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.
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.”
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.
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.
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.
“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.
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 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.
Pilot Theatre’s The Bone Sparrow: Premiering at York Theatre Royal next month
PODCASTING culture vultures Graham Chalmers & Charles Hutchinson pick their way through what lies ahead in their 2022 arts diary, from formulaic films to pioneering theatre in Episode 72 of Two Big Egos In A Small Car.
Kevin Clifton in Burn The Floor, returning to the Grand Opera House, York
FEEL the heat, despite the chill, as Charles Hutchinson’s calendar starts to hot up like a burst of tango.
Return of the week: Kevin Clifton in Burn The Floor, Grand Opera House, York, January 21, 7.30pm
STRICTLY champ Kevin Clifton returns to York to lead an international ballroom dance company in the fiery, rebellious tango, waltz and rhumba show Burn The Floor.
“Kevin from Grimsby”, who left BBC1’s Strictly Come Dancing professional roster after seven seasons at the end of 2019, last scorched the Grand Opera House boards in May 2019.
“Burn The Floor is the show that ignited a spark in me and changed me forever as a performer,” he says. “Through Broadway, West End and touring all over the world, this show has ripped apart the rule book, revolutionised our genre and inspired and shaped me as the dancer I am today.” Box office: 0844 871 3024 or at atgtickets.com/york.
Alfie Moore: Front-line copper-turned-comic. Picture: Tony Briggs
Offbeat police procedural: Alfie Moore, Fair Cop Unleashed, Helmsley Arts Centre, today, 7.30pm
FAIR Cop Unleashed, Alfie Moore’s latest stand-up tour show, is based on a dramatic real-life incident from the cop-turned-comic’s police casebook.
Re-live the thrilling ups and downs of the night when a mysterious clown came to town and more than one life ended up in the balance, as recalled with insightful humour by the BBC Radio 4 presenter. Box office: 01439 771700 or helmsleyarts.co.uk.
Teddy Thompson: Rearranged gigs in Pocklington and Leeds
Heartbreaker of the week: Teddy Thompson, supported by Roseanne Reid, Pocklington Arts Centre, January 22, 8pm; Leeds Brudenell Social Club, January 23, 8pm
TEDDY Thompson, an Englishman in New York since his 20s, heads home to play his tour rearranged from last year, showcasing his 2020 album Heartbreaker Please.
Famously the son of songwriters Richard and Linda Thompson, he was influenced heavily by Buddy Holly, Chuck Berry, Elvis Presley and the Everly Brothers, rather than his family folk roots, claiming he listened only to early rock’n’roll and country until he was 16. Box office: Pocklington, 01759 301547 or pocklingtonartscentre.co.uk; Leeds, brudenellsocialclub.seetickets.com.
Vintage performance: Pasadena Roof Orchestra, revelling in the music of the Twenties and Thirties
Nostalgia on tap: Pasadena Roof Orchestra, York Theatre Royal, January 28, 7.30pm
LED by suave singer and band leader Duncan Galloway, the Pasadena Roof Orchestra invite you to “pack up your troubles, come on get happy, and experience an evening of superlative live music with more than a dash of wit and humour”.
For more than 50 years, they have put on top hat and tails to re-create the golden era of the 1920s and 1930s, performing the songs of Irving Berlin, Ray Noble, Cole Porter and their contemporaries, complemented by the hot jazz of Fletcher Henderson and Duke Ellington. Box office: 01904 623568 or yorktheatreroyal.co.uk.
One of York artist Ian Cameron’s works on show at Helmsley Arts Centre
Never too late to start: Ian Cameron exhibition, Helmsley Arts Centre, until February 25
IAN Cameron became interested in art “quite late in life”, aged 50 in 2003, when he enrolled for an GCSE evening class. Art and design foundation course studies at York Art College ensued, since when he has taken part eight times in York Open Studios.
In his garden studio, he starts his paintings by doing a wax crayon rubbing on a manhole cover, then covering the rubbing with a vibrant watercolour wash called Brusho that causes a wax-resist result. “On to that I draw my image with a dip pen and Indian ink,” he says. “I embellish the artwork with collage and watercolours.”
