Author: Charles Hutchinson

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Inspired By Theatre to stage bold new vision of Jesus Christ Superstar at Joseph Rowntree Theatre from February 11 to 14

Iain Harvey’s Jesus in Inspired By Theatre’s Jesus Christ Superstar. All pictures: Dan Crawfurd-Porter

YORK company Inspired By Theatre has released the first official promotional imagery for next month’s production of Jesus Christ Superstar at the Joseph Rowntree Theatre, York.

The newly unveiled images form part of a cinematic campaign that reflects director Dan Crawfurd-Porter’s bold, physical and visual approach.

“Shot in a controlled studio environment, the imagery offers a stark and contemporary lens on the characters at the heart of the story,” he says.

Gi Vasey’s Annas and Joseph Hayes’ Caiaphas

Jesus Christ Superstar has taken the most preparation and development of any Inspired By Theatre show. “The stage work has been shaped over several years of planning and refinement,” says Dan.

“From the outset, I was determined that the show should be defined by a strong and distinctive visual language, closely aligned with abstract, physical and emotionally charged storytelling.”

The shoot was led by director and photographer Dan, with creative support from assistant director Freya McIntosh and production designer Gi Vasey. Hair and make-up was delivered by Chloe Pearson, Jasmine Barnard, Gi Vasey, and Freya McIntosh.

Mickey Moran’s Herod

“Central to the success of the imagery is the cast themselves, whose sustained character work and commitment to the production’s vision are evident throughout the final images,” says Dan.

“The photoshoot was conceived and executed with the same care as a full-scale production, treating the imagery as an artwork in its own right while remaining fully aligned with the vision of our stage production.

“Rather than functioning solely as promotional material, the images are designed to establish the cinematic world of our show in advance of its arrival on stage.”

Josh Woodgate’s Pilate

Dan’s radical new vision of Andrew Lloyd Webber and Tim Rice’s musical is set in a shifting space, part temple, part battleground

The story unfolds through visceral movement, haunting imagery and a pulsating live score, capturing Jesus’s final days as loyalties fracture, followers demand revolution and rulers fear rebellion.

“Gritty, cinematic and unapologetically powerful, our staging pushes the boundaries of what local theatre can achieve,” says Dan.

Richard Bayton’s Peter

“What defines this production is its intensity. The staging is bold, the choreography demands everything from the cast, and the individual performances are so powerful. There’s no coasting, no safe choices.

“We’re embracing a visual and physical language that gives the story a new edge. It’s a Jesus Christ Superstar that commits fully to the story’s momentum and spectacle.”

Joining producer-director Dan in the production team are assistant director and choreographer Freya McIntosh; musical director Matthew Peter Clare; assistant producer Annie Roux; stage manager Steven Hibbs; production designer Gi Vasey; costume designer Molly Whitehouse; lighting designer Daniel Grey and sound designer Ollie Nash.

Rianna Pearce’s Mary Magdalene

In the cast will be Iain Harvey as Jesus; Kelly Ann Bolland, Judas; Rianna Pearce, Mary Magdaelene; Kailum Farmery, Simon Zealotes; Richard Bayton, Peter; Josh Woodgate, Pilate; Mickey Moran, King Herod, Joseph Hayes, Caiaphas, and Gi Vasey, Annas.

The ensemble will comprise Jack Fry; Charlie Clarke; Molly Whitehouse; Tiggy-Jade; Maddie Jones; Pete Stanford; Megan Overton; Anna Ashfield; Emily Pratt and Jasmine Barnard.

Inspired By Theatre in Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14, 7.30pm and 2.30pm Saturday matinee. Age recommendation: 12 plus. Box office: 01904 501935 or https://www.josephrowntreetheatre.co.uk/whats-on/musical/jesus-christ-superstar/2832.

Kelly Ann Bolland as Judas

Inspired By Theatre: back story

YORK theatre company founded in 2022, originally as Bright Light Musical Productions. “What began as a passion project has grown into a vibrant creative community with a distinctive artistic voice and a commitment to ambitious, impactful work,” says director Dan Crawfurd-Porter.

Previous productions, including Green Day’s American Idiot (2024) and RENT (2025), at the Joseph Rowntree Theatre, have been praised for their energy, integrity, and polish. Jesus Christ Superstar marks the next evolution in the company’s bold storytelling, opening a landmark 2026 season that also will feature Spring Awakening at Theatre@41, Monkgate, York, from May 20 to 23 and Madness musical Our House at the JoRo in October .

“Inspired By Theatre was built on the belief that theatre can influence, uplift, and spark meaningful change,” says Dan. “The name itself reflects the countless productions, performers, creatives and audiences that continue to inspire and shape the company’s journey.”

Kailum Farmery as Simon Zealotes

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Prof Phil Wood appointed chair of NCEM’s charitable arm York Early Music Foundation

Professor Phil Wood outside the National Centre for Early Music

PROFESSOR Phil Wood is the new chair of the National Centre for Early Music’s charitable arm, the York Early Music Foundation.

Phil worked for the National Health Service for more than 30 years as a doctor, consultant and medical leader in Newcastle, Birmingham and Leeds, most recently as chief executive of Leeds Teaching Hospitals and chair of the Leeds Academic Health Partnership.

He is a member of the international advisory board of the Business School at the University of Leeds, where he holds an honorary professorship, and a longstanding York resident with a passionate belief in the contribution of the arts and culture in enhancing societal wellbeing.

The NCEM, in the renovated church of St Margaret’s, Walmgate, stages a year-round programme of concerts and educational opportunities in York, three festivals of early music annually in Yorkshire (two in York, one in Beverley) and a nationwide artists’ development programme.

Representing UK’s early music scene on the European stage, the NCEM is a core member of the European Early Music Network, REMA, with established partnerships in Flanders, Spain and France. 

Highlights of the calendar include the biennial York Early Music International Young Artists Competition and the annual NCEM Composers Award, run in association with BBC Radio 3.

