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York Light Opera Company rise to Evita challenge at the double in Knight’s move to combat pandemic toil and trouble

Making Light work of it: John Hall (Juan Peron), Alexa Chaplin (Eva Peron) and Dale Vaughan (Che) as one principal trio for York Light’s Evita at York Theatre Royal

WHY will York Light Opera Company have two Evas, two Juan Perons and two Ches in Evita?

Director Martyn Knight has decided to use double casting for the main roles in the February 9 to 19 production at York Theatre Royal in response to Covid-19’s ongoing impact.

“For the five principal roles, they’re all double cast, because we’re still in a pandemic and we wanted to protect ourselves,” he says. “We’ve kept the principal casts separate, which has required us to double the rehearsal time and rehearse in separate rooms.

“But we’ve had cast members drop out with Covid; we’ve had cast members drop out with long Covid; we’ve had cast members suffer injuries. We are on our 18th cast list due to people having to pull out. It’s been a nightmare but it’s also been a labour of love.”

Explaining his reasoning behind “doing the double”,  he says: “It’s a fully sung show and double casting provides each team with sufficient rest. The main character parts are huge and it would be a colossal ‘ask’ of any understudy to learn and have to perform those roles without significant rehearsal.

“Double casting provides the best possible cover, which is needed more than ever when putting on the production during a pandemic.”

All the while, Martyn had his annual pantomime commitment – for the 18th year –from November to January as the resident dame at Eastbourne’s Devonshire Park Theatre, playing Nellie Nightnurse in Sleeping Beauty.

Martyn Knight in the poster for this winter’s Eastbourne pantomime role as Dame Nellie Nightnurse

“The gutting thing for me is that I’d never missed a performance, in all those years, working through shingles, ear, nose and throat issues and stomach problems, but then I tested positive for Covid on New Year’s Eve,” he says.  “Out of 13, ten of us went down with it during the run; at one point, we had no ensemble and the baddie [Carli Norris’s Carabosse] had to use the stage crew as her minions.

“But I managed to return for the last day, and it was a very powerful, emotional feeling doing the panto this winter, playing to 25,000 people. They needed it, the joy of seeing a show, and that’s why we’re so determined to get theatre back on.”

Hence the precautions taken by York Light for Evita, Andrew Lloyd Webber and Tim Rice’s musical account of the rags-to-riches life story of Eva Peron as she goes from poor provincial child to First Lady of Argentina on her “Rainbow Tour”, using popularity and politics to serve both her people and herself.

For this musical of people, power and politics, Alexa Chaplin and Emma-Louise Dickinson will share the lead role of Eva Peron; Dale Vaughan and Jonny Holbek will play Che; John Hall and Neil Wood, Juan Peron; Dave Copley-Martin and Richard Weatherill, Agustin Maglidi, and Fiona Phillips and Hannah Witcomb, Peron’s Mistress.

Since initial rehearsals last autumn, Alexa and Emma-Louise had not seen each other until their paths crossed in the car park at last Sunday’s rehearsals.

“It’s been a very different experience, where we were only together early in the process, when Martyn was blocking the show, but that was a long time ago,” says Alexa. “It feels very odd not knowing what the other set of principals will be like, but doing it this way, dividing the performances,  has meant I could do a show I couldn’t otherwise do, with childcare requirements.

“It will be interesting to see if each night off will feel restful or whether we’ll be chomping at the bit to get back on stage.”

Double act: Neil Wood (Juan Peron), Emma-Louise Dickinson (Eva Peron) and Jonny Holbek (Che) as the other principal trio for York Light Opera Company’s Evita

In preparing for the lead role, Alexa says: “I’m quite a nerd, when it comes to research, reading biographies, finding out about the character, but then, what writers do to a character in a musical is not fully true to life, and you have to bridge that gap of how they interpret her.

“But I feel whatever you think about her politics, Eva’s absolute tenacity and drive and endless energy is incredible – and the musical demands that you match that energy, with it being such a ‘big sing’.”

