Lost Boy Racer, Lawrence Batley Theatre, Huddersfield, review: An affectionate piece of mildly surreal distinctively Northern comedy
PAUL VALLELY
The road from the motorway to the theatre is lined with yellow flowers, yellow bicycle symbols fastened to the lamp-posts, and yellow-sprayed full-sized bikes pinioned to trees and the facades of shops, restaurants, businesses and private homes. Tour de France fever has come to Yorkshire well ahead of the arrival of the peloton after the county won the right to host the opening stages of the world’s most famous cycling race.
Lost Boy Racer is a gentle celebration of the impact such great sporting events have upon the psyche of the ordinary citizen. It tells the story of a one-time boy cycling champion, Sean Racer – whose name gives a clue to the quirkily allegorical character of the show which will tour Northern theatres in the run up to the race, which begins in a couple of weeks.
Sean’s glory days are long-departed. He has run to fat as a middle-aged tax inspector, disengaged from his job, and taking refuge in comfort eating. The slipstream of the Tour de France blows the wind of change through his lardy life.
It is an affectionate piece of mildly surreal distinctively Northern comedy which begins with the tax inspector’s visit to a smalltown hairdresser who has developed a black economy sideline selling her customers biofuel – disguised as Zoom shampoo – recycled from the chip-shop next door.
The play is at its best with Julie Amanda Bokowiec’s strongly-written monologues for its four main characters. They begin with a disarming prologue about removing the stabilisers from a child’s bike which Robin Simpson, as the cycle-shop repairman Claude, imbues with a slightly mystical quality as a rite of passage which is a rehearsal for life’s bigger challenges.
Next Michaela Longden as the chipshop-owner Nina indulges in a delightfully rhapsodic account of the transmutation of energy based on her unpredictable Nutall’s fish fryer. And an engaging Thomas Aldersley, who brings an attractive bumbling warmth to the mid-life crisis of Sean Racer, is suddenly fired with passion with a soliloquy on what cycling can transform the human heart, and he isn’t talking cardio-vascular.
Director Liz Posthlethwaite, draws some strong performances from all four principals with some nice touches of caricature Corrie comedy from Sarah Groake as the hairdresser Linda-Marie parodying the erotic possibilities of a chocolate éclair. The comedy is kind and sentimental. It even manages to speak of Scunthorpe without derision.
PAUL VALLELY
The road from the motorway to the theatre is lined with yellow flowers, yellow bicycle symbols fastened to the lamp-posts, and yellow-sprayed full-sized bikes pinioned to trees and the facades of shops, restaurants, businesses and private homes. Tour de France fever has come to Yorkshire well ahead of the arrival of the peloton after the county won the right to host the opening stages of the world’s most famous cycling race.
Lost Boy Racer is a gentle celebration of the impact such great sporting events have upon the psyche of the ordinary citizen. It tells the story of a one-time boy cycling champion, Sean Racer – whose name gives a clue to the quirkily allegorical character of the show which will tour Northern theatres in the run up to the race, which begins in a couple of weeks.
Sean’s glory days are long-departed. He has run to fat as a middle-aged tax inspector, disengaged from his job, and taking refuge in comfort eating. The slipstream of the Tour de France blows the wind of change through his lardy life.
It is an affectionate piece of mildly surreal distinctively Northern comedy which begins with the tax inspector’s visit to a smalltown hairdresser who has developed a black economy sideline selling her customers biofuel – disguised as Zoom shampoo – recycled from the chip-shop next door.
The play is at its best with Julie Amanda Bokowiec’s strongly-written monologues for its four main characters. They begin with a disarming prologue about removing the stabilisers from a child’s bike which Robin Simpson, as the cycle-shop repairman Claude, imbues with a slightly mystical quality as a rite of passage which is a rehearsal for life’s bigger challenges.
