All We Ever Wanted Was Everything: Q&A with James Frewer

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Photo by Helen Murray

Middle Child associate artist and All We Ever Wanted Was Everything composer and musical director, James Frewer, talks about the music in the show, currently running at the Bush Theatre in London.

Tell us about the role of music in the show.

The role of the music is to help communicate the story, to make the audience feel in a way that sometimes words can’t and to create the atmosphere of a gig. Its sets the era in which each particular act is in and acts as a voyeur, looking in and commenting on our story.

How do you use music to capture the different eras in the story?

The show is split into three acts and each act is in a different era. At the top of each act we do a pastiche of what, to me, the sound of that era was. After the more obvious opening to the act, the underscores and choruses that follow are in keeping with the era. As well as the actual composition of the music, sounds of instruments are important. Guitar pedals feature quite heavily and the way the music is played. Each era has a certain feel: the ’90s has a big anthemic feel, 2007 is a very scrappy indie feel and 2017 is over-produced and everything should sound very tight.

The astroid has her own music which we set in techno land. I felt techno was a good place to put her, and there is something quite interesting in someone singing emotionally over quite stilted and rigid beats and some beautiful synths.

Without giving lots away, the music collides at the end of the show, and the live band join voices with the astroid which should be the amalgamation of worlds, techno and heavy rock collide in a big way.

Tell us more about the music writing process for the show.

With a Middle Child show, there is usually a lot of talking and an exchange of quite a few Spotify playlists. Then what tends to happen is that Paul and I get into a room with a piano and a guitar and start writing. I really enjoy working and writing with a director in that way, being challenged and provoked. I think for All We Ever Wanted we did two one week stints of writing. We record some pretty shitty demos and I tend to take those away with me and over-listen and over-play them, and start making subtle new additions to the melodies or the chord structure.

I never write any underscore until the rehearsal process. I think music should always serve the story which you are trying to tell. In the same way, I only write the music for a song when the lyrics have been written. To me, music should support the point you are trying to tell. The melody then has a purpose of what it is trying to achieve.

We always realise that there is a song we need to add into a show. Rehearsal processes take twists and turns and as a result new music often needs to be written. I quite like leaving something unwritten until quite late; I sadistically enjoy the pressure of writing something last minute, as I often find it gives good results.

The sound design of a show like this is also so important. I work very closely with our sound designer and fellow Middle Child associate artist, the brilliant Ed Clarke, for everything that I’ve written to be heard as intended, but also to make sure the dialogue is heard. In live shows, we have a brilliant sound mixer, Chris Prosho, who negotiates all the changes that occur every night, with a huge amount of skill and precision.

Has anything changed, musically, since the 2017 version?

I think every time that we do this show there will always be slight changes to it. The songs and chorus are pretty much the same, with maybe the odd change in inflection. But the music changes to a certain degree every night: that’s the beauty of it. The music should be live and it should respond to the actors, so if an actor makes a particular choice one night, you go with it. I want the score of this show to constantly evolve.

Photo by Sarah Beth

What is your relationship with the director, Paul Smith, in the room?

We’ve been working together for nearly ten years now, so I would say pretty fluid, to the point where we both know what each other wants and communication can happen with little nods or just sensing how the other one feels. As I mentioned earlier, the bulk of the work that we do happens way before the rehearsal process. We tend to go and jam with a piano or a guitar for a few weeks then take a phone recording of them. Then I take them away to obsessively listen to them and bring them back to the room with odd melody strands changed.

In the room, it’s pretty fluid. We both know what we want to achieve, so certainly for the first part of the process it’s pretty separate; I need to teach the music and the underscore and perhaps put a bass on an actor that’s never played, whilst he’ll work on the characters of the show and work out the world.

In the latter part we come together and start merging acting and music. That’s the fun bit, the making part. In shows that are completely underscored, I’m completely responsible for what the audience hears and, as a result, how the audience feels and Paul is in charge of what the audience sees. Ultimately, to steal Paul’s quote, we both need to make the story clear.

