Yorkshire Evening GHOST
yorkshireEvening GHOSTPhotography by Anthony Robling“ Let us transport you from the trials andtribulations of this year to the heart of thisclassic ghost tale of redemption and compassion”Awarm welcome toLeeds Playhouse’sfestive production ofA Christmas Carol.We can only imagine what CharlesDickens would have thought about2020, but there may be a clue in hiswriting as to what he might regard asthe best antidote: ‘There is nothingin the world so irresistibly contagiousas laughter and good humour.’ So, letus transport you from the trials andtribulations of this year to the heart ofthis classic ghost tale of redemptionand compassion. Bringing togetherthe past, present and future, withcommunity and kindness triumphingover greed and selfishness, A ChristmasCarol remains a fitting story for ourtimes 177 years after Dickens wrote it.Leeds Playhouse Christmas showshave become a major celebratoryevent for the city. Last year’s magicalproduction of The Wizard Of Oz broughtaudiences flocking to follow the yellowbrick road, and other recent festivehits include our much-celebratedproduction of The Lion, the Witchand the Wardrobe, which went on todraw crowds at The Bridge Theatre inLondon last year, Strictly Ballroom theMusical, which subsequently touredto Toronto and the West End, andChitty Chitty Bang Bang, which wenton a hugely successful 13-month tourof the UK and Ireland. Add in pasttriumphs such as Matthew Warchus’Peter Pan, Jude Kelly’s Singin’ inthe Rain and Nikolai Foster’s Annie,which was still touring seven yearsafter its performances here in 2011,and you can see why the Playhousehas such a strong festive following.Christmas is always a magical timefor us and this year we wanted toshare the joy with as many people aspossible. We have gifted 1,000 freetickets to NHS workers as a huge thankyou for their incredible work. Theproduction features integrated BritishSign Language, a creative techniquethat worked so brilliantly in DirectorAmy Leach’s last production OliverTwist in March. We are also filming theproduction in order to make it availablefor free to schools, hospitals and carehomes where residents and pupilsare not able to visit the Playhouse.We’ve been overwhelmed by thegenerosity of spirit and creativity of thepeople of Leeds and the City Regionover the past few months – thank youfor your unflagging support. I alsowant to say a special thanks to ourproduction sponsors Irwin Mitchelland Caddick Group for their supportin bringing this production to life.I hope you thoroughly enjoyA Christmas Carol and wish youand your loved ones a very MerryChristmas and a Happy New Year.James Brining, Artistic Director
2BSL Interpreter Max Garteryand Director Amy Leach inrehearsals for A Christmas CarolPhotography by Anthony RoblingComingtogether tomake magicand memories
3major things we’ve all missed out on in2020 is the shared experience – comingtogether with other people to enjoy alive event. We hope our audiences willenjoy not only a magical show but alsothe warmth and joy of experiencingit surrounded by other people, albeitin a safe, socially distanced manner.”Amy’s year has been bookended byDickens. She directed an adaptationof Oliver Twist at the start of the year,creatively exploring its central theme ofsocial injustice which, sadly, continuesto resonate over 150 years on. Now,she’s bidding farewell to 2020 with AChristmas Carol, one of the best-lovedstories written in the English language.“A Christmas Carol has got it all– laughter, ghosts, heartbreak, anda cracking story of the redemptionof a hard-hearted man whorediscovers the joy in his heart andhis love for humanity,” she said.“A Christmas Carolhas got it all - laughter,ghosts, heartbreak,and a cracking storyof the redemption ofa hard-hearted manwho rediscovers thejoy in his heart and hislove for humanity”Director Amy Leachexplains why Christmasjust wouldn’t beChristmas withouta festive family showJo HaywoodChristmas shows are alwaysa highlight of the theatrecalendar, bringing joy anda sense of togetherness topeople of all ages. Now, as we cometo the end of such a tumultuousyear, it feels more important thanever to give audiences the gift of atruly magical shared experience.