Helen Charlston: “Projection and accentuation of words is amongst the best I have encountered in a long while, I am tempted to say unrivalled,” writes reviewer Martin Dreyer. Picture: Julien Gazeau
HELEN Charlston’s elegant mezzo had already been heard at the festival’s opening event with Fretwork, but this solo recital with theorbist Toby Carr deserved special mention, not least for an attractive new work commissioned by the National Centre for Early Music from composer Anna Disley-Simpson and librettist Olivia Bell.
Neither had been on my radar before – definitely my loss – but their new piece is an exciting collaboration that bodes well for their futures. It was specifically designed to fit within the festival’s Heaven & Hell subtitle, “a reflection on the story of man’s fall from grace”, in the words of the brochure.
Bell contributes an extremely witty poem, Purgatory: a waiting room, which immediately lends itself to monodrama, in which the ‘keeper of the keys’ offers advice and comfort to a new arrival wondering whether they will end up above or below.
The surprise here, mirrored three times in a refrain, is that the visitor has a choice: ‘Beach or snow? Joy or woe? Peace or party? Sparse or hearty? Fire or ice? Naughty or nice?’
Although not the refrain, this extract conveys something of the poem’s internal rhymes, not to say its Betjemanesque humour. But behind its clipped, conversational tone lies deeper philosophy; comedy and ideas are cleverly intermingled.
Disley-Simpson’s through-composed approach is essentially tonal, but above all she is alive to the text and clearly understands what suits the voice, using emphatic leaps when need be.
She could hardly have had a better advocate than Charlston, whose projection and accentuation of words is amongst the best I have encountered in a long while, I am tempted to say unrivalled.
The theorbo, too, is given more than a mere underlay, with speedier riffs, for example, that invigorate the refrain. Toby Carr played with typical fluency throughout.
There was a clear feeling of teamwork between all four – two creators and two performers – that might valuably lead to something genuinely operatic, a one-act piece, for example, with a mute ‘visitor’ being harangued by the key-keeper, allowing even more amusing theatrics than a static singer can achieve. But the potential the work throws up is indisputable.
The first part of the evening, ‘Heaven’, took place in the Great Hall upstairs; after the interval, appropriately for ‘Hell’, we moved downstairs to the gloomier, candlelit Undercroft.
The downside of this was that it took the BBC all but an hour to move equipment accordingly. But the broadcasts, when they come up on BBC Radio 3 on July 27 and August 3, will surely prove the whole exercise worthwhile.
‘Heaven’ included especially poignant accounts of Purcell’s The Blessed Virgin’s expostulation, in which Charlston fully inhabited the virgin’s volatile misgivings, and of Lord, What Is Man?, with despondency quite blown away by a forthright final quatrain and Hallelujah.
In ‘Hell’, aside from the premiere and some tasty Charpentier, we had Carissimi’s wonderfully volatile take on Lucifer and some meatily mischievous Monteverdi. Both performers were on top form. Don’t miss them.
In the grip of dementia:Reece Dinsdale’s Howard and Shobna Gulati’s Sue in Through It All Together. Picture: Charlie Swinbourne
THROUGH It All Together is the third play about Leeds United after Anders Lustgarten’s ubiquitous, damnable The Damned United and Anthony Clavane and Nick Stimson’s lesser-spotted Promised Land, A Northern Love Story, staged in a community production with Red Ladder at Leeds Carriageworks Theatre in Summer 2012.
“About Leeds United” tells only half the story. The Damned United, adapted from David Peace’s literary psycho-drama, was rather more about Brian Clough, the Richard III of Leeds managers, and his 44-day impact on Revie’s champions versus their corrosive, longer-rooted impact on “Old Big ‘ead”.
A Promised Land, adapted from Clavane’s non-fiction book, interwove the repeat pattern of the rise and fall of Leeds United and the industries of Leeds with the story of the city’s Jewish community, who provided the club’s most successful chairmen, Manny Cussins and Leslie Silver.
Now Leeds United is only half the story once more in Chris O’Connor’s Through It All Together, a title taken from the club anthem Marching On Together (originally entitled Leeds! Leeds! Leeds! as the B-side to the official 1972 FA Cup Final song, Top Ten hit Leeds United, as the Courtyard theatre audience would all know!).