How does it feel to perform in the show, as well as compose and direct the music?

It’s fun! In my head they’re all quite separate. Certainly, now we’re in the run, the composition has pretty much stopped bar the odd slice of improvisation. A show like this is fun and rewarding to musically direct. It’s a show where anything can happen and that keeps the music alive. You can never relax and sometimes things don’t go the way you rehearse. I really get off on it being my responsibility to get out of tricky situations; it’s a hell of a feeling when you achieve it. To perform, it’s great. I get to sing, play lots of loud guitar and piano and essentially pretend to be a rockstar. I mean, there’s not a better job is there?

What does gig theatre mean from a music point of view?

I think the answer to this is pretty simple. Neither the text or the music should be able to live without each other. It’s very odd rehearsing just the music or just the text, as they both don’t sound quite right without each, maybe simplistic, but when you put it together this beautiful beast appears. Essentially the music is the beating heart of Luke’s words. It drives it when it needs to, sits back when we need to hear of the poetry of what is being said and occasionally takes over and hits you in the stomach to echo Luke’s thoughts and words.

It is, importantly, also the context of how the story is delivered. We make ‘gig theatre’ not because it’s cool to have some drums in it or to chuck a guitar in, we make it because it is Hull the best way to engage our audiences. People in Hull go to gigs, we want to tell stories. So we thought we’d slam them together and make this gig theatre thing.

See All We Ever Wanted Was Everything at the Bush Theatre until Saturday 24 November. Tickets are on sale now.
Lindsey Alvis

Lindsey Alvis takes over from Mungo Beaumont

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Lindsey Alvis

Lindsey Alvis

Middle Child executive director and joint chief executive, Mungo Beaumont, will today save his last spreadsheet and wave goodbye to his calculator for the final time, as he leaves the company that he helped found in 2011.

Artistic director Paul Smith now becomes the sole chief executive of Middle Child and Lindsey Alvis, formerly of Hull UK City of Culture 2017 and Headlong, has been appointed interim executive director. Lindsey starts on Monday 13 August.

After two years at the helm alongside Paul and with the company now established as a national portfolio organisation, Mungo is leaving to catch up on sleep and pursue new opportunities.

Mungo, a University of Hull drama graduate, is one of the founding members of Middle Child and originally joined as an actor. He then moved into producing and became executive director in 2017 as the company prepared for national portfolio status.

Mungo says: “It has been the greatest of honours playing a part in the founding and growth of Middle Child. I am so proud of what we have achieved over the last seven years. My thanks go to everyone who has played a part along the way, and in particular Paul, who has made this experience truly a joy.

“With him at the helm, alongside Lindsey, Jamie, Emily, the company members and our newly established board, I know that Middle Child will continue to flourish. I very much look forward to enjoying the next show from the crowd.”

Paul says: “Working with Mungo to establish Middle Child as a sustainable theatre company has been a huge privilege. He’s an incredible person with endless determination and is certain to be a success in whatever he chooses to do next.

“There’s no way we would be where we are today without Mungo’s dedication, focus and ingenuity. He has been a key part of everything we’ve done since our formation in 2011 and I’m delighted he will continue to contribute as a company member.”

A warm welcome to Lindsey Alvis

Lindsey joins Middle Child following two years with Hull UK City of Culture 2017 as a producer. Before that Lindsey produced at Liverpool Everyman & Playhouse theatres and touring company Headlong.

Lindsey said: “Having worked closely with Middle Child during Hull’s city of culture year, I am delighted to join the team as interim executive director. A leading voice within the city and nationally, Middle Child are creating vibrant, loud work at the forefront of popular culture, energising a new generation of audiences and artists to great industry acclaim and audiences’ enjoyment.

“I’m taking over from the brilliant Mungo Beaumont, who together with Paul has grown the company over the past seven years, most notably securing NPO status in 2018. I look forward to contributing to the next stage in the company’s development and can’t wait to get started.”

