Bal­let goes to the ball for Cin­derella Stand-up ex­plores sci­ence of com­edy

Yorkshire Post - Culture & The Guide - - STAGE -

were hugely suc­cess­ful and sud­denly we were sexy and the ‘in thing’ but this has some­what waned. That is why this pro­duc­tion of The Three­penny Opera is as im­por­tant as ever to re­mind people that we are part of the fab­ric of so­ci­ety and we aren’t go­ing any­where.”

The pro­duc­tion uses a fully in­te­grated cast of dis­abled and non-dis­abled ac­tors and mu­si­cians, the first pro­duc­tion to do so and tour to four of the UK’s ma­jor venues, which have come to­gether to fund and cre­ate the piece. The only way New Wolsey, Not­ting­ham Play­house, Birm­ing­ham Rep, West York­shire Play­house and Graeae could have em­barked on such a huge pro­duc­tion was by get­ting into bed to­gether and shar­ing an artis­tic and fi­nan­cial mis­sion,” says Sealey. “It has been a mam­moth task en­sur­ing clean lines of com­mu­ni­ca­tion and be­ing on the same page. Each com­pany does things dif­fer­ently but we have re­ally learnt from each other and have plans to do some­thing else. So watch this space.”

Tak­ing John Gay’s The Beg­gar’s Opera, along with a few lib­er­ties, Brecht and Weill – with great dif­fi­culty – even­tu­ally cre­ated a mu­si­cal that would con­tinue to have much to say about so­ci­ety over a century later.

In a world where evil goes un­pun­ished and lowly souls re­main on the poverty line, Lon­don’s most no­to­ri­ous crim­i­nal Macheath has re­cently mar­ried Polly, the daugh­ter of Jonathan Peachum, leader of the beg­gars. The story of jeal­ousy and ri­valry is of­ten sec­ondary in a pro­duc­tion of a play that is never less than in­cen­di­ary and seems al­ways to have some­thing to say about where we are as a so­ci­ety.

“At the time of mak­ing this show, mem­bers of the cast are cam­paign­ing re­lent­lessly to stop the govern­ment from clos­ing the In­de­pen­dent Liv­ing Fund and I am head­ing a cam­paign to stop changes and cuts to Ac­cess to Work’s pro­vi­sion of sign lan­guage in­ter­preters hours which means I may not be able to do my job,” says Sealey.

“Deaf and dis­abled people are be­ing stripped of their rights to live their lives with equal­ity, qual­ity and dig­nity. It is be­com­ing scary and I look at my cast and think maybe they will not be able to work for Graeae in the years to come be­cause ac­cess and the where­withal to work has been de­nied.”

The Three­penny Opera, West York­shire Play­house, to May 10. Tick­ets 0113 213 700, THE clas­sic rags-to-riches fairy­tale, Cin­derella, will take to the stage in York next month.

Dancers from the Vi­enna Fes­ti­val Bal­let will bring the story of Cin­derella, the hand­some Prince and two ugly sis­ters to life with spe­cially com­mis­sioned score by Chris Ni­cholls. Fea­tur­ing mu­sic from some of Rossini’s most fa­mous op­eras, La Cener­en­tola, the Ital­ian Girl in Al­giers and Silken Lad­der, the show has been chore­ographed by Sheila Styles.

Cin­derella will be at the Grand Opera House in York on May 10. For tick­ets call 0844 871 3024 or on­line at­gtick­ AWARD win­ning co­me­dian Robin Ince is back on the road with his lat­est tour.

The sci­ence en­thu­si­ast best known for pre­sent­ing the se­ries The In­fi­nite Mon­key Cage along­side physi­cist Brian Cox, will be bring­ing his new se­ries of comic lec­tures to the City Va­ri­eties in Leeds.

His show looks at the last 100 years of psy­chi­a­try, psy­chol­ogy and how hard it is be­ing a self­con­scious per­son on the planet Earth. Ince will be per­form­ing on April 29 and for tick­ets call 0113 243 0808 or on­line at www. city­var­i­



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