 NCEM director Dr Delma Tomlin says: “We feel very honoured to have Phil as our new chair as we begin an important year at the National Centre for Early Music, when we’ll be celebrating the 50th  anniversary of the creation of the York Early Music Festival. 

“Phil brings with him a wealth of skills and experience and a great passion for our work promoting early music to the widest possible audiences and nurturing the development of emerging talent.” 

Professor Wood says: “I’m thrilled to take on the role of chair at the National Centre for Early Music at this exciting time. This award-wining organisation is world renowned as a centre of excellence and innovation, celebrating not just early music but many different genres and with a broad commitment to community engagement and widening participation.

“I look forward to working with them as chair and of course enjoying some wonderful music with our audiences.”

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What’s On in Ryedale, York and beyond. Hutch’s List No. 4, from Gazette & Herald

Kara Tointon as Constance in The Constant Wife, on tour at York Theatre Royal

LAURA Wade’s new adaptation of The Constant Wife for the RSC leads off Charles Hutchinson’s latest selection of cultural highlights.

Play of the week: Royal Shakespeare Company in The Constant Wife, York Theatre Royal, January 26 to 31, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

SET in 1927, The Constant Wife finds Constance as a very unhappy woman. “Nonsense,” says her mother, who insists “she eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances”. 

Played by Kara Tointon, she is the perfect wife and mother, but her husband is equally devoted to his mistress, who just happens to be her best friend. Tamara Harvey directs the new adaptation by Home, I’m Darling playwright and Rivals television series writer Laura Wade. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Jeffrey Martin: Blend of folk, Americana and literary short stories at Rise@Bluebird Bakery, Acomb, York

Folk gig of the week: Please Please You and Brudenell Presents present Jeffrey Martin and special guest Tenderness, Rise@Bluebird Bakery, Acomb, York, Saturday, 8.15pm (doors 7.30pm)

PORTLAND musician Jeffrey Martin’s narrative-driven songwriting  is a blend of folk, Americana and literary short stories with echoes of Raymond Carver. Before turning to music full time in 2016, he spent several years as a high-school English teacher, a profession he left to “chase his dreams at all cost.”

His lyrics are marked by his insight into the human condition, often focusing on the struggles and quiet dignity of people on the margins of society. Box office: bluebirdbakery.co.uk/rise.

Emily Stubbs: Exhibiting ceramics at Pyramid Gallery, York, from Saturday

Exhibition launch of the week: Carolyn Coles, Emily Stubbs and Karen Fawcett, The Sky’s The Limit, Pyramid Gallery, Stonegate, York, Saturday until mid-March

SOUTH Bank Studios artist Carolyn Coles and PICA Studios ceramicist Emily Stubbs will be on hand from 11.30am to 2.30pm at Saturday’s opening of The Sky’s The Limit, their joint exhibition with wildlife sculptor Karen Fawcett.

Like Carolyn, Emily has been selected to take part in York Open Studios 2026 on April 18 & 19 and April 25 & 26. Look out too for work by Pyramid Gallery’s Jeweller of the Month, Kate Rhodes, from Hebden Bridge. Gallery opening hours are: 10am to 5pm, Monday to Saturday.

Snake Davis and Sumudu Jayatilaka: Performing together at Helmsley Arts Centre

Jools’ partners of the week: Snake & Sumudu, Helmsley Arts Centre, Saturday, 7.30pm

SAXOPHONIST to the stars Snake Davis and singer-songwriter Sumudu Jayatilaka often meet up to perform with Jools Holland and His Rhythm & Blues Orchestra or to play together in arts centres.

Raised in Scunthorpe, now based in London, Sumudu has frequently toured as a backing vocalist, guitarist, keyboardist and percussionist for Sir Van Morrison. At 15, she made her TV debut on BBCs Pebble Mill At One, performing her own composition, accompanied by Snake on sax and flute. Later they took part in a Royal Albert Hall concert with Burt Bacharach and Hal David.  At Helmsley, expect classic pop, original compositions and a touch of soul and jazz. Box office: 01439 771700 or helmsleyarts.co.uk.

Shakin’ all over: Rebel Dean in Whole Lotta Shakin’, his tribute to Shakin’ Stevens at the Joseph Rowntree Theatre

Tribute show of the week: Whole Lotta Shakin’ – The Shakin’ Stevens Story, Joseph Rowntree Theatre, York, Sunday, 7.30pm

ENDORSED by members of Shakin’ Stevens own family, West End star Rebel Dean’s award-winning tribute to Great Britain’s biggest-selling singles artist of the 1980s tell the story of the rockin’ Welsh boy and his rise to chart-topping superstardom.

Whole Lotta Shakin’ combines a live band with rare footage and images in a nostalgic night of Shaky hits, Green Door, Oh Julie, You Drive Me Crazy and This Ole House et al, complemented by Eddie Cochran, Chuck Berry, Ritchie Valens and Elvis Presley numbers that he covered. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Anna Hale: Killer punchlines, musical flair and spiky resilience at The Crescent, York

Comedy gig of the week: Anna Hale: Control Freak, The Crescent, York, Sunday, 7.30pm

ANNA Hale, comedian, singer-songwriter and unapologetic control freak, has written the jokes and the songs, planned the lighting cues and even sold the tickets for her gigs. When life spins out of control, can one perfectionist keep the show together, and, crucially, not let anyone else have a go? Find out when encountering the killer punchlines, musical flair and spiky resilience of the 2024 Musical Comedy Awards Audience Favourite winner’s debut tour show. Box office: thecrescentyork.com.

Mike Joyce: Tales from his drumming days for The Smiths at Pocklington Arts Centre

On the beat: Mike Joyce, The Drums: My Life In The Smiths, Pocklington Arts Centre, January 28, 7.30pm

DRUMMER Mike Joyce has been asked numerous times, “What was it like being in The Smiths?”. “That’s one hell of a question to answer!” he says. Answer it, he does, however, both in his 2025 memoir and now in his touring show The Drums: My Life In The Smiths.