Emma-Louise was last on stage in a musical in February 2020, playing Nancy in Oliver! at York Theatre Royal, in the weeks before the first Covid lockdown. “The only thing I’ve done since then was the Raise The Roof fundraiser for the Joseph Rowntree Theatre with everyone spaced out and a restricted audience capacity,” she says.

“If someone had said you won’t do a musical for two years…but at least I’ve been fortunate in being able to engage in singing online as a music teacher. It’s such a discipline, performing, and after such a long time off, it’s been a challenge building up the stamina again since we started rehearsals in September.”

Contemplating playing Eva Peron, Emma-Louise says: “Whenever you’re playing a real-life character, there’s an added pressure to make it accurate, so there’s not as much room for interpretation.

“I’ve learned how fascinating it is that someone can be so adored but so reviled, and the only thing I can liken it to is the story of Princess Diana. They were both controversial figures, but when Diana died there was this huge devastation, and her legacy has grown and grown, just as it has for Eva Peron.”

York Light Opera Company in Evita, York Theatre Royal, February 9 to 19, 7.30pm (except February 13); 2.30pm matinees, February 12 and 19. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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REVIEW: Martin Dreyer’s verdict on Pasadena Roof Orchestra, York Theatre Royal, January 28

Pasadena Roof Orchestra: “Feeling this music in their bones like no other group”

IN times of stress, a little nostalgia goes a long way. And nostalgia doesn’t come any better than the Pasadena Roof Orchestra’s evocative excursions, mainly into the 1920s and ’30s.

PRO’s ten players, many doubling on a second instrument, were led by singer-compère Duncan Galloway, who also proved a mean tap-dancer. They feel this music in their bones like no other group I know.

Believe It Or Not (‘I’m Walkin’ On Air’) got everyone going and soon we were into Zing Went The Strings, with pianist Simon Towneley lending his voice to Galloway’s in this James Hanley hit from 1934.

From exactly that era came the short-lived Alex Hill’s I’m Crazy ‘Bout My Baby. English composers were not neglected either, with the dreamier What More Can I Ask?, which Ray Noble wrote to words by Anona Winn.

Irving Berlin’s first really big hit was Alexander’s Ragtime Band, which was launched as early as 1911 by the contralto Emma Carus, although when Al Jolson took it up in New York it really went viral.

Two of Berlin’s big film tunes also found their way onto PRO’s menu: Puttin’ On The Ritz (1929) and Top Hat, White Tie And Tails (1935). All three were given terrific verve.

PRO boasts some of the best soloists in the business, none finer than banjoist Harry Wheaton, who brought lightning fingers and considerable sparkle to Frosted Chocolate. His is a rare talent these days.

Oliver Wilby’s tenor sax brought swinging life to Body And Soul, the number that made Johnny Green’s name in 1928. Percussionist Dominic Sayles gave a more than passable imitation of the legendary Gene Krupa in Drummin’ Man (1939).

Malcolm Baxter’s trumpet took the lead several times, none better than in a six-man Dixieland group that gave a vigorous account of Indiana (‘Back Home Again In Indiana’, 1917).

The best slow smooch came in Duke Ellington’s Black And Tan Fantasy of 1927, although Sam’s tune from Casablanca, As Time Goes By – actually Dooley Wilson in the film – ran it pretty close.

Duncan Galloway has a slick way with these vocals, and his diction improved notably in the second half when the microphones were made to work properly, spearheaded by Cole Porter’s Anything Goes.

It ended with Tiger Rag, a medley of four tunes that hark back to New Orleans of the 1890s. It was right up PRO’s street and brought this stimulating evening to a rousing finish, not forgetting the band’s signature tune, Pasadena, which was actually made famous in this country by the Temperance Seven.

We may be hugely grateful that the Pasadena Roof Orchestra is keeping these traditions alive and kicking. They are welcome back in Yorkshire any time.