Next Michaela Longden as the chipshop-owner Nina indulges in a delightfully rhapsodic account of the transmutation of energy based on her unpredictable Nutall’s fish fryer. And an engaging Thomas Aldersley, who brings an attractive bumbling warmth to the mid-life crisis of Sean Racer, is suddenly fired with passion with a soliloquy on what cycling can transform the human heart, and he isn’t talking cardio-vascular.
Director Liz Posthlethwaite, draws some strong performances from all four principals with some nice touches of caricature Corrie comedy from Sarah Groake as the hairdresser Linda-Marie parodying the erotic possibilities of a chocolate éclair. The comedy is kind and sentimental. It even manages to speak of Scunthorpe without derision.
Lost Boy Racer – The Lowry, Salford
DAVID CUNNINGHAM
As a boy Sean Racer was obsessed not just with cycling but also with winning races. Observing the corrosive effect that losing had upon other people he resolved never to cycle again. Now a paunchy tax inspector (played by Thomas Aldersley ) the Lost Boy Racer tries to ignore the appeal of trainer Claude ( Robin Simpson) to get back into the saddle and uses comfort food to off-set his disappointment at the route his life has taken. Yet an encounter with shady businesswoman Linda-Marie (Sarah Groarke) acts as a catalyst for persuading Sean to undertake a glorious comeback – cycling the distance of the Tour de France on a stationary bike in his garage.
Julie Amanda Bokowiec’s lyrical script uses cycling as a metaphor for the journey through life. Fortunately the delicate construction of the script avoids making points in a heavy-handed manner. The cast matches this light approach. Robin Simpson’s gentle wonderstruck opening speech wrings every drop of emotion from Bokowiec’s evocative description of a child undertaking the rite of passage of cycling for the first time without training wheels. Bokowiec does not sugar coat her point of view; she contrasts the hard work and physical effort required for Sean to change his lifestyle with the casual gluttony he enjoys taking the easy way through life. The difference, she makes clear, is that a worthwhile journey rewards the effort whereas a slothful life just makes you fat.
Aware that a literal or even naturalistic atmosphere would stifle the poetic overtones of the script director Liz Postlethwaite adopts a mood of heightened reality. Without going over the top the director uses music and dance to create a larger than life world in which placards held by beggars offer spiritual advice and the acrobatic displays of physical theatre artist Sean King celebrates the freedom of cycling.
The audience is kept aware of how cycling hangs over the lives of the characters .As a visual demonstration sculptor Tim Tolkein constructs a massive wheeled display that hovers over Claude’s workshop like a descending UFO. The vibrant pulsing electro-pop score by Mark Bokowiec acts a reminder of the muscular physicality of exercise.
Lost Boy Racer is a rare play in which the cast seem to be enjoying themselves as much as the audience. It is a real pleasure to watch Thomas Aldersley redeem Sean from defensive apathy and discover a way of fulfilling his destiny without compromising his principles and humiliating others. Sarah Groarke combines an earthy sensuality with a blinding comic performance. Stalking around the stage on ridiculously high heels and giving a great Basilisk glare she comes close to stealing the show.
The fairy tale quality that draws out the charms of the play also limits some of the emotional impact. Whilst it helps the audience accept the eccentric way in which Sean resolves his crisis the distance from reality compels us to believe contrivances like a storeowner casually dismissing the destruction of her shop.
But these are minor reservations and do not detract from a charming production that will move audiences to consider if they have left their own journeys unfinished.
Reviewed on 28th June 2014
DAVID CUNNINGHAM
As a boy Sean Racer was obsessed not just with cycling but also with winning races. Observing the corrosive effect that losing had upon other people he resolved never to cycle again. Now a paunchy tax inspector (played by Thomas Aldersley ) the Lost Boy Racer tries to ignore the appeal of trainer Claude ( Robin Simpson) to get back into the saddle and uses comfort food to off-set his disappointment at the route his life has taken. Yet an encounter with shady businesswoman Linda-Marie (Sarah Groarke) acts as a catalyst for persuading Sean to undertake a glorious comeback – cycling the distance of the Tour de France on a stationary bike in his garage.
