Writers: Misha Duncan-Barry and Bridget Foreman
Directors: Juliet Forster and Paul Birch
As the participants line up for a final bow for this Theatre Royal/Ridings Light community drama, you become aware of what a monumental achievement this is: the best part of a hundred cast members (including two professionals) and a choir in excess of fifty. You can only wonder at Juliet Forster and Paul Birch’s skill in marshalling them so efficiently across Sara Perks’ clever and versatile two-level set and reflect on how York has become such a centre for capable community players – pretty much the entire cast project their characters vividly and (when required) with a little humour.
That the evening has its sticky points is no reflection on the quality of the brilliantly chosen and superbly directed cast. Misha Duncan-Barry and Bridget Foreman, sadly, fall victim in the second half to their own good intentions. Seebohm Rowntree was a Quaker social reformer who used his position as scion of the Rowntree family to introduce major reforms in the factory and establish New Earswick village for workers as well as producing three major reports, the last in 1951, three years before his death.
Generally, though simplifying matters considerably, Duncan-Barry and Foreman cast an all-encompassing and occasionally comic eye on Seebohm’s early career. Two brief opening scenes tell us what to expect: Seebohm destroying his last report (a spoiler for much of Act 2) and a brief scene in Newcastle where a youth steals Seebohm’s wallet and, when pursued, is revealed as living in abject poverty. He serves as Seebohm’s conscience throughout.
Much of the first half is delightful, culminating in a final scene with circus, dance and library rolled (inspiringly) into one; there’s also a terrific scene with Frank Benson entertaining the workers with his performance as King Lear. Throughout Edwin Gray’s music is delivered perfectly by the choir.
The second half doesn’t come near it in audience appeal, though there are some compelling moments: no one will forget the young mother telephoning the surgery at 8 o’clock , only to be delayed and delayed and then told to take a taxi – this is what we have come to! But Seebohm is 70 years dead and to have him presented as a failure is pointless, though to be fair he does get a fine closing speech to emphasise his values: “Life is for living!”.
Within the second half we encounter a theatre company preparing a play about Seebohm, Lloyd George and Churchill persuading Seebohm to join a Westminster committee (he was in fact already a member of many such committees), his exposure to life in York at the time of the General Strike, the idea that York has gone to pot thanks to his neglect and a sinister combination of ministers gleefully closing down all aspects of fun, culture and entertainment. The directors clearly relate to the muddle of time periods in Act 2 by costuming actors in different periods in the same scene.
Of course the need for food banks is an abomination, but exposing Seebohm to them as a sort of accusation seems to miss the point.
Antony Jardine, for the most part, is blissfully determined as Seebohm, putting over his scientific/romantic viewpoint that sufficient provision of money, arts, sport and community activity will produce a contented society. Amelia Donkor probably takes various characters on board as Gulie Harlock and brings intensity to all. But the abiding memory is of the skill and discipline of community cast and choir.
Runs until 3rd August 2025