Review by Martin Dreyer

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York theatres join National Lottery’s Love Your Local Theatre ticket offer campaign

Ore Oduba as Brad Majors in The Rocky Horror Show, one of the shows at the Grand Opera House, York (from March 14 to 19) for which National Lottery players can acquire two tickets for the price of one

YORK Theatre Royal and the Grand Opera House, York, are joining more than 100 theatres in UK Theatre’s Love Your Local Theatre campaign.

The National Lottery is providing up to £2 million to subsidise 150,000 tickets nationwide in the biggest-ever 2-for-1 ticket offer, open to National Lottery players who attend a show during March, whether musicals, plays, family shows, comedy or dance.

Tickets are available to buy from 10am today via loveyourlocaltheatre.com in a campaign run by theatre membership body UK Theatre, designed to encourage the public to support their local theatres as they begin to recover from the impact of Covid.

Supported by Girls Aloud singer, television presenter and stage star Kimberley Walsh, Love Your Local Theatre is a thank-you for the £30 million National Lottery players raise every week for good causes, including support for the performing arts and theatres during the pandemic.

Walsh says: “We are so privileged to have so many incredible theatres and entertainment venues across the UK. I have been lucky enough to perform in many of them. Without our local theatres, the face of UK entertainment would look very different and it’s amazing the National Lottery is providing £2 million to support them.

“The entertainment industry was particularly impacted by the pandemic, and that’s why the Love Your Local Theatre campaign is so important in supporting their recovery.”

York Theatre Royal: Participating in the National Lottery-funded Love Your Local Theatre campaign

Stephanie Sirr, president of UK Theatre, says: “We are delighted to be working with the National Lottery on Love Your Local Theatre, the first time UK Theatre members across the country have united for a ticket promotion of this scale.

“We should be hugely proud in this country to have such an extensive, vibrant and diverse range of regional theatres, all of which play a vital role in the theatre landscape of the UK and beyond. After such a turbulent two years, we want to shout about the fact that theatres are open and ready to reward audiences for their patience and loyalty – please visit your local theatre and help them continue to make brilliant creative work!”

Nigel Railton, chief executive officer of National Lottery operator Camelot, adds: “The UK’s entertainment industry is world class, thanks to the huge variety of venues and projects across the four nations.

“National Lottery players raise £30 million a week to help fund good causes, many of which lie in the entertainment industry. The National Lottery is proud to have teamed up with UK Theatre to launch the Love Your Local Theatrecampaign, giving local theatres the support they need to get on the road to recovery following the pandemic, while saying thank you to National Lottery players who have helped support many theatres during the last two years.”

Among other Yorkshire theatres taking part are: Bradford Alhambra Theatre; Harrogate Theatre; Hull New Theatre; Hull Truck Theatre; Leeds City Varieties Music Hall; Leeds Grand Theatre; Leeds Playhouse; Stanley & Audrey Burton Theatre, Leeds; Stephen Joseph Theatre, Scarborough, and Sheffield Theatres (Lyceum and Crucible).

The Love Your Local Theatre promotion is available to anyone who is a National Lottery player and possesses a National Lottery ticket. From today, players can purchase tickets at available performances taking place during March.

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More Things To Do in York and beyond, as York welcomes York to York for the weekend. List No. 67, from The Press

Enjoy free admission to York Art Gallery’s Young Gainsborough: Rediscovered Landscape Drawings exhibition as part of York Residents’ Festival. Booking required. Picture: Charlotte Graham

YORK attracts 8.4 million visitors, but this weekend you are invited to be a tourist in your own city, as Charles Hutchinson highlights.

Festival of the week: York Residents’ Festival, today and tomorrow

MORE than 70 events, attractions and offers make up this weekend’s York Residents’ Festival, with the offers continuing all week.

Organised by Make It York, this annual festival invites all York residents with a valid YorkCard to “explore the city and be a tourist for the weekend”, one card per person. 

