Auditions: 'The Witching Hour'

From Tess Humphrey, the writer behind the National Award Winning ‘The Prince of Humberside’, comes a brand new spoof horror comedy.

A local radio station is trying an exciting new venture, a live show to contact the dead. When the show appears to be going badly the world-weary student presenter is stuck in the studio talking to a psychic who's coming up with predictions like "Tories to abolish student radio funding." To fill in the time, they start telling each other local ghost stories, which are blended in with re-enactments.

We meet Marmaduke Buckle,

Star-crossed Yorkshire lovers;

Plague victims,

And the vampire employed by the council.

With a large cast of over 36 characters there is definitely a part you’ll love – and through the magic of radio prepare multiple voices for this fantastic spoof horror comedy!

Auditions Fri - Sat Week 3 - 18:00 - 20:00 in VO44

Join our Facebook event now!

YorWorld: 14th October 2012

YorWorld makes a return after being nominated for two national student radio awards. One for best interview and another for our ‘In the Stalls’ drama previews for another year running.

This week on the show we preview YUSU Drama Society's production of 'Deathtrap', Ira Levin's 1978 classic combines satire of the most famous thrillers, such as Sleuth & Dial M for Murder, with an intricate and clever plot to create one of the most successful and long-running productions in Broadway history.

We also preview York Shakespeare Project's ambitious new production of 'Othello' as well as reviewing the York St John Graduate Productions, the York Theatre Royal's 'The Guinea Pig Club' and the touring production of 'Blue/Orange'!

Hear the programme now on the ((URY PLAYER)) here!

Review: Blue/Orange - Grand Opera House

by Alex Gordon

Joe Penhall’s psychological thriller, Blue/Orange, after its National Theatre premiere in 2000, won almost every major award for New Play. The Theatre Royal Brighton Productions’ revival, directed by Christopher Luscombe, is pacey, witty and provocative, but it is a complex play and it certainly doesn’t hand things to you on a plate.

Set on a London psychiatric ward, it follows an ideological battle between junior consultant Bruce and his superior Robert over whether black patient Christopher is ready or not to rejoin the community with his ‘Borderline Personality Disorder.’ Bruce wants to retain him for further treatment, Robert wants to let him go.

This raises a whole multitude of other questions. Is Christopher’s schizophrenic behaviour caused by his environment, is it inherent in his race, or is he merely socially insecure? Should he be protected from the public and vice-versa? And why the hell does he say the oranges on the consultancy table are blue? Everything is not simply black and white.

Robert Bathhurst, (aka Downton Abbey’s Sir Anthony Strallan) is excellent as Robert. Awarded many of the best lines, they roll off Bathhurst’s tongue with such eloquent timing and precision that our allegiance often ends up with him instead of Bruce because, as he puts it so pertinently, ‘my semantics are better than yours so I win.’

It was harder to side with Gerard McCarthy as Bruce. Though he performed admirably and with gusto, I found his delivery, at times, whiny and repetitive as well as his gesture; the hands often covered the face in ‘shock’ or chopped the air emphatically when making ‘a point.’ Consequently, I found I did not fully believe him cracking under the pressure of scrutinization from above when he lets rip in his tirade of abuse on Chris in Act Three.

Oliver Wilson provides an understated yet solid performance as Christopher. His affability as a person combined with a nervous laughter, constant repetition of colloquilaisms like ‘know what I mean?’ and unpredictable anger make his portrayal of a schizophrenia sufferer believable and unnerving.

The production as a whole however, feels as though it would be more suited to a more modern and intimate studio space, as opposed to a functioning museum like the Opera House. Colin Falconer’s strikingly stark, clinical set feels unnecessarily bulked out with a moving platform for the sake of filling an overly-large stage.

Oliver Fenwick’s cold blue lighting, brilliantly contrasted by an out-of-place bowel of oranges, though effective, is dulled somewhat by the surrounding faded grandeur.

What I enjoyed most about the production was the construction of the play itself and watching three actors working well together in delivering the ‘pin-ball’ fast dialogue, contrasted with almost Pinteresque moments of stillness before sudden, violent explosions.