“Making a Christmas show is ahuge honour and responsibility,”said Amy. “For some, it might be theonly opportunity they have all yearto watch a piece of live theatre. Soyou want to create something trulymagical and memorable that a mixof generations can enjoy together.“It has been such a tough yearfor everyone, so it feels all the moreimportant to bring festive spirit toaudiences this Christmas. One of thePlaywright Deborah McAndrew’sadaptation of Dickens’ classic festive talewas first staged at the Playhouse as partof its Pop-Up Season. Amy originallyintended to recreate this well-lovedproduction for Christmas 2020, butthe stringent restrictions of Covid-19meant she and designer Hayley Grindlehad to reimagine the entire show.“The original production had 60costume changes and required a lot ofclose social contact, which obviouslywould not be appropriate now. Weneeded to reimagine the show to make itsafer and simpler, and we also wanted toembrace the moment; to acknowledgewhat the audience and the actors haveexperienced this year. That led us tostarting the show with a ghost lightsurrounded by theatre ghosts who havebeen waiting for audiences to return.”Amy gathered a team of eightactors – some familiar faces and somenew to the Playhouse – to create AChristmas Carol. The cast includes amix of deaf and hearing performers,who work together to make the showaccessible and enjoyable for all.Leeds Playhouse has been pioneeringaccessible performances for manyyears, staging the first ever RelaxedPerformance ten years ago, swiftlyfollowed by the first DementiaFriendly Performance. Since 2018,it has led the way in terms of audiodescription, captioning and BritishSign Language, making them anintegral part of the creative fabricof the play rather than an add-onelement. Leeds-based BSL consultantAdam Bassett and deaf cast membersNadia Nadarajah and Stephen Collinshave helped to ensure this pioneeringwork continues in A Christmas Carol,which has BSL woven throughout.“When we think of access elementsas creative layers of the production,it’s like discovering a whole new layerof paints in your paint box,” saidAmy. “It opens up new possibilitiesfor storytelling, new nuances tocharacters and storylines, and forcesthe whole team to think harder aboutthe clarity of the tale they are telling.”A Christmas Carol has also providedvaluable creative opportunities forartists supported by the Playhouse’sFurnace artistic developmentprogramme, including AssociateDirector Sameena Hussain, who is aResident Director at the Playhouse aspart of the Regional Theatre YoungDirectors Scheme (RTYDS), and TraineeAssistant Director Sajidah Shabir.“We were also aware of how muchdeaf and disabled artists have beenside-lined throughout the pandemicso, along with RTYDS and Ramps onthe Moon, we gave 18 deaf and disabledearly career directors from acrossthe country a paid opportunity toobserve a day of rehearsals via Zoom.We really enjoyed welcoming them alland seeing their faces pop-up on ourlarge rehearsal room TV each day.”A festive family show has been topof the Playhouse’s wish list duringthis most testing of years, and withthe opening of A Christmas Carolit feels like the festivities can finallybegin. So, let’s pop on a party hatand raise a glass to toast the season– and the power of togetherness.“On his journey with the ghosts,Scrooge discovers the power oftogetherness and mutual support,”said Amy. “Through the darkness of2020, the best of humanity has shonethrough as people have supportedeach other through hard times. Webring the show to a close with We WishYou A Merry Christmas, which seemslike a particularly apt sentiment thisyear. And I can honestly say that Ihave never wanted to wish everyonea happy new year more in my life!“So, to all the team working on AChristmas Carol, to our audiences,to the staff at the Playhouse, to theartists of the region, and to all thepeople the Playhouse seeks to serveeach year, I wish you a heartfelt happynew year and all the best for 2021.”