Pre-booking is required for some highlights of a festival that takes in museums, theatres, galleries, churches, hidden gems, historic buildings, food and drink and shops.  For more details, visit: visityork.org/residents-festival.

Tall storey in Tall Stories’ The Smeds And The Smoos at York Theatre Royal this weekend

Children’s show of the week: The Smeds And The Smoos, York Theatre Royal, today, 2.30pm and 4.30pm; tomorrow, 10.30am and 1.30pm

SOAR into space with Tall Stories’ exciting new stage adaptation of writer Julia Donaldson and illustrator Axel Scheffler’s joyful tale of star-crossed aliens.

On a far-off planet, Smeds and Smoos cannot be friends. Nevertheless, when a young Smed and Smoo fall in love, they promptly zoom off into space together.

How will their families get them back? Find out in an interplanetary adventure for everyone aged three upwards, full of music and laughter, from the company that delivered The Gruffalo and Room On The Broom on stage. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Bedtime story: Ian Ashpitel and Jonty Stephens as Eric Morecambe and Ernie Wise in Eric & Ern

Nostalgia ain’t what it used to be; it’s better in: Eric & Ern, York Theatre Royal, Tuesday and Wednesday, 7.30pm

IAN Ashpitel and Jonty Stephens bring you sunshine in their uncanny portrayal of comedy duo Eric Morecambe and Ernie Wise in a show that has been touring for more than five years.

Combining renditions of famous comedy sketches with contemporary references, Eric & Ern contains some of the first new writing in the Morecambe & Wise  style in more than in 30 years. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Abstract collage, by Peter Schoenecker, at Pocklington Arts Centre

Exhibition of the week outside York: Peter Schoenecker, A New Way Of Looking, Pocklington Arts Centre, until February 19

PETER Schoenecker’s mixed-media artworks open Pocklington Arts Centre’s 2022 season of exhibitions in the studio.

On show are watercolours, acrylics and lino prints by the Pocklington artist, a former graphic designer, who is inspired by the landscape and seascape textures and lighting in and around his Yorkshire home.

“My aim is usually to create a mood or atmosphere using colour or black and white,” he says. “Switching between media keeps me interested and innovative, hopefully bringing a freshness to the work.”

Echo & The Bunnymen’s Ian McCulloch and Will Sergeant: From Liverpool to Leeds on Wednesday

Gig of the week outside York: Echo & The Bunnymen, Leeds O2 Academy, Wednesday, doors, 7pm

AHEAD of the February 18 vinyl reissue of their 1985 compilation Songs To Learn & Sing, Liverpool legends Echo & The Bunnymen play plenty of those songs and more besides in Leeds (and at Sheffield City Hall the night before).

Available for the first time since that initial release, the “Best Of” cherry picks from their first four albums with the single Bring On The Dancing Horses as the icing on top. On tour, vocalist Ian McCulloch and guitarist Will Sergeant will be leading a band now in their 44th year, still too cool to be called a heritage act. Box office: gigsandtours.com/tour/echo-and-the-bunnymen.

Granny (Isabel Ford) and Ben (Justin Davies) in the Crown Jewels-stealing scene in Birmingham Stage Company’s Gangsta Granny

Family show of the week: Birmingham Stage Company in Gangsta Granny, Grand Opera House, York, February 3 to 5, 2.30pm and 7pm; February 6, 11am and 3pm

IN David Walliams’s tale, Friday night means only one thing for 11-year-old Ben: staying with Granny, where he must put up with cabbage soup, cabbage pie and cabbage cake.

Ben knows one thing for sure – it will be so, so boring – but what Ben doesn’t know is that Granny has a secret. Soon Friday nights will be more exciting than he could ever imagine, as he embarks on the adventure of a lifetime with his very own Gangsta Granny, in Neal Foster’s touring production, back in York next week for the first time since 2016. Suitable for age five upwards. Box office: 0844 871 7615 or at atgtickets.com/York.

