Lauren Crisp, Author at The Stray Ferret

Review: An Audience with Barrie Rutter at Ripon Arts Hub

Lauren Crisp is a book editor, writer and keen follower of arts and culture. Born and raised in Harrogate, Lauren recently moved back to North Yorkshire after a stint in London, where she regularly reviewed theatre – everything from big West End shows to small fringe productions. She is now eager to explore the culture on offer in and around her home town. You can contact Lauren on laurencrispwriter@gmail.com

On Sunday evening, celebrated actor and director Barrie Rutter addressed an audience of theatre and poetry lovers at Ripon Arts Hub. This was the finale of a culturally rich season of events in Ripon, and a collaboration between Ripon Poetry Festival and Ripon Theatre Festival.

Yorkshire-born-and-bred theatre legend Rutter received the Sam Wanamaker Award, for pioneering Shakespearean theatre, in 2003, and was awarded an OBE in 2015 for services to drama.

He is perhaps best known as the founder and former artistic director of ground-breaking touring theatre company Northern Broadsides, based in Halifax. The organisation was created to bring together northern casts who would speak in unapologetically northern dialect, delivering Shakespeare to northern audiences to perform in venues that Rutter describes as “non-velvet” – from boatsheds in Hull to cattle markets in Skipton. His work gained him a reputation as a true trailblazer and as an ultimate champion of theatre in the north.

With a career spanning over 50 years, spent on stage, on screen and in theatres across the world, Rutter has a great many stories to tell. He seamlessly interspersed personal anecdotes – from mingling with jazz musicians in 1970s New York, to getting drunk in champagne caves with his friend, Hugh Griffith, of Ben-Hur fame, to his favourite behind-the-scenes Shakespeare stories – with poetry, prose, and musings on language, citing everything from Baudelaire to Bilston, along with his poetry, the poetry of his friends, and that of the north.

An entertainer in the purest form of the word, Rutter is forthright and wry, yet measured and precise in his reflections; in the intimate space of Ripon Arts Hub, his thoughts and tales made for captivating listening. His love for language, the way words work, and the magic of word play were all on resplendent display, and he plotted these, humorously and often poignantly, against the story of his life, career, and the people he has met along the way.

Review: Murder in the Dark is chaotic and clichéd

It’s New Year’s Eve; a storm rages and there is a car crash on a country road. An eccentric old lady comes to the aid of the driver and his family, inviting them to stay overnight in a creaky, isolated holiday cottage on her farm. There’s no telephone, no Wi-Fi and no indoor toilet… but there are plenty of bumps in the night.

As synopses go, Murder in the Dark sounded right up my street; in the event, this production, currently at the wonderful and welcoming York Theatre Royal, left me cold.

The play appears to want to be a kind of modern-horror-film interpretation of an Agatha Christie-esque closed-circle mystery. Consistent references to the nursery rhyme Three Blind Mice are completely overplayed in an apparent attempt to link to Christie’s classic, The Mousetrap. But The Mousetrap this is not.

The approach to genre is a confused concoction of horror, mystery, melodrama and comedy, but most disappointingly, the writing and characterisations are lacklustre and clichéd. A family in tatters: an alcoholic, Z-list celebrity has-been father, with a rather-too-young girlfriend, a son who doesn’t talk to him, an estranged brother, and an ex-wife who refuses to take him back. We’ve seen it all before.

The ray of light in a cast of actors who have, to be fair to them, been given wholly superficial characters to perform, is Susie Blake, as the mysterious and rather mischievous old Mrs Bateman. Her role gathers purpose and momentum as the production progresses, and it is a relief when she enters on stage to remove us from the predictability that one could otherwise have suffered through watching any low-budget horror flick.

Also a relief were the occasional and affecting ghostly apparitions, providing enjoyable breaks in the action, assisted by effective sound and lighting. The final twist showed initial promise, but an ultimately chaotic denouement denied the audience any neat or satisfying sort of conclusion. Yes, there is murder and there is darkness, but this play won’t be keeping me up at night.