Paul added: “I’m very excited to begin working with Lindsey, who brings her vast experience and creative flair into the company. The future of this company is very bright and I can’t wait to work with Lindsey to make our huge ambitions a reality for the future.”

Emily Cox, centre. Photo: National Youth Theatre.

Hull actor Emily Cox awarded Career Kickstarter Fund

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Emily Cox, centre. Photo: National Youth Theatre.

Emily Cox, centre. Photo: National Youth Theatre.

Hull actor Emily Cox is the first person to be supported by the Middle Child Career Kickstarter Fund, designed to help new, working class actors get a foot on the acting career ladder.

The fund will pay for Emily’s Spotlight membership for a year and her first set of professional headshots. She will also benefit from one-to-one audition workshops with Middle Child artistic director, Paul Smith.

Emily first started acting during her GCSE and A Level drama courses, before spending time with the National Youth Theatre and taking part in a summer Acting to Camera course at the Central School of Speech and Drama. After a year of unsuccessful auditions she began studying as a nurse, before quitting her degree to focus again on acting.

She currently travels to London each week from Hull to participate in a Diploma in Acting at the Central School of Speech and Drama, which ends in August.

Emily said: “I’m really excited to be part of Middle Child’s Career Kickstarter Fund and it’s amazing that this support comes from a theatre company that is based in my home city. I’m looking forward to getting stuck in and seeing where this amazing opportunity takes me.”

She Productions awarded Middle Child Match Fund

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StorytEllas by She Productions

She Productions is the first Hull-based theatre company to receive match funding through Middle Child’s artist development programme, Reverb.

The company will receive £1,000 and support in-kind to fund their core running costs over three months as they develop their outreach work for communities in Hull and East Yorkshire.

Since forming in 2015, each of the company’s productions has been accompanied by a thematic, drama-based workshop programme.

These have included It’s Different For Girls consent and relationship workshops with vulnerable youth groups and ‘Man Up’ workshops, which focus on deconstructing the expectations of masculinity with a group of Pupil Premium male students.

She Productions’ outreach work comes at a time when nine out of 10 schools have cut back on lesson time, staff or facilities in at least one creative arts subject, according to a 2018 BBC survey.

This has seen teaching staff both locally and nationally teaching creative subjects that they are not trained in, including drama.

Ellie Claughton, She Productions producer, said: “She have been developing and producing workshops alongside each of our productions for the past four years.

“Outreach has always been at the core of our practice, so we are really excited to be supported by Middle Child in formalising this strand of our work.

“This funding will not only enable us to develop workshop programmes and build relationships with partner organisations, but to focus on identifying and reaching participants from across the area.”

Paul Smith, Middle Child artistic director, said: “We’re absolutely delighted to be able to support She Productions with both their organisational development and workshop programme, which will hugely benefit many young people in the city.

“We’re aware of how difficult it is to become sustainable in the first few years as a theatre company and hope our small cash injection can make a difference in what’s to come from She Productions in future.”

​The Reverb artist development programme is Middle Child’s commitment to ensuring that artists in Hull are given top-class development opportunities across disciplines without needing to leave the city.

Goodbye Europe

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Maureen Lennon, Paul Smith and Matthew May, on their way to Warsaw in April. Not pictured, Magda Moses.

One benefit of having national portfolio status with Arts Council England is the ability to plan productions far in advance. This includes starting work on a major new show that we’re creating for Hull in March 2019, on the subject of Brexit no less.

Hull voted overwhelmingly to leave the European Union in the referendum of June 2016, with 67.6% supporting the eventual result. The opportunity to perform a new piece of work, as we leave the EU, that asks questions of this decision fits perfectly with our aim of bringing people together for a good night out with big ideas in it. And they don’t get much bigger.

Hull is a port city with strong connections to the continent, including a large Polish community, who’ve been all but absent from mainstream conversations on the subject in the city. Hull has also undergone a transformation since the 2016 referendum, as the latest UK City of Culture. What might happen then if we take advantage of an increased appetite for arts and culture to hear different perspectives on Hull’s relationship to Brexit?