Two out of Seven: Shed Seven’s Rick Witter and Paul Banks to perform as a duo in Scarborough

Compact Sheds: Rick Witter and Paul Banks, Scarborough Spa Theatre, April 17, 7.30pm

SHED Seven shed three when frontman Rick Witter and lead guitarist Paul Banks “go where no Shed has gone before” to play Scarborough over the Easter weekend.

Mr H Presents promoter Tim Hornsby says: “Expect a special night of classic Shed Seven material and a few surprises”.

“You already know this whites-of-their-eyes show is going to sell out, so don’t get bothered with the regular unholy last-minute scramble for tickets and purchase early for a holler-along to some of the best anthems ever,” he advises. Box office: scarboroughspa.co.uk.

James Swanton as Lucifer with cast members of The Last Judgement when plays from the 2018 York Mystery Plays were staged in the Shambles Market. Picture: Lewis Outing

Looking ahead to the summer: 2022 York Mystery Plays, York city centre, June 19 and 26

HERE come the wagons, rolling through York streets on two June weekends, as the Guilds of York maintain their four-yearly cycle of York Mystery Plays set in motion in 1998.

As in 2018, Tom Straszewski is the artistic director for a community production involving nearly 600 people creating hours of drama, performed for free, on eight wagons at four locations, including St Sampson’s Square, St Helen’s Square and King’s Manor.

“The plays will cover the creation of the world, floods, last meals together and resurrections,” says Strasz. “We’re still seeking directors, performance groups and actors, who should email director@yorkmysteryplays.co.uk to apply.”

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REVIEW: The HandleBards’ biker-groovy Macbeth, York Theatre Royal ***

Something wickedly funny this way comes: Jenny Smith, left, Natalie Simone and Kathryn Perkins as the ‘Weird Sisters’ in The HandleBards’ Macbeth

The HandleBards in Macbeth, York Theatre Royal, tonight (26/1/2022) at 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

THE Scottish Play becomes The Skittish Play when recycled by eco-conscious pedalling enthusiasts The HandleBards in pursuit of daft laughs on their return to York Theatre Royal.

Tragedy takes a hike up the Scottish Highlands, soliloquys lose out to a rising cacophony of noise, and The Porter’s knock-knock interlude vanishes like the secret midnight hags into the dreek mists.

Often cut for being Shakespeare’s one (not-very-funny) comic interlude, as unwelcome as a drunken heckler, presumably this time Macbeth’s bouncer has been axed for being the one character that did not require conversion to comedy.

The HandleBards like to break down barriers, as Emma Sampson’s cast demolishes theatre’s fourth wall from the off when perky Kathryn Perkins, towering Natalie Simone and professional debutante Jenny Smith introduce themselves and who they will be playing. These days, it is called meta-theatre, a form of heightened awareness that a play is indeed all about playing.

Crowning gory? Kathryn Perkins’ hell-for-leathers Macbeth

Or it could just be that The HandleBards just want to “shake a spear” at all that seriousness that emanates from so many Shakespeare productions.

Macbeth has broad shoulders and can pretty much take anything you throw at it, on stage or screen, although there was one time on a Leeds stage where the lead actor was so hapless that he not only murdered all around him, he murdered Macbeth.

That does not happen here, but Perkins’ Cockernee Artful Dodger Macbeth does tend to play second fiddle to the weird sisters, the Witches pulling Macbeth every witch way, every which way in this all-female production.

If you want punk irreverence, you will find it here, not least in the biker costume designs of Lucy Green that echo the Seventies’ clobber of Vivienne Westwood and Malcolm McLaren, tartan trim and all.

Jenny Smith’s Donalbain in The HandleBards’ Macbeth

Cycling paraphernalia is omnipresent too, from the bell to signify scene changes to the tyres on the Macbeth’s biker jacket; from the bicycle pedalling that provides the power for scenery to turn around to the honking of a horn to add to the anarchic silliness. Macbeth and co are bikers, not cyclists, as indicated by the HandleBards’ use of handlebars to signify motorbikes and a child’s toy for the sound of a revving engine.

