Adam Martyn in rehearsal for his role as Nicholas Saunderson in No Horizon
RIGHT Hand Theatre’s No Horizon, a musical
about a Yorkshire science and maths genius, is on the horizon at York Theatre
Royal.
Staged at 7.30pm on April 9 and 2.30pm and 7.30pm on April 11 – there will be no performance on Good Friday – the show is inspired by the life of Nicholas Saunderson, a blind scientist and mathematician from Thurlstone, West Riding, who overcame impossible odds to become a Cambridge professor and friend of royalty.
Often described as an 18th
century Stephen Hawking, Saunderson was born on January 20 1682, losing his
sight through smallpox when around a year old. This did not prevent him,
however, from acquiring a knowledge of Latin and Greek and studying
mathematics.
As a child, he learnt to read by tracing the engravings on tombstones around St John the Baptist Church in Penistone, near Barnsley, with his fingers.
No Horizon premiered at the 2016 Edinburgh Fringe, going on to draw an enthusiastic response from BBC Radio 2 presenter Chris Evans, who called it a “Yorkshire Les Mis”.
Now, the musical has been adapted for a 2020 northern tour by Right Hand Theatre, a company passionate about diversity and inclusivity within theatre. The cast has a 50/50 male/female balance, delivering the show in a gender-blind way with a female Isaac Newton, for example. Both the director and lead actor are visually impaired.
The role of Saunderson is played by the
partially sighted Adam Martyn, from Doncaster, who trained at Liverpool
Institute of Performing Arts (LIPA). The female lead role of Abigail goes to Yorkshire
born-and-bred, Rose Bruford College-trained Larissa Teale.
The cast is completed by Tom Vercnocke
as Joshua Dunn; Louise Willoughby as Anne Saunderson; Matthew Bugg as John
Saunderson; Ruarí Kelsey as Reverend Fox; Katie Donoghue and Olivia Smith as
Company.
The musical will be staged with a fresh
look by director Andrew Loretto; vocal coach Sally Egan; movement directors
Lucy Cullingford and Maria Clarke; costume designer Lydia Denno; costume maker
Sophie Roberts; lighting designer David Phillips and tour musical director
David Osmond.
No Horizon’s 2020 northern tour is funded by Arts
Council England and Foyle Foundation, co-commissioned by Cast, Doncaster and
The Civic, Barnsley, and supported by Sheffield Royal Society for the Blind.
Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk; April 9’s performance will be audio described, a Q&A will follow that night’s show.
Messy Eaters: on the menu at Taste Of SLAP at York Theatre Royal
TWO reasons lie behind the title of Taste Of SLAP, the “alternative Valentine’s Day treat” at York Theatre Royal tomorrow.
Organised by SLAP founders and co-directors Lydia Cottrell and Sophie Unwin, the last SLAP festival in 2019 ran for four days. This one, by contrast, is more concentrated: one day and evening’s tasty assortment of pay-what-you-can theatre and performance in different locations in the Theatre Royal.
Bite sized, in other words, and bite is apposite for the second reason. Taste Of SLAP’s day of cabaret, theatre, dinner dating, tea drinking, canape art and more besides takes the theme of food. Even a participating company carries the name of Teastain Theatre.
“After last year’s festival, the idea
was to have a year off and then do the festival every two years,” says Lydia. “But
that’s not the case now, as we believe it’s better to have a presence each
year, so we’re doing a day of events at various locations, ending with the return
of the DryHump Queer Cabaret.”
Sophie says: “The idea is to have a taster menu of everything you would have in a four-day SLAP festival. Everything has the theme of food, what with it being held the day after Valentine’s Day and coinciding with the musical Oliver! [Food Glorious Food et al] in the main house!”
Levantes Dance Theatre’s Canape Art
Lydia rejoins: “It’s always a dream to
have something for everyone at our SLAP events but I really believe we have
this time: some that are family friendly and some that are very definitely not.”
