Retrospective: Sir David Suchet will reflect on 52 years on stage and screen at York Theatre Royal this autumn
SIR David Suchet will retrace his steps as a young actor when he visits 20 theatres with Poirot And More, A Retrospective, playing York Theatre Royal twice on October 13.
After touring the show to Australia and New Zealand in early 2020, the autumn tour will mark his return to the British stage.
Suchet says: “Regional theatre has always been very close to my heart as it’s where my career started and was nurtured. To visit so many places that have meant so much to me during my 52-year career is wonderful.
“This show is my way of connecting and saying hello to people across the country after this terrible period and welcoming them back into the theatre. I am looking forward to sharing my memories, stories and favourite moments.”
“I am looking forward to sharing my memories, stories and favourite moments,” says Sir David Suchet
In Poirot And More, A Retrospective, 75-year-old Suchet looks back fondly on his illustrious five-decade career, shedding new, intimate light on his most beloved performances in conversation with Geoffrey Wansell, journalist, broadcaster, biographer and co-author of Poirot And Me, as they discuss the actor behind the detective and the many characters Suchet has portrayed on stage and screen
For more than 25 years, Suchet has captivated millions worldwide as Agatha Christie’s dapper Belgian detective, Hercule Poirot. Elsewhere, he has graced the world’s stages performing Shakespeare, Wilde, Albee and Miller and is celebrated for his portrayals of iconic roles such as Lady Bracknell in The Importance Of Being Earnest, Cardinal Benelli in The Last Confession, Joe Keller in All My Sons and Gregory Solomon in The Price.
Suchet spent 13 years in the Royal Shakespeare Company and remains an associate artist. He is an Emmy award winner and seven-time Olivier Award nominee (for The Merchant Of Venice, Separation, Oleanna, Who’s Afraid Of Virginia Woolf?, Amadeus, All My Sons and The Price). In 2020, he was knighted for services to drama and charity.
Tickets for Suchet’s 3pm and 8pm shows on October 13 are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Ralph Fiennes in his world premiere: “He did not merely declaim or recite. Instead, Four Quartets became poetry in often slow, mellifluous motion”
REVIEW: Ralph Fiennes in TS Eliot’s Four Quartets, York Theatre Royal, until Saturday, 8pm nightly. Box office: 01904 623568 or yorktheatreroyal.co.uk
THIS was always the “event” moment of the reopening Love Season at York Theatre Royal.
So much so, there had even been 16 days of darkness since the closing night of A Splinter Of Ice: a dramatic pause of anticipation worthy of a Harold Pinter play, a pause lengthened all the more by the gap between Ralph Fiennes’s unannounced arrival on stage and his opening word from T S Eliot’s epic poem cycle. Like a pianist composing himself for the first note.
In the interim since July 10 had come the Government’s rubber-stamping of Step 4 and the return to full-capacity audiences, making Fiennes’s York debut at 58 even more of an event.
Mask-wearing was still advised, a softly-softly policy that was met largely with compliance, although temperature checks and the taking of names and phone numbers have gone.
Sitting close together in an almost full theatre for the first time since mid-March 2020 was a suck-it-see experience: any loud cough was met a tad nervously, and the Theatre Royal felt uncomfortably warm. Hopefully, that can be adjusted. Please.
Anyway, on with the one-man show, a London-bound touring tour de force presented in its world premiere by the Royal & Derngate, Northampton, and the Theatre Royal, Bath, directed and performed by the esteemed Mr Fiennes, whose solemn entry was as low key as his autumnal colours of brown jacket and grey shirt hanging loosely outside dark trousers.
Ralph Fiennes in Four Quartets: “His feet were bare, maybe to ground himself, as if connecting with the earth below when the world around was in such a whirl”
His feet were bare, maybe still from that day’s yoga session, or maybe to ground himself, as if connecting with the earth below when the world around was in such a whirl.
He had the air of an intellectual lecturer, wrapped in intense thought, but needing to express himself, to communicate, hence the sporadic breaking of the fourth wall for direct address from the stage apron. Never dry, but conversational.
Fiennes did not merely declaim or recite. Instead, Four Quartets became poetry in often slow, mellifluous motion, a dramatic monologue with choreographed movement and lighting to suit the moment, the mood, the scene.
Fiennes had started with the lights still up and would bring them again sporadically, but at one point too, he plunged the stage into darkness, before a single light picked out a grey, almost ghostly countenance. Fire suddenly burned brightly, almost blindingly.
Every detail, every nuance, mattered, as with Eliot’s text, whether the placement of the two chairs and the table with a glass of water and a wartime studio microphone, used only once as if for addressing the nation.
The removal of the jacket and later putting it on again, wrapping it closely around his lean frame, signified the change of seasons, and all the while, Fiennes would break the moment, but not momentum, by moving two rotating slabs into different positions. It was an act of toil, but one to present new palettes, new shapes, new reliefs, as if in a painting, rather than the endless turmoil of Sisyphus being forced by Zeus to roll a boulder up a hill for eternity.
Ralph Fiennes: “Made Eliot’s language dance, sing, sting, ebb and flow, spark and turn to embers”
Fiennes’s voice, so familiar from the screen, is a thing of beauty in the flesh, weighted yet airy, his diction enunciated to the last ‘t’ that could blow out a candle. He made Eliot’s language dance, sing, sting, flow, spark and turn to embers in the series of symphonic meditations.
Conceived in lockdown, when Fiennes decided to set himself the task of learning Four Quartets, his performance could be termed a labour of love, but it is too transcendent to be burdened with a sense of labour.
Eliot’s final masterpiece, published in wartime 1943, brought together Burnt Norton, East Coker, The Dry Salvages and Little Giddings, each announced by Fiennes in an unbroken performance with resonance anew in our pandemic age of seeking survival amid a national (and international) crisis.
For all the turbulence and dissonance of war, Eliot’s tone is reflective, but never nostalgic, as he and in turn Fiennes addresses what Fiennes called “the perennial questions, the big, big ideas”: the passing of time and feeling trapped; the link between past, present and future; identity; existence; faith, the soul and spiritual yearning; the elements and the environment; the futility of war.
A chill wrapped itself around the Theatre Royal heat, as mortality, human frailty, the fire and the rose, signified the end. The rest was silence, Fiennes’s head bowed, as if to honour the passing of Eliot’s gilded, questing, mysterious words.
“Four Quartets deals with such endless essential perennial questions of time, the spirit, the soul, the journey of the soul in life – big, big ideas,” says Ralph Fiennes. Picture: Matt Humphreys
RALPH Fiennes’s week-long run of his world premiere of T S Eliot’s Four Quartets will mark the return to full-capacity audiences at York Theatre Royal from Monday.
Good news for those who had missed out on tickets when the most in-demand production of the reopening Love Season was first put on sale with social distancing in place. This week’s unlocking of Step 4 has freed up the sudden availability of seats aplenty.
Please note that under the still-cautious Theatre Royal’s Covid-safety practices: “We strongly recommend that you wear a face covering out of respect for fellow audience members,” the management advises.