Everal A Walsh’s Leeds United director, left, and Dean Smith’s director of football Victor Orta in Through It All Together. Picture: Charlie Swinbourne
Forever Leeds fan O’Connor – known as “Leeds” at his London school – “could write one strand in his sleep”, and so the Leeds United story, a love letter to sainted Argentine maverick Marcelo Bielsa and his 2020 Championship champions, is indeed penned with all the self-deprecating humour, in-jokes, reverence and irreverence of a battle-hardened yet defiantly optimistic Peacocks supporter.
The other strand, drawn from the impact of dementia on the grandmother who helped to raise him, again is written from the inside track. “One aspect we really wanted to get right was making sure the show is dementia friendly and accurate to what people go through,” he told Graham Smyth [the Yorkshire Evening Post’s Leeds United reporter since 2019] in his interview for the Playhouse premiere’s excellent programme.
Your reviewer writes with investment too: both as a long-suffering Leeds United addict since 1969 and having experienced his father’s seven-year decline with dementia – it is never a battle – that ended in relief and release in January 2016.
O’Connor said he could be “incredibly confident and happy” with the Leeds United angle. He has taken every care – like the remarkable staff at dementia care homes – to bring similar authenticity to the dementia thread, backed by the work of Playhouse theatre and dementia research consultant Dr Nicky Taylor and the Courtyard corridor exhibition that rewards early arrival for perusal.
The veneration of Marcelo Bielsa in Amanda Stoodley’s church set design for Through It All Together at Leeds Playhouse. Picture: Charlie Swinbourne
Director Gitika Buttoo says O’Connor’s play is “for the people of Leeds, showing how football ripples through all the corners of life…but that story, while rooted in Leeds, is universal”. She’s right. You could transplant the structure to any football club’s origin story, such is the ubiquity of a supporter’s jam-side-down relationship with fate, while dementia is becoming pervasive.
In this story, Reece Dinsdale’s life-long Leeds United fan Howard Wright is in the early throes of dementia, his life-changing diagnosis coinciding with director of football Victor Orta’s left-field pursuit and recruit of Marcelo Bielsa to end LUFC’s wilderness years amid the Championship tundra.
The volcanic Orta is represented physically by one of two Paul Madeleys in Buttoo’s cast, the multi-role-playing Dean Smith (regular “Championship will Championship” contributor to The Square Ball podcast, by the way).
He teams up with Everal A Walsh in three partnerships, representing the club management (Orta and a calmer presence alongside); the fans, a diehard Elland Road attendee and a disaffected deserter newly magnetised by Bielsa’s beautiful game; and the media, podcasting and match dissecting much in the healthily cynical/sceptical/supportive style of The Square Ball, quirky adverts et al.
So many ups and downs: The life and pub philosopher times of Leeds United fans, played by Everal A Walsh, left, and Dean Smith
Unlike the omnipresent Clough in The Damned United, Bielsa is not portrayed physically (save for a delightful fantasy sequence where he dances the Argentine Tango with Shobna Gulati’s Sue in Newell’s Old Boys kit in his 1970s’ defender days). Nor is he symbolised by Bielsa’s Bucket (on which he would surely perch if the club were ever to bestow him a statue).
Instead, as mystical as Clint Eastwood’s Man With No Name turning up out of nowhere, and more in keeping with Irek “Tankpetrol” Jasutowicz’s Bielsa mural at Hyde Park Corner, St Marcelo appears in a stained glass window, beatific, aura aglow, high above his Peacock flock, within set designer Amanda Stoodley’s open-plan framework of a church. How fitting!
Church structure meets the kitchen-sink drama of the Wright household’s kitchen and sitting room, home to Dinsdale’s Howard and fellow Leeds devotee Sue (Gulati), joined regularly by daughter and putative chef Hazel (Natalie Davies).
They will, in the words of the club anthem, go through it all together, both Howard’s descent into dementia and Leeds United’s typically flattering-to-deceive yet, hardly a spoiler alert, ultimately sublime rise to the Premiership’s golden gates that coincided with Covid’s lockdowns.
Shall we dance? Dean Smith’s Marcelo Bielsa, in his Newell’s Old Boys playing days in Argentina, struts the Tango with Shoba Gulati’s Sue in a fantasy scene in Through It All Together. Picture: Charlie Swinbourne
Two forms of distancing then play out: the fans consigned to listening to Adam Pope on BBC Radio Leeds, and Howard’s losing his sentient powers to dementia’s corrosion and erosion.