Julie Amanda Bokowiec’s lyrical script uses cycling as a metaphor for the journey through life. Fortunately the delicate construction of the script avoids making points in a heavy-handed manner. The cast matches this light approach. Robin Simpson’s gentle wonderstruck opening speech wrings every drop of emotion from Bokowiec’s evocative description of a child undertaking the rite of passage of cycling for the first time without training wheels. Bokowiec does not sugar coat her point of view; she contrasts the hard work and physical effort required for Sean to change his lifestyle with the casual gluttony he enjoys taking the easy way through life. The difference, she makes clear, is that a worthwhile journey rewards the effort whereas a slothful life just makes you fat.
Aware that a literal or even naturalistic atmosphere would stifle the poetic overtones of the script director Liz Postlethwaite adopts a mood of heightened reality. Without going over the top the director uses music and dance to create a larger than life world in which placards held by beggars offer spiritual advice and the acrobatic displays of physical theatre artist Sean King celebrates the freedom of cycling.
The audience is kept aware of how cycling hangs over the lives of the characters .As a visual demonstration sculptor Tim Tolkein constructs a massive wheeled display that hovers over Claude’s workshop like a descending UFO. The vibrant pulsing electro-pop score by Mark Bokowiec acts a reminder of the muscular physicality of exercise.
Lost Boy Racer is a rare play in which the cast seem to be enjoying themselves as much as the audience. It is a real pleasure to watch Thomas Aldersley redeem Sean from defensive apathy and discover a way of fulfilling his destiny without compromising his principles and humiliating others. Sarah Groarke combines an earthy sensuality with a blinding comic performance. Stalking around the stage on ridiculously high heels and giving a great Basilisk glare she comes close to stealing the show.
The fairy tale quality that draws out the charms of the play also limits some of the emotional impact. Whilst it helps the audience accept the eccentric way in which Sean resolves his crisis the distance from reality compels us to believe contrivances like a storeowner casually dismissing the destruction of her shop.
But these are minor reservations and do not detract from a charming production that will move audiences to consider if they have left their own journeys unfinished.
Reviewed on 28th June 2014
Lost Boy Racer - The Lowry, Salford
TERESA MCMAHON
A proper Northern show with great comedy and a down-to-earth feel, this show is an endearing and charming piece with great visual effects, some great biking stunts and exclusive music.
Chubby, middle-aged Sean Racer is a failed cyclist who now works at the tax department just plodding through life when he’s sent to investigate dodgy hairdressers shop owner Linda-Marie’s finances.
It’s Linda-Marie who, in attempt to divert Sean away from her dubious bookkeeping, encourages him to get back into cycling.
Without giving too much of the plot away, Sean rediscovers his passion for cycling and so ensues an interesting and somewhat metaphorical voyage set to a fascinating backdrop of specially made music that reflects the cycling theme and intelligent lighting that gave a sort of haunting vibe; as if to make realise the trepidation of never realising our dreams.
The language used to describe biking technical stuff can be applied to the all familiar everyday trials and tribulations of life and love.
The Lost Boy is a shadowy figure; he rides expertly round the stage doing neat tricks and stunts on a BMX and he’s clearly meant to be who Sean Racer could have been had he not settled for the hum-drum of the average life.
The cast were a decent team. Sarah Groarke was funny and great quality as shady, tax-dodging hairdresser Linda-Marie and the repartee between Thomas Aldersley and Robin Simpson as Sean and Claude; great banter and very clever word-play.
Sean King does some brilliant stunts as The Lost Boy, but I’m really sorry to say that it’s pretty clear acting isn’t his finest skill. Who am I, though? At the end of the day, how easy can it be to find an actor with such great biking skills?