Murder in the Dark is on at the York Theatre Royal until Saturday 23 September.

Review: The House with Chicken Legs is magic on stage

Based on Sophie Anderson’s children’s novel, The House with Chicken Legs has been enchantingly adapted for stage by award-winning theatre company Les Enfants Terribles. The production, currently at Leeds Playhouse as part of a tour across the country, brings the author’s imaginative, dreamy tale to dazzling life and is a resplendent feast for the eyes.

The story, rooted in Slavic folklore, follows 12-year-old Marinka, whose house has legs (specifically, chicken legs) and a mind of its own, taking off to far-flung corners of the universe at a moment’s notice. Marinka’s grandmother is a spirit guide who ushers the dead from this world to the next so that they may sit amongst the stars, and is teaching her granddaughter to one day do the same. The only problem is that Marinka, young and full of life, wants to forge her own destiny in the world of the living.

The production’s fast-paced narrative is at once energetic and emotionally charged, alive with the wonders of storytelling, seamlessly transporting its audience to other worlds entirely, with a compelling blend of stage action, set changes, music, puppetry and mesmerising animation. Creative and beautiful, this is true escapism.

Image © Rah Petherbridge

The play’s music is spellbinding, with a captivating score by Alexander Wolfe that journeys from New Orleans to Eastern Europe, to the stars and beyond. Every song serves a purpose (often not the case in a musical adaptation), all accompanied by instruments played by the actors themselves – everything from flute to accordion, saxophone to electric guitar – proving themselves truly multi-talented.

Ultimately, this is a tale of life and death, but one which deals with matters of the afterlife with wisdom and warmth. Anderson notes that in her novel she was eager to “help children see death in a more positive way, as the circle of life”. The stage version delivers on this brief, transforming the narrative of grief into a bright, happy and moving celebration of life.

It is worth stressing that this is not just a play for youngsters; whilst the piece treads delicately on the macabre and the darker questions, audience members of all ages will fall under its spell. This is magic on stage; and yes, chicken legs do feature. You’ll have to see it to believe it.

The House with Chicken Legs is on at the Leeds Playhouse until September 16.

Review: Agatha Christie’s The Mousetrap celebrates 70 years

The West End met West Yorkshire last night as Agatha Christie’s The Mousetrap, the world’s longest-running play, hit the stage at Leeds Grand Theatre. The show’s 70^th anniversary tour is taking the production to more than 70 venues countrywide, meaning us northerners finally have the opportunity to don our detective hats and guess whodunnit.

It is the early 1950s, and newly married couple Mollie and Giles Ralston have just opened a guesthouse in the countryside outside London. As the pair prepare for the arrival of their first visitors, a newsreader on the wireless reports on a brutal murder in the capital. None the wiser, the Ralstons rally, as one by one, their eagerly anticipated guests arrive at Monkswell Manor.

But, as a snowstorm cuts them off from the outside world, the suspicion and intrigue mounts: could the killer be among them? The scene is set for one of Christie’s classic closed-circle mysteries.

The tour’s staging is a no-expense-spared affair: the set is masterful, with its intimate, wood-panelled drawing room; a fire roars in the hearth, as, outside the window, snow falls thickly; scattered trinkets and nick-nacks on side tables place us firmly in the past, as does costume. In the ornate surrounds of Leeds Grand Theatre, where chairs gently squeak under the weight of their occupants and a chandelier glitters overhead, the play feels quite at home.

Yet, the set’s cosiness is challenged by a mounting sense of isolation and unease, thanks to the play’s eight-strong and triumphant cast. Each member so impeccably drawn in the first instance by Christie’s imagination, the actors make their characters their own, with a clear understanding of their unique roles: each distinct and each crucial to the successful telling of the tale.