To reflect on being stationed behind singer Morrissey and guitarist Johnny Marr from 1982 to 1987, Joyce will be interviewed by Guardian music journalist Dave Simpson, who lives near York. Audience members can put their questions to Joyce too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Neil Sadler: Leading his blues band at Milton Rooms, Malton

Blues gig of the week: Ryedale Blues Club presents Neil Sadler Band, Milton Rooms, Malton, January 29, 8pm

NORTH Devon guitarist, singer, songwriter and record producer Neil Sadler has worked with songwriters and composers Guy Fletcher and Doug Flett, Don Black, Leslie David Reed and Tony McCaulay and honied his  guitar style with blues and rock artists Larry Miller, Mike Farmer, Dennis Siggery and Malaya Blue, as well as running No Machine Studios for 30 years

Sadler has led his present line-up since early 2024 featuring drummer Ray Barwell and bass guitarist Kev Langman. In January 2025, his Past To Present album was nominated for UK Blues Federation awards for UK Blues Traditional Artist of the Year and UK Blues Album of the Year. Box office: 01653 696240 or themiltonrooms.com.

The poster for Country Roads’ celebration of Dolly Parton, Johnny Cash, Glen Campbell et al at York Barbican

Country celebration of the week: Country Roads, York Barbican, January 30, 7.30pm

COUNTRY Roads invites you to a celebration of country superstar royalty featuring such hits as 9 To 5, The Gambler, I Walk The Line, Ring Of Fire, King Of The Road, Crazy, Rhinestone Cowboy, Jolene, Dance The Night Away, Walkin’ After Midnight and many, many more as the stars of fellow tribute show Islands In The Stream return in this new production. Box office: yorkbarbican.co.uk.

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REVIEW: The Talented Mr Ripley, Grand Opera House, York, until Saturday ****

Bruce Herbelin-Earle’s Dickie Greenleaf, left, and Ed McVey’s Tom Riley in The Talented Mr Ripley. Picture: Mark Senior

“HAVE you ever thought you are being watched,” asks Ed McVey’s Tom Ripley, the nobody who wants to be someone else, someone more, at the outset of director Mark Leipacher’s new stage adaptation of The Talented Mr Ripley.

As it turns out, the obsessive, evasive, elusive chameleon Ripley is being watched by everyone: not only the audience and the Italian police, but also by Leipacher’s interpretation of novelist Patricia Highsmith’s Eumenides (the Furies of Greek mythology): imaginary figures in pursuit of the haunted Ripley in the book’s closing pages that here become the physical manifestation of his fears, paranoia, guilt and conscience.

Leipacher, however, does not leave their entry to the latter stages of Highsmith’s psycho-drama on the Amalfi Coast in 1950s’ Italy. Instead, from the off, they become a crew filming, editing and interjecting into Ripley’s writing, re-writing and telling of his story as a film, as truth, alternative truth and lies elide.  Amid the restless flow, they transform into Italian denizens and the paparazzi too, flashing their cameras in trilby and raincoat tradition.

What’s more, they don’t make conventional stage entries, but appear as if by sleight of hand as Leipacher maximises the deceptive impact of Holly Pigott’s raised set, behind which Leipacher’s players can “hide” and suddenly pop up.

In its centre is a hole, from which myriad characters appear and disappear, as well as evoking a swimming pool or a boat on the sea. Such is the minimalist theatrical flair of a postmodern production that places faith in imagination – always one of theatre’s prime assets – while still using such utilitarian props as a typewriter and reading light, cocktail glasses and shaker, a huge fridge, suitcases and Ripley’s improvised weaponry of an oar and an ashtray.

The raised stage’s white frame can be transformed by Zeynep Kepekli’s superb tubular neon  light design into differing shades to mirror a scene’s mood, or indeed Ripley’s state of mind, while the shiny black flooring suggests both wealth and Italian elegance, but sinister murkiness too.

Leipacher’s sleek stage version emerges in the wake of Highsmith’s 1955 novel being transferred to the silver screen by University of Hull drama graduate, tutor and playwright Anthony Minghella in 1999 and to Netflix streaming in Steven Zaillian’s eight-part monochrome series starring Andrew Scott  in 2024.

Both left an indelible impression, built on glamour, close-ups, exotic locations, erotic charge. Far from intimidated, Leipacher brings brio and bravura confidence to a meta-theatrical telling that echoes Greek tragedy, serves up both eloquence and elegance, pumps up the homo-erotica, nods to the rival world of cinema and revels in the mind games, even turning the fridge into a surprising mode of entry for Maisie Smith’s Marge Sherwood.

Maisie Smith’s Marge Sherwood: “More of a watercolour than an oil painting” in Mark Leipacher’s adaptation of The Talented Mr Ripley. Picture: Mark Senior

Aided by Pigott’s exquisite costume design, an air of dandy decadence yet desolation and destruction pervades Leipacher’s West End-bound account that is as seductive as McVey’s Ripley finds the freewheeling world of trust-fund wastrel charmer Dickie Greenleaf (Bruce Herbelin-Earle), a stylish but empty vessel idling his days away with a paintbrush and casual friendship with Smith’s writer-photographer Marge (a smaller role in every sense here).

Sent by New York shipbuilding magnate Herbert Greenleaf (Christopher Bianchi) to bring home his wayward son, instead McVey’s Ripley inveigles his way into the supremely assured social circuit of Dickie, Marge and writer Freddie Miles (Cary Crankson).

In Andrew Scott’s performance, you found yourself  wanting him to get away with his games of identity theft and murder amid the surfeit of insufferable smugness; McVey, by comparison, is more pitiful than pitiable in this liar’s psychopathic pursuits. Yet there is amusement too in his unguarded asides, a form of disdainful running commentary that recalls Shakespeare’s Richard III in its bravado and is a particular delight of Leipacher’s arch script, heard by the audience but not those around him, adding to his facility for deceit.