4CreatingChristmasJo HaywoodInspiration for the set design of AChristmas Carol came via a literal‘lightbulb moment’. When theatreswere forced into lockdown inMarch, we left a traditional ghostlight in each of our auditoriums – theQuarry, the Courtyard and the BramallRock Void – as small beacons of hopeduring an unprecedentedly dark time.These ghost lights, and the warmreaction they prompted from peoplewho love the theatre and who werecounting the days until its return, werethe spark that fired the imagination ofacclaimed Set and Costume DesignerHayley Grindle, becoming an integralpart of her vision for A Christmas Carol.“Originally used as a practicalmeasure on Victorian stages to keepthem dimly lit when they weren’t in use,they attracted a host of superstitiousstories from the start,” she explained.“It was widely believed then – and,indeed, many people still believe now– that all theatres have a ghost, andthat the ghost lights appease them.Instead of cursing the theatre, theyperform on the dimly lit stage.”“Many people stillbelieve now that alltheatres have a ghost,and that the ghostlights appease them.Instead of cursing thetheatre, they performon the dimly lit stage”The restrictions imposed as a resultof Covid-19 also influenced Hayley’sdesign concept, encouraging her torethink the landscape of the stage andmap out a whole new way of working.“Practically, we needed a moreSet and costume designer HayleyGrindle explains how she’s bringingthe spirit of the season to the stageIllustrations by Hayley Grindle
5Set model and photography by Hayley Grindlefluid space with lots of entrances andexits, and intrinsic signposting for thecast so they know they are always twometres apart,” she said. “The landscapewe are working in has completelychanged, but the essence of Dickens’traditional festive tale remains true.”In a strange way, the challengesof the pandemic have actuallypropelled Hayley down aninteresting new creative avenue.“I definitely felt a new energy for thepiece and more of a need to be playfulwith the design. I love being challengedto think in a new way and to makethe seemingly impossible possible.”A Christmas Carol audiences aregreeted by an empty Victorian stage litby a single ghost light. Slowly, a companyof ghosts emerge from the dark, eagerto share their story after what feels likea lifetime – or, indeed, an after-lifetime– waiting in the wings. Each is dressedin stripped-back Victorian garb, theundergarments, padding and shapewearof the time providing a foundation forcostume additions that help build acharacter and express who they are.“I really loved the challenge ofcreating costumes under Covid andfeel very excited about the world we’veproduced as a result,” said Hayley. “Ithink it suits the times and, by strippingeverything back, I’ve had to be clearerwith the story-telling of the clothes.The costume challenges posed by thepandemic are, in effect, what conjuredthe idea of the ghosts of the theatre.”“The costumechallenges posed bythe pandemic are, ineffect, what conjuredthe idea of the ghostsof the theatre”Hayley has worked with A ChristmasCarol Director Amy Leach and thePlayhouse team before, most recentlyon Oliver Twist, which was brought to adramatic halt at the start of lockdown.Their mutual trust, compatibility,support and shared vision werecertainly a boon when it came tocreating a post-lockdown festiveproduction on a tight schedule and witha whole host of new restrictions in place.“I adore the team here at thePlayhouse,” said Hayley. “Having thatinbuilt trust between us has helpedhugely and has meant we could workat speed while feeling we’ve got eachother’s backs. Everyone has great ideasand brings so much to the table. Evenwhen I’ve not been in the room, I’vefelt the camaraderie from afar.”Even without the additionalchallenges of a pandemic, creating aChristmas show is always a big ask. As adesigner, you want to deliver somethingimpactful and memorable withoutdetracting from the much-loved – and,particularly this year, much-needed– twinkly spirit of the festive season.“Christmas is about delivering visualsurprises that delight audiences,” saidHayley. “This doesn’t have to meanbig set changes, which we can’t dothis year, but it can instead be abouta shift in the mood – a quiet momentthat builds emotionally; a surprise thatyou didn’t see coming; embracing andexploring language through signing; anew colour way on stage; an inventivecostume, song or movement sequence.It’s about creating ideas that take theaudience on an emotional journey.”This year will remain in the memoryfor a long time to come. It has beentumultuous for everyone and, as aresult, Hayley believes we need theChristmasiest Christmas with a festiveshow packed with seasonal spirit.“We definitely need that Christmassyfeeling this year,” she said. “I knowI’m absolutely desperate to see abig Christmas tree! More than thatthough, I think we all need somemagic in our lives – to feel thatunmistakable burst of joy that awonderful festive show can bring.”