I understand now more than ever this iconic play’s longevity: a quintessentially British whodunnit, devised by the Queen of Crime, whose flawless recipe for murder mysteries, which made her the best-selling novelist of all time, is just as perfect a concoction on stage as in the pages of her novels. With its tight structure, ingenious clues and final outrageous twist, The Mousetrap is a must-see. Beyond that, my lips are sealed.

Agatha Christie’s The Mousetrap is on at the Leeds Grand Theatre until September 2.

Review: Sense and Sensibility at Knaresborough Castle

Last Friday, in the tranquil grounds of Knaresborough Castle, crowds gathered on the lawns in anticipation of an evening of open-air theatre, and, under a threateningly grey sky, of the heavens opening.

But despite the potential perils of the English summer, touring theatre group Chapterhouse resolved to perform their adaptation of Jane Austen’s much-loved novel, Sense and Sensibility, for their picnicking audience.

It is a tale that follows the highs and lows of sisters Elinor and Marianne Dashwood, who embody the titular and often opposing qualities of reason and passion.

An economic set was split to show a wealthy dwelling on one side and a modest cottage on the other. Costume was delightfully plausible and, along with lively and emotive music interposing the drama, the scene was set for a pleasant evening spent in Regency-era England, filled with dancing, duets and duels.

The cast brought to life the wit and satire.

With the elements against them, the small cast of eight was a resilient bunch and, despite some technical glitches, was not deterred.

Without the use of microphones, the cast’s ability to enunciate at volume was truly tested and oftentimes unsuccessful; by having to exaggerate and bellow lines, some of the feeling and meaning was lost, and characterisation was subsequently underdeveloped.

Still, there was a great deal to enjoy in an energetic and fanciful adaptation that managed to convey a great deal of Austen’s wit and satire. George Barnden’s Sir John Middleton, with his outrageous booming laugh, received titters aplenty; Becky Bond captured the melodrama of thirteen-year-old sister Margaret with aplomb; Sasha Snowdon as Fanny was as snobbish as anyone who knows the story might expect; and, Lorna Panton, the impassioned Marianne, was convincing in her heartache.

While not fully equipped for the acoustics of the outdoors, Chapterhouse delivered a congenial and light evening’s entertainment of period drama; and, to everyone’s delight, the rain held off.

Review: Lucy Worsley on Agatha Christie’s ‘missing days’ in Harrogate

The twentieth-anniversary edition of Harrogate’s Crime Writing Festival went out with a bang on Sunday, with Lucy Worsley, acclaimed historian, curator and broadcaster, filling the final special-guest spot of the weekend.

Following the publication of her latest book, Agatha Christie: A Very Elusive Woman, Worsley gave Sunday’s crowd an insight into the life of the beloved novelist (a woman whose books, they say, are outsold only by Shakespeare and the Bible). And how very apt that a celebration of the Queen of Crime should provide the grand finale to a weekend’s worth of the genre in all its glory, at a festival with Christie as its very raison d’etre. Christie is, as many Harrogate locals know, inextricably linked to our town’s history. It was in December 1926 that the already fêted Christie, grief-stricken by her mother’s recent death and her husband’s infidelity, seemingly disappeared without a trace. Eleven days later, she was discovered at the Swan Hydropathic Hotel – or the Old Swan, as we know it today.

Simply walking through the corridors of this grand old hotel is enough to spark anyone’s imagination, but for Christie fans, it must be magic to picture her there almost one hundred years ago. It is an enchantingly historic setting, but also one which was for Christie, according to Worsley, quite literally an escape from reality.

The novelist’s “disappearance” was subject to wildly varying interpretations. The discovery of her abandoned car led many to speculate she had taken her own life, yet, without a body, a mammoth police investigation ensued, a public circus involving all manner of theories and personalities: in her book, Worsley explains how Arthur Conan Doyle was said to have employed a psychic to connect to Agatha via one of her discarded gloves.

