Ascroft.

Yes, you have to work hard; yes, you have to use your imagination, and yes, The Homecoming still carries its shock value, no longer the angry young man shock of the new; more, ‘did he just say that?’…’did she just do that’, but that is because the cast as one commits to Pinter’s “pause and effect” rhythm of language and its subsequent verbal punch.

Keith Allen’s Max: A cantankerous King Leer

Having played Teddy in 1997 and Uncle Sam in 2015, Keith Allen graduates to patriarch Max, the retired butcher who still rules the North London family house with a simmering temper from his armchair, using his walking stick as much to threaten violence as to hobble around the living room.

Max, a cantankerous King Leer, sets the mood, switching without warning from vicious viper to florid sentimentality, belittling his brother, quietly resolute chauffeur Sam (Ian Bartholomew), and winding up his sons with his bragging.  

The middle son, sarky pimp mobster Lenny (Mathew Horne), and youngest son, slow-headed, slow-footed aspiring boxer Joey (Geoffrey Lumb) have never left home despite Max’s derision. Like father, like son, all three are deluded, unhinged.

The one who did break away, eldest son Teddy (Sam Alexander), is a smug philosophy professor at an American university with educated airs and a cultivated voice. Without warning, he is paying a visit to show off his wife, mysterious, unpredictable, stultified former model Ruth (Shanaya Rafaat).

Family tensions: Warring Sam Alexander’s Teddy, left, and Mathew Horne’s Lenny with Ian Bartholomew’s mediator, Uncle Sam

This is a change-resistant house devoid of female presence since Max’s wife died, and Ruth becomes a pawn in a power struggle of toxic masculinity. Or does she, because amid the appalling misogyny, in a world where all the men talk, but none of them listens in games of one-upmanship, she is the one who does exactly that and then makes her play, picking them off in turn, as she breaks free from smug Teddy’s condescending control.  

It is said the word is all in a Pinter play, but here director Glover, designer Ascroft and lighting designer Johanna Town have a vital impact, at once physical and visual. Glover uses choreographed movement, a sudden change of posture, as the prelude to a mood switch; Ascroft has built a house interior that is worn, faded, stale, but is also stretched beyond reality with high walls and an endless staircase, bringing a sense of warped perspectives and being trapped.

Town’s lighting switches from drab domestic ordinariness to gothic shadows or flashes brightly on and off to reveal characters in different positions from before to indicate a juddering shift in the play’s tectonic plates.  

Leave the pauses and disdainful social comments to the deconstructionist Pinter, and he leaves you to fill in the narrative gaps, to cling onto the coat tails of non-sequitur conversations and to make sense of it all…or not. He is playing with us, toying with us, ever the agent provocateur out of love with man’s foibles and failings, our idiocy and crassness. Is it funny? The joke is on us.  

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Who’s taking part in York Theatre Royal’s Green Shoots showcase of new works?

Bolshee trio Paula Clark, left, Megan Bailey and Lizzy Whynes: Premiering Boss B***h at Green Shoots

NEW work commissioned by York Theatre Royal from dozens of York and North Yorkshire professional artists will be premiered in Green Shoots on June 7 and 8.

Poets, performers, singers, dancers and digital artists will take part in this sequel to Love Bites, last May’s two-night showcase that marked the Theatre Royal’s reopening after the lifting of Covid lockdown restrictions.

Forming part of the Rumours & Rebels season, Green Shoots’s diverse bite-sized performances will be focused on “rebooting post-pandemic and looking to the future of the planet”.

Twenty commissions have been selected by the Theatre Royal from the call-out for submissions for a scheme that offers £1,000 per commission plus £150 each time they are performed.

Theatre Royal creative director Juliet Forster says: “Love Bites last year was a joyous event that will live long in my mind, not just because we were re-opening after 14 months of enforced closure, but also because our stage was filled to overflowing with the tremendous talent and ingenuity of local artists.

York Theatre Royal creative director Juliet Forster

“It was moving, spectacular, surprising, thought-provoking and funny in equal measures. We have created this new opportunity with Green Shoots because we are excited to see what they will do next.”

Those who were commissioned have been asked to respond to the title Green Shoots in any way that it can be interpreted. “Pieces might be about hope, recovery, new beginnings, revolution, new life, growth, the environment or anything else that can be imagined as a response,” says Juliet.