6behind thescenesAbove BSL Interpreter Max GarteryRight Jack LordPhotography by Anthony Robling
7Below Lladel BryantBottom left Nadia NadarajahBottom right Tessa Parr
8This pageRight Assistant Director Sajidah ShabirBelow Jack Lord, Lladel Bryantand Lisa HowardOpposite pageRight BSL Consultant Adam BassettBelow left Jack Lord andStephen CollinsBelow right Jack Lord and Dan ParrPhotography by Anthony Robling
9
10Welcometo ourroom witha new viewAssociate director of A ChristmasCarol Sameena Hussain gives us aguided tour of the rehearsal room– complete with social spaces andtemperature checksJo HaywoodRehearsal rooms have alwaysbeen social spaces, withwarm-up games, hugsand mugs of tea pepperedthroughout the day as the cast, creativesand crew work hard to get a show upon its feet. But that all changed with theonset of Covid-19. Now, rehearsal roomsare still social, but at a safe distance.So, what was it like to be back inthe rehearsal room for A ChristmasCarol after months in lockdown?“There was such a mix of emotionsat play,” said Sameena. “First, therewas the utmost joy and gratitude tobe making work again – for many ofus, it was the first time we’d been in arehearsal space for a very long time –and then there was slight apprehensionat returning to something that lookedand felt so familiar yet had a whole newset of rules that we had to learn so wecould successfully share the space.“What was present from thebeginning, however, was openness,honesty and acknowledgment of whereeveryone was at, mentally, emotionallyand physically. We gave ourselves timeto prepare for what lay ahead; foraccepting that what normally would bea simple and straightforward task mightnow be tricky to achieve. Kindnessto oneself, and to others sharing thespace, was very much encouraged.”The most obvious change in therehearsal room was the need forsocial distancing at all times withinthe company bubble. This meantthat everyone – the actors, directors,stage management, BSL interpreters,anyone in the room – had to adhereto their own designated space.“This has thrown up some creativechallenges, which were actually quitefun and exciting to solve, but it hasbeen undeniably difficult not to beable to hug, or play certain warm-upgames, or even help each other withsimple things like passing a prop.Interestingly though, the new rules –the daily checking in procedure, the
11temperature checks, the designatedsocial spaces for people and theirbelongings – have also brought comfortand safety to the group. Having clarityhas brought us all peace of mind.”Social distancing has not stopped thecast, creatives and crew from forminga strong bond. They might not beable to pass round the biscuit tin andsettle down together for a cosy chat,but this hasn’t hindered them fromforging a strong sense of togetherness.“Everyone’s passion and dedication tomake this show has helped us to bond,”said Sameena. “We might not have beenable to do a lot of the things we wouldhave done pre-Covid, but this has onlyheightened everyone’s eagerness toconnect and be explicit in reachingout to each other in other ways.It has proved to be an extremelywarm, kind and generous room.”“This has onlyheightened everyone’seagerness to connectand be explicit inreaching out to eachother in other ways”She thinks the challenges posed bythe new Covid-19 restrictions in therehearsal room have actually enhancedthe bonding process: “We’ve lovedhaving a puzzle to solve. Rather thanbeing a hindrance, it’s added anotherelement to the making process. It’salso been particularly great to haveZoom in the room, so people can dropin and see where we’re at, enjoy theatmosphere and camaraderie, andfeel connected to the wider team.”There have, inevitably, been lowsas well as highs in the new rehearsalprocess, but, thankfully, the latterhave far outweighed the former.“The most difficult thing aboutcreating a show under Covid?Honestly, it’s missing out on thosevital little moments of humancontact – giving someone a hug,making a cuppa together, and sharinga bit of food,” said Sameena.“Mostly though, the rehearsal timewe’ve shared on A Christmas Carol hasbeen an utter joy. It’s incredible howquickly you become accustomed tonew rules and how you soon begin toappreciate that they are actually makingwork possible by ensuring that we cansafely be together in the same room. Wehave a shared language and guidelines,and that helps tremendously.“It’s not been an easy transition, butchange never is easy. It is, however,a place where we grow, transformand learn, which means it has beenworth it. Sharing the opportunity tocreate a festive show for families toenjoy has been a real balm, giftingus a feeling of togetherness at atime when we need it the most.”Below Jack Lord, Stephen Collins, Lisa Howard and Adam Bassett. Left RTYDS Director Sameena Hussain Photography by Anthony Robling