When a member of the hotel staff eventually revealed Christie’s location to authorities, she was found alive and seemingly well, but, as she claimed, with no memory whatsoever of events. The press pack claimed that such a tale had guilty written all over it: that either she had meant to frame her husband for murder, or it was an elaborate publicity stunt in the style of one of her very own detective novels (indeed, sales of her books went through the roof at the time).

What does Worsley think was really going on with Agatha during these fateful days? She presents evidence to suggest that Christie may have suffered a rare psychological condition described as “dissociative fugue”, thought to be a mechanism by which someone extracts themselves from a stressful situation as a form of self-protection. They forget who they are, taking on a new identity and reality. In Agatha’s case, she became Mrs Teresa Neele from South Africa; she appeared to enjoy her stay, participating in activities and making friends, apparently oblivious to the manhunt.

Worsley has found historical records, as well as autobiographical hints in Christie’s own later novels, to suggest it likely the author subsequently visited a psychotherapist, reinforcing the theory that Agatha was unwell. Worsley decries the injustice of the media frenzy and its enduring impact on Christie, writing “… people ever since have suspected her of duplicity and lies.”

It was, Worsley believes, a terrible time for the author, but asserts that 1926 also acted as a watershed year, one which marked a new phase in Christie’s life and writing. As the historian puts it, “… act one of her life was over […] and even she had begun to see that within an ending, may lie a new beginning”. She divorced her first husband, remarried, and lived out the rest of her truly remarkable life: the author of some eighty books, celebrated the world over. Christie is part of the fabric of the cultural history of this country, and of the small spa town of Harrogate, which, for eleven days in 1926, was home to a slice of crime-writing history.

Review: Theakston Old Peculier Crime Writing Festival celebrates its 20th year

2023’s Theakston Old Peculier Crime Writing Festival got off to a killer start on Thursday with the announcement of the winner of the Crime Novel of the Year, awarded to M.W. Craven for The Botanist, the latest in his Washington Poe series.

But this was just the start of a truly arresting line-up: a celebration of all things murder and mayhem (fictional, of course) and one of the biggest crime-writing festivals there is, now in its twentieth year. The Old Swan, its halls and gardens once walked by Agatha Christie, the Queen of Crime herself, was ready and raring to play host to the “Glastonbury of Crime”.

Whether author, agent, publisher, blogger, reader or author, every visitor had one thing in common, and that was books. For four whole days, the festival hustles and bustles with people from far and wide who love books, want to talk about them, hear about them and meet the minds behind them. There was a tangible buzz about the place; a camaraderie and shared excitement among the reported 17,000 ticketholders.

Even the A-List of the crime-writing world gets right into the mix, mingling with their readers. You might, as I did, run into Val McDermid in the corridor, or spy Richard Osman browsing the shelves of the Waterstone pop-up. I heard excited word of Richard Armitage, actor and now debut author, charming guests at Saturday’s author dinner. I was lucky enough to chat to Shari Lapena, writer of the smash hit The Couple Next Door, and to hear about her latest penning, Everyone Here is Lying.

It was great to see some local authors on the panels, too. A.A. Dhand, writer of the Bradford-based DI Harry Virdee series (with a TV adaptation in the works) spoke of his hometown’s influence on his writing. Yorkshire-born debut author Heather Darwent got a golden ticket to the much-coveted New Blood panel (a choice of the year’s best debuts) to share her book, The Things We Do to Our Friends.

Talking of new blood: this is also very much a festival for the new kids on the block – the debut authors for whom this is an exciting new adventure, and the aspiring writers, who must truly be in their element, surrounded by stars of the crime-fiction world, sharing their processes and secrets to success. It’s a crash course in the process of writing crime fiction, from those authors who plan methodically with spreadsheets and pie charts, to those who simply invent as they go, with no apparent idea of where their writing will take them. It’s enough to make anyone want to (try to) write a novel.