This is definitely worth a watch for the talent on display, and for being one of the only plays that confronts head-on one of our last great modern taboos.

And you can hear Alex's full audio review in YorWorld.

Review: 'The Guinea Pig Club'

Kate Bull reviews The Guinea Pig Club, an impressive piece documenting British wartime pride, and commenting on society’s ingrained obsession with appearance.

The Guinea Pig Club, written by Susan Watkins, premiered this week at York Theatre Royal. Based on a true story, the play follows the story of a pioneering plastic surgeon during the Second World War. Archibald McIndoe applied dexterity and care to the burned and crippled bodies of RAF pilots who were wounded in action, and training exercises.

As Dr Ludwig Guttmann refused to give up on his paralysed patients at Stoke Newington, the Sussex town of East Grinstead was populated with wounded pilots who were encouraged to continue to live in the outside world, rather than hide away with (and behind) their battle scars.

Susan Watkins has a close attachment to the subject matter, for she personally knew a member of the self-named ‘Guinea Pig Club’. The sensitive manner in which she dealt with the story deserves congratulation, although the length (three hours including interval) reaffirms the belief that the closer you are to a subject, the harder it is to edit.

Occasionally, the pace seemed to drag, but apart from that the script was light-hearted and humourous. To a certain extent the characters were predictable – the private school boy who’d always longed to be a pilot, the pretty nurse who falls for him; the brusque matron, and the token Yankee are all characters we see perennially in anything war-based.

However, the particular subject matter meant that the actors really had to work to develop well-rounded characters. It is hard to convey feelings and thoughts without the use of your facial muscles, and as some of the actors were masked for the majority of the play they did well to create characters with body language, vocal range and chemistry with each other. In this way, the potential of acting stereotypes was averted, and the characters on stage came across as well-rounded individuals.

Damian Cruden, the current artistic director at the Theatre Royal used the traditional proscenium arch of the theatre to his advantage: creating a tall, RAF base in which the patients were housed. Joanna Scotcher’s stage design echoed well the scary, cold environment of a military hospital which eventually became a place of comfort and sanctuary for ‘Archie’s boys’. Ingenious use of hospital bed curtains and disco balls (not necessarily at the same time) transformed the stage into a ballroom, hotel suite and local pub.

Graham Harley created a sympathetic, well-rounded McIndoe, and his Kiwi accent wasn’t bad either. The revelation of his extra marital affairs, as well as his stubborn personality, made McIndoe very much a human character; Harley performed the role well. Anna O’Grady’s work as nurse Alice Harwood was convincing, although in my opinion, her character was not developed enough for her skills as an actor to be demonstrated.

Richard Jones’ lighting choices complemented the various moods of the play – despair, jubilation, anger. The projections designed and projected against the back wall of the stage anchored the play in its historical context.

One of the most engaging aspects of the entire play was the live music provided by George Ure on cornet and piano. His character, Tom, can only communicate through his ventriloquist’s dummy, but the music he creates is rousing and spine tingling.

The unpolished, proud singing of the patients made startlingly evident the long lasting friendships that these men had created in such traumatic experiences. As they raised their glasses to each other and to their doctor, the audience was exposed to the sense of pride felt by every member of the Club to overcome such debilitating conditions. 

2012 has been an excitable, patriotic year. With the Olympics, Paralympics and Diamond Jubilee, The Guinea Pig Club was well timed to ride the Union Jack wave and it would have had to have done something diabolical to fail. This country’s fascination with The War  – whether through documentaries, plays, interviews and films – continues to draw in the crowds. This play was no gimmick, however, and tells a story that needed to be told very well indeed.  

And you can hear Kate's full audio review in YorWorld here.

Review: York St John Graduate Prize 2012: Journey to Karawane and Letters to Yseult

By Alex Gordon.

The York Theatre Royal Studio was originally conceived as a room for workshops and performances of a more experimental kind. It seemed fitting then that tonight it played host to a double-bill of two devised pieces, created and performed by three students who are this year’s receivers of the York St John Graduate Prize, awarded annually (since 2011) to students in their final year of studying Theatre at York St John University.