O’Connor writes brilliantly and so movingly of this struggle: the “forgetfulness”, the sudden moments of lucid clarity (such as naming Don Revie’s champion team); Howard’s wish to not be a burden to his family by listing preparations to move to a care home while he still has the mental minerals to make that decision.
More and more sticker messages are placed around the house to help Howard navigate his way through each day’s routines; daughter Hazel starts to question whether the measures they take are worth it; Sue is consigned to hospital with Covid, at which point Dinsdale’s performance hits new heights.
All the while, Howard and Sue will sing Marching On Together as the couple’s love song, “We love you, Leeds! Leeds! Leeds!” replaced by “I love you Sue, Sue, Sue”.
We know how it ended for LUFC, with promotion, only to be followed inevitably by Leeds falling apart again (as Walsh’s fan laments to the biggest knowing laughs).
Making plans: Reece Dinsdale’s Howard in discussion with Natalie Davies’s Hazel in Through It All Together
We know how it will end for Howard, so we don’t need to see it. They will go through it all together, like Leeds United’s motto, side before self.
Dinsdale, a Playhouse luminary since 1990’s debut production of Wild Oats after the Quarry Hill relocation, is terrific in his King Lear for the football masses, all the more so for putting his Huddersfield Town allegiances to one side to embrace Leeds United.
The ever supportive Gulati, always a hit with Leeds audiences, the doughty Davies and the Smith-Walsh double act at the treble are tremendous too under Buttoo’s direction that makes the play work for fan and theatre lover alike.
You will laugh, you will cry, you will cheer and groan, you will sing the songs, just like at Elland Road; you will miss Marcelo and you will know someone like Howard. At some we shall all have to go through it together, as we have our ups and downs.
Chris O’Connor has told a story of the everyman (Howard) and the extraordinary (Bielsa) with dignity, distinction and devotion.
Through It All Together, Leeds Playhouse, at least until the world stops going round, or more precisely July 19. Box office: 0113 213 7700 or leedsplayhouse.org.uk.
Farah Ashraf’s Roberta in the Bradford 2025 UK City of Culture revival of York Theatre Royal’s The Railway Children at Oxenhope Station. Picture: James Glossop
FULL steam ahead for The Railway Children becomes even fuller steam ahead as E Nesbit’s story returns to the railway line where Lionel Jeffries’s charming 1970 film was filmed, Jenny Agutter’s red petticoat, Bernard Cribiins’s bluster et al.
This re-sparking of York Theatre Royal’s Best Entertainment Olivier Award award winner for Bradford 2025 UK City of Culture becomes even more resonant in highlighting Nesbit’s call for tolerance, integration, safe sanctuary and understanding of “otherness”, in our overheated age of Reform, rejection, division and more overt racism. It reemphasises how Bradford has always been a beacon for multiculturalism, a cornerstone of this year’s festival.
In 2008, in the audacious apex achievement of Damian Cruden’s 22 years as York Theatre Royal artistic director, he teamed up with prolific York playwright Mike Kenny to transform the National Railway Museum freight depot into a tented traverse theatre in the heart of York, the most-storied railway city in the north.
The Railway Children felt right at home there, so much so that it booked a return ticket in 2009. Now, The Railway Children has “come home” to the Keighley and Worth Valley Railway (when Jeffries transferred Nesbit’s rural location from Kent to Oakworth station up north in an inspired move).
Excited City of Culture and Worth Valley volunteers are omnipresent as audience members board the steam train – eight carriages long – at Keighley Station to travel the line’s full money’s worth to Oxenhope Station, to the accompaniment of Stand & Be Counted Theatre’s immersive scene-setting soundtrack on the themes of exile, sanctuary, compassion and kindness.
Stalls are selling beer, pies, railway and E Nesbit & Co merchandise, all part of the 2025 event theatre experience, if you wish, and a large poster is advertising this winter’s “tale by rail” production of The Christmas Carol (Haworth Railway Station, tickets www.kwvr.co.uk).
A sign denotes Oxenhope stands 600ft above sea level – York is only 49ft by comparison – and Tuesday’s audience is already on a high, its mood best captured by Cruden’s dandy pink linen suit, as we enter the Engine Shed, denuded of its locomotives since work began on site in May.