The set was extraordinary – technical and bikey, yet still managed to run though themes with simplistic act of making furniture from bike parts. This allowed them to keep the bike vibe throughout. There was also a choir supporting who were in the guise of obsessive Tour Du France fans: a very clever piece of creativity indeed.
All in all, Lost Boy Racer was great fun and a smashing build up to Tour de France Grand Depart 2014.
Lost Boy Racer – Lawrence Batley Theatre, Huddersfield
RUTH JEPSON
“Do you remember when the stabilisers came off?”
So starts Lost Boy Racer, a bike themed show about so much more than the Tour Du France. Set in a hair salon and a mechanics bike hut, La Grand Boucle is used as a strong metaphor for the journey life takes you on. Tubby, middle aged Inland Revenue working everyman Sean Racer (Thomas Aldersley) is trudging through life, a failed cyclist now content with picking the easy job and grabbing fish and chips for lunch. He is sent to investigate the not entirely legal enterprises of Linda-Marie (Sarah Groarke) and Beyond the Fringe hair salon, and in doing so rediscovers a passion for cycling that has been killed off by the simple act of growing up.
The cycling lingo comes fast and furiously, most ably delivered by Sean’s mechanic mate Claude (Robin Simpson). The sections where Simpson is spouting technical descriptions of cogs and time trials are immensely satisfying when you listen to them as descriptions of love and life, and the duologues between him and Aldersley are a definite highlight of the show. Contrasting the aural acrobatics are some genuine acrobatics in the form of the eponymous Lost Boy (Sean King), who lends a shadowy presence to proceedings, flicking his BMX expertly around the stage in a slightly threatening but not entirely off putting manner. The ghost of who Sean could have been perhaps? Unfortunately the only dips in the show comes from when King actually speaks – his physical theatre is amazing, but his acting breaks the illusion so ably built up. Backing up King’s physical theatre is a community chorus ensemble, dressed as fanatical (i.e.: slightly crazy) Tour followers. The followers will change with each location in the shows run, making each performance unique and capitalising nicely on the Yorkshire pride currently being felt thanks to the real Tour du France next weekend. Mind you, for this performance’s audience, an extra level of uniqueness was also added by a technical hitch with a static bike – the improvisation from Aldersley, Simpson, Groarke and Michaela Longden (playing Nina) was of such high quality and humour that you almost wish it weren’t a fluke!
Underpinning the action are three very important elements: music, lighting and set. The music has been composed specially for the piece, and samples bicycle sounds as well as Tour Du France commentary, which instantly focuses the audience on the context. The lighting is atmospheric, especially the side lighting used to highlight the Lost Boy’s movements – very visually stunning. The set is amazing. Claude’s bike hut is created from old bits of bicycles, and a fabulous set piece is a chair made from bicycle parts – a pretty literal case of Upcycling! The set could be improved however by rethinking the salon pieces. While the cages used are lovely, the constant wheeling them in and out makes the first half drag slightly as the momentum is affected, even with Groarke’s humorous huffing and puffing.
Overall, Lost Boy Racer is a down to earth show about living your dreams, whatever they might be (even just visiting Scunthorpe). It probably wouldn’t have come about if it weren’t for next weekend’s big event. Thank heavens that we won the bid then…
RUTH JEPSON
“Do you remember when the stabilisers came off?”
So starts Lost Boy Racer, a bike themed show about so much more than the Tour Du France. Set in a hair salon and a mechanics bike hut, La Grand Boucle is used as a strong metaphor for the journey life takes you on. Tubby, middle aged Inland Revenue working everyman Sean Racer (Thomas Aldersley) is trudging through life, a failed cyclist now content with picking the easy job and grabbing fish and chips for lunch. He is sent to investigate the not entirely legal enterprises of Linda-Marie (Sarah Groarke) and Beyond the Fringe hair salon, and in doing so rediscovers a passion for cycling that has been killed off by the simple act of growing up.