Our ambition is to bring together the people of Hull, including its Polish community, to enjoy a night of gig theatre in March 2019 that also challenges our understanding of such a divisive issue. The British Council shares that ambition and has kindly supported us in making two trips to Poland for research and development on the project, with a particular focus on understanding the status of theatre with Polish audiences. We’ve also been invited into the National Theatre’s studio for four days in August, to develop the first draft, which is incredibly exciting.

This week artistic director Paul Smith, associate artist and writer Maureen Lennon, associate artist James Frewer and dramaturg Matthew May are in Poznan, with board member Meg Miszczuk as our guide. We also travelled to Warsaw in mid-April, when Paul, Maureen and Matthew were joined by Magda Moses, who moved to Hull from Poland in 2008 and now works on community engagement in the arts in the city. Below are some of Magda, Maureen and Matthew’s thoughts on that earlier trip.

Magda Moses, adviser

“This trip was essential for Middle Child to produce an authentic and true show. To understand a foreign nation, the cultures and traditions that shape their national personality and identity, you have to become a part of their community and plunge yourselves into their reality.

“Theatre for Poles means a lot: tradition, sophistication, classicism, splendour, elegancy, but also normality, laughter, politics, childhood and family. I think watching three different performances in Warsaw theatres that were so different gave us a little taste of Polish theatre and their audiences.

Cezary Goes to War, an autobiographical piece directed by Cezary Tomaszewski, directly and cheerfully attacks and deconstructs the military rhetoric and nationalistic ethos in Poland. We also saw Fyodor Dostoyevsky’s Biesy, directed by Natalia Korczakowska, which used the theme of a rebellion against the tyrant to link it with the present political situation in Poland. We then rushed in the rain to watch a cabaret, Spiritual Show by Fire in Brothel, directed by Michal Walczak, a typically Polish show – lots of names from the history of Poland, specific Polish jokes, especially about the right and left wing, Catholic Church and modern political situation. Two other things that Paul and Matthew learnt were: 1) do not clap during the intervals and 2) do not try to order beer, as it’s prohibited in a theatre building and not posh enough.

“The Polish community in Hull is also very diverse and that makes their interests very different. Those who attended theatre back in Poland continue to do this here, however some have only started to go to the theatre recently as they have overcome the language barrier. What I can definitely say is, children are most important for Polish parents, so any child-friendly artistic event will draw their attention and build your audience.”

Fyodor Dostoyevsky’s Biesy, directed by Natalia Korczakowska

Maureen Lennon, writer

“We wanted the opportunity to dig a little deeper into what it’s like to come from one city to another, and whether we could glean anything about national character, culture and history, which might be able to play into our story. Also we heard Polish beer was really nice and we thought a few pints would probably help us get extra creative.

“We took part in a brilliant tour about communism in Warsaw, led by an incredibly friendly and knowledgeable guide, Artur (The Communist Warsaw Tour in a Retro Nysa Van; look it up if you go to Warsaw). This took us round buildings, past statues, into a locked-down museum with an exact replica of the inside of a flat and included a great game of Find the Vodka.

“It raised loads of interesting questions about the people who might be in our play, and the experiences and circumstances which formed them, about this country’s relationship with capitalism now, and how this compares to our own national identity. But mainly what has stayed with me is the driving. At one point we parked in the middle of a dual carriageway, but then as Magda said: “There are rules, it’s just we like to break them.”

“We also learned about how embarrassed English people are abroad. This time particularly about how little Polish we could speak and how many languages other people could speak. Magda converses fluently about everything in English and Polish. Artur could speak English, Russian, Polish and a made up language called Esperanto. At one point a driver demonstrated four different languages in one taxi ride. This isn’t something specific to Warsaw; I’m just pointing out – it’s embarrassing, isn’t it.