Theatre Of The Macabre’s artwork for their Frankenstein premiere at Theatre@41, Monkgate
The horror, the horror: Theatre Of The Macabre in Frankenstein, Theatre@41, Monkgate, York, February 2 to 5, 7.30pm plus 2.30pm Saturday matinee
“IF you think you know everything about this story then come along and be pleasantly surprised about how little you really know,” say Theatre Of The Macabre, introducing the twisted fantasies and grotesque dreamscapes of their adaptation of Mary Shelley’s Frankenstein.
“Join us as we discover his innermost fears and misgivings which haunt his troubled mind and how his ungodly experiments defied the Laws of Nature.”
What dreadful secret does he keep hidden? Who is the mysterious stranger he can only refer to as “It”. All will be revealed in this disturbing premiere. Box office: tickets.41monkgate.co.uk.
My Darling Clementine: Delving into Costello country in Selby
Off to the country: My Darling Clementine, Selby Town Hall, February 3, 8pm
MY Darling Clementine, a labour of love for spouses Michael Weston King and Lou Dalgleish, began as a homage to the Sixties and Seventies’ country duets of George Jones & Tammy Wynette and Johnny Cash & June Carter Cash.
Their latest album, 2020’s Country Darkness, reinterpreted Elvis Costello’s country songs in a collaboration with Steve Nieve, Costello’s stalwart keyboardist in The Attractions and The Imposters. Box office for their first gig of 2022: 01757 708449 or selbytownhall.co.uk.
What’s the Buzz? Buzzard Buzzard Buzzard can be spotted flying high in Leeds in April
Bird song: Buzzard Buzzard Buzzard, Leeds Brudenell Social Club, April 23
BUZZARD Buzzard Buzzard, “the most exciting new band to break out of Wales”, promote their February 25 debut album in Leeds on the closing night of their 18-date spring tour.
The Cardiff indie glam rockers’ front man, Tom Rees, says: “Backhand Deals is a practice in subverting the ideology of rock music as something that needs to be ‘brought back from the dead’.
“Rock should be about enjoying yourself honestly, whether that’s washing the dishes, sweeping the yard, or complaining about whoever got elected.” Box office: brudenellsocialclub.co.uk.
YORK drag diva supreme Velma Celli is heading off to America for a month of cruise-ship shows, but not before a birthday bash at Impossible York.
Velma, the fabulous cabaret creation of West End musical actor Ian Stroughair, will mark Ian’s birthday on Thursday (13/1/2022) with an 8pm performance of The Velma Celli Show in the Wonderbar.
Then come those cruise-ship engagements for Atlantis Gay Cruises, whose publicity proclaims: “Gonna be FUN! Get on board the biggest event of 2022 for Atlantis’s 30th anniversary!
“5,500 guys. Superstar performers. Cutting-edge productions. Legendary concerts. Mind-blowing parties. And you! All on the world’s largest and most spectacular ship.
“We’re finally turning 30 with the greatest production in Atlantis history as we sail the best of the Caribbean for the perfect start to 2022.”
Here, CharlesHutchPress sets Velma/Ian the challenge of firing off quick answers to quick questions in a short break from packing for the travels ahead.
Velma Celli’s new show, God Save The Queens, will be premiered on the Atlantis Gay Cruises
How old will you be on Jan 13?
“Twenty-one. It’s a New Year miracle!”
What would be the perfect birthday present?
“World peace.”
What songs will you be performing at Impossible York?
“It’ll be a mixture of mine and the audience’s favourite from years gone by. A mixture of Whitney [Houston], Amy [Winehouse], Queen, Judy [Garland] and many more. Lots of impressions, banter and general camp fun! Doors at 7pm; show at 8pm.”
What show will you perform on the cruise ships and how often on each cruise?
“I’m performing two shows, A Brief History Of Drag and my new show, God Save The Queens, which is a celebration of British female recording artists. Adele. Annie Lennox. Amy. Dua Lipa. Four shows a week.”
Where will the two cruises sail to?
“OOOOO, so many places! Miami, Bahamas, Mexico, Honduras, Costa Rica, Puerta Vallarta and many more!”
Have you worked with Atlantis Gay Cruises before?
“I’m on contract number five. There should have been so many more but bl***y ‘Rona’ entered our lives, didn’t she!”
Any update on plans to present Irreplaceable, your David Bowie show, in York?
“YES! February 26th at Theatre@41 Monkgate, 8pm, when I’ll be celebrating Bowie and the artists he inspired.”
Velma Celli’s Aladdin Sane sash for Irreplaceable, the Bowie tribute show
What’s coming up for you in York after that?