Normally functioning as the “Exhibition Shed”, home to the highly recommended autumn beer festival, it has been temporarily renamed the Auditorium (rather less evocative than the Signal Box Theatre at the NRM), as the 500 seats fill either side of a track, divided into Platform One and Platform Two.
The air is filled with the chatter and clatter of the railways: station announcements, the porter’s whistle, engines pumping and Yorkshire bird song, the herald to the brilliant sound design engineered by Craig Vear throughout.
Cruden has got all the old band back together: same director, writer, set and costume designer, Joanna Scotcher, lighting designer, Richard G Jones, composer, Christopher Madin, and sound designer, Vear. If it ain’t broke, don’t fix it, unlike Peter’s model train that needs soldering.
Oxenhope has become Oakworth station, where Scotcher’s design is a work of wonder suffused with a nostalgic Edwardian beauty: a wooden station bridge at one end, the station porter’s office at the other. On the track run wooden pulleys on wheels, pushed along the line by stage hands in railway staff attire to facilitate scenes being played out at various points to ensure everyone has a close-up. Her period costumes are a delight too, from top hat to coat tail, school cap to immaculate suits and the prettiest of dresses.
Jones’s lighting, whether for moorland sunlight, midnight gloom or a murky tunnel, complements every dramatic mood, twist and turn, evoking soot and fresh air alike. Look out especially for the flickering of lights as the rattling sound of a train thunders by, doing the loco-motion in dazzling style. All the while, Madin’s score could not be more evocative.
In Kenny’s adaptation, the adult “Railway children” look back at their childhood Yorkshire re-location from London, seamlessly morphing into the childhood selves, Farah Ashraf’s concerned Bobby, Raj Digva’s ripping Peter and Jessica Kaur’s puppy-enthusiastic Phyllis.
Equally seamless is Kenny’s nod to Bradford UK City of Culture. Father (Paul Hawkyard) married Mother (Asha Kingsley) while working in India, then brought his young South Asian family to London, doubling up on their “otherness” when Mother brings her children to Yorkshire in 1905 after Father’s mysterious arrest.
Kingsley’s Mother stands out with her Indian accent; the children with their refined London airs that can find them putting their foot in it, but always unintentionally.
In a later change, Kenny has transformed Hawkyard’s Russian refugee, the great writer Shepansky, into a Ukrainian Russian: a topical and impactful decision typical of his playwriting prowess.
Dramatic set-pieces, humour, tragedy and triumph combine with the searing social politics in Kenny’s script, the humour exemplified in Graeme Hawley’s portrayal of station porter Mr Perks, sometimes prickly, certainly as punctual as he is punctilious, but avuncular too, topped off by the famous birthday-present scene that moves you to tears.
From the three leads, with their combination of playfulness, squabbling and knowing adult reflection, to Kingsley’s burdened Mother; Moray Treadwell’s grand Old Gentleman to the young people’s ensemble; the multitude of multi-purpose battered suitcases to the delayed-for-maximum-impact of the locomotive, Cruden’s return to The Railway Children is a triumph. Whisper it quietly in York, but bouncing back in Bradford UK City of Culture, it may be the best production yet.
The Railway Children, Keighley Station and Oxenhope Station, West Yorkshire, on track until September 7. Box office: https://bradford2025.co.uk/event/the-railway-children/.
Ronan Keating: On track for York Racecourse Music Showcase Weekend
RONAN Keating returns to the York Racecourse Music Showcase Weekend on July 26, back on the Knavesmire track where he performed with Boyzone in July 2018.
“I’ve been to York numerous times,” says the 48-year-old Dubliner. “My manager lives in York. He knows the good places to go, like the Star Inn The City.”
Ronan also played solo shows at York Barbican on his Time Of My Life Tour in September 2016 and on his thrice-rearranged Twenty Twenty Tour in July 2022 (first booked for June 2020, then January 2021, then January 2022, in Covid-enforced changes).
“York audiences are always up for a good time,” he says as he looks forward to performing after a Saturday race card featuring the prestigious Group 2 Sky Bet York Stakes.
When playing in the open air, “the only thing is the sound issue for the artists and you get that at all outdoor gigs, whereas somewhere like the [York] Barbican is acoustically fantastic and is always going to sound better. You learn a lot from it,” says Ronan who will draw on his experience of playing to large al-fresco crowds at next weekend’s concert.