Participating next month will be Hayley Del Harrison; Dora Rubinstein; Sam Bond; Fladam; Bolshee; Butshilo Nleya; Ana Silverio; Esther Irving; Gus Gowland; Nettle Soup and Polychrome Studios; Paul Birch and Sam Conway.

So too will be Ella Portnoy; Kate Bramley/Badapple Theatre Company; Robert Powell, Ben Pugh and Kitty Greenbrown; Libby Pearson and Emily Chattle; Alexander Flanagan-Wright; Hannah Davies and Jack Woods; Joe Feeney and Carey Simon.

Hayley Del Harrison: Choreographer and theatre-maker

Hang On Little Tomato, Hayley Del Harrison.

HANG On Little Tomato is about a young woman, growing her very first tomato plant. Some people believe that plants respond emotionally when you talk to them but our novice gardener takes this to the next level. It turns out the shared experience delivers mutual support, faithful companionship and that tiny bit of vibrancy they both needed to feel a little less alone. 

Spring In My Step!, Dora Rubinstein

THIS contortion and acro-dance piece is a physical exploration of how it feels when the sun shines again after a long winter. The feeling of sunlight on your skin; the smell of freshly cut grass; the sight of daffodils. The feeling that light, connection, joy, is back, and the dark days are over.

All The World Is Green, Sam Bond

LONELY retirees Jamie and Clara meet by chance at a concert in their Yorkshire Dales village, bringing love unexpectedly back into their lives. A story of new beginnings, All The World Is Green blends live performance and film to look at the power of memories, life after loss and finding love again in old age.

Greenfingers, Fladam

DID you ever hear the tale of Greenfingers? The wicked boy born with unsightly green hands, who spoils all he touches. But has history misjudged this green-fingered boy? Is he even a boy at all? Find out in this deliciously Dahl-esq treat from madcap musical duo Fladam, alias Adam Sowter and Florence Poskitt.

BOSS B***H, Bolshee

BOSS B***H explores the infamous statement made by influencer Molly-Mae Hague and celebrity media personality Kim Kardashian that we all have the same 24 hours in a day as Beyonce. Cue five minutes of female voices, beats and moves. “Let’s challenge the toxic boss bitch narrative,” say Paula Clark, Lizzie Whynes and Megan Bailey.

Butshilo Nleya: Healing stories

Tatu Dances: Stories Of Healers, Butshilo Nleya

A PLAY with dances, songs, poetry about healing the mind, the body and the spirit celebrated by three generations of displaced, dejected, denigrated and defiant African healers. 

Green Shoots, Ana Silverio (Terpsichoring)

ANA’S solo dance piece, specially created for the Green Shoots commission, explores the processes and emotions of starting over again after an unexpected interruption. This work is about perseverance and the search for possibilities.

Her Face/My Face, Esther Irving

WHAT do you do when you no longer recognise the face that looks back at you in the mirror? How can you re-connect the life you had with the one you live now?

Your Own Road, Gus Gowland

THIS original song takes its inspiration from a quote from James Herriot’s memoir All Creatures Great And Small: “When all t’world goes one road, I go t’other”. Performed by Joe Douglass, this uplifting and empowering anthem encourages you to follow your own path and see hope in the world around you.

Stones On The Riverbed! Nettle Soup and Polychrome Studios

HAVE you ever heard of the legend of the five white stones? This piece of verbatim theatre explores what the residents of York are looking forward to in the future, unearthing their hearts’ truest desires.

Gus Gowland: Uplifting and empowering anthem

Beanstalk, Paul Birch

FOR hundreds of years, you have been telling the story of Jack And The Beanstalk completely wrong.  Beanstalk is the recently discovered true account of the tale, told from the Giant’s point of view. Any similarities to any persons now living, lying or misusing public funds is entirely coincidental. 

‘Don’t Mow, Let it Grow!’, Sam Conway (Little Leaf Theatre)

THIS piece extols the benefits of letting the grass in your garden grow throughout spring. Incorporating dance, music and video, Little Leaf Theatre endeavour to bring a serious message to the stage in a light-hearted and engaging way.

Baby Bird, Ella Portnoy

A MONOLOGUE about breaking out of an egg and feeling new-born after lockdown – being a gosling and pottering around in the world, full of curiosity.