Star of stage and screen Fiennes is directing and performing in the world premiere of T S Eliot’s final masterpiece in his York Theatre Royal debut as the zenith of the Love Season after premiering the Royal & Derngate, Northampton and Theatre Royal, Bath co-production in Bath from May 25 to June 5.
After this summer’s regional tour, he will transfer Four Quartets to the Harold Pinter Theatre, London, for 36 performances from November 18 to December 18.
Fiennes’s solo theatre adaptation features Burnt Norton, East Coker, The Dry Salvages and Little Giddings, published together in 1943 in a quartet of four interwoven, symphonic meditations that ranges across themes of time, nature and the elements, faith and the quest for spiritual enlightenment and war and mortality.
Mostly written during the Second World War, when the closure of London playhouses during the Blitz interrupted Eliot’s work in theatre, his epic poem cycle contains “some of the most exquisite and unforgettable reflections on surviving periods of national crisis”, apt for our pandemic times.
Here, Fiennes answers a series of questions on Four Quartets, verse, versatility and villains
Where did the idea for doing Four Quartets come from?
“I’ve known it since I was quite young – we had the TS Eliot recording – so it’s something that’s been floating in and out of my awareness over the years. In the first lockdown last year I gave myself little things to engage my mind and memory, and I thought I’d learn Four Quartets.
Ralph Fiennes in rehearsal for Four Quartets
“And then various things I thought I’d do the early part of this year went away – films and so on – and it sort of transitioned.
“Could it not be put in a context where it was not just recited in a suit or something, but given a kind of gently, appropriately judged theatrical context?”
What happened next?
“I was daunted and excited in equal measure by what it might be, but with the help of my agent Simon Beresford, [creative producer] James Dacre got behind it and liked the idea.
“Then the Eliot estate got behind it and then a lot of very talented people in theatre production were available – like Hildegard Bechtler, Chris Shutt and Tim Lutkin, all brilliant in their field.
“I’m a great believer in the energies of things signalling whether they’re meant to happen or not, so it seemed that the cumulative gathering of people being available and wanting to be part of it sent me a sign that this had some viability.”
Why does Four Quartets appeal to you?
“I think it deals with such endless essential perennial questions of time, the spirit, the soul, the journey of the soul in life – big, big ideas. In the end you could say the takeaway is ‘Live in the present’ but Eliot goes deeply into how we’re trapped in notions of sequential time.
“But it’s a very human quest by a man who I think has been through the wringer internally himself – questioning his existence, very unhappy marriage, sense of identity – and then the war crystallising this sense of quest. So it’s endlessly mysterious, but I think there are also ways of speaking it that are conversational and accessible.”
“One of the key and most common responses was: ‘My God, it’s so modern; my God, it’s all about now’,” says Fiennes of Four Quartets’ resonance in lockdown times.
How much is Eliot’s voice in your head?
“Not much at all. I said to the team on our first day of rehearsal back in February that I thought we should all listen to Eliot’s recording – the master’s voice – but we all came away with a very strong sense that this was not helpful for us if we want to make this accessible.
“It’s an old-school delivery with a certain kind of refined English intellectual speaking: it has its own kind of beauty and it’s wonderful to hear his voice, but the dynamic of its communicative ability more for younger people today I think is questionable, because it feels from another time. I want the poem to communicate to younger minds; I want it to be active.”
Four Quartets was written in the 1930s and 1940s, when the world was in crisis. How strong is the resonance with today?
“Very strong. We’re trapped in our houses, we’re denied all these norms of social interaction, assumptions about life and work and travel are all taken away, and so I sense we’re left with: what are we, who am I, what is of value in my life, in our shared lives?
“It continues to be a crisis of what we don’t know, where this thing is going. And Eliot references a sense of where we have to embrace not knowing: ‘And what you do not know is the only thing you know’.
“Doing it for colleagues and friends in rehearsal, one of the key and most common responses was: ‘My God, it’s so modern; my God, it’s all about now’. And that was a very frequent response to it.”
What do you hope this interpretation will achieve?
“I want to enable the poem to be heard. Eliot has not been a focus in the theatre for a while. In his writing there is a religiosity, or questions of faith, which perhaps is unfashionable.
T S Eliot: Writer of Four Quartets
“I love Eliot’s poetry: I think it continues to communicate and I think often great writers suffer from the zeitgeist or the vogue of the moment and get relegated and forgotten about.
“I have a belief that the poem can work and I think it does chime with the big questions or the existential questions that I think we are asking about who we are – and I think that’s thrown into focus by the Covid crisis.”
Why have you decided to take the performance to regional theatres?
“That was part of the proposition. First of all I just said, ‘Can we do this?’. Then Simon and James said, ‘What about doing it as a regional tour, to offer it to regional theatres who may be excited to be able to open their theatres with this?’.
“And that appealed to me. It appealed to me to not do it in London, just purely to have the experience of going to different cities. That excited me because it’s different – I’ve not done it and I’m very aware that there are committed theatre audiences all over the country, so it was a bit of a no-brainer. I love the idea of being on the road: it’s rather romantic.”
Why have you chosen theatres such as York Theatre Royal?
“I was very protective of the sense of intimacy. In some theatres we’re not selling the very top circle because I wanted to keep the sense of intimacy and didn’t want to have to go into the level of projected voice, where there are certain nuances and delicacies that often get diluted.
“The poem has to feel like a conversation. I remember going on stage and doing a bit and saying, ‘Can you hear? Is it working?’. It was just putting my toe in the water as to how it felt in the theatre because it’s all very well walking the paths of Suffolk, where I am, doing it to the sheep, but the thing is, how will it land?
You have enjoyed huge success in both film and theatre. Do you have a preference?
“I love the very simple thing that you walk on to a space, either a monologue in this case, or with other actors, and you start something and you create immediately.
“I want to enable the poem to be heard,” says Fiennes. “Eliot has not been a focus in the theatre for a while”
“Even as I get older, the simple essential magic or possibility of that is endlessly fascinating – so simple and so profound at the same time.
“Film is full of huge potential thrills in terms of what the end experience can be for an audience but the process of film-making is not actor-friendly really. But then you might say, surely in front of a theatre audience you don’t have the chance to do it again?
“No, you don’t, but there is a dynamic of contact with an audience so you’re in a dialogue with the people receiving it. I suppose the short answer to the question is, I think I’m more at home in the process of theatre.”
Your career has covered everything from the Bard to Bond. Do those jobs feel different in your head, or is it all just acting?
“It is a sort of truism that good writing is always attractive, whether it’s classical or modern writing. You can just feel the crackle. I think I’ve got any actor’s hunger as to what’s a good part where there’s human complexity, there’s dramatic impact. We all like to be challenged and stretched.”
Is it true that villains are more fun to play?
“In a kind of basic way. They’re not fun if they haven’t got any complexity to them. Actually, one of the challenges of Voldemort is that he was mostly just sheer, distilled evil – the point of Voldemort [in the Harry Potter films] is that he doesn’t have a conscience – and that was quite a challenge because there was no doubt or inner contradiction.