“Me And My Divas on March 19th on my return to York Theatre Royal, where I sold out A Brief History Of Drag last May. Line-up to be announced, but you can expect ‘an overindulgent diva fest celebrating the songs and behaviour of all your favourite divas: Céline, Mariah, Whitney, Aretha, Cher, Britney (maybe not!) and many more.”
Of all those divas in that show – 2021 Best Cabaret winner at the Perth Fringeworld in Australia – who is your favourite vocalist and why?
“Whitney Houston! Hands down the greatest singer of all time, in my humble opinion.”
What else is in your diary for 2022?
“SO many more gigs at Impossible York, including my Drag Brunches and solo shows. We’re starting a new evening show called Back To The 80s and another brunch called Matinee Musicals Brunch! Tickets go live soon!”
What are your hopes for this year?
“No more ‘Rona’, lots of laughter and PEACE!”
What are your hopes for the arts world at large this year?
“A thriving community and lots of new writing! We all love a ‘Les Mis’ etc, but ’tis time to shine a light on new writing, artists, creatives and producers. A shout-out to Lambert Jackson Productions, who have been smashing compelling and fantastic new work pre and throughout this pandemic. Proud!”
The Velma Celli Show, Impossible York, St Helen’s Square, York, Thursday, January 13; doors at 7pm; show, 8pm. Box office: ticketweb.uk/event/the-velma-celli-show-impossible-york-tickets/11662445.
Velma Celli: Irreplaceable, Theatre@41, Monkgate, York, February 26, 8pm. Box office: tickets.41monkgate.co.uk.
Velma Celli: Me And My Divas, York Theatre Royal, March 19, 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
When shall we three meet again? When the hurlyburly’s done in The HandleBards’ Macbeth at York Theatre Royal
AS the pantomime season draws to a close, Charles Hutchinson turns his focus to new seasons and new reasons to venture out.
The skittish play: The HandleBards in Macbeth, York Theatre Royal, January 25, 7.30pm; January 26, 2pm and 7.30pm
THE HandleBards were the first professional company to play York Theatre Royal after Lockdown 3, lifting the long gloom with a ridiculously funny Romeo And Juliet. Now the three-pronged troupe opens the Spring! Season with an all-female, bewitching, unhinged, bicycle-powered, dead funny take on Macbeth, starring Kathryn Perkins, Natalie Simone and Jenny Smith.
Expect music, mayhem, murders, unusual applications of cycling paraphernalia and more costume changes “than you can Shake a spear at” in this irreverent, skittish romp through Shakespeare’s tragic “Scottish play”. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Charles Court Opera in The Mikado, visiting Harrogate Royal Hall on Sunday. Picture: Bill Knight
Oh, Vienna: International Gilbert and Sullivan Festival’s New Year celebration, Harrogate Royal Hall, today and tomorrow, 7.30pm.
ENCHANTMENT awaits in the Magic Of Vienna New Year Gala Concert today when the National Festival Orchestra, conducted by Aidan Faughey, presents works by Johann Strauss, Mozart and Lehar. International opera stars James Cleverton and Rebecca Bottone will be the soloists.
Charles Court Opera’s London production of G&S’s The Mikado will be performed on Sunday night, accompanied by the National Festival Orchestra. Box office: 01422 323352 or at gsfestivals.co.uk.
One Iota: Debut album launch at the JoRo
York album launch of the month:One Iota, supported by Odin Dragonfly, Joseph Rowntree Theatre, York, January 21, 7.15pm
YORK band One Iota are launching their debut album, More Than You Take, recorded at the venerable Abbey Road studios, in London, and Fairview Studios, Willerby.
Adam Dawson, James Brown, Andy Bowen and Phil Everard’s alt-pop group grew out of their three-piece tribute to The Beatles – The Threetles, of course – when they acquired a taste for writing their own songs in lockdown.
One Iota’s debut live show promises a full line-up, featuring live string arrangements for the Fab Four-influenced songs marked by rich vocal harmonies, innovative melodies and “more hooks than a cloakroom”. Box office: josephrowntreetheatre.co.uk.
Jacob George: Soloist for Schumann’s Violin Concerto at the Academy of St Olave’s January concert
By George, he’s back: Academy of St Olave’s Winter Concert, St Olave’s Church, Marygate, York, January 22, 8pm
THE Academy of St Olave’s Winter Concert features Jacob George, son of musical director Alan George, as soloist for Schumann’s Violin Concerto. He returns to solo duty for the York chamber orchestra after performing the Sibelius Violin Concerto in 2019.