Should you be wondering what the
acronym SLAP stands for, the answer is Social Live Art Performance. “As a
company our aim is to create a fun and supportive environment for audiences to
experience live performance,” says Lydia.
“It is part of the SLAP ethos that
everyone that comes to SLAP is treated equally in the belief that everyone has
the right to experience art, no matter their background.”
Sophie adds: “SLAP are passionate about supporting local talent, as well as bringing international artists to the city. This year, we’ve collaborated with Drama Soc at the University of York to commission a brand new play, the quirky, rhyming Messy Eaters, written by student Aisling Lally that will be performed by York company Teastain Theatre.
“It’s directed by Jesse Roberts, who is a past artistic director of the Theatre Royal’s TakeOverFestival, and I reckon that Aisling, who’s an English Literature student, is definitely the next big thing.
“We’re also programming York St John University graduate Siara Illing Ahmed with her work I Am Mixed, where she’ll be feeding you food from her British, Pakistani and Irish background, telling the story of her life through food and discussing her heritage as an empowered woman.
Binaural Dinner Date: finding the “perfect date”
“We also have York puppeteer Freddie
Does Puppets – Freddie Hayes – presenting her new show in her Mrs Potatohead
costume as part of the cabaret event Dry Hump, with Fred serving Buckfast as
everyone arrives.”
Access is at the heart of SLAP too, the organisers always using venues that have flat or ramped access from the street, elevators and accessible bathrooms. “We also believe income should not be a barrier to accessing performance and that’s why we’ve made all events as part of the festival either free or pay-what-you-can,” says Lydia.
“Being artist led, our main aims are to provide a supportive environment for artists to create new work. Our main aim for audiences is for them to experience new contemporary performance in an accessible and non-exclusionary way.
“A big part of the ethos is that art is
for everyone and we want everyone to feel welcome during all of our events. We’ve
worked very hard to ensure that SLAP provides a safe environment and is a great
opportunity to experience live art for the first time.”
Sophie says: “Taste of SLAP involves eclectic performances from
artists working all over the country and beyond. We’re really excited to have
the opportunity to programme such a variety of celebrated artists, most of whom
have never performed here in York.
“We continue to offer an alternative to
the City of York’s cultural offering while also ensuring there’s something in
the programme for everyone. From family-friendly performance, intimate
experiences to conversations and cabaret.”
Siara Illing Ahmed in I Am Mixed
Taste Of SLAP performance menu for Saturday, February 15
Tea &
Tolerance, Café, 3pm to 6pm;
free.
A roaming tea trolley delivers piping
hot topics, not tea, and dishes out dialogue rather than digestives, with a
board game involving the topics being rolled up inside the tea pots to facilitate
conversations.
This show by a Leeds company was inspired by the York Mosque inviting the English Defence League in for a cup of tea and a chat.
I Am Mixed,Keregan Room, 3pm and 5pm; booking required.
A ‘Cefil’, a mixture of Celtic Ceilidh and Indian Mafill, is presented by Siara Illing Ahmed in an intimate storytelling experience. This autobiographical performance details the experience of growing up “mixed race” in Bradford.
Levantes Dance Theatre’sCanape Art, Café, 4pm and 6pm; free.
Dressed to impress, Levantes Dance
Theatre’s delightful duo serve up a glittery and unexpected twist on hors
d’oeuvres, creating beautiful, unique edible tattoos on the hands, arms and
faces with everyone they come across. Suitable for everyone from curious adults
to inquisitive tots.
Tea & Tolerance: board games leading to conversations
Binaural
Dinner Date,Café,
3pm, 5pm and 7.45pm. Booking required.
Co-ordinated by the Brazilian-London partnership
of ZU-UK, this is a post-Valentine’s Day alternative chance to find romance as a
voice in your ear – courtesy of headphones – guides you through the perfect
date. Come with your own date, or we can find one for you.