“What puts the full stop on Richard III being a great part is his sense of regret or fear about what’s he’s done, and suddenly you have this other colour – doubt – and then he puts the lid on it. So that stuff is great. If there’s endless degrees of grey, I think that’s really human.”
Ralph Fiennes in TS Eliot’s Four Quartets, York Theatre Royal, July 26 to 31, 8pm. Box office: 01904 623568 or yorktheatreroyal.co.uk
“I think I’ve got any actor’s hunger as to what’s a good part where there’s human complexity, there’s dramatic impact,” says Fiennes
Back story
BORN in Ipswich on December 22 1962 , Ralph Nathaniel Twisleton-Wykeham-Fiennes has appeared in such films as Schindler’s List; The English Patient; The Grand Budapest Hotel; The Constant Gardner; Skyfall; In Bruges; The Dig and The Harry Potter series.
Winner of a Tony Award for playing Hamlet, Fiennes has performed many of theatre’s most iconic roles. London theatre credits include Shakespeare’s Anthony And Cleopatra (National Theatre) and Richard III (Almeida) and Ibsen’s The Master Builder (Old Vic).
York Theatre Royal’s full statement on its Covid-safety protocol after all legal restrictions were lifted on July 19 under Step 4 of the “Roadmap to Recovery”, restoring full-capacity audiences:
“We are proud to be See It Safely-approved by the Society Of London Theatre and UK Theatre, so you can feel confident and safe knowing that we are following the latest Government and performing arts guidelines.
“We’ve outlined more about what to expect from a visit to the theatre below:
* Multiple hand sanitation points around the building, including on entry.
* Increased cleaning regime before and after performances.
* Face coverings worn by all staff and volunteers working in public areas.
* Windows and doors open, whenever possible, to allow fresh air to circulate.
“We strongly recommend that you wear a face covering out of respect for fellow audience members and our companies when coming into the theatre.
“As the situation is constantly changing, we shall continue to adapt our approach in line with any new guidance and your feedback.
Find out more by visiting the website at yorktheatreroyal.co.uk/show/four-quartets/
York Theatre Royal: Returning to full capacity from Monday
Rick Astley: Soul favourite’s post-racing show is a definite runner at York Racecourse tomorrow evening
IT ain’t worth a thing if it got that confounded ping, but let’s hope this NHS Covid app hazard does not apply to any of Charles Hutchinson’s suggestions as Step 4 starts to kick in.
Outdoor concerts of the week in York:York Racecourse Music Showcase Weekend, Rick Astley, Friday evening; McFly, Saturday late-afternoon
YORK Racecourse was never gonna give up on Rick Astley performing on a race day, even if the original show had to fall by the wayside last summer. Sure enough, the Newton-le-Willows soul crooner, 55, has been re-booked for tomorrow for a post-racing live set.
McFly: Promising Young Dumb Thrills at York Racecourse on Saturday
After Saturday afternoon’s race card, the re-formed McFly will combine such favourites as All About You, Obviously and 5 Colours In Her Hair with songs from their 2020 return, Young Dumb Thrills, such as Happiness, Tonight Is The Night and You’re Not Special. The County Stand has reached capacity for Saturday already.
Friday’s racing starts at 6pm; Saturday, at 2.05pm. For tickets, go to: yorkracecourse.co.uk.
Rachel Podger: The violinist plays, after self-isolation, for online viewing from the York Early Music Festival. Picture: Theresa Pewal
Online concert home entertainment of the week: Rachel Podger, The Violinist Speaks, York Early Music Festival
WHEN Baroque violinist Rachel Podger fell victim to the dreaded “pingdemic”, she had to forego her July 13 concert performance, condemned to self-isolate instead.
In stepped Florilegium violinist Bojan Cicic to play the very same Bach, Tartini and Biber repertoire at St Lawrence Church, Hull Road, at only three hours’ notice.
Rachel, however, subsequently recorded The Violinist Speaks without an audience at the NCEM for a digital livestream premiere at 7.30pm last Saturday. This online concert is now available on demand until August 13; on sale until August 9 at: ncem.co.uk/events/rachel-podger-online/ncem.co.uk
Twinnie: Twinning with Velma Celli for tomorrow’s double bill at Impossible York
York’s queen of vocal drag meets York’s country queen: The Velma Celli Show with special guestTwinnie, Impossible York, St Helen’s Square, York, tomorrow, 7pm, doors; show, 8pm
YORK’S international drag diva deluxe, Velma Celli, will be joined by country singer Twinnie at The Velma Celli Show at Impossible York on her return home from recording sessions for her second album in Nashville.
“My mate and fellow Yorky the awesome Twinny is my v. special guest tomorrow night at Impossible – York,” says Velma, the cabaret creation of Ian Stroughair, on Instagram. Like Ian, Twinnie has starred in West End musicals, most notably in Chicago, under her stage name Twinnie-Lee Moore.
Tickets cost £15, £20 for VIP stage seating, at ticketweb.uk.
Michael Lambourne: Fenland storyteller at Theatre At The Mill, Stillington, this weekend
Storytellers of the week: Michael Lambourne and Shona Cowie, Theatre At The Mill, Stillington, near York, Saturday and Sunday
NOT that long ago a familiar bearded face and booming voice on the York stage before heading south, Michael Lambourne will return north on Saturday to present the 7.30pm premiere of Black Shuck, a “responsive storytelling experience” based on the legend of the Demon Dog of East Anglia.
Penned and performed by Lambourne, Black Shuck is the tale of a hound of unnatural size, an omen of misfortune to those who see its eyes, wherein he explores the enduring effect it has on Fenland folklore in a personal account of how a rural myth can become a chilling part of the present day.
Scottish storyteller and physical performer Shona Cowie will open the evening with her Celtic tale of the dreamer and visionary Bruadarach and then present Beware The Beasts, a show for families (age five upwards), at 2pm on Sunday.
Shona will provide case studies from leading monster evaders and offer instruction on the most effective ways to avoid being squashed, eaten or turned into a nugget. Box office: tickettailor.com/events/atthemill/.
Ralph Fiennes in TS Eliot’s Four Quartets, on tour at York Theatre Royal next week
First full-capacity shows at York Theatre Royal since mid-March 2020: Ralph Fiennes in T S Eliot’s Four Quartets, July 26 to 31
YORK Theatre Royal will return to full-capacity audiences with effect from Monday’s performance of T S Eliot’s Four Quarters, performed and directed by Ralph Fiennes.
Good news for those who had missed out on tickets for the most in-demand production of the reopening Love Season when it was first put on sale with social distancing in place. This week’s unlocking of Step 4 frees up the sudden availability of seats aplenty.
Please note, however, the wearing of face coverings will be strongly encouraged; some safety measures will continue too, but not temperature checks on the door.
Wall art: The poster for Miles And The Chain Gang’s first gig in York in 18 months. Picture: Jim Poyner
Back on the Chain Gang: Miles And The Chain Gang, supported by King Courgette, The Fulford Arms, York, July 29, 8pm
AFTER an 18-month hiatus. York band Miles And The Chain Gang will return to the concert platform next week, tooled up with new material.