The ASO’s first concert since last September’s sold-out resumption also includes two works inspired by Italy: Schubert’s Overture in the Italian Style, and Mendelssohn’s “Italian” Symphony No. 4. Box office: academyofstolaves.org.uk.
Nunkie Theatre Company’s artwork for the third instalment of their M R James Project, A Warning To The Curious
Ghosts at play: Nunkie Theatre Company in M R James’s A Warning To The Curious, Theatre@41 Monkgate, York, January 28, 7.30pm
NUNKIE Theatre Company bring two of M R James’s eeriest and most entertaining ghost stories back to life in Robert Lloyd Parry’s candlelit one-man show. Lost Hearts, an early work, is constructed around one of his most memorable villains, the predatory scholar Mr Abney.
Lloyd Parry pairs it with perhaps James’s most poignant and personal story, inspired by his holidays in Aldeburgh: A Warning To The Curious’s account of a young archaeologist being haunted and hunted by the guardian of an ancient treasure. Has the English seaside ever looked so menacing? Box office: tickets.41monkgate.co.uk.
Yvette Stone’s life-size puppet of The Creature, as first seen in Blackeyed Theatre’s Frankenstein in 2016. The new tour visits Scarborough next month. Picture: Alex Harvey-Brown
Monster smash: Blackeyed Theatre in Frankenstein, Stephen Joseph Theatre, Scarborough, February 9 to 12
NICK Lane has reinterpreted John Ginman’s original 2016 script for Blackeyed Theatre, built around Mary Shelley’s Gothic novel, wherein nothing can prepare Victor Frankenstein for what he creates in pursuit of the elixir of life.
Eliot Giuralarocca’s highly theatrical production combines live music and ensemble storytelling with Bunraku-style puppetry to portray The Creature, in the life-size form of Yvonne Stone’s 6ft 4inch puppet, operated by up to three actors at once. Box office: 01723 370541 or at sjt.uk.com.
Four decades of topical songs and glamour: Fascinating Aida’s Liza Pulman, left, Dillie Keane and Adèle Anderson. Picture: Johnny Boylan
Never tire of satire: Fascinating Aida, York Barbican, February 12, 7.30pm
DILLIE Keane, Adèle Anderson and Liza Pulman’s latest Fascinating Aida tour show features old favourites, songs you haven’t heard before and some you wish you’d never heard in the first place.
“But the songs are mostly topical and the glamour remains unstoppable,” say the satirists, who have been capturing the political and social fixations of our times for nigh on 40 years, from 1984’s Sweet FA to 2012’s Cheap Flights and beyond. All tickets remain valid from the postponed May 5 2021 date. Box office: yorkbarbican.co.uk.
Marc Almond fronting The Loveless, headliners at late-October’s Tomorrow’s Ghosts Festival in Whitby
Looking ahead to Halloween: Marc Almond’s The Loveless, headlining the Saturday bill at Tomorrow’s Ghosts Festival 2022, Whitby Pavilion, October 29
THE Loveless make their Tomorrow’s Ghosts debut with a headline set of their devilishly dark arts at Whitby Pavilion next Halloween.
In a project designed to take its constituent parts back to where they all began, Soft Cell singer Almond, Sigue Sigue Sputnik axeman Neal X, Iggy Pop’s touring rhythm section of Mat Hector and Ben Ellis and haunting Hammond organist James Beaumont “pledge themselves to the pulp appeal of garage rock in its rawest, most gripping guise”.
The Loveless draw material from Almond’s expansive back catalogue, Lou Reed and David Bowie’s canons, warped 1960s’ R&B staples and lost garage-rock gems. Box office: ticketweb.uk/event/tomorrows-ghosts-festival.
Artist Stephen Todd in his Sheffield studio
Weekend opening: Kentmere House Gallery,Scarcroft Hill, York, today and tomorrow
NEW year, New Beginnings and a website “going live again at last” adds up to the start of 2022 for Ann Petherick’s gallery in her home at Kentmere House, York.
Among the works on show today and tomorrow from 11am to 5pm are Allotments In Autumn paintings by featured artist Stephen Todd, from Sheffield.
Kentmere House Gallery also will be open for the York Residents Residents’ Weekend on January 29 and 30, 11am to 6pm each day.