Messy Eaters, Studio, 7pm, sold out.
Everyone’s making a mess. Newlyweds Charles and Mabel spend Christmas with the in-laws, God, and a deadly secret. Shirley and Kevin reach boiling point, while stressed student Emma gains a keen tea guest who forgets his table manners.
Meanwhile, Ryan just doesn’t understand how girlfriend Abby likes her eggs in the morning. With five interlinking short plays on the menu, Messy Eaters is jam packed with current, juicy chaos.
DryHump,
De Grey Rooms, 8pm. Booking required.
A sumptuous feast of Queer Cabaret delights,
with small plates of performance, porky party games and delicious dancing.
Freddie Does Puppets, Rich Tea and Rocky Road and DJ Nik Nak all feature.
SLAP’s ticket policy: Taste Of Slap’s ticket brackets are £3, £6, £9 and £12. Choose the amount you would like to pay.
“We will never ask you to prove your
financial situation; just pick the amount that feels best for you. If you would
like to know more about any of the events, please email info@slapyork.co.uk,” say
the organisers.
DryHump Queer Cabaret: the finale to Taste Of SLAP
Tickets
are on sale at yorktheatreroyal.co.uk, on 01904 623568 or in person at the
Theatre Royal box office.
Food Glorious Food: the Young People’s Ensemble give it plenty in Oliver!. All pictures: Tom Arber
REVIEW: Oliver!, York Light Opera Company, York Theatre Royal, until February 22. Box office: 01904 623568 or at yorktheatreroyal.co.uk
DAME Berwick Kaler’s 41 years at York Theatre Royal
have come to an end, but one company with an even longer run there is still
rolling out the productions after 60 years.
York Light have chosen to mark another 60th anniversary by staging Lionel Bart’s Oliver!, first performed in the West End in 1960.
This latest revival of a perennial favourite utilises David Merrick and Donald Albert’s Broadway stage version, here directed and choreographed by Martyn Knight on an expansive set with walkways, bustling London streets, the drab workhouse, smart townhouse and the underworld of Fagin’s dingy den.
The show opens with a death outside the workhouse,
and the dead woman being promptly stripped of her necklace by an older woman:
welcome to dark Dickensian London.
Rory Mulvihill’s Fagin and Jonny Holbek’s Bill Sikes in York Light’s Oliver!. Picture: Tom Arber
Once inside, Food Glorious Food bursts into life, the first of so many familiar Lionel Bart songs, choreography well drilled, the young people’s ensemble lapping up their first big moment (even if their bowls are empty already!).
The directorial polish in Hunter’s show is established immediately; likewise, the playing of John Atkin’s orchestra is rich and in turn warm and dramatic. These will be the cornerstones throughout in a show so heavy on songs, with bursts of dialogue in between that sometimes do not catch fire by comparison with the fantastic singing.
This review was of the first night, leaving time
aplenty for the acting to raise to the level of the songs, but there really does
need to be more drama, for example, from all the adults in Oliver and Dodger’s
pickpocketing scene. Likewise, spoiler alert, Nancy’s death scene fails to
shock, although Jonny Holbek elsewhere has the menace in voice and demeanour
for Bill Sikes. Even his dog Bullseye looks scared of him.
Playing the nefarious Fagin for a second time, with a stoop, straggly hair and wispy beard, stalwart Rory Mulvihill has both the twinkle in his eye and the awareness of the fading of the light, characteristics he brings to the contrasting ensemble numbers You’ve Got To Pick A Pocket Or Two and Be Back Soon and the reflective, sombre solo Reviewing The Situation.
Jonathan Wells’s Mr Sowerberry and Annabel Van Griethuysen’s Mrs Sowerberry with Matthew Warry’s Oliver (alternating the role with Alex Edmondson)
Overall, the company could take a lead from Neil
Wood’s Mr Bumble and Pascha Turnbull’s Widow Twankey in their hanky-panky I
Shall Scream scene, full of humour, sauce and pleasing characterisation.