In the line-up are singer, songwriter, storyteller, published poet and radio presenter Miles Salter, on guitar and vocals, Billy Hickling, drums and percussion, Tim Bruce, bass, and Alan Dawson, lead guitar, augmented for this gig by Fay Donaldson’s flute and saxophone.
The Gang have been working on a debut album, recording with producer Jonny Hooker at Young Thugs Studios in York. Tickets cost £7 at thefulfordarms.co.uk or £8 on the door.
Joseph Rowntree Theatre Company’s poster for next week’s brace of Gilbert and Sullivan shows
Fundraiser of the week ahead: Joseph Rowntree Theatre Company Does Gilbert And Sullivan, Joseph Rowntree Theatre, York, HMS Pinafore, July 29, 7.30pm, and July 31, 2.30pm; The Mikado, July 30 and 31, 7.30pm
THE Joseph Rowntree Theatre Company, the JoRo’s in-house performing troupe, are producing concert versions of Gilbert and Sullivan’s biggest light opera hits, HMS Pinafore and The Mikado, next week.
The shows will be brimful of popular tunes and brilliant characters, with all profits from this topsy-turvy musical madness going straight back to the Haxby Road community theatre.
Rachel Croft: Cafe concert at Forty Five, with Reap What You Sow EP to follow in September
Music Café society gig of the week ahead: Rachel Croft, Forty Five Vinyl Café, Micklegate, York, July 31, 7.30m
NEXT Saturday at Forty Five, York singer-songwriter Rachel Croft will showcase tomorrow’s release of Reap What You Sow, a cinematic, moody taster for her four-track EP of the same name on September 9.
Exploring a more potent, bluesy style throughout, further tracks will be second single Time Waits For No Man, Roots and Chasing Time.
Rachel will be supported by Kell Chambers and Evie Barrand. Tickets cost £10 via fortyfiveuk.com/whatson.
The Trials Of Cato: Tomos Williams and Rob Jones with new trio member Polly Bolton, playing Primrose Wood Acoustics in early August
Going down in the woods next month: The Trials Of Cato, Primrose Wood Acoustics, Pocklington, August 5, 7pm
BBC Radio 2 Folk Award winners The Trials Of Cato will headline the third Primrose Wood Acoustics session in Pocklington on August 5.
Organised by Pocklington Arts Centre, the outdoor concert series will complete its summer hattrick by popular demand after sold-out sylvan shows on July 1 and 8.
Leamington Spa singer-songwriter Polly Bolton joins co-founders Tomos Williams and Rob Jones for the showcase of imminent second album Gog Magog. Tickets cost £14 on 01759 301547 or at pocklingtonartscentre.co.uk.
Sean McKenzie on a Rowntree Park park bench in the lead-up to The Park Keeper opening. The beard has since gone! Picture: Northedge Photography
SEAN McKenzie hasn’t had a job for 18 months. An acting job, that is.
“I have been working, at Thorntons, at their Alfreton factory in Derbyshire, just off the M1,” said Sean, whose lockdown-enforced break from the boards has come to an end in York, the most famous home of chocolate of all, in the role of Rowntree worker ‘Parky’ Bell in The Park Keeper.
“I’ve been learning how to ice at Thorntons; I became one of their main ‘icers’, so if anyone has had any icing from Thorntons in the past year and a half, chances are it’s been my icing. Either me or Paul, the only other bloke doing the icing.”
The cherry on the icing on Sean’s cake is that he has returned to performing at last in York playwright Mike Kenny’s 55-minute monologue about Rowntree Park’s first park keeper, the shrill whistle-blowing James ‘Parky’ Bell, running until July 17 in the Friends Garden at the York park.
“Before this, I was last on stage playing Widow Twankey for Theatr Clwyd, with Hannah Chissick directing, who I’ve done five or six pantomimes for now,” said Sean, still sporting a lockdown beard in rehearsals as he met CharlesHutchPress in the Reading Café at Rowntree Park, beneath the very lodge where ‘Parky’ Bell and his family lived during his 24 tenure as park keeper from 1921 to 1945.
“I won’t lie, it’s scary. If nothing else, I’m honest,” said Sean, as he faced brushing off the ring rust from being out of action for 18 months. “But I’ll say this, and I know every actor says it, when doing a new piece, but it’s a beautiful piece of writing by Mike, based on the real character of James ‘Parky’ Bell.
“Bell’s story is intertwined with Mike’s own story, and there’s so much in there drawn from Mike’s life now and his past relationship with his father, and the big thing in the play is wrestling with all these things: life, death; nature; religion.
“Hopefully, it’s funny in parts, but it’s also really heartwarming, reflective and very poignant. That means, for me, as an actor, it’s an absolute gift and I just hope can deliver the gift.”
“Getting the job as the park keeper, after everything he’d been through, was ‘Parky’ Bell’s paradise on Earth,” says Sean McKenzie
Analysing ‘Parky’ Bell’s character, as depicted by Kenny, Sean said: “He’s obviously very old school; he fought in the First World War; became a corporal, and survived the war, but what suddenly occurred to me when reading Mike’s play was that though Bell survived and came home, can you imagine what he saw in those four years?
“He had all that stuff on his shoulders, but eventually getting the job as the park keeper, after everything he’d been through, was his paradise on Earth, and in a way, he was ‘God’ there: ruling the roost, stopping trouble, stopping the littering.
“He was a strict man, a disciplinarian, who couldn’t talk about what he’d seen in wartime – ‘if you haven’t been through it, you can’t understand it, so what’s the point of telling you?’, he says at one point – but he had found his paradise, though now he’s being asked to leave it after 24 years.
“So there are elements of Prospero in The Tempest, having to let go of the magic, because being the park keeper is his identity.”
Sean has taken on such roles as sleazebag talent agent Ray Say in The Rise And Fall Of Little Voice at Scarborough’s Stephen Joseph Theatre and Leeds playwright Alan Bennett in Bennett’s Lady In The Van for Hull Truck Theatre.
He has handled lines aplenty in myriad comedy roles in the National Theatre’s The Curious Incident Of The Dog In The Nighttime, as Bottom in Shakespeare’s A Midsummer Night’s Dream, in Jim Cartwright’s two-hander Two at Derby Theatre and a long stint in War Horse at the National Theatre and British, Irish and South African tours.
The Park Keeper is, however, his first monologue. “It’s my first play for 18 months, and I’m flying solo. It feels like being Chris Bonnington or Donald Campbell,” he said. “I’ve gone from Two to one! I know an hour ‘on stage’ on your own doesn’t sound a lot, but it is!
“I got a call on the Friday from my agent, saying ‘they want you to read on Monday’, so I had two days to read it before my chat with Matt [Matt Aston, director of producers Engine House Theatre and director of Park Bench Theatre].
Unlocking a character: Actor Sean McKenzie during the rehearsal period for playing James ‘Parky’ Bell in The Park Keeper at Rowntree Park, York. Picture: Northedge Photography
“I’m offered the part and that’s when the adrenaline kicks in and you think, ‘Can I do this?’. There’s a niggling voice going, ‘Can you still do this?’, but once I made the decision that yes, I could, it was a massive weight off my shoulders.”