There is abundant comic energy here, indeed an excess of it, that leaves Macbeth’s text struggling for air by comparison with last May’s visit of Romeo & Juliet that had a better balance between HandleBards’ comic mayhem and teen tragedy.

Imagine Eric Morecambe undermining Ernie Wise’s attempts to present one of those “plays what I wrote”, but then overplaying it as clarinet and shruti box drown out Perkins’s “Tomorrow and tomorrow and tomorrow” soliloquy. In such a moment, something of the play is lost in choosing to tell it by behaving like Shakespeare’s idiot, full of sound but not fury, signifying what?  

Elsewhere, the comic tone works better, as does the editing out of the dull political stuff down in England. Natalie Simone’s Strictly Come Dancing-loving Lady Macbeth is a scream, blessed with the best comic timing; Jenny Smith has bags of clowning physicality; Perkins’s Macbeth is sacrificed to the constant playfulness.

Dancing queen: Natalie Simone’s Strictly-loving Lady Macbeth

You will enjoy women sending up Macbeth and MacDuff comparing their manliness; the Witches’ percussive musicianship, singing and later rapping; the impatience at MacDuff taking forever to comprehend the news that his wife and bairns are all dead (spoiler alert); the use of red confetti to signify blood; the dagger attached to Macbeth’s head to “see before me”.

Look out too for two Coronavirus references, two well-placed insertions of topical comedy where, elsewhere, Sampson’s cast sometimes pushes too hard for lightweight laughs at the cost of storytelling.

Sampson had decided to not replicate the use of baked beans and tomato soup for blood from the original HandleBards’ Macbeth, preferring the less messy confetti, but there are moments where the production could be cleaner, less prone to over-excitement, less busy.

This Macbeth is neither ‘bloody’ funny, nor dead funny, in a hammy Hammer horror style; more of a Five Go Camp Acting jaunty jape instead.

Coming next will be a tour of Twelfth Night; dates are yet to be announced.

Review by Charles Hutchinson

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If there’s a funny side to Macbeth, be assured The HandleBards will find it

Crowning gory? Not when Kathryn Perkins plays Macbeth in The HandleBards’ Macbeth. Picture: Rah Petherbridge

SOMETHING wickedly funny this way comes in irreverent Shakespeare troupe The HandleBards’ all-female Macbeth, the first burst of York Theatre Royal’s Spring! Season on January 25 and 26.

Anyone fearing that “The Scottish Play” will be all gloom and doom instead will encounter “The Skittish Play”, with the tragedy-trampling promise of a frantic, delirious, full-of-beans farce delivered by Kathryn Perkins, Natalie Simone and Jenny Smith. 

Director Emma Sampson, now returned to Australia, says: “Working with The HandleBards is always the most fun job of my calendar year and the all-female cast has been a delight to direct. They are truly three of the funniest women I have ever met in my life.”

Tom Dixon, co-producer and co-founder of these cycling purveyors of environmentally sustainable Shakespeare, concurs. “Having three women playing all the roles brings real joy to poking fun at all the toxic masculinity in Macbeth. There’s a tradition of finding men dressed as women funny, and this way we can mock men by having women play them.

Jenny Smith’s Donalbain. Picture: Rah Petherbridge

“Lucy Green’s design has gone for a rocker biker theme, so lots of the costumes have bicycle motifs. Macbeth’s leather jacket has tyres on the shoulder pads, and for the motorbikes we have bicycle handlebars and children’s toy parts too.

“We also have Macbeth and MacDuff squaring off and comparing sizes, shall we say, because they’re such ‘manly men’, with all the humour that goes with that when played by women.”

Revelling in The HandleBards’  “very weird ‘Weird Sisters’” taking on all before them in Macbeth, Tom suggests Shakespeare’s tragedy is a joy because it is “such a giving play”, one that continues to draw myriad reinterpretations, whether on stage or screen, where Joel Coen’s The Tragedy Of Macbeth, starring  Denzel Washington and Frances McDormand, is the latest addition.  