Alex Edmondson’s truculent Oliver and Jack Hambleton’s chipper Dodger bond well, especially in Consider Yourself; Jonathan Wells’s Mr Sowerberry and Annabel Van Griethuysen’s Mrs Sowerberry are in fine voice. Her singing is even better, creamier you might say, for the Milkmaid, when joined by Sarah Craggs’s Rose Seller, Helen Eckersall’s Strawberry Seller, Richard Bayton’s Knife Grinder and Edmondson’s Oliver for Who Will Buy?, always beautiful and deeply so here.
Emma Louise Dickinson’s Nancy gives Act Two opener
Oom-Pah-Pah plenty of oomph, and although As Long As He Needs Me sits uncomfortably
on modern ears with its seeming tolerance of domestic abuse, she gives that
bruised ballad everything twice over.
Reviewing the present situation, the singing is
strong, moving and fun when it should be, but, please sir, your reviewer wants
some more from the non-singing scenes, and then he might be back soon.
Binaural Dinner Date: the alternative Valentine’s Day date, so alternative that the date will be on the day after Valentine’s Day
PAY attention hopeful singletons and curious couples seeking an alternative Valentine’s Day date with a difference.
York’s Taste of SLAP Saturday curators and directors Lydia Cottrell and Sophie Unwin are bringing immersive and digital performance innovators ZU-UK to York Theatre Royal this weekend to set up the post-Valentine Binaural Dinner Date.
On the traditional
sporting match day of the week, matches of a different kind will be taking
place in the Theatre Royal café at 3pm, 5pm and 7.45pm, when ZU-UK will
be asking “audiences
to swipe right and join them for an experiential dating experience”.
“Come with your own date, or we can find one for you,” they
say, emphasising that booking is required as soon as possible on 01904 623568,
at yorktheatreroyal.co.uk or in person at the Theatre Royal box office.
What will happen on Saturday? “Using binaural sound, participants will be guided by a voice in their ears to ask each other questions, offer answers, and consider the dos and don’ts of what we say, and what we would like to say, to each other on a date,” say ZU-UK, a company with its art and its heart in both London and Brazil.
“What are we really thinking when we meet for the first time? How much are we prepared to confess? And are the questions we ask each other the questions that will help us find love?”
Binaural Dinner Date is “part interactive performance, part dating agency” for individuals looking for love, or existing couples who simply want a “very different” dating encounter
It will take place at nine tables simultaneously, where the aforementioned voice in the ear of every participant will steer them through a “perfect” date. Wearing headphones, two participants per table will be hosted by a waiter/facilitator/DJ, complemented by “interactively mixed binaural audio” with suggestions and comments on dating “rules”, as well as games pushing social expectations and “acceptable” table-talk topics.
Jorge Lopes Ramos, ZU-UK’s co-artistic director, says: “ZU-UK’s artistic work has never shied away from engaging with urgent, problematic and at times depressing aspects of the contemporary human condition.
“This is a time to
question mainstream narratives and to consider our role in shaping communities
and relationships between strangers. Dating seemed like a contemporary human
ritual worth exploring.”
Formerly known as Zecora Ura and Para Active, ZU-UK is an independent theatre and digital arts company based in East London and Rio de Janeiro, Brazil, since 2001. Driven by an artistic partnership between Ramos and Persis Jadé Maravala, ZU-UK creates interactive experiences, using games, performance and technology, that can happen anywhere, whether on the phone, in the house, on a stage, in a shopping mall or a field.
Binaural Dinner Date is the first instalment in ZU-UK’s ten-part series Decalogy of Loneliness. After ZU’s Hotel Medea in 2009 to 2012 and the interactive technology exhibition Humble Market in 2012 to 2014, they have been developing ten artworks as part of this project.