“Also I don’t mean to imply that we were just embarrassed by language; it spanned pretty much everything. I apologised to a man who knocked my suitcases over and Paul got into a particularly weird exchange about coffee outside a museum. We passed this off as an English thing, but maybe it’s just us? Who knows, either way whatever’s going on we’re embarrassed. Sorry.”

Matthew May, dramaturg

“If you get a chance to go to Warsaw, do so. It’s a great city, full of contrasts, culture and some excellent craft beer. I was speaking to my youth theatre group about my trip one Monday night and the thing that I wanted to impress on them is that theatre there matters. It is not necessarily better or bolder, though we did see some incredible and some incredibly confusing work, but it feels more tied up in the fabric of the city. The act of making work feels far more political.

“Paul and I attended an Emergency Briefing on Polish Theatre, where Polish directors, festival curators, actors and artists discussed the increasingly difficult political landscape in which they find themselves trying to make work. They face pickets, economic censorship and, in one case, the loss of employment. This meeting took place in a city that until 1989 was under Communist rule and was essentially destroyed towards the end of the Second World War. This is a city where the history and the politics of its past are writ large in the buildings and the people.

​“So, for me as the political dramaturg on this project it acted as a reminder than throughout the creative process we can never forget the vastly different place that Poland has come from. We can not understand the drives of these people if we see them purely through the prism of our own experiences. That is what I will try and take from this trip; well, that and a love for pierogi.”

Get involved

Did you vote leave, or do you know friends, family or colleagues who did, who also live in Hull? We’d love to hear from you and them, so have put together a five to ten minute online survey using Google Forms.

An interview with Eve Nicol, writer of One Life Stand

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Eve Nicol (Photo: Sandra Franco)

Eve Nicol is interested in the reasons why having sex is so hard today. Michelle Dee catches up with the Glasgow-based playwright to talk about sex, online dating and gig theatre just in time for Middle Child ’s next show, One Life Stand, which drops into your local pub next month.

What was it that prompted you to write One Life Stand?

We started out being really curious about the fact that our generation are having sex less frequently than our parents’ despite a media landscape with images of sex all over the place.

Are we holding out for the ideal partner? We’re sold on the happily ever after story, the idea of one true love. One Life Stand is interested in if it is possible to have a loving, respectful relationship, where you sleep with other people in a social system in which monogamy is the protected default and not a choice.

The debate over how technology has crept into every aspect of our lives continues on a daily basis. Which side are you on?

Technology is a massive force for good but it can also serve as a huge drain on our time and focus. The expectation to always be ON is exhausting. One Life Stand is a celebration of the physical side of human relationships and the energy we get from face-to-face (or crotch-to-crotch) interactions with one another. I love how technology can make it easier to obtain that.

There are disaster date stories everywhere and the digital love cat is well and truly out the bag – how do we navigate this new dating playing field?

Digital offers us more choice. And with choice we become more picky and less able to stick by one decision. We won’t settle for anything less than a soulmate. Someone who is supposed to be our best friend, give us the best sex we ever had and be a dab hand with flatpack furniture. That’s a lot of pressure to put on one person.

Digital makes it easier than ever to explore different kinds of sex and love, other than the standard model of monogamy. But we’re fighting against an out-dated system that sees nearly half of marriages end in divorce.

What do you think it says about the human condition that everything in life is mediated through a screen? Where does that leave our ability to communicate and have meaningful interactions?

Humans have always been fascinated by our own image. We’re the only animal with that level of self-awareness, aren’t we. Screens are just the next stage. I believe people speak more honestly when they think no one is watching. Our phones are like portable confessional booths. We can project what we want onto them and that can give depth to our lives as we explore other versions of ourselves.

But apps and phones are designed to be addictive, designed to keep our focus and so they become portable advertising boards for the mainstream instead. We are still in the early days yet. Let’s see how badly the next generation is fucked up by it.

Can you explain a bit about the process of writing and adapting the ideas to work as a gig theatre piece.

I’ve been comparing it to making telly. What is it that stops your audience from changing the channel. Gig theatre shares a lot with the ceilidh theatre tradition in Scotland, where I’m from: its directness, informality, subject matter, love of a song and its politics.