That still left Sean with a massive pile of words to learn. “Before starting rehearsals, I did five 12-hour days to learn the script, when normally you’d have more like five weeks. So, between line learning and rehearsals, I’m doing everything in 18 days, rather than eight weeks,” said Sean, who brought a bench indoors to help him “get into character” at his village home in Heage, near Belper, in Derbyshire’s Amber Valley. “I called it my ‘Judi bench’, as I love Dame Judi Dench!”
The first week of rehearsals with Matt Aston were conducted on Zoom, focusing on the text, before the two met up in the second week in an impromptu rehearsal room at Southlands Methodist Church, and then transferring to the Friends Garden for final preparations on a park bench.
“Rather than just being a monologue, you have to try to flesh out the characters that ‘Parky’ Bell talks about,” said Sean. “There’s so much in this play, and the language he uses is not how we’d speak today; sometimes sentences would even be the other way round to now! That’s how precise Mike Kenny is.
“This is my first Mike Kenny script, and when you think what a great writer he is, how could I say ‘No’ to such a beautiful piece, with lots of comedy, lots of pathos. I really hope that after lockdown everyone will come out and enjoy it, as we do what we’ve always done, tell stories, like the ancient Greeks did, by the fire. Or in this case, the audiences bringing their own ‘fire’ in the form of Prosecco!”
Sean is “just the other side of 50 now” with a career in performing stretching back to the age of 11, raised in Blackpool, the son of Henry (“Harry”) Joseph Patrick McKenzie, the “Golden Voice Of Ireland”, who himself used the stage name of Sean McKenzie.
“I used to go and see all the Blackpool shows, all the great singers, the variety acts and the great comics, Doddy, Les Dawson and Frank Carson,” said Sean. “My dad was one of seven, I was one of four, and though I came from a singing family – my dad first sang in the group The Gale Brothers – I never wanted to be a singer; I always wanted to be an actor.
“I loved Buster Keaton, Abbott and Costello, Harold Lloyd, The Three Stooges, Will Hay and my particular favourites, Laurel and Hardy. That’s where I learnt about timing. You’ve got to have funny bones; you can’t teach timing, but I did learn it to an extent by watching.”
Laurel & Hardy: Sean McKenzie’s favourite comedy act
Sean trained at RADA but, as this interview encounter over a late lunch revealed, he is naturally humorous company. “Believe it or not, I am shy, and I know it’s a cliché, but there’s something about becoming another self on stage, and after 18 months of doing no acting, this has been a right baptism of fire,” he said.
Shy? That leaves Sean once he is on stage, when all that performing energy surges through him. “I think why I’ve survived for so long in this business is that people can rely on me. I will never sell an audience short,” he said. “Whatever I play, they always ‘get me’, even as the dame!”
He and Matt Aston have long wanted to do a show together. “About 15 years ago, I first came to him with an idea after seeing Tom Courtenay in Moscow Stations in the West End, to see if he would do it at the Nottingham Lakeside, when he was there,” recalled Sean.
“It didn’t happen but we’ve remained in contact and he came to see me playing Toad in The Wind Of The Willows. Now we’re doing The Park Keeper together.”
Did you know?
Sean McKenzie played opposite Berwick Kaler’s dame when they starred as the Ugly Sisters in Cinderella at York Theatre Royal in 1995-1996.
“He asked me to do it after we worked on a film together,” said Swan, who will be “frocking up” again this winter as dame in Snow White And The Seven Dwarfs at Stafford Gatehouse Theatre.
“I don’t wear any false eyelashes. Just a bit of red cheeks, a bit of red nose and a bit of mascara to open the eyes.”
Park Bench Theatre in The Park Keeper, The Friends Garden, Rowntree Park, until July 17. Box office: yorktheatreroyal.co.uk or on 01904 623568.
Travelling players: top row, Ali Azhar and Ulrika Krishnamurti; bottom row, Eddie Mann, left, Dora Rubinstein and Emilio Iannucci, the cast for Around The World In 80 Days
YORK Theatre Royal is going global, visiting all four corners of York in 23 days with its family show Around The World In 80 Days.
After taking the Theatre Royal’s debut Travelling Pantomime to 16 of York’s 21 wards at Christmas, creative director Juliet Forster will be at the helm once more for this summer spectacular.
Juliet’s new circus-themed adaptation of the Jules Verne novel will play four York playing fields from August 6 to 21 before heading home for a finale at York Theatre Royal from August 25 to 28.
“As one of the characters in the play says: ‘If you can’t travel to exciting parts of the globe this summer, don’t despair, we are here to bring the world to you!’,” says Juliet. “That’s the spirit of this production really.
“Many of us are feeling disappointed that there are still a lot of restrictions around travelling this summer, so this show is the perfect opportunity for some armchair tourism – or, rather, picnic-blanket tourism.”
Juliet continues: “Jules Verne’s story is a lot of fun as the characters race against time to complete a full circuit of the Earth, and in this version, fact and fiction also go head to head as real-life investigative journalist Nellie Bly puts in an appearance. It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story, delivering the kind of experience that live theatre does best.”
“It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story,” promises Juliet Forster, director of York Theatre Royal’s Around The World In 80 Days
Forster, who also directed Love Bites, the love letter to live performance that re-opened the Theatre Royal after Covid restrictions eased on May 17, will be joined in the outdoor production team by Sara Perks, designer of the Theatre Royal productions of Everything Is Possible: The York Suffragettes and Brideshead Revisited; movement director Asha Jennings-Grant; composer and sound designer Ed Gray; lighting and sound engineer Mike Redley and assistant director Sam Bond.
Around The World In 80 Days will be staged outdoors on school playing fields at Carr Junior School, August 6 to 8; Copmanthorpe Primary School, August 10 to 12; Archbishop Holgate’s School, August 14 to 16, and Joseph Rowntree School, August 18 to 21, followed by the Theatre Royal home run.
Tree-climbing enthusiast Emilio Iannucci, previously seen at York Theatre Royal in The Book Of Dragons and Hello And Goodbye and at Shakespeare’s Rose Theatre in Romeo & Juliet, Richard lll, Macbeth and A Midsummer Night’s Dream in 2018/2019, will lead the cast as the Ringmaster and Phileas Fogg.
Ali Azhar will play The Clown and Passepartout; Ulrika Krishnamurti, The Trick Rider and Aouda; Eddie Mann, The Knife Thrower and Detective Fox, and York actor Dora Rubinstein, The Acrobat and Nellie Bly.
To add to the international flavour of Forster’s production, Ali Azharis a French-Moroccan actor born in Paris, where he studied classical theatre before further training at Mountview Academy of Theatre Arts, London, and Broadway Dance Centre in New York.
Emilio Iannucci, the son of satirist, writer, director and radio producer Armando Iannucci, is of Italian heritage; Ulrika Krishnamurti is a singer of Indian classical music and this summer Eddie Mann celebrates his tenth year of traveling around the world in 24 hours to settle in Britain after leaving his native New Zealand.