Since 2015, they have
worked with Canadian research institute TAG (Technoculture, Arts and Games), using
game-design to deepen ZU’s work with immersive, participatory and interactive
performance.
Over the next three
years, ZU will develop the remaining parts of the Decalogy, focusing on the
relationship between strangers in public and private spaces. The company also
will present two digital artworks using
public phones, #RioFoneHackand How Mad Are You? , and a binaural
prototype, Small Data Mining.
Suitable for age 16 plus, Binaural Dinner Date is part of SLAP organisers Lydia Cottrell and Sophie Unwin’s Taste Of SLAP, a day of food-themed shows under their Social Live Art Performance banner (although, if memory serves right, SLAP initially stood for Salacious Live Alternative Performance when the festival was first set up!).
Full details of Taste of SLAP can be found at slapyork.co.uk and a further preview will appear online at charleshutchpress.co.uk. Tickets for this weekend’s taster carry a “Pay What You Can” price tag.
The Magnificent Six in Crongton Knights at York Theatre Royal from February 25 to 29. Pictures: Robert Day
YORK Theatre Royal resident company Pilot Theatre are following up last year’s powerful adaptation of Malorie Blackman’s Noughts & Crosses with another topical collaboration.
Pilot have teamed up with Coventry’s Belgrade Theatre to present Emteaz Hussain’s new staging of Alex Wheatle’s award-winning young adult novel Crongton Knights.
Co-directed by Corey Campbell, artistic director of Strictly Arts Theatre Company, and Pilot artistic director Esther Richardson, the touring world premiere will play the Theatre Royal from February 25 to 29.
Wheatle’s story depicts how life is not easy on the Crongton Estate and for McKay and his mates what matters is keeping their heads down. When a friend finds herself in trouble, however, they set out on a mission that goes further than any of them imagined.
Crongton Knights will “take you on a night of madcap adventure as McKay and his friends, The Magnificent Six, encounter the dangers and triumphs of a mission gone awry”.
Esther Richardson: Crongton Knights co-director and Pilot Theatre artistic director
In this story of how lessons learned the hard way can bring you closer together, the pulse of the city will be brought to life on stage with a Conrad Murray soundscape of beatboxing and vocals laid down by the cast of Kate Donnachie; Zak Douglas; Simi Egbejumi-David; Nigar Yeva; Olisa Odele; Aimee Powell; Khai Shaw and Marcel White.
Wheatle, a writer born in London to Jamaican parents, says: “I’m very proud that Pilot Theatre are adapting my novel, Crongton Knights, for the stage. It’s a modern quest story where, on their journey, the young diverse lead characters have to confront debt, poverty, blackmail, loss, fear, the trauma of a flight from a foreign land and the omnipresent threat of gangland violence.
“The dialogue I created for this award-winning novel deserves a platform and I, for one, can’t wait to see the characters that have lived in my head for a number of years leap out of my mind and on to a stage near you.”
Co-director Esther Richardson says of the teen quest story: “For us, this play is a lens through which to explore the complexity of young people’s lives, open a platform for those concerns and show what they have to try to navigate fairly invisibly to other members of society. It’s the context in which they live that creates the problem, and these kids go under the radar.
“Alex is writing about how the world is stacked against teenagers; how young people have been thrown to the dogs; how they to negotiate this No Man’s Land they live in, when their places have been closed down; their spaces to express themselves.
On the wall: The Crongton Knights cast
“They have been victims of austerity – as have disabled people – so it’s no surprise that there’s been a rise in knife crime, with kids on the streets and no youth workers to go to, to talk about their feelings.”
Esther notes how they have no access to the arts either. “That’s why our job becomes very important, especially the work we do with theatres around the country, such as the Young and Talented theatre workshops, working with kids in inner-city London who otherwise would have no involvement in the arts,” she says.
“It’s a very heavily subsidised actor-training scheme for children aged five or six upwards, and cast members for plays like Crongton Knights can come through the scheme.”
