The severe- faced regal figures which feature on the front of the poster and programme for The York Realist, belie the far from set in-stone out look of the characters in this play – and it is all the more refreshing for it.

Set in the 1960s, this is the story of a farm labourer turned actor when invited to perform in the York Mystery plays. Feeling out of place initially, farmer George is tempted back to the production by John, who offers much more than just directorial support.

The play opens in a warm and cosy, ancient farmhouse kitchen. Gordon Williamson’s beautifully designed set, complete with a range, a doored staircase and the hub- of- the-home kitchen table, is where all the action takes place. however, with its open sides there is no sense of claustrophobia here and a real sense of characters being able to come and go freely.

This is an idea which comes to characterise this rather remarkable play – an openness and an understanding which is at once surprising and reassuring. In addition to the two central men – George (Elliott Matthews) and John (Dermott Hill), we are also introduced to George’s mother (Julie James), his sister Barbara and her husband Arthur (Mark Francis) and their son Jack (George Grant). These characters are the bedrock of George’s life – they encourage and support him, urge him to continue with the play when he’s more inclined to quit. Finally, there is Doreen, a neighbour, friend and confidante of Mother who has, perhaps, set her cap rather strongly in the direction of the young, unattached farmer.

There are some wonderful performances in this play. Julie James’ Mother, ailing but stoical, offers a very Yorkshire kind of love to her beloved son for whilst she is generous with cups of tea, pies and clean clothes, she raises not so much as an eyebrow when John unexpectedly stays over. Yvette Huddlestone, as Barbara urges her brother tenderly and passionately to follow his dreams and to pursue the relationship that she is aware to be developing. Between George and the neighbourly Doreen, played with beautiful sensitivity by Frances Kaye, there is a deeply moving scene as she tries to express her love for him whilst he, rather more awkwardly attempts to repel her advances.

Elliott Matthews and Dermott Hill, as George and John, work wonderfully together as the relationship develops. It is not an easy one for either of them and seems almost anachronistic – the kind of love and longing which we are now accustomed to seeing but which in the 1960s might have seemed impossible. And yet of course, as we now welcome and understand so much better, love is love.

Directed by Dick Hebbert, this, coming just as Pride month ends, is a salutary reminder that humans have always enjoyed human relationships – even in Yorkshire, and, like our tea, how refreshing. The York Realist runs in the Wharfeside Theatre from July 7 until 16th July. Book tickets by calling the Box Office on 01943 609539 or on line: www.ilkleyplayhouse.co.uk