YORKSHIRE MIXTURE
The recent television quest to find the nation's best am dram group revealed an oft forgotten truth - that what separates the very best from merely the very good is a willingness to innovate. Pateley Bridge Dramatic Society has a stellar history of productions from the traditional repertoire - last year's brilliant Ayckbourn was a case in point - but has never been afraid to step off the populist treadmill. A Yorkshire Mixture is a bold showcase of original drama penned by local playwrights, and to have so much fresh creative talent on our own doorstep, both on and off stage, is truly cause for celebration. The first half of the evening featured a series of reflective monologues in the style of Alan Bennett's Talking Heads. Grassington writer Keith Bromley, like Bennett, presents his actors with a tough challenge. There's no ensemble safety net, no stagecraft hiding place - just the need to engage the audience with a singular depth of emotion. Without exception, all the performers pulled off their high wire act superbly.
Pateley’s version began with some interesting staging in front of the curtain. Kafka (Rae Joynson) lies on the floor while addressed by Max Brod from the audience. As we move to Yorkshire, the curtains open to reveal a stunning set filled with hundreds of red and yellow books. This was designed by the director, Tom Barber and constructed by a huge team of volunteers.
It proved an excellent backdrop for the whole piece. The red and yellow theme was extended through the whole production with fantastic attention to detail. Indeed costuming, set and props were impressive throughout.
Steve Hunt’s Last Chance was a simmering study of loneliness, humiliation and fear – and by the end it was the audience who were spooked.
The eternal outsider, he coaxed you into his shy, bullied world so convincingly that the final sinister minutes drew an audible gasp of surprise from the house
From the dark side, we were then transported to the gentler, whimsical world of Strawberry Yoghurt thanks to an endearing portrayal by Joyce Liggins as an abandoned wife. Of all the first half pieces, this was archetypal Bennett and Joyce showed complete mastery of the genre – wistful, quirky and funny but sad to the bone.
When the symbol of betrayal comes down to a yoghurt you need an actor you can trust. We were in good hands.
Act One had some awkward moments, because sexist humour sits uncomfortably in 2025, but I was delighted to see Linda (Olivia Skipsey-Collinson) take more of an upper hand in Act Two and show us the dawning of girl power.
Beautifully written and brilliantly spoken, this for me was the stand-out treat of the evening.
Pateley writer and director Keith Burton took over the second half with his one act play The Journey, the Society’s entry for the Nidderdale Drama Festival. Though very different in tone, it shared one vital piece of common ground with the monologues – nothing is as it seems.
Ben Derrick as the Lad takes a bus journey with his Gran, played by Ruth Dodsworth, and both skilfully reveal it as a deeply troubled journey through life.
It was a compelling script and as the trauma unfolded line by line these two consummate actors unleashed a force-field of emotions so powerful that the shock in the auditorium was palpable.
This was a riveting piece of original theatre and would merit accolades at any festival, local or national.
[WebEditors note: This last, prescient comment was made before the results of the Nidderdal & District Drama Festial were known
All in all, an impressive evening of absorbing and thought-provoking drama marred only by too many empty seats in this gem of a Playhouse.
Come on, Pateley, man up – the programme may not be familiar territory but the players are consistently excellent and deserve better support for pushing the boundaries.
Review by Cheryl Barber
Photos by Chris Iredale