Like Banquo or Hamlet’s father, the departed do not exit stage left in Leipacher’s play, and so we see rather more of Herbelin-Earle’s handsome, lithe Dickie than might be expected, appearing on occasion as the deeper-voiced double to Ripley in adopted Dickie guise to haunt him all the more directly. The shadow of death, as it were, in an echo of Act Two opening with Ripley replicating the prone position and clothing of the dead Dickie at Act One’s close: a witty touch typical of Leipacher’s smart direction.

Best known for his Prince William in The Crown, McVey delivers a more complex characterisation here in an outstanding lead performance, ever present yet ever distant, while Herbelin-Earle, entitled yet still charming, is Dickie to the privileged New York manner born.

In her first American stage role, Strictly Come Dancing finalist and EastEnders’ soap star Smith’s smart, intuitive, independent Marge is not so well served by Leipacher’s balance of focus, more of a watercolour than an oil painting, when the role warrants a weightier significance.

Overall, however, after book, film and TV series, The Talented Mr Ripley finds its voice and style anew on stage in Leipacher’s sly, visually alluring, mentally agitated, verbally adroit coup de theatre.

The Talented Mr Ripley, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.

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Painter Carolyn Coles, ceramicist Emily Stubbs & sculptor Karen Fawcett unite for The Sky’s The Limit at Pyramid Gallery

Seascape artist Carolyn Coles

SOUTH Bank Studios artist Carolyn Coles and PICA Studios ceramicist Emily Stubbs will be on hand from 11.30am to 2.30pm at Saturday’s opening of The Sky’s The Limit, their joint exhibition with wildlife sculptor Karen Fawcett at Pyramid Gallery, Stonegate, York.

“I will be happy to serve you a glass of wine or non-alcoholic prosecco,” says gallery curator and owner Terry Brett.

After studying art and illustration in the early 1990s, Carolyn has exhibited artwork in York, Leeds, London, Derby, Manchester and Hereford in solo and shared shows, selling work internationally too.

She has worked in the creative industry for more than 30 years within adult education, graphic design and illustration and now paints full time from her studio with a group of 19 artists at Southlands Methodist Church, Bishopthorpe Road, South Bank.

Fishing For Dinner, by Carolyn Coles, on show at Pyramid Gallery from Saturday

Described by Terry as “a painter of gorgeous seas and skies”, Carolyn has chosen seascapes as her primary subject matter and likes to capture atmosphere, usually with a leaning towards dark and moody, and generally on a larger scale.

Carolyn’s love of the seaside and nature in general is reflected in her painting. Utilising a range of styles, her new collection is mostly impressionistic: “This allows the viewer to interpret their own story and pull their own memories back into play,” she says.

“I’m interested in recreating a feeling, an essence. I love being by the sea or in the hills. It’s a tonic. The noise, everything, just soaks into me. I like to be playful, bold and subtle in my work, which is mostly acrylic on stretched canvasses.”

Like Carolyn, Emily Stubbs has been selected to take part in York Open Studios 2026 on April 18 & 19 and April 25 & 26. She is a founding member of PICA Studios, an artist-led studio collective of 23 artists, makers, writers and thinkers in an 18th-century printworks building in Grape Lane, and exhibits her contemporary ceramics in exhibitions, events and galleries around the UK.

Ceramicist Emily Stubbs

“Through my work, I explore the playful relationship between form and surface decoration,” she says. “The vessel is my primary interest, created by building and collaging slabs of textured clay together.

“Drawing inspiration from my 2D paper collages and sketches, I translate this process into clay, building up layer upon layer of slips and glazes. The finished vessels have a similar graphic quality to them, with bold colour, strong line and intuitive mark making.”

Karen Fawcett is committed to creating life-like sculptures using the British countryside and coast as her inspiration. “The sculptures are created from detailed study and visual observation of the subject, and with reference to an actual specimen where possible,” she says.

Blue Fragmented Vessel, by Emily Stubbs

“They are hand crafted and finished to a very high level of detail; each piece is therefore individual and unique. I aim to capture not just the look, but also the spirit or personality of the subject, making it appear much more alive – as though it could move at any moment.

“My sculptures are not only unique and affordable works of art, but also bring a piece of the natural world directly into your home. All my works are either signed on the underside, or where this is not possible I use a stamp of the ‘K’ logo to ensure it is an authentic piece.”

The Sky’s The Limit will run until mid-March. Look out too for work by Pyramid Gallery’s Jeweller of the Month, Kate Rhodes, from Hebden Bridge. Gallery opening hours are: 10am to 5pm, Monday to Saturday.

Wildlife sculptor Karen Fawcett

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Annabel van Griethuysen to lead York Light Opera Company cast as Miss Hannigan in Annie at York Theatre Royal next month

Annabel van Griethuysen’s Miss Hannigan in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

YORK Light Opera Company will stage Annie for the first time in 25 years at York Theatre Royal from February 12 to 21 under the direction of Martyn Knight.

This heart-warming tale of hope, family, and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan is packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile. 

Expect dazzling choreography, stunning costumes and a full live band, alongside a stellar cast of York talent, led by Annabel van Griethuysen as Miss Hannigan after her forgetful but unforgettable Sister Mary Amnesia in  Nunsense: The Musical at Theatre@41, Monkgate, in Summer 2024   and hostess Marlene Cabana in Eurobeat: Pride Of Europe at the same theatre last summer.

Joining Annabel in the cast of 38 others will be Harriet Wells and Hope Day, sharing the role of Annie, Neil Wood as Oliver “Daddy” Warbucks, Sarah Craggs as Grace Farrell, Martin Lay as Rooster and Chloe Jones as Lily St Regis.  