The cycling lingo comes fast and furiously, most ably delivered by Sean’s mechanic mate Claude (Robin Simpson). The sections where Simpson is spouting technical descriptions of cogs and time trials are immensely satisfying when you listen to them as descriptions of love and life, and the duologues between him and Aldersley are a definite highlight of the show. Contrasting the aural acrobatics are some genuine acrobatics in the form of the eponymous Lost Boy (Sean King), who lends a shadowy presence to proceedings, flicking his BMX expertly around the stage in a slightly threatening but not entirely off putting manner. The ghost of who Sean could have been perhaps? Unfortunately the only dips in the show comes from when King actually speaks – his physical theatre is amazing, but his acting breaks the illusion so ably built up. Backing up King’s physical theatre is a community chorus ensemble, dressed as fanatical (i.e.: slightly crazy) Tour followers. The followers will change with each location in the shows run, making each performance unique and capitalising nicely on the Yorkshire pride currently being felt thanks to the real Tour du France next weekend. Mind you, for this performance’s audience, an extra level of uniqueness was also added by a technical hitch with a static bike – the improvisation from Aldersley, Simpson, Groarke and Michaela Longden (playing Nina) was of such high quality and humour that you almost wish it weren’t a fluke!
Underpinning the action are three very important elements: music, lighting and set. The music has been composed specially for the piece, and samples bicycle sounds as well as Tour Du France commentary, which instantly focuses the audience on the context. The lighting is atmospheric, especially the side lighting used to highlight the Lost Boy’s movements – very visually stunning. The set is amazing. Claude’s bike hut is created from old bits of bicycles, and a fabulous set piece is a chair made from bicycle parts – a pretty literal case of Upcycling! The set could be improved however by rethinking the salon pieces. While the cages used are lovely, the constant wheeling them in and out makes the first half drag slightly as the momentum is affected, even with Groarke’s humorous huffing and puffing.
Overall, Lost Boy Racer is a down to earth show about living your dreams, whatever they might be (even just visiting Scunthorpe). It probably wouldn’t have come about if it weren’t for next weekend’s big event. Thank heavens that we won the bid then…
Lost Boy Racer – Lawrence Batley Theatre, Huddersfield
Lost Boy Racer is a theatrical foray into the world of cycling-obsession and ties in nicely with upcoming phenomenon of the Tour de France getting underway on Yorkshire soil.
Suiting its billing as a comedy-drama, the production has moments of frivolity, poignancy and downright darkness with a hooded BMX-er dancing with a bike to a sombre soundtrack.
Sean Racer has ‘unfinished business’with a childhood spent on two wheels and the tale of a schoolboy race which ended in a broken friendship threads through.
We meet Sean as a lonely fish-and-chips-scoffing tax inspector whose encounter with dodgy-dealing hairdresser Linda-Marie inspires him to get back in the saddle and compete in Le Tour...in his garden shed.
There are notable performances from Thomas Aldersley as Sean and Robin Simpson as Claude, his bike tinkering/ex-pro mechanic friend whose every line is a clever metaphor to reflect his belief that cycling lives in the heart, soul and even sentences, of those who love the sport.
The cast move around a giant sculpture cannily crafted from bike bits, the creation of Tim Tolkien (yes, a distant relative of JRR himself). The performance, although punctured with the odd opening night teething problem, was an excellent showcase of new writing emerging from Yorkshire and specifically the pen of Julie Bokowiec.
5th July 2014
Lost Boy Racer is a theatrical foray into the world of cycling-obsession and ties in nicely with upcoming phenomenon of the Tour de France getting underway on Yorkshire soil.
Suiting its billing as a comedy-drama, the production has moments of frivolity, poignancy and downright darkness with a hooded BMX-er dancing with a bike to a sombre soundtrack.
Sean Racer has ‘unfinished business’with a childhood spent on two wheels and the tale of a schoolboy race which ended in a broken friendship threads through.