Who’s playing which roles?
As a member of post-punk trio Circus Of Bones, songwriter and multi-instrumentalist Mann has toured Spain, Sweden, the Netherlands, France and Cyprus, as well as Britain five times, and had a residency at Cafe de Paris in, er, London.
Stretching things a little, Dora Rubinstein runs workshops in flexibility, contortion, acrobalance, handstands, and aerial adroitness in York and Leeds.
Looking forward to a summer of globe-trotting in York, Theatre Royal chief executive Tom Bird says: “Following the success of our hugely popular indoors family summer shows, including Swallows And Amazons and The Wind In The Willows, we’re excited to be going outdoors and to all four corners of York with Around The World In 80 Days. This madcap adventure, full of fun and frivolity, is just what we need right now. Enjoy!”
York Theatre Royal in Around The World In 80 Days:
Carr Junior School, August 6, 7pm; August 7, 3pm and 7pm; August 8, 2pm and 6pm.
Copmanthorpe Primary School, August 10, 7pm; August 11 and 12, 3pm and 7pm.
Archbishop Holgate’s School, August 14, 7pm; August 15, 2pm and 6pm; Aug 16, 3pm and 7pm.
Joseph Rowntree School, August 18, 7pm; August 19, 3pm and 7pm; August 20, 7pm; August 21, 2pm and 6pm.
York Theatre Royal, August 25 to 28, 2pm and 7pm. Signed performance: August 26, 2pm.
Suitable for age 7+. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
When domestic bliss turns to domestic blister: Sandy Foster as Judy and Tom Kanji as Johnny in Laura Wade’s comedy Home. I’m Darling. Rehearsal picture: Ellie Kurttz
SWEET peas in the garden; homemade lemon curd in the kitchen; marital bliss in the bedroom; Judy and Johnny seem to be the perfect couple. Sickeningly happy, in fact.
Yet is their marriage everything it seems? Are there cracks in their happiness? What happens when the 1950s’ family values they love so much hit the buffer in the 21st century, as the couple discover that nostalgia ain’t what it used to be?
So runs the bumpy course of Laura Wade’s comedy, Home, I’m Darling, premiered in 2018 by Theatr Clwyd and the National Theatre and now revived in a co-production between Scarborough’s Stephen Joseph Theatre, the Octagon Theatre, Bolton, and Theatre by the Lake, in Keswick, with a cast of Sandy Foster, Tom Kanji, Vicky Binns, Sam Jenkins-Shaw, Sophie Mercell and Susan Twist.
The director is Liz Stevenson, Theatre by the Lake’s artistic director, best remembered in York for her beautiful 2018 touring production of The Secret Garden at the Theatre Royal.
“Home, I’m Darling is the perfect way to welcome back audiences to live theatre again,” she says. “Sharp, funny and incredibly timely, it’s one of those plays that will have everyone chuckling, discussing and debating long into the evening. I can’t wait to bring this brilliant play to life in-the-round with this incredible creative team and with three fantastic northern theatres.”
Director Liz Stevenson in rehearsals for Home, I’m Darling. Picture: Ellie Kurttz
Home, I’m Darling has taken longer than first planned by Liz to find a northern home (or three!). “I’d heard so much about the first production, read the script and thought it would be a really interesting play for Theatre by the Lake, but then the pandemic happened and stopped everything,” she recalls.
“There’d been no firm plans; I just thought, ‘one day I bet this play will sit really well on the Keswick stage’. But when Theatre by the Lake, the Octagon and the SJT started talking about play titles for a partnership, this play came up.
“Then we started an online play-reading club with a group of about 40 people of all ages, and this was one of the plays we discussed, and it just confirmed it would go down really well if we ever did it.”
Roll on to summer 2021, and here comes Liz’s production. “It’s very funny, very entertaining, and because it’s in this 1950s-style household, there’s lots of fun and colour to it, but because the play is set now, there are lots of relatable, modern-day issues: feminism, gender roles…” she says.
… “We spoke to Laura [Wade] during rehearsals about people thinking about spending more time at home when losing their jobs, and then of course that’s what happened with the Covid lockdowns.
“Shutting herself in a world that she’s kept so small”: Sandy Foster’s Judy in Home, I’m Darling. Picture: Ellie Kurttz
“People have had to spend time at home, where we’re all expected to have a family, hobbies, a clean home and a talent for baking. Pre-Covid, in this play, here we have someone who wants that life, who wants to be the contented housewife and wants to see people’s reaction to that.”
Perfect timing for her production, then. “It’s a play that will send people out on a high, and that’s something we all need at the moment after what we’ve been through,” says Liz.
Without giving too much away, Liz, what’s the plot? “Judy is 38, she’s been made redundant, and she’s thinking, ‘Do you know what, I’m not going to get another job, working in finance, working very long days, working at weekends’,” she outlines.
“Now she’s becoming an expert baker, an expert cleaner, and it looks like everything is perfect, but then cracks appear and over a fortnight you see things fall apart, as they think, ‘Do we want to spend our lives like this?’.
“She has a home that’s beautiful, where she has control, looking after that home and husband Johnny, but when you push that, it becomes unhealthy as friends start poking holes into this ‘perfect’ bubble, where she has shut herself in a world that she’s kept so small.
“That’s the realisation that Judy has by the end of the play, where she says, ‘I think I’m scared that I’m going to struggle to catch up with the world’. It’s about balance in your life and Judy doesn’t have that balance; she’s gone from one extreme to the other.”
Sam Jenkins-Shaw and Vicky Binns in rehearsal for Home, I’m Darling
“But what’s brilliant about Laura’s writing is that she’s not being heavy-handed; she’s putting questions out there, rather than coming up with answers, and those questions have become even more relevant with people working from home.”
Home, I’m Darling is a comedy with darkness at its edges. “A few people at the play-reading club who read it likened it to an Ayckbourn play, where it’s very funny, but there’s a lot of tension,” says Liz.
“The whole play is set in one space with the actors doing their brilliant thing as the characters’ behaviour affects each other and you see the tension rise within that concentrated setting.
“This production is the first time this play has been staged in the Round, so whereas previously the stage was like a doll’s house with the roof taken off, the benefit of the Round is you are so close to the actors, you will spot every pulling of a raised eyebrow.”
Like so many who work in theatre, Liz has experienced an unparalleled past 15 months. “It’s been really tough for us at Theatre by the Lake; we closed in March last year and we’re still closed, though we have lots of activity in the community and we’re doing a festival with English Touring Theatre at Crow Park [Keswick] in August,” she says.
“But when we do Home, I’m Darling from October 6 to 30, it will be my first show IN the theatre two years after my appointment as artistic director, though we have been rehearsing it inside the building, which has been lovely, and we can’t wait to see a show being put on here again.”
“Darlings, we’re home,” she can finally say at that point.