It hasn’t really been a case of adapting ideas, more working within a familiar form: but electrified.

How did you choose the music? How did you go about linking the music to the drama?

Our starting reference point was “a rainy city at night-time” and we swapped links to a whole range of artists including albums by Hot Chip, where the show’s title is borrowed from, The National, the XX and Honeyblood.

Honeyblood and Middle Child associate artist James Frewer have been creating an original score for One Life Stand. I have been listening to the demos when I’ve been writing and even when I’m not. There’s some really cool riffs in there. We’ve set out the music like an album tracklist, the dialogue, music and lyrics all working together to make each moment cohesive.

What was it about Honeyblood that made them right for this project?

Honeyblood’s music is effortlessly urban and cool, but has a wildness that howls at the moon at midnight. It has been great to see how Cat Myers and Stina Tweeddale work together and can so quickly piece together a big noise. Stina is brilliant at pulling out lyrics from my notes about sexual quirks and making something a bit grubby sound beautiful.

This is your first professional writing commission; how did you deal with the pressure?

I’ve been given loads of room to explore the stories that interest me and how I want to tell them.Although it is my first professional production I’ve never felt like I’ve been working alone, there’s a whole team behind this production. Middle Child are experts leading the field in gig theatre.

One Life Stand is a piece of new writing so we’ll still be working on it through rehearsals and then looking to see how it goes down with audiences.

What would you say to someone who says, ‘Theatre? It’s just not my thing.’

Come along to our Pay What You Want show on 10 July at New Trinity Club and dare us to change your mind. Middle Child go all out to show you a good time. Just get out of the house. You might meet the love of your life or at least someone for the night.

I’ve never signed up to a dating site let alone swiped left or right on an app… why would I come see One Life Stand?

With One Life Stand we’re interested in why sex is so hard today, how smartphones, apps and the shift in the way we communicate has played a role in that. One Life Stand is for people who see their phones as much a part of their daily lives as their work, their family and their friends.

Join the cast of One Life Stand in their late-night search for intimacy across a hyper-connected, hyper-sexualised city, at venues across Hull from 6-12 July. 

New board meets for first time

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The new Middle Child board met for the first time in May under new chair, Martin Green CBE with new members Jane Fallowfield, Meg Miszczuk, Aysha Powell and David Watson joining continuing board member Sharon Darley.

Sharon Darley is the former quality of life manager with the Goodwin Development Trust, accredited with the creation and development of Estate of the Nation arts programme and the development of Thornton Neighbourhood Plan, which used a mix of arts and non-arts community development to improve the quality of life for people living on the Thornton estate, Hull.

Jane Fallowfield is a director, dramaturg and literary associate with Talawa Theatre Company. Her directing credits include Drip and Cosmic by Tom Wells, Red by Somalia Seaton, Germ Free Adolescent by Natalie Mitchell, Fingertips by Suhayla El-Bushra, Bird by Laura Lomas, The Only Way Is Chelsea by Frazer Flintham and Lagan by Stacey Gregg.

Meg Miszczuk is a project specialist working in the arts, culture and publishing industries. She previously managed the Hull GADA project for Hull UK City of Culture 2017, has worked as an interpreter and translator in Germany and also produced a number of cultural events in Poland.

Aysha Powell is the general manager of Paines Plough theatre company, based in London. She has previously worked with agents Curtis Brown, the Lyric Hammersmith theatre, Soho Theatre, Northern Broadsides and the Brisbane Arts Festival.

David Watson is director of brand and advocacy for Birmingham Royal Ballet. Prior to this he was head of digital/digital editor-in-chief for Hull UK City of Culture 2017. He has also previously worked in similar roles for organisations including English National Ballet, London 2012 Olympic and Paralympic Games opening and closing ceremonies, Royal Opera House and Rambert Dance Company.