Annie at the double: Hope Day, left, and Harriet Wells sharing the title role in Annie. Picture: Matthew Kitchen Photography

Neil Wood’s Oliver “Daddy” Warbucks and Sarah Craggs’s Grace Farrell in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

Assistant director Kathryn Addison says: “This production of Annie places special emphasis on the young performers who are the soul of the show. Through the casting process, the orphan casting for two teams of young people was developed first, fostering strong connections, confidence and ensemble storytelling before the final roles were assigned. 

“Our energetic cast of young performers are joined by experienced adult performers and a creative team committed to storytelling. Annie promises to deliver a heartfelt and joyful theatrical experience for audiences of all ages.”  

York Light Opera Company in Annie, York Theatre Royal, February 12 to 21, 7.30pm, except February 15 and 16; February 14, 15 and 21, 2.30pm; February 19, 2pm. The February 17 show will be British Sign Language Interpreted. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Back row: left to right, Olivia Watts, Rose Hirst, Phoebe Ellis, Emilia Heward, Sophie Helme, Elizabeth Reece and Lottie Barnes; middle row, Eliza Clarke, Eleanor Powell, Meredith Clarke, Belle Sturdy-Flannery, Bea Wells, Perdie Rolfe and Leonore Thornton; front row, kneeling, Olive Connolly, Hope Day, Harriet Wells, Emilia Cole. Picture: Matthew Kitchen Photography

      

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    More Things To Do in York and beyond when the river flows into artworks. Here’s Hutch’s List No. 3, from The York Press

    Audience members of all ages enjoying Opera North: Little Listeners. Picture: Tom Arber 

    IN his third highlights package of the New Year, Charles Hutchinson picks out a riparian exhibition, murderous deeds in 1590 and 1950s’ Italy, Davina’s wellbeing tips and a tribute on Shaky ground.

    Family event of the week: Opera North: Little Listeners, National Centre for Early Music, York, today, 2pm and 3.15pm

    OPERA North: Little Listeners is a treasure hunt with a tuneful twist, where the Orchestra of Opera North needs your help to find hidden musical gems. Discover different “Tuneful Treasures” as you go, collecting them all in time for the grand finale in this relaxed, interactive concert.

    “Singing and movement is not just encouraged – it’s expected!” says the Leeds company. “Join us to experience the magic of orchestral music up close, whatever your age. We can’t wait to sing and dance with you.” Box office: 01904 658338 or ncem.co.uk.

    Death Of Gesualdo: Tableaux Vivants team up with The Gesualdo Six and a puppet at the NCEM on Sunday and Monday

    World premiere of the month: Death Of Gesualdo, The Gesualdo Six with Tableaux Vivants, National Centre for Early Music, York, Sunday and Monday, 6.30pm to 7.40pm

    THE Gesualdo Six reunite with director Bill Barclay for the world premiere of a daring new successor to international hit Secret Byrd. Featuring six singers, six actors and a puppet, Death Of Gesualdo creates living tableaux that illuminate the life and psyche of madrigalist Carlo Gesualdo, a tortured genius most famous for murdering his wife and her lover in an explosive fit of jealousy, but revered among composers for anticipating chromaticism by 200 years.

    This is the boldest look yet at how the life and sometimes chilling music of this enigmatic prodigy must function together for the true Gesualdo to emerge from the shadows. Box office: 01904 658338 or ncem.co.uk.

    York Printmakers artist Jane Dignum at work in her studio

    Exhibition of the week: York Printmakers, Rivers of York, City Screen Picturehouse, York, until February 7

    CELEBRATING York Printmakers’ tenth anniversary, Rivers of York presents original hand-made prints inspired by the River Foss and River Ouse. On show are a variety of printmaking techniques, including etching, linocut, collagraph, monotype, screen print, solar plate, Japanese woodblock, lithography and stencilling, in works that explore the rivers’ place in the history, ecology and culture of York from Roman times to the present. 

    Taking part are printmakers Pamela Knight; John Haste; Roger Goldthorpe; Lyn Bailey; Safron Sunley; Sandra Storey; Robin Linklater; Bridget Hunt; Sally Clarke; Yvonne Hogarth; Jen Dring; Michelle Hughes; Madelaine Lockwood; Vanessa Oo; Jane Dignum; Jane Duke; Phill Jenkins; Becky Long-Smith; Rachel Holbrow and Sally Parkin.

    Ed McVey as Tom Ripley and Bruce Herbelin-Earle as Dickie Greenleaf in The Talented Mr Ripley, on tour at Grand Opera House, York. Picture: Mark Senior

    Game of deception of the week: The Talented Mr Ripley, Grand Opera House, York, January 19 to 24, 7.30pm plus 2.30pm Wednesday and Saturday matinees

    BEFORE its West End run, The Talented Mr Ripley plays the Grand Opera House with a cast led by Ed McVey as Tom Ripley, Bruce Herbelin-Earle as Dickie Greenleaf and 2020 Strictly Come Dancing finalist MaisieSmith as Marge. Tom is a nobody, scraping by in New York, forging signatures, telling little white lies, until a chance encounter changes everything. When a wealthy stranger offers him an all-expenses-paid trip to Italy to bring home his wayward son, Dickie, Tom leaps at the opportunity. 

    In the sun-drenched glamour of 1950s’ Italy, surrounded by shimmering waters and whispered secrets, Tom is seduced by Dickie’s freedom, wealth and effortless charm. Fascination turns to obsession in Patricia Highsmith’s story, whereupon an innocent chance turns into a chilling game of lies, identity theft and murder. Box office: atgtickets.com/york.

    Davina McCall: Uplifting conversation and personal stories at York Barbican

    Talk show of the week: An Evening With Davina, York Barbican, January 22, 7.30pm

    REARRANGED from October 22 2025, television presenter and wellness advocate Davina McCall presents an evening of uplifting conversation and personal stories. From her groundbreaking career on screen to her tireless campaigning for women’s health, Davina opens up about the moments that shaped her with honesty, humour and heart, followed by an audience Q&A. Box office: yorkbarbican.co.uk.