I met audience members who had travelled from the other side of the world, and locals who’ve visited since the festival’s infancy, recalling its much smaller scale when it first began. Today, the festival’s programme is mammoth, set to appeal across the fanbase of the myriad of sub-genres found in crime fiction, from detective novels to domestic noir to police procedurals and everything in between. With interviews, panel discussions, book signings, incident rooms, meet and greets and more, there is such a constant stream of entertainment that even those not into crime writing would likely still find themselves engaged and inspired (but of course, a love of crime, intrigue and bloody murder is encouraged).

2023’s big names included the inimitable Ann Cleeves (who received the Outstanding Contribution Award), Jeffrey Deaver (on his whopping 42nd novel), Lee and Andrew Child (the now-collaborators on the multi-million selling Jack Reacher novels), and Lucy Worsley (whose recent biography of Agatha Christie throws new light on the Queen of Crime’s time in Harrogate). I also enjoyed Lisa Jewell and Ruth Ware in conversation, the Murder Most Joyful panel (creators of so-called ‘cosy’ crime, who, with their gallows humour, were just as amusing a bunch in person as on paper) and the Never-Ending Golden Age discussion, which delved into the enduring appeal and influence of Agatha Christie and her peers.

If you love crime fiction and want to get up close and personal with the masterminds, this is the festival for you. My first visit was an open and shut case: it was criminally good.

Tomorrow we will be publishing Lauren reviews one of the highlights of this year’s Theakston Old Peculier Crime Writing Festival – a talk by well known TV historian Lucy Worsley on Agatha Christie.

Review: Upstage Academy’s Grease is electrifying

Grease was the word on Saturday night at Harrogate Theatre, as members of Ripon’s Upstage Academy threw on their Pink Ladies jackets, greased their hair, and jived hips and hands for a high-energy performance of this most nostalgic of musicals.

Upstage Academy School of Performance has been instructing children and young people in the performing-arts arena for 14 years. Based out of their studio in Ripon, the school provides youngsters with the chance to train, perform and prepare for competitions and examinations. Over the weekend, Upstage presented the culmination of months of hard work with their electrifying production of Grease.

Noticeably and delightfully age-inclusive, all members of the cast, from the very youngest to the 18-year-olds about to fly the nest, had an opportunity to shine. The more junior members sparkled with a couple of sharp dance numbers (complete with flips and splits), while the older performers, bubbling over with talent and commitment, impressed me with just how comfortable they were on stage, allowing them to truly showcase all of which they are capable – a great deal.

Alfie Davies was a dazzling Danny, oozing with the prerequisite posturing, charisma and cool of his character, and pulling off John Travolta’s trademark laugh to a T. He was a pleasure to watch: bound for the Bristol Old Vic Theatre School, whose alumni include Olivia Colman and Sir Patrick Stewart, we should be keeping an eye out for Alfie on future screens and stages.

This was the final performance for Upstage’s eldest performers, before they spread their wings to head off to universities, drama schools and the rest of their lives. As the crowd laughed, whooped and cheered, I could sense how this performance, and the school, sat close to many a heart in the audience. I could imagine how hard these young people have worked over the years; how many lines have been practised over the dinner table; how much energy and anticipation must precede any performance. Youth theatre par excellence, these kids are proving themselves the professionals of the future.

Review: Oddsocks’ Much Ado About Nothing draws the picnicking crowds

From the moment I arrived at Harlow Carr on Tuesday evening, it was apparent that this was no ordinary event. I watched as theatregoers young and old descended in their droves, weighed down with picnic hampers, wrestling with folding tables and chairs and wearing enough layers to make you question whether they were planning on camping overnight. I wondered if I had accidentally happened upon Harrogate’s very own Glasto.

But these people knew something I didn’t: that the Oddsocks’ summer do is the place to be. The touring company has been around for years – 34, in fact – and for around 20 of those, has stopped off in Harrogate. Relaxing into my (rented) deck chair in the gardens, in full and beautiful bloom, I marvelled as, all around, the generations gathered in groups, freshly baked goods emerged from Tupperware and prosecco flowed into plastic flutes. Oddsocks’ Harrogate audience, it seems, is a seasoned one.