Esther is concerned, however, by the cuts in arts funding and the potential negative impact of Brexit too. “Theatre is not seen as an opportunity to thrive in, especially in this post-Brexit landscape where it’s going to get worse before it gets better,” she predicts.
“That’s why we will further shift into co-creating pieces, Pilot creating work with communities, Pilot co-creating with teens, which we do already do, but we can do it better and do it more.”
On yer bike: A tense scene in Crongton Knights
Significantly, Crongton Knights is the second of four co-productions between Pilot Theatre, Derby Theatre, the Belgrade Theatre, Coventry, and York Theatre Royal, who last year formed – together with the Mercury Theatre in Colchester – a new new partnership to develop theatre for younger audiences.
From 2019-2022, the consortium will commission and co-produce an original mid-scale touring production each year that will play in all the consortium venues as well as touring nationally. The consortium’s debut production, Noughts & Crosses, was seen by more than 30,000 people on tour with 40 per cent of the audience being aged under 20.
To reflect the diversity of the consortium partners and the universality of Crongton Knights’ theme, Esther says: “Although there’s an estate in London called Notre Dame, which features in the book and the play, we have very much created a fictionalised inner city in the play, as Corey and I felt we wanted regional as well as London voices in the cast.
“So, our inner-city world is neither London, nor Birmingham, nor Coventry; it’s everywhere from the perspective of teenagers.”
Pilot Theatre and partners present Crongton Knights, York Theatre Royal, February 25 to 29, 7.30pm nightly plus 2pm, Thursday and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Age guidance: 11 plus; show contains strong language.
Hail Caesar: English Touring Opera are bringing Giulio Cesare to York Theatre Royal in early April. Picture: Oliver Rosser
ENGLISH Touring Opera will be performing
in both the main house and Studio on their return to York Theatre Royal this
spring.
Mozart’s Cosi Fan Tutte will be staged on April 3 and Handel’s Giulio Cesare (Julius Caesar) on April 4, both at 7.30pm, in the bigger space; next door will be The Extraordinary Adventures Of You And Me, for young children, at 11am and 2pm on the Saturday.
Directed by Laura Attridge, conducted by Holly Mathieson and sung in English, Mozart’s Cosi Fan Tutte is a story of young love and fidelity that combines glorious music and farcical comedy in his third collaboration with librettist Da Ponte after The Marriage Of Figaro and Don Giovanni.
Giulio Cesare, Handel’s epic opera of passion and revenge, is built on “a treasure trove of great arias with immense dramatic intensity”, set in the wake of Julius Caesar’s conquest of Egypt as his uneasy alliance and romance with fabled Egyptian queen Cleopatra unfurls.
Sung in Italian with English surtitles, ETO’s touring show is an adapted revival of their 2017 production, led by artistic director James Conway and conductorJonathan Peter Kenny, who will lead the Old Street Band. Both ETO’s April 3 and 4 performances will be preceded by a 6.30pm pre-show talk.
The
Extraordinary Adventures Of You And Me is the latest instalment of fun,
engaging and interactive operas for children and young audiences, after Laika The
Spacedog, Waxwings, Paradise Planet, Shackelton’s Cat and This Is
My Bed.
The 11am and 2pm audiences will meet the hero, Mackenzie, as they prepare to travel through time and space. On a school trip to a museum, Mackenzie discovers that a pencil case is full of magical worlds. “Who knows who you will meet and where you will visit along the way, so take a deep breath and expect the unexpected” say ETO of a show created by composer Omar Shahryar and writer/director Ruth Mariner.
ETO’s performance is suitable for Key Stage 1 and SEND (Special Educational Needs and Disability) audiences. The story features five performers, including singers and players, an ingenious set, interactive songs and sound technology and is recommended for two to five-year-old children.
Tickets are on sale on 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.