    Mr Wilson’s Second Liners: On the front line for New Orleans brass and 1990s’ club culture at The Crescent

    When New Orleans converges with Hacienda: Mr Wilson’s Second Liners, The Crescent, York, January 22, 7.30pm

    MARDI Gras brass band meets 1990s’ club classics for a rave funeral without a body as a rabble of mischievous northerners, Mr Wilson’s Second Liners form a traditional New Orleans Second Line at The Crescent.

    However, this is no sombre occasion: Mr Wilson’s expend their collective musical talent paying homage to the diehard days of the Hacienda, Nineties’ club culture and its greatest hero, Manchester mover and shaker Mr Tony Wilson. Box office: thecrescentyork.com.

    Recommended but sold out already:York indie rock band Skylights’gig at The Crescent on January 23, 7.30pm.

    Jeffrey Martin: Blending folk, Americana and literary short stories at Rise@Bluebird Bakery, Acomb

    Folk gig of the week: Please Please You and Brudenell Presents present Jeffrey Martin and special guest Tenderness, Rise@Bluebird Bakery, Acomb, York, January 24, 8.15pm (doors 7.30pm)

    PORTLAND musician Jeffrey Martin’s narrative-driven songwriting  is a blend of folk, Americana and literary short stories with echoes of Raymond Carver. Before turning to music full time in 2016, he spent several years as a high-school English teacher, a profession he left to “chase his dreams at all cost.”

    His lyrics are marked by his insight into the human condition, often focusing on the struggles and quiet dignity of people on the margins of society. Box office: bluebirdbakery.co.uk/rise.

    Shakin’ all over: Rebel Dean rolls out the Eighties’ rock’n’roll hits of Shakin’ Stevens at the Joseph Rowntree Theatre

    Tribute show of the week: Whole Lotta Shakin’ – The Shakin’ Stevens Story, Joseph Rowntree Theatre, York, January 25, 7.30pm

    ENDORSED by members of Shakin’ Stevens own family, West End star Rebel Dean’s award-winning tribute to Great Britain’s biggest-selling singles artist of the 1980s tell the story of the rockin’ Welsh boy and his rise to chart-topping superstardom.

    Whole Lotta Shakin’ combines a live band with rare footage and images in a nostalgic night of Shaky hits, Green Door, Oh Julie, You Drive Me Crazy and This Ole House et al, complemented by Eddie Cochran, Chuck Berry, Ritchie Valens and Elvis Presley numbers that he covered. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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    Rob Rouse, the comedians’ favourite comic, to shake his Funny Bones on tour. Seven Yorkshire venues await from March 12

    Rob Rouse: Craftily spun tall tales, eerily convincing characters, bucketfuls of manic energy, daft flights of fancy and a barrage of one-liners in Funny Bones. Picture: Karina Lax

    ROB Rouse will play seven Yorkshire gigs on his Funny Bones stand-up tour, buoyed by winning Comics’ Comic Best Act of the Year 2025 in the UK Comedy Awards and Best Act at the 2025 Yorkshire Comedy Awards.

    Rouse, 52, will play Pocklington Arts Centre on March 12; Helmsley Arts Centre, March 20; Stephen Joseph Theatre, Scarborough, March 21; Crookes Social Club, Sheffield, March 26; Richmond Georgian Theatre Royal, March 27; Leeds Glee Club, April 12, and Lawrence Batley Theatre, Huddersfield, April 17.

    Determined exclusively via a poll of comedians on the UK comedy circuit, the Comics’ Comic award recognises the Cheshire-born comedian’s standing after more than 25 years on the road.

    “It’s taken me completely by surprise, I’m very grateful and genuinely touched to receive this,” says Rouse. “We all love making audiences laugh and we all love the feeling of getting a laugh from our fellow clowns at the back of the room. It’s one of the things that encourages us to keep going and keep writing.

    “I’ve been doing this a long time and to be acknowledged by your peers, who truly understand the highs and lows of this crazy job, feels deeply moving and humbling.”

    Rouse first rose to prominence after winning Channel 4’s So You Think You’re Funny Award at the 1998 Edinburgh Fringe, building a reputation for his joyous silliness, infectious energy and storytelling craft.

    “To be acknowledged by your peers, who truly understand the highs and lows of this crazy job, feels deeply moving and humbling,” says Rob Rouse. Picture: Karina Lax

    He has gone on to appear in the BBC’s Upstart Crow, playing manservant Ned Bottom to David Mitchell’s William Shakespeare, as well as on 8 Out Of 10 Cats, The Friday Night Project and Dave’s One Night Stand and making countless radio appearances too.

    Rouse has toured all over the world, from Australia to the Just For Laughs Festival in Montreal, clocked up 12 Edinburgh Fringe shows, mounted three UK solo tours and performed in two sold-out West End runs of Upstart Crow The Play.

    Now living in the Peak District, he is resident host of The Comedy Village at the Crookes Social Club in Sheffield, where he bills himself as the “comedy village idiot”.

    Funny Bones marks Rouse’s return to solo touring after support slots with Nina Conti, Kerry Godliman, Rory Bremner and Marcus Brigstocke. The high-spirited new show is packed with craftily spun tall tales, pitch-perfect, eerily convincing characters, bucketfuls of manic energy, daft flights of fancy and a barrage of one-liners in a celebration of comedy and being alive.

    Tickets are on sale at: Pocklington, 01759 301547or pocklingtonartscentre.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk; Scarborough, 01723 370541 or sjt.uk.com; Sheffield, thecomedyvillage.com; Richmond, 01748 825252 or georgiantheatreroyal.co.uk; Leeds,  0871 472 0400 or glee.co.uk; Huddersfield, 01484 430528 or thelbt.org.