“I’m sure you can think that Shakespeare wrote some scenes with comedy in mind, not just the Porter’s scene but how Macbeth addresses everyone towards the end,” says Tom, The HandleBards’ artistic director. “That’s something we like to have fun with when finding a theme for our productions.

“In 2015, when we first did Macbeth, we went for a camping theme, with half baked beans/half tomato soup for all the blood, but Emma vetoed that for the new production. Back in 2015, it was the original [all-male] company that performed it, and we were very willing to get messy!

Every witch way: Jenny Smith, left, Natalie Simone and Kathryn Perkins in The Handlebards’ irreverent Macbeth. Picture: Rah Petherbridge

“Maybe Emma thought, ‘that was back then, but we don’t want it to be so messy’. Now it’s more about ‘meta-theatre’, with one of the characters always trying to play the clarinet behind every Macbeth soliloquy, much to Macbeth’s annoyance.”

Extracting the toxic masculinity from Macbeth meets a counterpoint in Lady Macbeth’s plea to “unsex me here”. “It’s that whole idea that being a woman and committing these acts [of murder] is something that a woman just wouldn’t do, which makes her such a fascinating character.

“We do explain why she says it but we come to a silly conclusion, where our Lady Macbeth really loves Strictly Come Dancing. What’s fun for us is that we’ll have these serious discussions about what masculinity means but then that breaks out into silly jokes.”

Not everyone finds The HandleBards’ pursuit of humour to be a barrel of laughs. ”To be fair, we do meet some people who don’t like our style, and that’s fair enough,” says Tom. “It’s not for everybody, but I would argue we have a wider reach than most, because a lot of people think Shakespeare is not for them, but, look, he wrote for the masses.

“We get this situation a lot of the time, where someone, usually a man, comes along with a friend who bought a ticket for them, and they come for a nice picnic, but they leave converted. Our shows can be a gateway to Shakespeare for them, thinking they would now be prepared to go to a more serious production.

Out, damned spot! Natalie Simone’s Lady Macbeth. Picture: Rah Petherbridge

“But our productions are always grounded in the truth of the text. We still hold the text in the highest esteem, and we keep the dialogue in period. We’re Shakespeare nerds but we like to have fun, and with Macbeth, there are so many iconic images, like the floating dagger and the Witches, it gives us themes to explore humorously.”

As a generalisation, The HandleBards can have more fun with a tragedy than a straight-up Shakespeare comedy. “A lot of what Shakespeare finds funny is now outdated, which sets a challenge, so it’s nice to be able to surprise people with a silly version of Macbeth, where we can take the tragedy and make it funny,” says Tom.

Last May’s Theatre Royal visit with Romeo & Juliet showed The HandleBards could make the most of a tricky mix of Mercutio-led comedy making way for murder and tragic teen suicides. Now prepare for an all-female, bewitching, unhinged, dead funny take on Macbeth.

The HandleBards present Macbeth, York Theatre Royal, January 25, 7.30pm, and January 26, 2pm and 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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York Theatre Royal to support artist or company at this summer’s Edinburgh Fringe

York Theatre Royal: Taking part in Pleasance Theatre’s Edinburgh National Partnership programme for this summer’s Fringe festival

A YORKSHIRE or Humber artist or company could receive up to £2,000 and a guaranteed place in the 2022 Pleasance Edinburgh Fringe programme in a York Theatre Royal scheme.

The partnership with the Pleasance Theatre’s Edinburgh National Partnerships programme will provide support both financially and artistically.

York Theatre Royal is “delighted to be working with the Pleasance Theatre once again as part of their programme to identify and support exceptional local artists and companies who want to take work to the Fringe.”

Each partner is a leading national producing house with a commitment to supporting and developing new artists.

Fellow partner organisations in the scheme are: Bristol Old Vic, Leicester Curve, HOME Manchester, Theatre Royal Plymouth, Pitlochry Festival Theatre, Scotland, and Sherman Theatre, Cardiff.