We meet Sean as a lonely fish-and-chips-scoffing tax inspector whose encounter with dodgy-dealing hairdresser Linda-Marie inspires him to get back in the saddle and compete in Le Tour...in his garden shed.
There are notable performances from Thomas Aldersley as Sean and Robin Simpson as Claude, his bike tinkering/ex-pro mechanic friend whose every line is a clever metaphor to reflect his belief that cycling lives in the heart, soul and even sentences, of those who love the sport.
The cast move around a giant sculpture cannily crafted from bike bits, the creation of Tim Tolkien (yes, a distant relative of JRR himself). The performance, although punctured with the odd opening night teething problem, was an excellent showcase of new writing emerging from Yorkshire and specifically the pen of Julie Bokowiec.
5th July 2014
Lost Boy Racer to get world premiere in HuddersfieldAs Yorkshire gears up for Le Tour de France Grand Départ 2014, the Lawrence Batley Theatre are on of the first to get in the saddle.
Yorkshire arts organisations are finding plenty of ways to celebrate the coming of the Tour de France to the county, from Burton Agnes Jazz and Blues Festival staging Le Mini Depart of kids' cycle events to Leeds' Howard Assembly Room cheekily showing Vittorio de Sica's neorealist classic Bicycle Thieves. However, few can be as apposite as the world premiere of Lost Boy Racer at Huddersfield's Lawrence Batley Theatre. Part of the Yorkshire Festival 2014 which runs through to the second day of the Tour in Yorkshire (6 July), Lost Boy Racer ticks all the boxes. Its short tour takes in the build-up to Le Grand Depart and runs until two days after the Tour heads South; two of the towns where it is playing (Huddersfield and Harrogate) are on the Tour's route; and the play's subject could not be more appropriate. Written by local writer Julie Amanda Bokowiec, Lost Boy Racer follows the story of Sean Racer who used to be an energetic youth hooked on cycling and is now an overweight 40-something tax inspector on the brink of a personal crisis. Sean hatches a plan to fulfil a boyhood dream – to ride the Tour de France – or at least go the full distance on a bike on rollers in his shed! Lost Boy Racer is described as "a quirky northern comedy-drama with a touch of blood, sweat and tears, a large dose of fun, some off-the-wall bike action and a love story of sorts." The expectation of something out of the ordinary is created by the prospect of a remarkable set from award-winning metal sculptor Tim Tolkien and the casting of physical theatre artist, rock climber and innovative dance specialist Sean King as Lost Boy. Liz Postlethwaite directs, with Thomas Aldersley (Mikos in the television series Atlantis) as Sean Racer. The cast also includes Robin Simpson (last seen at the Lawrence Batley Theatre in The Hound of the Baskervilles), Sarah Groarke and Michaela Longden. Lost Boy Racer premieres at the Lawrence Batley Theatre, Huddersfield, from 25-27 June, before moving on to The Lowry, Salford Quays (28-29 June). From 2-4 July it plays Harrogate Theatre, leaving town the day before the peloton thunders in, and then moves to the Theatre Royal, Wakefield (7-8 July) in the immediate aftermath of the Tour's departure. Ron Simpson 6th May 2014 |
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It’s curtain up on a great new theatrical season
In another look at the region’s theatres, Arts Editor Nick Ahad sees what’s coming up in 2014 across venues in Yorkshire. It is a mark of just how strong theatre in Yorkshire is, that two pages in last week’s Culture was inadequate a space to cover what’s coming up in our theatres in 2014. Britain remains a leading manufacturer on the world stage – of theatre. While London might be the epicentre of where much of our foreign export is created, Yorkshire is undoubtedly one of the strongest regions of the country when it comes to theatre. In York, the ancient city’s producing theatre has a pantomime star who is literally world famous – which is why Berwick Kaler’s panto runs for quite so long – it doesn’t close until February 1. Once the show does finally come down, it will be making way for another Yorkshire institution. From February 14 February to March 1 the theatre is joining forces with the Consortium Theatre Company and Bolton Octagon to present a new production of Brassed Off. Adapted by Paul Allen, and based on the screenplay