That applies to choosing his set list too, eschewing album tracks. “If you’re going to a festival or a racecourse, you have to give the people what they want, what they’re expecting, and because of the Boyzone documentary [Sky Original’s Boyzone: No Matter What] that’s on Sky and NOW TV, I’ll be doing more Boyzone hits than normal this time.
“It’s been Sky Documentaries’ most successful documentary. It’s been word of mouth. No-one knew what was coming. We were in the thick of making our own film – we had to say ‘No’ to Louis Theroux – when there was the Backstreet Boys one [Larger Than Life on Paramount+], so we could fallen through the cracks.
“It’s surprised everybody. Our story is unbelievable, not normal, and it was hard to hear each of us talk about each other. It was tough, it was hard-hitting.”
“I never saw it as ambition,” says Ronan Keating. “My dad was a football coach and I had a belief in graft that came from him”
Each band member, Keating, Shane Lynch, Keith Duffy and Mikey Graham, filmed 15 hours of footage individually over “three long days”. “We produced the film, but Curious Films made it, and they interviewed some people from the Nineties’ tabloid press and ex-manager Louis [Walsh].”
Therapy before the documentary had helped Ronan to “learn about myself”. Had he been ambitious, he reflected? “I never saw it as ambition. My dad was a football coach and I had a belief in graft that came from him. I just worked my a**e off, and it was rewarding because we kept getting accolades, and then I get offered the chance to make a song on my own for the film Notting Hill [his chart-topping debut single in 2000, When You Say Nothing At All] – and that’s seen as ambitious but anyone else would do that.”
From boy band to men in adulthood, “some members in the band are not as close as they used to be, but I’m talking to all of them,” says Ronan. Given the documentary’s success, could Boyzone re-form for the first time since their “Thank You & Goodnight” farewell tour in 2019? “I’m saying nothing!” he says.
Ronan’s career has taken him into presenting duties. “I was asked to host Eurovision in 1997 [in Dublin] and the MTV Award in Europe, so I started doing that ‘on the side’. I knew I could do it, but I didn’t think it was really me, but then Magic Radio came to me offer me the Breakfast show with Harriet [Scott], and though I didn’t enjoy the early hours, I loved doing radio. It was everything. People felt we were in their house with them.”
Ronan has been a fixture on the BBC’s The One Show too, co-presenting with Alex Jones. “The One Show is a powerful show, and I love working with Alex. She’s a superstar,” he says. “I’ve been lucky and have chosen shows pretty well,” now adding The Voice Australia 2025 to that list.
If life has indeed been a rollercoaster, then Ronan’s abiding popularity has prompted York Racecourse head of marketing and sponsorship James Brennan to say ahead of next weekend’s performance: “Ronan has felt like part of the family for the best part of 30 years, whether it is entertaining with his friends in the band or as a solo artist, charity campaigner or breakfast show host. I’m looking forward to an event that music and racing fans will treasure as a memory.” Spot on , sir.
Looking ahead, Ronan is working on new music. “I’m making a duet that will be out in late July or early August,” he says. Who with? “He’s a very good friend of mine in the industry. It’s quite a big deal for us.” Watch this space.
Ronan Keating, York Racecourse Music Showcase Weekend, July 26: gates open at 11.15am; first race, 1.25pm; last race, 5pm. Sophie Ellis-Bextor and Natasha Bedingfield perform post-racing on July 25: gates, 4pm, first race; 5.30pm; last race, 8.23pm.
Please note, these race days are integrated racing and music events and admission is not available on a “concert only” basis. At each meeting, the gates will be closed at the time of the last race. For race day tickets, go to:www.yorkracecourse.co.uk.
Take a seat:Al Murphy puts himself in his Naughty Corner installation at VandalFest at 2 Low Ousegate, York
VANDALS At Work – the new name for York street artist collective Bombsquad – are reuniting with youth homelessness charity Safe and Sound Homes(SASH) for VandalFest 2025, the free summer street art takeover of a disused office block at 2 Low Ousegate, York.
Now in its third year, VandalFest builds on the impact of Educated Vandals in 2023 and Rise Of The Vandals in 2024, once again transforming one of York’s tallest riverside buildings into an immersive street art experience, with live installations, on July 11 to 13, July 18 to 20 and July 25 to 27, from 11am to 6pm each Friday to Sunday, when SASH will be supported through donation points on site.