Home, I’m Darling, Stephen Joseph Theatre Scarborough, tonight until August 14. Box office: sjt.uk.com
A Twist at the end: Susan Twist in a scene in rehearsal from Home, I’m Darling. Picture: Ellie Kurttz
Withholding the truth: Oliver Ford Davies’s Graham Greene and Stephen Boxer’s Kim Philby in A Splinter Of Ice
A Splinter Of Ice, The Original Theatre Company, York Theatre Royal, until Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk
WHAT’S this? A proper printed programme to peruse. Another sign of a return to theatre’s old normal ahead of Monday’s Step 4 pronouncement and its promise of the resumption of full-capacity shows.
What’s this? A not particularly busy first-night audience for spy story A Splinter Of Ice, even making allowances for social distancing in masked times. We could romanticise how theatres will be crammed to the gills once “Freedom Day” arises, but audiences are selective. Always were, always will be.
In between the mothballed lulls in lockdown, we have grown accustomed to seeing theatres and theatre companies adapting to Covid rules with social-bubble casts of one, two or three on main stages. In truth, Ben Brown’s three-hander would have been equally at home on a studio or Edinburgh Fringe stage, where it would have gained from added claustrophobia.
A Splinter Of Ice has its own cases of social distancing and mask-wearing: Brown’s subject matter is the first meeting in 35 years of The Third Man writer Graham Greene (Oliver Ford Davies) and Cold War-era spy Kim Philby (Stephen Boxer) in 35 years, whose friendship had been forged in Greene’s days in Philby’s office at MI6. Greene professed to loving him, maybe explaining the play’s inclusion in the Theatre Royal’s Love Season.
British intelligence officer and double agent Philby’s defection to the Soviet Union ensured an enforced social distancing, despite Philby’s invitations to his old friend to visit him. Greene finally does so when attending a peace conference at Gorbachev’s initiation, along with the likes of Yoko Ono, Gregory Peck and Peter Ustinov.
The date is February 15 1987. Greene arrives for dinner at Philby’ rudimentary Moscow flat, home to the terminally ill spy, his charming fourth wife Rufa (Karen Ascoe) and books and a chair given to Philby by fellow Cambridge Five spy Guy Burgess.
Michael Pavelka’s set is skeletal, bare scaffolding framing the drab flat contents, much like Brown must fill in the blank pages of exactly what went on that night as Greene would later only affirm that the meeting had taken place.
Likewise, Boxer’s Philby opens by saying he will not answer any of Greene’s questions, although subsequently he does, but who knows where the truth lies in his answers. Greene had had the first word, addressing the audience directly to warn that “perhaps he was just playing with me, as he did with others”. Philby’s mask-wearing had been so adroit that he was, in Greene’s words, “the greatest spy of the 20th century”.
The ghost in the writer: Oliver Ford Davies’s Graham Greene, there but not there
“Though they are great friends, they withhold things; they’re not always honest with each other,” Ford Davies forewarned in his interview, and indeed Greene is, in his own way, as a writer, an outsider, an observer, who has to keep his anti-social distance from his quarries. Are his reasons for finally agreeing to see Philby entirely honest, or is there a hidden agenda?
Just as Philby is still in the service of his Russian masters, albeit only sparingly, so Greene still attaches himself to “the firm” (MI6).
The British love a spy story, whether in book or film form, and here we have two of the brightest minds of their generation locking intellectual horns over wine, whisky and a dinner of coq au vin cooked by Rufa (although Philby normally does the cooking).
Tonight, however, he is on washing-up duty, a task that facilitates Brown the opportunity to have a conversation between Greene and Rufa, to bring a third, more sympathetic, perspective into the reunion, a device that also loosens up what might otherwise be all rather too stifling and monochrome.
Brown conducts the first half as Philby sketching in some of the blanks under Greene’s questioning, telling the story his convivial, urbane way, before all that politesse truly turns to politics post-dinner when Greene’s probing becomes more of an inquisition, as Philby starts to show his true colours in “vodka veritas” with what Greene calls his “chilling certainty” – and no sense of guilt. Greene turns out to be the more mysterious character, the ghost in the writer, there but not there.
There is a little brittle wit , there is intrigue, history and mystery too, and then there is the big question: would you choose to be loyal to your friend or your country? Yet A Splinter Of Ice ultimately leaves you as cold as the Cold War; for all the surface finesse of Alan Strachan’s direction and the consummate stage craft of Ford Davies, Boxer and Ascoe, it should reveal and say more, rather than play a chess game in words. From Brown, amid the display of superior grey matter, the play is too grey without enough of his own voice beyond the detailed research.
Truth be told, An Englishman Abroad, Alan Bennett’s marrow story of a defector and British visitor, Guy Burgess and actress Coral Browne, meeting in Moscow in 1958, was more fascinating, more rewarding too.
Given the subject of two men who took such risks, whether in word or deed, A Splinter Of Ice feels just too safe.
Minster, by textile artist Carol Coleman, who is taking part in York Open Studios at 1 Carlton Cottages, Wigginton
AHEAD of Monday’s already trailered Step 4 pronouncement, Charles Hutchinson unmasks events aplenty, from Open Studios to heavy metal heaven, theatre comedy to theatre tragi-comedy, musical celebrations to a triple exhibition.
Big art event of the next two weekends: York Open Studios 2021, preview night tomorrow, 6pm to 9pm; July 10/11 and 17/18, 10am to 5pm
AFTER the Covid-enforced fallow year of 2020, York Open Studios returns this weekend for its 20th parade of the city’s creative talent.
The event sees 145 artists and makers open 95 studios, homes and workplaces, and among them will be 43 debutants, with full details at yorkopenstudios.co.uk.
York’s biggest annual art showcase spans ceramics, collages, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, furniture, sculpture and textiles.
Still feeling their Old Selves after lockdown easement: Yorkshire four-piece look overjoyed at the prospect of headlining tomorrow’s very heavy metal bill at The Fulford Arms
Hardcore gig of the week: Old Selves, Blight Town, Cast Out and Realms at The Fulford Arms, York, tomorrow, 7.30pm.
“WHAT at an absolute heavy metal treat,” enthuses Fulford Arms supremo Chris Sherrington, ahead of tomorrow’s headbanger fiesta, headlined by fiery Yorkshire four-piece Old Selves.
Playing loud too will be Nottingham progressive post-hardcore/math rock quintet Blight Town, York punk’n’roll/metalcore crossover band Cast Out and Yorkshire post-hardcore act Realms, who “make music for people who never grew out of their emo phase”. Tickets: thefulfordarms.bigcartel.com/ or on the door.
Lead actors Sandy Foster and Tom Kanji in rehearsal for Laura Wade’s comedy of domestic bliss turned to blister, Home, I’m Darling. Picture: Ellie Kurttz
Make a trip to Scarborough for: Home, I’m Darling, Stephen Joseph Theatre, July 9 to August 14
SWEET peas in the garden; homemade lemon curd in the kitchen; marital bliss in the bedroom, Judy and Johnny seem to be the perfect couple. Sickeningly happy, in fact, in Laura Wade’s domestic comedy-drama.
Is their marriage everything it seems, however? Are there cracks in their happiness? What happens when the 1950s’ family values they love so much stop working in the 21st century as the couple discovers that nostalgia ain’t what it used to be.