A Bunch Of Amateurs writers Ian Hislop, left, and Nick Newman
PRIVATE Eye
editor and Have I Got News For You team captain Ian Hislop and Nick Newman’s
comedy A Bunch Of Amateurs will play York Theatre Royal from June 2 to 6.
What happens in this play? Keen to boost his flagging career,
fading Hollywood action hero Jefferson Steele arrives in England to play King
Lear in Stratford, only to find that he is not in the birthplace of
Shakespeare, but in a sleepy Suffolk village.
Instead of starring alongside Sir Kenneth Branagh and Dame Judi
Dench, the cast members are a bunch of amateurs trying to save their theatre
from ruthless developers.
Jefferson’s monstrous ego,
vanity and insecurity are tested to the limit by the enthusiastic am-dram thespians
who share his spotlight. As acting worlds collide and Jefferson’s career
implodes, he discovers some truths about himself and his inner Lear.
After tours of Hislop and Newman’s The Wipers
Times and Trial By Laughter, Trademark
Touring, Karl Sydow and Anthology Theatre, in association with The Everyman
Theatre, Cheltenham, will be taking A Bunch Of Amateurs on the road from April 23 to July 4.
Hislop and Newman say: “Following successful national tours of The Wipers Times and Trial By Laughter, we are thrilled to be touring the very first
play we wrote, A Bunch Of Amateurs: a love
letter to the world of amateur theatre and a celebration of the overweening
absurdity of Hollywood stardom.”
A Bunch Of Amateurs will
be directed by Robin Herford, whose production of Alan Ayckbourn’s comedy Ten
Times Table for impresario Bill Kenwright’s Classic Comedy Theatre Company is
running at the Grand Opera House, York, this week.
Herford is best known for directing The Woman In Black, the Stephen Mallatratt stage adaptation of Susan
Hill’s novel that he commissioned in 1987 when artistic director of the Stephen
Joseph Theatre. The Woman In Black has
been running in the West End for 30 years, always directed by Herford, along
with the regular tours.
Tickets for A Bunch Of Amateurs are on sale on 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.
WITHOUT
York Theatre Royal, Simon Armitage may never have become Poet Laureate.
Let the
Huddersfield writer explain, as he did last night on the first of two
fund-raising nights for the Theatre Royal’s community fund.
As a boy,
Armitage’s first experience of poetry in performance – poetry in motion, as it
were – was attending a double bill of fellow Yorkshiremen Ted Hughes and Tony
Harrison at the York theatre.
Last night,
he was on that stage himself, marking the tenth anniversary of Seeing Stars, his
“very theatrical, very dramatic” book of dramatic monologues, allegories and
absurdist tall tales.
Curated by Scarborough-born theatre director Nick Bagnall, who made the briefest of appearances at the start, the show combined Armitage, standing to one side, with four actors, beret-hatted Richard Bremmer, Charlotte Mills, Tom Kanji and Kacey Ainsworth.
Sometimes seated in a row, sometimes leaping to their feet, if the lines demanded it, they took their lead from the dry-witted, deadpan Armitage, who orchestrated the show’s rhythms from beneath his still boyish fringe at 56 with a stand-up’s sense of timing.
In a show of two halves, there was a sense of mischief and playfulness throughout, as well as more serious observations, even bleak horror, that the thespian quartet revelled in as much as Armitage.
So much so, at one point he cut across Ainsworth, not rudely, but because he could not resist the sudden urge to read out more of his favourite opening lines from the poems, such was his enjoyment of the audience response.
I say “poems”,
but at the outset Armitage recalled how reviewers had been unsure of exactly
what these works were. “Not poetry,” said one. “Crazy, slightly surreal,” was Armitage’s
own description last night, as the likes of The English Astronaut and Last Day
On Planet Earth spun their modern-day fairytale magic.
Behind Armitage and co was a large print of the book cover: a hybrid of a horse and a pooch that captured this storytelling fusion of prose and poems. Prosems, if you like. It is a perfect choice of image, like Armitage chooses his words so cannily.