The stripped-out interior provides four floors of blank canvas for bold, site-specific interventions that cover walls, floors and ceilings, where “visitors aren’t just spectators, but part of the art”, to the soundtrack of a roster of live DJ sets.
Putting it in black and white: Chu’s optical illusion at VandalFest
More than 30 artists from across Great Britain and beyond are taking part, from scene-shaping legends to rising stars and home-grown talent. Headliner Inkie, a pioneer of the Bristol graffiti movement and early influence on Banksy, is joined by subversive stencilist Dotmasters, inflatable prankster Filthy Luker, master of optical illusions Chu and rooftop renegade Rowdy.
Contributing too are Toasters, Nol from the Netherlands, KMG, SledOne, Static and Al Murphy with Naughty Corner. York’s own Sharon McDonagh, Lincoln Lightfoot and Boxxhead feature too, showcasing the city’s vibrant and growing street art scene.
“This year’s theme celebrates the playful side of street art: cheeky, witty and designed to make you smile,” says Vandals At Work member Sharon. “VandalFest puts the mischief back in ‘muralism’, offering surprise, wonder, laughter and levity when it’s needed most. It’s bigger, bolder and more creative than ever.”
Spam, by Sharon McDonagh. “My work is strongly influenced by personal experiences, the bloody Menopause and anything that I deem worthy of a mention,” she says. “Funny, dark and a bit angry on occasion”
Make sure to step into In Their Shoes, a bedroom designed by young people supported by SASH staff: an installation that seeks to reinforce how not every child has their own bedroom. Statistics are displayed on the walls, starkly drawing attention to 118,000 young people facing homelessness in 2023-2024, many as young as 16, and to SASH’s provision of 67,174 beds in the past five years in North and East Yorkshire.
A statement on the wall reads: “Welcome…Imagine not having your own safe space? That’s the position our young people are in when they come to SASH.
“This installation replicates a young person’s room in SASH but, with the addition of some shocking statistics and harsh realities that our young people have faced.
Bananas, inflatable installation, by Filthy Luker at VandalFest
“This doesn’t make for the nicest of bed time reading does it? That’s why we need your help so we can help more young people, because everyone deserves the right to stay somewhere safe. So take a look around and put yourself ‘In Their Shoes’.”
Pieces of furniture, donated by York Community Furniture Store and given a fresh look by SASH youngsters, are available to buy via the VandalFest store with all proceeds going to SASH.
The entire top floor plays host to a pop-up shop featuring editioned prints, books and merchandise, alongside a curated selection of original artworks for collectors.
Bean there, done that: Lincoln Lightfoot takes a spray can to York’s iconic Bile Beans advert mural at VandalFest
In addition, Vandals At Work are partnering once again with Tennants Auctioneers for the VandalFest online auction to support SASH, featuring exclusive works donated by participating artists.
Vandals At Work, formerly Bombsquad, is a non-profit York community arts organisation with a passion for street art and a belief that art should do more than merely hang on wall. “It should inform, provoke and inspire change,” says Sharon. “We see street art as a powerful force for good in the community.
“Our mission is to enrich York’s cultural landscape by organising exhibitions, auctions and events that raise funds for York charities while supporting the artists we work with. To date, we’ve collaborated with more than 60 artists and donated more than £55,000 to three charities: York Food Bank, York Mind and SASH.
Sod The Rich, by Chu, up for auction at VandalFest
“We’re proudly grassroots, with a strong DIY ethic and decades of combined experience in the art world among our core team. Born from a shared love of street art and its transformative potential, Vandals At Work is powered by a growing network of committed individuals in York and beyond.”
Safe and Sound Homes (SASH) is a registered charity that works to prevent homelessness in young people aged 16 to 25 across North and East Yorkshire. When a young person is facing homelessness, SASH provides a safe place to stay in the home of a trained volunteer, along with practical, emotional and ongoing support to help them move forward.
SASH’s core services include:
Nightstop, offering emergency accommodation with volunteer hosts for up to two weeks. Supported Lodgings, longer-term placements for young people who cannot return home and are not yet ready to live independently.
Adjoining VandalFest 2025 artworks by Nicolas Dixson, left, and Bristol street art pioneer Inkie
All hosts are everyday people who care about making a difference. They are fully vetted, DBS checked, trained and supported by SASH Placement Coordinators.