by Mark Herman, this production coincides with the 30th anniversary of the Miners’ Strike of 1984. Featuring The Railway Children Institute Golden Rail Band, this funny and heart-warming drama is a celebration of human endeavour and community spirit in a triumph against all the odds. While it’s an old favourite, it’s going to be another hit for the theatre. A few years ago the studio played host to Blue/Orange, a brilliant piece of work. In staging A Number, another intense chamber piece, it is following in that tradition – an intelligent exploration of the nature of identity, it looks at a father, his son and his son’s two clones. Noel Coward’s Blithe Spirit comes to the theatre in May and in the summer it will see once again one of artistic director Damian Cruden’s impressive stagings – this time Wind in the Willows with the irrepressible Martin Barrass starring. Harrogate Theatre has won a lot of friends in the world of comedy – Andy Parsons recently described it as one of his favourite theatre in the world – and it keeps the comedic credentials by playing host to some of the top comics on the circuit including, Miles Jupp, Chris Ramsey, Russell Kane and Ed Byrne in the first two months of 2014. Once the comedians move on, the theatre welcomes a comedic play in the shape of Alan Ayckbourn’s Bedroom Farce in February. In January, Wakefield Theatre Royal is unveiling a new production of John Godber’s Bouncers – the interesting thing about this production is that it is a new production that goes back to an old production. Godber, whose company will co-produce the show with Wakefield, has refound his faith in the original piece and intends to stage it as it was first seen three decades ago. Mark Babych, artistic director at Hull Truck, is finding his feet after the theatre’s turbulent few years following the loss of its artistic director. He is working on the coming season, but the fact that Godber is being welcomed into the building and that Babych is directing the Shelagh Delaney modern classic A Taste of Honey is an interesting combination. The Delaney play has been done in the region in recent years, so it will be interesting to see what new take Babych brings. I am constantly impressed by Lawrence Batley Theatre in Huddersfield. The theatre is not the most glamorous in not the most glamorous town, but it continues to programme bold and brilliant work under the leadership of Victoria Firth. Much of the season can be recommended, but it remains one of the leading venues for bringing dance to the region. It’s going to be yet another good year for Yorkshire theatres. Nick Ahad’s critic’s choice My Romantic History: Written by DC Jackson, this had an early showing in Sheffield. It is beautiful, brilliant and hilarious. Harrogate Theatre, February 27-March 8. A Number: It’s difficult to explain just how good this play is. It will stretch your intellect and exhilarate at the same time. York Theatre Royal, May 1-24. Lost Boy Racer: This world premiere comes from the writer and producer of The Last Cuckoo, Julie Amanda Bokowiec; director Liz Postlethwaite; and features an extraordinary set by metal sculptor Tim Tolkien. Lawrence Batley Theatre, June 25-27. A Taste of Honey: In all honesty, I’m not sure what’s new to say about this classic, but Mark Babych has an impressive reputation and it will be intriguing to see his first show for Hull Truck. March. 6 January 2014 |
Launch of Yorkshire Festival 2014 for Tour de France
And many venues and groups from Huddersfield will be taking part in the huge event to support the Tour de France Singers, artists and performers joined forces in a glittering spectacle to launch Yorkshire Festival 2014. And many venues and groups from Huddersfield will be taking part in the huge event to support the Tour de France. The 100-day cultural festival will see countless events all over the region. A carnival snail, woolly bikes, choirs and brass bands joined the band Hope & Social for a debut performance of the official Yorkshire Festival song, The Big Wide. The festival is the brainchild of Welcome to Yorkshire and has been backed by Yorkshire Water, Arts Council England and Yorkshire local authorities. Out of almost 400 bids, 47 projects were commissioned to be officially part of the 100-day festival – which will also include hundreds of fringe events. Gary Verity, chief executive of Welcome to Yorkshire, said: “The