The Three Allotmenteers, Kate Bramley/Badapple Theatre Company

A CURIOUS late-night game takes place at The Gardener’s Arms as The Three Allotmenteers play for what was left after the sudden death of their friend. An unexpected discovery sows the seeds of a joyous outcome to their current situation

Beckon, Robert Powell, Ben Pugh and Kitty Greenbrown

THIS five-minute performance and film-poem drew initial inspiration from a remarkable medieval church window in York. Beckon invites its audience on a brief but powerful journey through a landscape of shared memory, confusion, fear and wonder towards a sense of hope.

The dramatic collage of spoken word, film and sound conjures both past and present times to address our current situation – a world at once treasured and threatened.

Alexander Flanagan-Wright: “Just words, and a little bit of music”

The Sapling!, Libby Pearson and Emily Chattle

SASHA’S history has bonded her to nature in general and to trees in particular, and she knows that sometimes even the smallest of gestures can have the biggest of impacts. Meet Sasha as she tells her personal story of discovery and making a difference.

If There Was Ever Anything Worth Hoping For Then I Hope, Alexander Flanagan-Wright

“THIS is a story. It’s a short story. It’s only five minutes long. But it’s about loads of stuff. It’s about everyone, I guess,” says Alex. “It’s about everything that got each of us to here and it’s about what we do next and, importantly, what we hope will happen after that.

“It’s just words, and a little bit of music. But it’s come from your yesterday, your week before, the years that got you here. And it’s about tomorrow, or next week, or next year. If you’re after a fresh start, they perhaps don’t exist. But tomorrow does, so let’s pin some of our hope on that, shall we?”

The Ballad Of Blea Wyke!, Hannah Davies and Jack Woods

THE traditional selkie myth is reworked for the Yorkshire East Coast, set against the dramatic landscape of Ravenscar. Here the ancient story of the seal-people is re-imagined, placing it in a world not too far off from our own, where cliffs are crumbling and some people have never seen the sea, despite the rising water levels.

Green Man!, Joe Feeney

AT the end of his tether witnessing the climate emergency’s destructive charge towards certain oblivion, and feeling utter powerlessness, an ordinary man calls on the mythical Green Man of yore to save the world.

Ocean/Jura, Carey Simon

PRESENTING two poems with a backdrop of classical music. Ocean focuses on the seething fury of the mighty unabashed ocean, the passion and the volatility of its rolling motion that conceals its briny, gloom-shrouded depths from frail eyes above.

Jura is an elixir that transcends the bounds of the spirit-taste divide. Smoothness, translucence overflowing the senses into something more. Deliciousness, a notion leading to Nirvana’s devotion.

Tickets for the two 7.30pm performances are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

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Keith Allen plays The Homecoming to the Max in third role in Pinter’s brutal comedy

Keith Allen as brutal patriarch Max, ruling his sons with threats and violence, in The Homecoming

KEITH Allen is completing a hattrick of roles spread over 25 years in Harold Pinter’s darkly comic power struggle The Homecoming, on tour at York Theatre Royal from tonight.

At the National Theatre, in 1997, the Welsh actor, comedian, television presenter, documentary maker and rousing punk musician played university professor Teddy, returning from America with his wife Ruth to find his two brothers, Joey and Lenny, and elderly father Max still living at their North London family home.

In 2015, at the Trafalgar Studios, London, he was cast as Uncle Sam. “Now I’m playing Max but that’s as far as I can go because I’m too old to play Joey or Lenny,” says Keith, 68. “Max is the patriarch of a very misogynistic household. Every character is repressed to the nth degree but while most of them repress their rage Max doesn’t.

“He had a very interesting relationship with his now-dead wife that has coloured his whole life and he’s in a household where they’re all playing games and trying to top each other. Everything that’s done is for a reason and it’s usually to get one over on someone else.”

Keith compares former butcher Max to a raging sheep: “If you’ve ever been in a field with a very angry tup, you don’t want to be there. I’ve been there and they don’t back down.”

Director Jamie Glover and actor Mathew Horne, who is playing pimp Lenny, always had Allen in mind for their Pinter project “They’re close mates, and the genesis of the idea to do a Pinter play came from them. They took their idea to Danny Moar at [the Theatre Royal] Bath, originally wanting to do The Caretaker, but the Pinter estate offered the rights to The Homecoming instead.”