There is another
story here too. Proceeds will go to the Theatre Royal’s community work that
facilitates bringing people to the theatre who would not otherwise be able to
visit. Later this year too, there are plans to “embed” people with dementia in
youth theatre sessions in a union of old and young. Fantastic idea.
Tickets are still available for tonight’s 7.30pm performance, when you can savour a night of surprises, satire and surrealism from a Yorkshireman with a darker vision than Alan Bennett crossed with Ripping Yarns. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
A scene from Gary Clarke’s Wasteland, heading for York Theatre Royal next month
THE search is on for singing pitmen to
take part in Gary Clarke’s Wasteland, a new dance event at York Theatre Royal
next month.
Four non-professional singers are being
sought to join the cast for the 7.30pm performances on March 27 and 28.
Wasteland was created to mark the 25th
anniversary of the demolition of Grimethorpe Colliery in South Yorkshire and 30
years since the rise of UK rave culture.
Now the Gary Clarke Company is seeking four singers aged over 40 with experience of singing in a group setting or community choir to play the roles of ex-coal miners.
No professional experience is necessary
but applicants should have experience of learning songs from memory and singing
in unison. The role will involve “some moving on and around the stage and
interacting with other members of the company”.
Down the mines: Another scene from Gary Clarke’s Wasteland
Singers will be supported throughout the process by musical director Steven Roberts, assistant musical director Charlie Rhodes, choreographer and artistic director Gary Clarke and company associate Alistair Goldsmith, who will work with everyone’s individual needs and abilities.
Each participant will receive a food
and travel allowance to help cover the cost of rehearsals and
performances.
For any enquiries or to register
interest, send an email to engagementgcc@gmail.com or call engagement manager Laura
Barber on 07391 621966.
Neil Abdy, who grew up in the mining
community of South Yorkshire and whose father was a miner, was one of the team
of volunteers who took part in a special preview at Cast Doncaster in
2018.
“Being given the opportunity to be part
of this excellent work was unbelievable,” he says. “Everyone made us feel
special and the friendship and camaraderie was excellent. I have a new spring
in my step. If you have the opportunity to take part, definitely give it a go.
It’s one of the best experiences you will ever have working with this wonderful
team.”
Tickets for Gary Clarke’s Wasteland are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
What if the story of Sir Gawain And The Green Knight were to be retold by the woman at its heart ? Debbie Cannon does exactly that in Green Knight
STUDIO Disoveries, a week of new
theatre chosen by the Visionari community programming group, continues tomorrow
with a brace of shows at the York Theatre Royal Studio.
Writer and performer Debbie Cannon’s
Green Knight, at 6.30pm, is a one-woman version of the medieval poem Sir Gawain
And The Green Knight.
The setting is Christmas at Camelot,
where a monstrous green warrior issues an unwinnable challenge to Arthur’s
finest knight, but what if the story were to be retold by the woman at its
heart?
Flying
Elephant’s premiere production, Picasso’s Women, delivers a unique look at Picasso’s life through the
voices of his wives, mistresses and muses at 8.30pm.
One of three of Picasso’s Women at York Theatre Royal Studio tomorrow
Written by Brian McAvera, directed by
Marcia Carr and performed by Judith Paris, Colette Redgrave and Lucy Hunt, it
takes the form of three monologues featuring French model Fernande, Russian
ballerina Olga and 17-year-old mistress Marie-Therese.
Originally produced for the National
Theatre and BBC Radio 3, the women’s stories provide an insight into the
influence these women had on Picasso’s life and art.
The full programme for Visionari’s
second Studio Discoveries season can be found at yorktheatreroyal.co.uk. The
festival begins today (February 4) with Not Now Collective’s Pepper &
Honey, a new play with live Croatian pepper biscuit-baking, at 11am and 2pm. Box
office: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre
Royal box office.