Liz Stevenson directs this co-production between Theatre by the Lake, Keswick, Bolton’s Octagon Theatre and the SJT. Box office: thesjt.uk.com.
Back together in Beulah: Actor-musicians Jim Harbourne and Ed Wren reunite next week, having first performed the show for The Flanagan Collective in 2012
Theatre resurrection of the week ahead: The Flanagan Collective in Beulah, Summer At The Mill, Stillington, near York, July 14 to 16, 8pm to 10pm
AN island sets sail into the sunset; a boy watches a lion running out of the sky, and an old man is sleeping as Alexander Wright’s Beulah reawakens in Stillington.
Inspired by William Blake’s world of a “mild and pleasant rest”, Wright plays with notions of reality, of the permeable times of day and liminal states of being, in a show woven with storytelling, puppetry and soaring live music, first staged at York Theatre Royal in the bygone summer of 2012.
Directed by Tom Bellerby, Beulah is performed by actor-musicians and composers Jim Harbourne and Ed Wren. Box office: atthemill.org.
Father Of The Flowers, by York artist Linda Combi, from her exhibition The Last Gardener Of Aleppo at Pyramid Gallery, York
Exhibition launch of the week times three: Pyramid Gallery, Stonegate, York, Friday to September 5
ERUM Aamir, Debbie Loane and Linda Combi form the suitably triangular structure of Pyramid Gallery’s summer show. Not one, but three exhibitions will run in two upstairs rooms.
For Celestial Garden, Manchester ceramic artist Erum Aamir has made intricate porcelain sculptures that fuse her scientific research and artistic imaginations, complemented in the front room by seascape and landscape paintings by Easingwold artist Debbie Loane under the title of The Peace Of Wild Places.
York artist Linda Combi presents The Last Gardener Of Aleppo, a series of original collages and mixed-media artworks and giclee prints that form a moving tribute to Abu Waad in aid of The Lemon Tree Trust and the United Nations High Commissioner for Refugees agency.
Not having a ball: Luke Dickson as doomed Leeds United manager Brian Clough in The Damned United at York Theatre Royal
Second time lucky: The Damned United, Red Ladder Theatre Company, York Theatre Royal, July 15, kick-off 7.30pm
THE Damned Pandemic curse struck again when June 16’s performance of The Damned United was postponed after one of the actors had an inconclusive lateral flow test. Tickets remain valid for the post-Euro 2020 new date.
Anders Lustgarten’s darkly humorous adaptation of David Peace’s book about Brian Clough’s 44 days in purgatory as Leeds United’s manager is built around the double act of tortured genius Clough (Luke Dickson) and father figure/assistant Peter Taylor (David Chafer).
The beauty and brutality of football, the working man’s ballet, bursts out of a story of sweat and booze, fury and power battles. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
No, that’s not England manager Gareth Southgate, second from left, front row, in Black Sheep Theatre’s line-up
Raise the roof booster: Black Sheep Theatre, For The Love Of Musicals, Joseph Rowntree Theatre, York, July 24, 2.30pm and 7.30pm
MUSICAL director Matthew Clare and his merry band, plus a heap of York singers, present a concert programme packed with musical delights as they seek to prove that “There’s No Business Like Show Business”.
The song list for this Black Sheep Theatre fundraiser for the Joseph Rowntree York, spans Annie Get Your Gun, the classics and more recent shows, such as Dear Evan Hansen. Box office: josephrowntreetheatre.co.uk.
Joshua Burnell: Live At Forty Five gig in August. Picture: Stewart Baxter
Intimate gig announcement of the week: Joshua Burnell, Live At Forty Five, Forty Five Vinyl Café, Micklegate, York, August 14, 7.30pm
JOSHUA Burnell, progressive York purveyor of folk-fused baroque’n’roll for the modern world, performs in a three-piece line-up, including Frances Sladen, at Forty Five Vinyl Café next month.
Expect a showcase for latest album Flowers Where The Horses Sleep and his new EP, Storm Cogs, featuring songs about a folk singer who went missing for 30 years (Shelagh McDonald), a storm-chasing flying machine and a childhood memory, “written and recorded in lockdown and released as the world recovers”.
Elsie Franklin supports. Tickets are on sale at fortyfiveuk.com/events/joshua-burnell-live-at-fortyfive.
ED Byrne did appear at the debut Live At Theatre Royal Comedy Night after all. On late substitute Milton Jones’s mobile phone in an impromptu exchange where Jones had the last word, over and over, setting up Ed for his genial jibes like Federer putting away a backhand passing shot.
“Byrne out” had struck this gig when the whimsical Irishman’s own phone had pinged him with the message of our times: “You Need To Self-Isolate” , until 23.59pm on July 7.
Byrne was indeed at home, doing passing-the-time things, by way of contrast with this fast-moving, no-interval comedy bill, kept on its toes in brisk fashion by host Arthur Smith, who was largely in rather jollier mood than his usual lugubrious, Grumpy Old Man schtick, as casual as his summer shorts.
So, here was the alternative Smith and Jones show, plus Rhys James in his first gig since times BC (before Covid) and Maisie Adam, the Pannal humorist familiar from panel shows, still defiantly sporting her half-shaven lockdown hair.
Maisie Adam; Hair-larious set back in God’s Own Country
James, looking impossibly boyish as he hits 30 this year, is from the time-honoured school of cheeky chappy comedy, full of wry observations and a winning line in self-deprecation, not least over sharing a name – albeit spelt differently – with England’s full back Reece James. He found his feet back on the comedy turf rather better than his namesake in his Euro 2020 debut against Scotland.
Maisie Adam, enthusiastic football player in a Brighton women’s team and fabulous storyteller, was loving being back home in Pannal, visiting Ripon and taking the train across the Knaresborough viaduct.
Like James, she was adjusting to a return to audience interaction after a surfeit of streamed gigs into the silent digital ether, an experience much like howling into the wind, and how she relished the sound of laughter, so vital to a comic’s timing and rhythm. Such delightful, sometimes daft, often astute company, the fearless, forthright Maisie is on the unstoppable rise, you better Adam and Eve it.
In the absence – save for that surprise phone cameo – of ‘edliner Ed Byrne, comedy paradise was found in Milton, the joker with a quip in every soundbite, a pun-slinger always one step ahead of the audience guessing games.
Milton Jones: Late substitute struck comedy gold
Hair wilder than Doddy, Hawaiian shirt as over-excitable as a teenager’s first holiday away from the parental grip, Jones had a hit rate of word-play gags so consistent, so precise, it was the equivalent of reducing a dartboard to only the bullseye and still never missing.
Behind the deadpan delivery, his abundant sense of mischief, gift for mimicry, smart political sensibility and unerring radar for what’s funny without the need for offence, all wrapped inside his endless joy in a one-liner, were such welcome light relief after so many months of darkness.
In Damian Cruden’s two decades of artistic directorship, comedy nights were strangely absent from the York Theatre Royal calendar, but chief executive Tom Bird is now taking a different tack, and you can surely expect more bills to follow the lead of the Smith and Jones show.