They are then given the chance, under guidance from the Theatre’s Associate Director Juliet Forster, to take a short play they have created as part of their degree and re-work it for a public performance. An opportunity that should make students on the equivalent theatre course at York University shiver with envy.

The first play, Journey to Karawane, follows ‘The King’ (Joel Dean) and his noble steed, ‘Horse’ (Adam Ekin) on their journey to…well, Karawane. Although the play revealed as much about the plot as the title does, evidently this was not the point as, in part homage and part pastiche of Beckett’s Waiting For Godot, we watch two lonely, slightly unhinged individuals pass the time on their journey by playing several equally off-the-wall characters in a series of games and sketches.

Though at times slap-dash in its construction, the play had some amusing, Pythonesque moments and some well-thought out jokes. As Dean’s character points out, ‘Baffling people can be fun,’ and what’s more, they can enjoy being baffled. Dean and Akin’s performances however, were perhaps not quite strong enough to make their Pozzo-Lucky relationship entirely convincing. It could be hilarious and thought-provoking if its creators refined their material and their performances more carefully.

Letters to Yseult could not have provided a more different change of tone to the evening. Performed solo by its author, Richard Wade, we are taken on a journey through the old ‘Tristanian’ Legend – the love of a Cornish Knight, Tristan, for an Irish Princess, Iseult – told from Tristan’s perspective in a modern context, with Wade convincingly inhabiting a host of characters along the way.

It is unusual, intriguing, romantic, funny and heart-breaking. Wade’s versatility must be commended as he took us from comic-highs, such as when Tristan drunkenly performs Beyoncé’s ‘Single Ladies’ dance, to heart-shattering lows when Tristan, blinded by an assassin, his face smeared by crushed berries for blood, dies thinking that his beloved Yseult has abandoned him. Music was also used to great effect, as Wade both sang and played guitar, his lyrics introducing us to, and resolving the story.

This was an engaging and vibrant story told by a youthful, energetic performer, and I sincerely hope he finds the opportunity for it to grow and reach audiences beyond York. Perhaps next year’s Edinburgh Fringe would be ideal?

The evening proved an interesting and eclectic mix, with a post-show talk revealing as much about the actors as about their plays. Perhaps their characters, who all share a common thread in their loneliness and their questioning of their own situations are simply, as Akin puts it, ‘extensions of ourselves.’

Hear Alex's full audio review this Sunday at 2 on YorWorld.

Welcome and Autumn 2012

On behalf of the Speech team at URY welcome to all the freshers coming to York this year and welcome back to everyone else.

As I'm sure you've all already discovered York University is a fantastic place to be creative in all forms and URY is a great place to take part and share what you love to do with others! The Multi-National Award winning speech team here at the U.Ks oldest legal independent radio station provides you with the opportunity to make whatever you want, from dramas such as our hard hitting drama 'The Prince of Humberside' to comedy ranging from our five part sitcom 'Going Solar' to our live sketch shows and improv comedy programmes. 

You can also make documentaries, perhaps taking your interest in your subject to the next level, or even try something more adventurous and artistic and venture into the realm of exciting radiophonic soundscapes.

If that wasn't enough we also off the chance to make discussion and debate programmes or join the team on our highly praised arts programme YorWorld where there's the opportunity to interview celebritys and noteworthy artists and writers, review, present and get involved in a unique way with performing arts groups in York.

In short your imagination is the limit!

We provide you with all the equipment, training and help you achieve your radio aspirations at York and be part for a great society to boot!


What to listen out for this term!

Of course we are not just about providing you with great opportunities to make programmes but also to listen to some fantastic original productions of our own and this term we have some exciting new dramas coming your way.



The New World Order 

A two part historical thriller set in the English Civil war with a twist the 'New World Order' is the first ever adaptation of the acclaimed novel by Ben Jeapes described by the Sunday Times as 'without doubt the best science fiction book of the year.' It is the most ambitious drama we've ever attempted here at URY with a cast of around 25 and an original score performed by student musicians at the university.