Yorkshire Festival 2014 will be a countywide celebration of arts and culture creating excitement and anticipation in the 100 days before the greatest free sporting show on the planet arrives in Yorkshire.” The race starts on July 5 and on July 6, the world’s top riders will be heading through Calderdale, Huddersfield and Holmfirth. Los Angeles-based sculptor Thomas Houseago, from Leeds, has been tasked to create two magnificent, giant sculptures for Leeds city centre and the Yorkshire Sculpture Park. Phoenix Dance Theatre, in Leeds, will join forces with Scottish public arts charity NVA to create the world’s first Ghost Peloton, led by Phoenix artistic director Sharon Watson and NVA creative director Angus Farquhar. West Yorkshire Playhouse will host the play Beryl written by TV star Maxine Peake to celebrate the extraordinary sporting achievements of Morley cyclist Beryl Burton. Award-winning director Daisy Asquith will team up with cult musician Bill Nelson to create a new film as part of a series of screenings to be shown on 10 outdoor screens in stunning locations across Yorkshire. Huddersfield’s Lawrence Batley Theatre will hold the world premiere of Lost Boy Racer by Julie Amanda Bokowiec. Young farmers and artists will create eight stunning major land-art pieces across the South Pennines landscape for Fields of Vision, co-ordinated by Pennine Prospects. 31 January 2014 Preview event tells Lawrence Batley Theatre fans what’s in store this season
Important stories from the past and those for right now told brilliantly for you – whatever your age! That’s the promise of Victoria Firth, director of the Lawrence Batley Theatre as she unveiled the theatre’s new season. And if you’d like to hear more then there’s a sneak preview at the LBT on Monday, January 20. Victoria will be joined on the theatre’s main stage by directors, performers and musicians who are all involved in creating work for the coming season. They’re itching to tell you what’s in store. First on his feet will be Honley High School teacher John Cotgrave, better known to theatregoers as one of the founders of popular Huddersfield-based theatre company Dick and Lottie. The company plays regularly in the LBT’s Cellar theatre and John will be talking about the three Alan Ayckbourn plays it will be staging this season to mark Dick and Lottie’s 10th anniversary. And there will be lots to celebrate when Huddersfield-based writer Julie Bokowiec starts to talk about what she’s been working on. Julie has created a new piece, Lost Boy Racer in celebration of the Tour De France Grand Depart 2014. The piece will get its world premiere at the theatre in June. The venue also hosted the premiere of The Last Cuckoo, a remarkable piece created by Julie three years ago and the play which brought actor Paul Copley back to his home town. What a treat that Julie’s involvement this time round should be in an LBT partnership production of a quirky Northern comedy-drama with a touch of blood, sweat and tears, a large dose of fun, and some off-the-wall bike action. Boff Whalley, one of the founder members of anarchist pop group Chumbawamba, will also be at the preview evening. He will be talking about his role as writer of a new one-woman musical Wrong ‘Un – A Suffragette’s Story . It is being staged by Red Ladder Theatre Company and Boff will be giving an insight into his production which marks 100 years since the outbreak of World War One. Sharon Watson, artistic director of Phoenix Dance Theatre has news of a triple bill that the company will be bringing to Huddersfield in May. Expect one classic from the company’s dance archive and two brand new pieces. There will be lots more to learn about other favourites returning in the season including Northern Broadsides, John Godber and Northern Ballet. But there’s room in the programme too for new performers. Top of the watch-out for list are the Mugenkyo Taiko Drummers, the UK’s longest established taiko ensemble, playing its only Yorkshire date at the LBT in May. And how better to round off the preview evening than with a taste of the live music that Huddersfield does so well. Hear the musicians of the University of Huddersfield Big Band on this preview night and you won’t be able to resist buying tickets for its next gig at the LBT which is in April. For more on the event and on the season, call the LBT box office on 01484 430528. Val Jarvin 10 January 2014 |