Glover and Horne were unsure whether Allen would want to return to Pinter’s 1965 fractured family drama, but “Max is a part I’ve always had my eye on,” says Keith. “I was very lucky to be offered it and I’m very pleased to be doing it.”

After all, The Homecoming is considered to be Pinter’s finest work in its exploration of toxic masculinity, stultifying patriarchy, one-upmanship feuds and sexual powerplays. “I’ve always thought Pinter was a poet before he was a playwright and the poetry is amazing. This whole play is about language and very particular choices of words, which is why as an actor you have to be very on-the-ball about the grammar.

Keith Allen’s Max, seated, and Mathew Horne’s Lenny, centre, in The Homecoming

“I think the lyricism of the play is extraordinarily attractive and the tension has people constantly going, ‘What on earth is happening and what’s going to happen next?’.”

Keith praises not only the writing, but the “brilliant structure” too, describing it as a feat of engineering. “As an actor, you just get your skis on and let the skis guide you,” says the skiing enthusiast.

What does Keith recall of his first performance in The Homecoming? “That was in 1997, directed by Roger Michell, who died last September, bless him. I remember feeling I’d let the cast down in rehearsals, as I would forget my lines, make things up and trip my way through it, playing Teddy to Lindsay Duncan’s Ruth.

“But I got a handle on it in the end, and it was a brilliant way to learn about being still on stage, which is a great skill to master, when a lot of actors get scared if they’re not doing anything.”

Comparing the productions, Keith says: “I have to say that all three have had very different qualities. This one is very funny, much funnier than the other two, because the director chose that path. Jamie Lloyd’s production in 2015 was much bleaker; this one is genuinely funny but also very discerning.

“A hefty contributory factor to that humour is that these men are idiots. They’re fantasists, all trying to be top dog, and that’s funny to watch.”

Assessing The Homecoming’s impact on audiences in 2022, by comparison with 1965, Keith says: “Misogyny is very present in the play, as is generational jealousy within a family. The mother is dead but she looms very large in everyone’s memory, especially Max’s because he loathed her.

“When the play was first performed, I don’t think anyone had seen anything quite so vicious and measured before. Now it’s interesting for different reasons because we’re living in a time where women are becoming far more recognised and are on a far more equal footing.

“As an actor, you just get your skis on and let the skis guide you,” says Keith Allen of the art of performing in a Pinter play

“There are things in the play that could be misconstrued as being abusive to women and, because of the times we’re living in, audiences might react very quickly to certain things which they wouldn’t necessarily have reacted to before.”

Keith has “previous” for Pinter, not only appearing in The Homecoming but also in Pinter 3: Landscape/A Kind Of Alaska in the West End and The Celebration and The Room, both directed by Pinter himself at the Almeida Theatre, London, in 2000 and in New York in 2001. 

“You very quickly realised that Harold chose people for what they could do; he was very careful in his casting,” Keith recalls. “He wouldn’t ask you to act a part, but to ‘be’, so he left you alone and watched.”

As for Pinter’s advice on his notorious use of pauses, “he once quite frivolously said to us, ‘if the pauses don’t work, **** it’, but actually they do work,” says Keith. “It works like a musical score in that what comes before dictates what comes after. It’s all about rhythm.”

After a five-year hiatus, Keith will enjoy his return to York, where he was last seen on stage as Inspector Rough in Patrick Hamilton’s thriller Gaslight at the Grand Opera House in February 2017. ” York is lovely because you’re near the river and there are some lovely pubs,” he says.

“I really like touring. I like the fact that you’re on the move and it’s as if you’re having an opening night every week because you’re in a different space, in a different theatre, with a different ambience.

” I like to fit in some golf wherever I go and I have an ingrained curiosity about corrugated iron chapels and buildings, so I always see if I can find one or two to go and have a look at.”

Theatre Royal, Bath, presents Harold Pinter’s The Homecoming, York Theatre Royal, tonight until Saturday; 7.30pm, plus 2pm, Thursday; 2.30pm, . Box office: 01904 623568 or at yorktheatreroyal.co.uk

Keith Allen as Inspector Rough and Kara Tointon as Bella Manningham in Gaslight at the Grand Opera House, York, in February 2017