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    Maisie Smith takes on first American role as Marge Sherwood in The Talented Mr Ripley, on tour at Grand Opera House, York

    “Marge was ahead of her time,” says Maisie Smith, who plays the American writer and photographer in The Talented Mr Ripley. Picture: Mark Senior

    THE press release for The Talented Mr Ripley’s visit to the Grand Opera House, York, ends with this question: how far would you go to become someone else?

    In the case of the acting world, the answer is the whole way for every change of role. For Maisie Smith that means transforming into Marge Sherwood – the character portrayed by Gwyneth Paltrow in  Anthony Minghella’s 2000 film and Dakota Fanning in the 2024 Netflix series – in Mark Leipacher’s touring production. Next stop, Grand Opera House, York, from January 19 to 24.

    “I was so, so intrigued when the role came through and it’s very different to any character I’ve played,” says Maisie, who last appeared on a Yorkshire stage as Fran in her musical theatre debut in Strictly Ballroom The Musical at Leeds Grand Theatre in July 2023.

    “This time it was a very quick process, at very short notice. I was asked, ‘could you read a scene from the script – and you can pick the scene’. I did it on tape, filming myself when I was on holiday at the time, on a fishing trip with my boyfriend in a little lake cabin.”

    Not the ideal audition scenario, especially when Maisie had to evoke living in “the sun-drenched glamour of 1950s’ Italy”. “I was in this wooden cabin, in Shropshire, and I had to drive into the nearest high street to get an internet connection! It’s such a glamorous lifestyle, as they say!”

    Nevertheless, the self-tape worked and the role of Marge was hers. “That was in maybe June/July last year, and we started rehearsals in August. The tour began last September [at Cheltenham Everyman Theatre, marking the 70th anniversary of Patricia Highsmith’s novel], and we’ve just had a few weeks off [since November 22] for a Christmas break,” says Maisie. “Our first week back is in York.”

    Director Mark Leipacher has adapted Highsmith’s psychological thriller for its first major UK tour, casting The Crown star Ed McVey as dangerously charismatic antihero Tom Ripley, who is scraping by in New York, forging signatures, telling little white lies, until a chance encounter changes everything.

    When a wealthy stranger offers him an all-expenses-paid trip to Italy to bring home his wayward son, Dickie Greenleaf (Bruce Herbelin-Earle), Tom leaps at the opportunity. However, surrounded by shimmering waters and whispered secrets on the Amalfi Coast, he is seduced by the freedom, wealth and effortless charm of Dickie’s life.

    As fascination turns to obsession and his grip tightens on Dickie’s world, the lines between truth and deception begin to blur in Highsmith’s tale of deception, desire and deadly ambition. What starts as an innocent opportunity spirals into a chilling game of lies, identity theft, and murder. 

    Maisie has seen the film and the monochrome TV series, but not read the read the book. “I feel a bad actress for not reading it, but I have seen the director’s notes that he wrote years ago as this play has been in the making for six years,” she says. “I couldn’t believe it when Mark said he’d been working on it for so long.”

    Maisie Smith’s Marge Sherwood and Bruce Herbelin-Earle’s Dickie Greenleaf in The Talented Mr Ripley. Picture: Mark Senior

    Assessing the role of Marge, she says: “I see her as a really interesting character in this play. What I love about her and what I try to drill into is that she is one of the only people who is suspicious and recognises Tom Ripley for what he is, so she’s very valuable person in the story.

    “It’s a story that’s ahead of its time because she was ahead of her time: she’s very independent; she’s a writer and photographer and has her own house in Italy. She has a boyfriend but is not in a committed relationship, which was really futuristic for a woman at that time.

    “That’s why this story has been told again and again over 70 years because it’s never dated and will never go out of style.”

    Marge is new territory for 24-year-old Maisie. “I haven’t played an American before, and the oldest era I’d played before this was Strictly Ballroom, set in the 1980s. Lots of characters I play are of a more juvenile age. Like Tiffany [Butcher], my character in EastEnders, was  only a couple of years younger than me,” she says.

    “Tiffany was quite cocky, cheeky, whereas Marge is very intelligent – and I’ve really had to rein in my Southend accent! Once I got the part, they brought in someone to work on the accent with me as Marge has this old-school American accent.”

    Maisie, you may recall, finished as a finalist in the 2020 series of Strictly Come Dancing, recorded under Covid conditions. “It was so crazy but I was 19, so I think, looking back on it, it was the first time I’d ever done live TV, and the first time I’d ever been Maisie, rather than playing a character, and I did find the whole experience nerve-wracking,” she says.

    “I wish I hadn’t stressed about everything – did people like me; did I do that dance right? – but then I thought, ‘no, just be yourself, who cares what people think!”

    She continued to play Tiffany for another year, “but I was itching to do theatre”, a change of tack that has been rewarded with significant roles in Strictly Ballroom and now The Talented Mr Ripley. “This new character, Marge, is the most different from me. Everything about her is different from me. It’s always  a challenge but that’s what you want.”

    Hence Maisie will keep asking herself that question: how far would you go to become someone else?

    The Talented Mr Ripley, Grand Opera House, York, January 19 to 24, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.

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    Adultery, murder and beautiful music add up to Death Of Gesualdo as Tableaux Vivants and The Gesualdo Six play NCEM

    Death Of Gesualdo: Bringing together The Gesualdo Six, Tableaux Vivants and a puppet for new drama of jealousy, murder and sublime madrigal music at NCEM

    THE Gesualdo Six are reuniting with director Bill Barclay for the world premiere of Death Of Gesualdo, a daring new successor to their international hit Secret Byrd.

    Premiered at St Martin-in-the-Fields, London, tomorrow and on Saturday, the haunting theatrical concerto, exploring the tormented life and music of Renaissance composer Carlo Gesualdo, will then head north to the National Centre of Early Music, Walmgate, York, for 6.30pm performances on Sunday and Monday.