England, May 1645: The civil war that has torn England apart between King Charles I and Parliament is nearing its bloody conclusion — and in the English countryside, a stranger seeks his old love and finds there is a son whom he has never seen…

You would be excused, perhaps, for thinking that this is the introduction to a thrilling historical novel. And you’d be dead right. Yet this is not the history you know, for the world has turned on to a new and deadly path.

With breathtaking imagination, Ben Jeapes has wrenched the familiar flow of English history out of its course and made it into something else, something entirely other. There is a third force, an entirely alien force — the Holekhor — who have martial powers of their own, their own religious leaders who command mysterious and strange forces, and who bring with them technology that should not have been seen in England for another three hundred years…

Prepare to be astounded. History will never be the same again.

You can see a teaser trailer for the production on our Youtube channel now!

And you can hear the production...
Part 1: 11.11.12 at 14:00
Part 2: 18.11.12 at 14:00

August Strindberg's 'Creditors'

Anxiously awaiting the return of his new wife, Adolph finds solace in the words of a stranger. But comfort soon turns to destruction as old wounds are opened, insecurities are laid bare and former debts are settled. Regarded as Strindberg's most mature work, "Creditors" is a darkly comic tale of obsession, honour and revenge. David Greig's version premiered at the Donmar Warehouse, London, in September 2008 and now comes to URY with an incredible student cast directed by Lewis Gray. 

And you can hear the production at 14:00 on the 25th of November.

To keep up to date with our in-house production company 'URY DRAMA' and for audition opportunities as we; as the latest updates on all our productions find us on facebook!


And also this term we have brand new comedy!

Live from Laughitude

URY brings you the very best standups the university has to offer recorded live at Comedysoc's 'Laughitude' Festival!

Laugh along to this fantastic show in the comfort of your own home and don't forget to look out for URY and Comedysoc's live free comedy events that take place throughout the year.

I sincerely hope that you all have a fantastic start to the year at York and that you will come and join the speech team here at URY.

It has defined my time at York so far and been the best decision of my life to be part of the station and I hope to see you soon. 

Any questions don't hesitate to contact me at the email address below,

John Wakefield - Head of Speech Broadcasting - URY

head.of.speech@ury.org.uk

Woman's Quarter: Travelling?

The final episode of Janey Stephenson's excellent series is now available on the ((URY PLAYER))!

Are any of you thinking of heading abroad this summer? In the show Janey and her well-traveled guests look at the dangers for women travelling alone abroad.

You can hear the programme on the ((URY PLAYER)) here. 

And of course you can still catch the entire series online, on-demand!

Episode 1

Why do some female students choose jobs where they are being paid for their body image rather than intellect? Exploring the objectification and stigma around scantily-clad work in the entertainment industry. Janey is joined by a podium dancer and a club hostess, and two women who would never consider these jobs.

You can catch the programme on demand here.

Episode 2

Currently, an estimated 32,000 girls are at risk of Female Genital Mutilation in the UK. Why, in the 21st century, is this extreme violence against women still happening? Janey is joined by Asiya Elgady of FORWARD, an agency working to stop this practice.

You can catch the programme on demand here.

Episode 3

International Women’s Day took place on Thursday 8th March. From 3-11th March, York hosted the 15th York International Women’s Week. Janey spoke to Sue Lister, the festival co-ordinator, and attended the first event, a workshop by Women of Palestine. Janey heard from two Palestinian women about life and women’s rights in Palestine.

You can catch the programme on demand here.

Episode 4.

Female unemployment is at a 25 year high. Cuts to women’s services continue to shell welfare provisions at a time when they are most needed. Janey speaks to Helen Graham from York Stop the Cuts to discuss how women’s roles and rights in society are undergoing a rapid transformation by the coalition government's austerity measures.

You can catch the programme on demand here.

Episode 5

Janey is joined by Richard Grimes to discuss recent proposals to cut legal aid in the UK. Richard is a solicitor who focuses on litigation and social welfare law. He is the Director of Clinical Programmes at York Law School and has been a member of the Attorney General’s Pro-Bono Co-Ordinating Committee since 2003.

You can catch the programme on demand here.

Thank you to Janey for producing such a fantastic series for URY!