The Bard’s consummate comedy, Much Ado About Nothing, is Oddsocks’ 2023 summer piece and, in its suitably Shakespearean outdoor setting, is a production bursting with energy and humour, interspersed with musical ditties, gags galore, improvisation and audience participation, with a small but perfectly formed (and very silly) cast of people who undoubtedly enjoy what they do.

Oddsocks has, in its own words, an “irreverent style” in bringing Shakespeare to life and, amidst the slapstick humour and modern additions, there is both a respect and a cheeky disdain for the Bard and his oft tricky text that can, for the modern theatregoer, prove challenging to unravel.

The approach is one that works to make the production appeal across the generations: quirky and fresh, lacking condescension or the need for a knowledge of the First Folio. “You don’t have a clue what I’m going on about, do you?”, joked one player, to an audience that clearly didn’t quite follow her drift – but far from feeling foolish, the crowd delighted in being made to feel part of it.

Perhaps not one for the serious Shakespeare-lovers; but, for those in search of a civilised summer evening’s entertainment spent with family and friends, this is just the ticket. I’ll be back next year, albeit wearing another layer or two, and having prepared the perfect picnic in advance.

Oddsocks’ Much Ado About Nothing at RHS Harlow Carr is on tonight and is part of the Harrogate International Festival. For more information on this evening’s performance and this summer’s events click here.

Review: The Cripple of Inishmaan brings dark comedy to Harrogate Theatre

Whilst the somewhat indelicate title of this Irish tragicomedy may have you doing a double take, don’t think twice about buying a ticket – it’s a performance not to be missed.

Written in 1996 by celebrated playwright Martin McDonagh, who has since found big-screen success with films such as In Bruges and The Banshees of Inisherin, The Cripple of Inishmaan centres on orphan Billy Claven, a disabled youngster living on the remote island of Inishmaan, off the west coast of Ireland, in 1934.

Plagued by the incessant ridicule of his neighbours, he is referred to by all (despite his protestations) as Cripple Billy.

This even extends to his own foster ‘aunties’, who love him like a son, yet apply the same casual cruelty that is the very lifeblood of this play. Whilst pondering their sickly ward’s future, his aunt, Eileen, doubts he’ll ever be kissed, “…unless it was by a blind girl”.

When a Hollywood film director arrives on a neighbouring island (to film the real-life documentary, The Man of Aran), Billy finally sees his opportunity to escape his miserable existence.

An outrageously dark comedy, the play mixes hilarity, cruelty and kindness with great dexterity, its writing electric, with one uproarious quip after the other.

The Harrogate Dramatic Society cast, under Stuart Kellett’s direction, performing their opening night last night, knew exactly how to deliver every line – particularly impressive for what is a challenging play, jam-packed with dialogue.

This is a pleasingly rounded story with a satisfying arc, but it is also made or broken by the ability to draw its cast of characters, whose absurdity and colourfulness lie at its core; there is no disappointment here, with the HDS’ small yet mighty cast of nine. The Irish accents were out in full force, and the performers’ efforts to maintain these throughout were truly commendable.

Engaging and thoughtfully chosen, the cast proved consistently comic and dependably droll. The play’s sole non-comic player, outcast Billy, was handled by Adam Naylor with great earnestness and vulnerability.

A play like this was made for the simplicity of the studio at Harrogate Theatre. It is one without fuss; a neat piece which hops from scene to scene with real deftness. A clean, no-frills set with few distracting props, this production is really all about its players, who capture both the play’s sentimentality and its more outlandish threads, providing an evening as punchy as potent poteen.

The Cripple of Inishmaan is on tonight and tomorrow evening at Harrogate Theatre, and twice on Saturday. More information is available here.

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