​Martin Green CBE, appointed chair in April of this year, was previously the chief executive and artistic director of Hull UK City of Culture 2017. Prior to working in Hull, Martin was the head of ceremonies for the London 2012 Olympic and Paralympic Games, overseeing the torch relays and opening and closing ceremonies. He was also the executive producer of the opening ceremony to the 2014 Tour de France Grand Depart, which took place in Yorkshire.

Martin Green CBE named as new chair

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Former Hull UK City of Culture 2017 chief executive and director, Martin Green CBE, has been appointed as the new chair of Middle Child’s Board of Directors.

He will take up the role in April 2018, the same month that Middle Child enters Arts Council England’s National Portfolio.

He succeeds Sarah-Jane Dickenson, who has held the role since 2017.

Martin Green said: “I am thrilled to join Middle Child at one of the most exciting moments in the company’s short but impressive history – I’m a huge fan.

“Middle Child’s work to engage new audiences in Hull created some unforgettable memories in the city’s first year as UK City of Culture and I look forward to guiding and supporting their strategic direction over the coming years.

“The role also allows me to keep a strong connection with this great city – something that I was very keen to do after a life-affirming four years at the Culture Company.”

Prior to working in Hull, Martin was the head of ceremonies for the London 2012 Olympic and Paralympic Games, overseeing the torch relays and opening and closing ceremonies.

He was also the executive producer of the opening ceremony to the 2014 Tour de France Grand Depart, which took place in Yorkshire.

Middle Child artistic director, Paul Smith, said: “Everyone at Middle Child is absolutely buzzing that Martin is joining our team.

“His wealth of experience, affinity with the city and belief in doing things differently makes him the perfect person to lead us into the future.​

“We would also like to thank Sarah-Jane Dickenson, the outgoing chair of the Board of Directors, for her invaluable guidance over the past twelve months.”

Panto audience raise over £3,000 for charity

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Back in December 2016, during our run of Dick Whittington at Fruit, we collected money on the door for two Hull charities doing important work in the city: The Warren Young People’s Project and Hull Help for Refugees. 

It was the first time we’d run a fundraising campaign during our alternative pantomime and we were thrilled to see our wonderful audience raise £1,757.58, to be shared between the two organisations.

Encouraged by your generosity we did the same again during Cinderella last month and are pleased to say you absolutely smashed the previous year’s total, this time raising a fantastic £3,140.39

That money will be shared between Hull Homeless Community Project and Hull Red, a charity that organises social events for adults with learning disabilities. 

Thank you so to much to everybody who came to see Cinderella and also helped to support these two charities, your kindness is hugely appreciated!

It’s panto time!

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By Mungo Beaumont, producer

Oh yes, it is! Oh no, it’s not! OK, promise, the worst of the panto jokes are behind me…

I love this time of year. Pigs in blankets beckon, Christmas jumpers are finally acceptable to wear and pantomime rehearsals have begun. Now we know we’re on our way.

It’s our sixth annual, affordable pantomime at Fruit, and writer Tom Wells has dished out another delight with Cinderella. What’s more, the show will mark our final contribution to Hull UK City of Culture 2017. It has all gone by in a whirlwind, hasn’t it?

With so many different types of cultural offerings throughout the year it’s nice to finish on something that feels so familiar – and important. Pantomime is often a person’s first introduction to theatre, so we take it incredibly seriously, underneath all the custard pies.

For the past three years we’ve tried our best to spread the Christmas cheer by giving away free tickets to local community groups in Hull. In 2016, groups from The Warren, Hull Help for Refugees, Hull Homeless and the Butterfly Memory Support group all came along and we’re hoping to do the same this year via our annual crowd funder. If you feel like you have a few pennies to share, please do back our campaign – we’ll love you forever.

Whilst it’s important to remember that Hull will continue to be the City of Culture until 2020 and a city of culture for evermore, it’ll be nice to get to Christmas and look back on what has so far been an incredible journey, for all of us. But then, if you REALLY want to see an incredible journey, you should probably be checking out our attempts to turn a pumpkin into a carriage!

See you at the ball.