    Commissioned by St Martin’s as part of its 300th anniversary and produced by Concert Theatre Works,  this collaboration with the NCEM and Music Before 1800 in New York City utilises the sextet of Gesualdo singers, six Tableaux Vivants actors and a puppet in “living tableaux to illuminate the forces that shaped the violent life, psyche and visionary work of innovative madrigalist Carlo Gesualdo (1566–1613), Prince of Venosa.

    He may be infamous for murdering his unfaithful wife and her lover in an explosive fit of jealousy, but among composers he is revered for anticipating chromaticism – the musical technique of using notes outside the main diatonic scale to add colour, tension, and expression – by 200 years.

    Choreographed by Will Tuckett, the dancers enact tableaux vivant – vivid images, like paintings brought to life –filled with iconography to superimpose Gesualdo’s psyche on to his most chilling music. The result will be “the boldest look yet at how the life and music of this enigmatic prodigy must function together for the true Gesualdo to emerge from the shadows”.

    Director Bill Barclay says: “Gesualdo’s tortured mind led him into a life of violence and suffering, concluding in astonishing tales of witchcraft and malfeasance and appalling tales of sorcery and flagellation. However shockingly macabre his biography is, the Prince of Venosa’s malignant narcissism can be traced to key incidents from his upbringing in the zero-sum game of Catholic politics.”

    Opening on the composer’s deathbed, Death Of Gesualdo promises to be a visceral “Stations of the Cross” for the composer’s tortured conscience as much as a bold study of his inseparable life, psyche and music.

    Bill says: “I want people to hear the brilliance of Gesualdo’s music, but also to feel the immense human suffering that shaped it. This staging seeks to reveal the guilt and retribution woven through his extraordinary music, brought to life by The Gesualdo Six – some of the finest polyphonic singers in the world.”

    The creative team brings together Barclay, Gesualdo Six director Owain Park, Olivier Award-winning choreographer Will Tuckett, best known for his work with The Royal Ballet and his visionary cross-disciplinary approach; former Handspring Puppet Company director Janni Younge and American costume designer Arthur Oliver.

    “We so enjoyed doing Secret Byrd with Bill, and when we see Bill, we like to throw around a few ideas, and this is what’s emerged next – as we’re really well positioned to sing Gesualdo’s music,” says Owain.

    He suggests Death Of Gesualdo has three layers: musical, dramatic and another layer that “provokes discussion and thoughts without necessarily coming up with the answer to the questions asked”.

    “Bill is more interested in providing more questions than answers,” he says, highlighting the need for a balance between what is said and left unsaid. “When we debut the project in London and York, we will know more about that, but for now I can say it’s something we’ve never done before.

    “It will be interesting to see how we present music differently, where it will heighten things in a way that you wouldn’t in concert. It becomes more sensory, like smell and touch, as we create pictures to be discovered. I think there’s going to be space for more development – which is interesting – and maybe audiences will need to come again.

    “There’s more chance for spontaneity, and that’s exciting, like in sport, where you never know what the result will be, if the formula is right, whereas in music you do, but you can take different routes to the same result, but Death Of Gesualdo is more of a change from that, with the chance to be different each time.”

    Secret Byrd visited more than 25 cities, with plans afoot to revisit it in the UK, Ireland and USA. “Last time, the NCEM was at the end of the first tour, so how lovely this time that Delma [NCEM director Delma Tomlin] and the NCEM are at the forefront of this new project, as we’ve built up such a wonderful relationship with them,” says Owain.

    For creator-director Barclay, when St Martin’s wanted a “splashy” production to mark its 300th anniversary and suggested Gesualdo, his instinct was to resist at first. “I wasn’t drawn to the murder of his wife and her lover, the central event of his life,” he recalls, “I cherish the music, like anyone else, but I wasn’t just going to do a concert because I knew I had to reckon with the man.”

     He enjoys counterpointing singers  with other artists, and once he found a video of Tableaux Vivants, he saw the possibilities in Death Of Gesualdo. “I found their work whimsical and beautiful and was struck by how this artform could re-create horrible things in beautiful ways,” he says.

    “They can create quite grotesque images  but because they’re created right in front of you, there’s a sense they can be done both playfully and beautifully. It struck me as a way I could thread the story of the murder into the performance without all the violence,  taking Gesualdo’s music as a framing device, not for the murder, but to explore what’s going through his mind  and then opening up the topical subject of odious men.

    “It made me think about cancel culture today…and what lessons have we learnt from the social media accelerant that can force someone to be treated as guilty until proven innocent?”

    Citing composer Richard Wagner and jazz musician Miles Davis as further examples of “odious” creative talents, Bill says: “What I’m trying to get at is, can you separate the art from the man?

    “With Death Of Gesualdo, I’m suggesting that if you consider his life over the music he created, a different picture emerges of this tortured soul, who was probably bisexual. I’m not trying to inspire pity in my audience as to whether he was forced to commit an honour killing or not, but with a sensitive artist such as Gesualdo, he was tortured by various ailments, from bulimic narcissism to bipolarity.”

    Bill is thrilled to be teaming up with Owain Park and The Gesualdo Six again. “Owain is a genius, he’s a treasure, and his star burns very brightly. He’s young and he’s just at the beginning of what we expect to be a wonderful career,” he says.

    “Working with these wonderful singers at this point benefits everybody, most of all the audience, and we now have two pieces that we can tour around the world as the arts become more interdisciplinary. It’s fun!

    “I’m delighted that they [The Gesualdo Six] have trusted me to work with them, rehearsing for longer than they normally would for concerts – and putting on make-up for the performances!”

    The Gesualdo Six and Tableaux Vivants, Death Of Gesualdo, National Centre for Early Music, St Margaret’s Church, Walmgate, York, January 18 and 19, 6.30pm to 7.40pm. Box office: 01904 658338 or ncem.co.uk.