12225g unsalted butter225g dark brown sugar100g black treacle25g golden syrup375g plain flour4 tsp ground ginger2 tsp ground cinnamon3 medium eggs225ml whole milk (warmed)2 tsp bicarbonate of soda1. Preheat oven to 180C/160C Fan2. Grease and line a 2lb loaf tin3. In a pan gently heat the butter, sugar, treacle andgolden syrup until smooth, then let cool for 10 mins4. In a bowl, sift the flour, ginger and cinnamon together5. Pour in the treacle mix6. Add in the eggs7. Mix the bicarbonate of soda with the warm milk andallow to thicken a little8. Add to the mixture and pour into the loaf tin9. Bake in the oven for 50 mins - 1 hour10. Cool in the tin for 15 mins and then cool on a wire rackDecorate with your favourite festive delights and enjoyRecipe by Carol WatsonAcross1. Scrooge’s nephew (4)5. Director of Leeds Playhouse’sA Christmas Carol (3, 5)7. Scrooge’s Clerk (3, 7)8. Scrooge’s business name, Scrooge & (6)9. The ghost of Christmas(not present or future) (4)11. Scrooge’s first name (8)12. Scrooge’s gift to the Cratchitson Christmas Day (6)Down1. Scrooge’s first employer (8)2. Mr & Mrs Cratchit’s youngest son (4, 3)3. Scrooge’s profession (6)4. Author of the original novel (7, 7)6. Scrooge’s business partner’s first name (5)7. Scrooge’s famous saying (3, 5)10. A Christmas gift (7)Answers on page 19
13
14A CHRISTMAS CAROLBased on the novel by Charles DickensAdapted by Deborah McAndrewDirected by Amy LeachCASTLladel BryantStephen CollinsLisa HowardJack LordNadia NadarajahDan ParrTessa ParrEveral A WalshDick Wilkins and TopperBob CratchitChristmas Present and Mrs FezziwigScroogeMrs CratchitFred and Young Scrooge and PuppeteerChristmas Past and PuppeteerMarley and FezziwigSTAGEMANAGEMENTSteve CressyJulie IssottRichard LodgeKayleigh ChapmanCompany Stage ManagerStage ManagerDeputy Stage ManagerAssistant Stage ManagerBSL I
this classic ghost tale of redemption and compassion. Bringing together the past, present and future, with community and kindness triumphing over greed and selfishness, A Christmas Carol remains a fitting story for our times 177 years after Dickens wrote it. Leeds Playhouse Christmas shows have become a major celebratory event for the city.
are a stupid ghost. The least a ghost can do is to read a man’s thoughts. However , a worthless ghost like you is better than no ghost. The fact is, I am tired of wrestling with men. I want to fight a ghost”. The ghost was speechle
Nov 07, 2021 · Tues. & Thurs. 5:30 pm Holy Ghost Wed. & Fri. 8:30 am Holy Ghost Weekend Saturday 5:00 pm Holy Ghost Sunday 8:00 am Holy Ghost 9:30 am St. Bridget 11:00 am Holy Ghost
Gerald Massey's “ Book of.the Beginnings,” 338, 415 Ghost at Noon-day, 321 Ghost—The Gwenap, 268 Ghost—The Micklegate, 23, 60 Ghost-seeing, in North American Review, 307 Ghost, Solitary Visit by a, 367 Ghosts by Day, 350 Ghosts in Africa, 33 Ghosts, The Truth about, 325, 343 Ghosts,
The term "ghost kitchen" has surged in popularity over the past year. In this rst section of The Beginner's Guide to Ghost Kitchens, we outline what a ghost kitchen is and what sets it apart from the rest of the dining industry. A ghost kitchen is a food facility that operates exclusively for online and delivery orders.
the term Ghost Schedule. It is prudent to discuss what a Ghost Schedule is not. A contractor's Ghost Schedule is not a schedule maintained in lieu of submitting a baseline schedule and schedule updates per the contract. Even if the contractor is using a Ghost Schedule, it still must comply with the contract's scheduling requirements. An .
Green: ghost solid. 4 The Ghost SPH Method 4.1 Algorithm Overview We solve the particle deficiency at boundaries and eliminate arti-facts by (1) dynamically seeding ghost particles in a layer of air around the liquid with a blue noise distribution, (2) extrapolating the right quantities from the liquid to the air and solid ghost parti-
The Playhouse provides both a thriving focal point for the communities of West Yorkshire, and theatre of the highest standard for audiences throughout the region and beyond. West Yorkshire Playhouse produces 16 of its own shows each year in its two auditoria, appro
changed to Flex Automotive EMC Laboratory. In July 2010 Flextronics Automotive Inc was re-located from Scarborough to Newmarket Ontario. Flextronics Automotive Inc recognizes its responsibility as provider of quality services. To this end, Flextronics Automotive Inc has developed and documented a quality management system to better satisfy the needs of its customers and to improve management .