The Theatre Royal statement adds: “Working with the Pleasance, we will identify dynamic artists at different stages in their careers, with the primary aim of the scheme being to uncover and support the best companies and artists from Yorkshire and Humber, and across the UK, to present work at the Fringe.”

The successful applicant will receive:

* Up to £2,000 financing from the Pleasance towards the costs of presenting their show at the Edinburgh Fringe.

* Guaranteed inclusion within the Pleasance Edinburgh Festival Fringe programme.

* Edinburgh Fringe registration covered by York Theatre Royal.

* A minimum of one week’s in-kind rehearsal and development space at York Theatre Royal.

* A programming option in the Pleasance London transfer run post-Edinburgh Fringe.

* Support to deliver accessible performances as part of the Fringe run.

* Mentorship, support and advice from both York Theatre Royal and the Pleasance leading up to and during the Fringe.

* Support to build new touring relationships with other National Partnership venues.

To apply, artists and companies should send a pitch to admin@yorktheatreroyal.co.uk, detailing the piece of work to be presented (synopsis, design ideas etc), the creatives involved and information on past productions (reviews, footage, etc).

The closing date for applications is Monday, January 31 at 10am. The application form can be found at: yorktheatreroyal.co.uk/latest/york-theatre-royal-and-pleasance-pathways-call-out/.

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Rosemary Bentley RIP: ‘Warmth, honesty and compassion at York Theatre Royal’

Rosemary Bentley

THE funeral of York Theatre Royal stalwart Rosemary “Bud” Bentley will be held tomorrow (18/1/2022).

Rosemary, who passed away on Christmas Eve, will journey with family members from their home onto Bishopthorpe Road, down Scarcroft Road and across to English Martyrs RC Church, on Dalton Terrace, for the 10.30am celebration of her life. The family would welcome smiling faces on the route.

Rosemary, who was 74, worked at York Theatre Royal for more than 20 years in catering, costume hire and front of house.

She died from a stroke in York Hospital where she was being treated for fractured ribs following a fall while ushering at the St Leonard’s Place theatre.

Rosemary also was a former teaching assistant at St George’s Primary School for many years, participated in amateur dramatics at the Joseph Rowntree Theatre and was prominent in the Friends of Rowntree Park voluntary organisation, helping to establish the Sensory Garden.

She leaves husband Hugo, son Paul and foster daughter Caitlin. Born and raised in Surrey, she had met Hugo when hiking at Ben Nevis and they moved on York in 1979. They were married for 49 years.

Those attending tomorrow’s Requiem Mass are invited to wear a splash of colour with their mourning attire “as Rosemary would have wanted”. Light refreshments will be served at English Martyrs Church Hall afterwards; Rosemary’s family will be there after a private ceremony at Bishopthorpe Crematorium.

The family has asked that there be flowers only from close relatives but donations to St Leonard’s Hospice would be appreciated greatly.

Hugo thanks everyone who has sent messages of condolence and those who have shared memories of how Rosemary has touched their life in some way.

The Theatre Royal’s website announcement paid tribute to “our much-loved friend and colleague”.  “We all loved Rosemary for her warmth, honesty and passion for our theatre,” it reads. “She lit up our organisation whenever she was around, and we will miss her very, very much. All our thoughts and love are with Hugo and all their family and friends at this time.”

Chief executive Tom Bird said: “We all loved Rosemary, and she loved the theatre. We’re absolutely heartbroken that she’s gone. We’ll remember her warmth, honesty and compassion – and her husband Hugo remains a much-loved and valued part of our team.”

God bless you, Rosemary, and thank you for always adding joy to a night at York Theatre Royal, no matter what took place on that stage, whether good or not so good. The end of a show was often the beginning of our chats, full of your humour, candour and wisdom, sharing that love of the world of theatre, its characters, gossip and magic. Happy, happy memories to treasure at your final curtain.

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