The young people SASH works with are often vulnerable and face complex challenges, including poor mental health, trauma or social isolation. Beyond providing a roof, SASH works intensively with each young person, their host families and external agencies to address root causes and break the cycle of homelessness.
All referrals come through councils and partner organisations after a young person presents as homeless.
Four storeys and plenty of stories in street art: VandalFest at the disused office block at 2, Low Ousegate, York
Sollazzo artistic director and vielle player Anna Danilevskaia
IT is almost ten years since I heard this stand-out ensemble – as winners of the prestigious York Early Music International Young Artists Competition in 2015 and then again in 2016 – and I was really looking forward to hearing them again.
Under the stewardship of artistic director and vielle player Anna Danilevskaia, Sollazzo has continued to explore and share a rich vein of Medieval and early Renaissance music. This evening, it was the music of the 14th-century composer Francesco Landini.
The concert opened with an instantly engaging Kyrie Rondello (Anonymous) featuring the whole ensemble, an ensemble that clearly enjoyed each other’s company. Crisp instrumental exchanges – Natalie Carducci and Anna Danilevskaia’s vielle, Christoph Sommer’s lute and Roger Helou’s organetto – were complemented by an evolving harmonic cloud of individual melodies created by singers Carine Tinney (soprano) and the two tenors, Jonatan Alvarado and Lior Leibovici. Quite wonderful.
This was followed by Landini’s instrumental ballata, Somma Felicita, Ms Danilevskaia and Roger Helou clearly relishing their melodic exchanges.
I thought I heard the ‘Landini cadence’ calling card, but the performance of O Piñata Vagha completely knocked me off kilter. Goodness me, this was sublime. The seamless interplay between soprano Carine Tinney, Mr Helou and Anna Danilevskaia had a medieval ring of authenticity.
The modal nature of the melodic lines and the beautifully integrated ornamentation by Ms Tinney gave the performance a transcendental magic. OK, I admit it, I was hooked. And from that moment on, I simply couldn’t take my ears off Carine Tinney.
That said, it was the clean, vibrato-free singing of tenor Jonatan Alvarado that drew the ear in Landini’s Questa Fanciulla. The agile precision of his singing blended seamlessly with soprano Ms Tinney, creating crystal-clear melodic lines within the polyphonic texture. This was reinforced by the delicate interplay of the accompanying vielle, lute and organetto.
The second section of the concert programmed four instrumental works by Landini. All magnetically engaging and a real joy. The standout, however, was the luminous quality and artistry of Roger Helou’s organetto playing. Even his retuning of the organetto – with vocalise support – proved to be a rewarding listen. Not that Mr Helou’s performance was superior, obviously, but that the impression was so haunting and familiar. To my ears, it sounded (almost) exactly like a recorder.
The closing work in this grouping was a beautiful interpretation of Niccolò da Perugia’s 14th-century ballata, Il Megli è Pur Tacere. Here, heavenly matters were put aside in favour of earthly matters of unrequited love. Although the words express the emotional burden of keeping silent in the face of pain, love, or truth, the performance itself brimmed with a rustic vitality.
The closing grouping opened with Giovanni da Firenze’s Quand Amor, a madrigal expressing fragility and introspection. The performance embraced the melancholic, contemplative mood, and the performance by Carine Tinney – glissandos bleeding into adjacent notes, achingly beautiful ornamentation – once again stood out.
The concert concluded with a touching and always engaging performance of Francesco Landini’s hymn to virtue, Perche Virtù: “Since virtue does make humans steady and strong/Run towards virtue, if you want to escape death”. Well, who could disagree with that?
Sollazzo’s use of period-appropriate tuning and musically transparent textures absolutely enhances historical authenticity, but it’s the seamless blending of voices with period instruments that truly sets them apart.
Finally, I knew Francesco Landini was celebrated as a singer and poet; that he was a virtuoso organetto (portable organ) player and that he was blind from early childhood (smallpox) – earning him the nickname “Magister Franciscus Caecus” (Master Francesco the Blind). I just didn’t know how truly remarkable a composer he was.
Dr Adam Parker, curator of archaeology at York Museums Trust, holding the Thor’s Hammer Pendant at the Viking North exhibition at the Yorkshire Museum, York
VIKING treasures, street art indoors, Fringe comedy previews and Ryedale Festival’s Austen celebration bring out the summer smiles in Charles Hutchinson.
Museum launch of the week: Viking North, Yorkshire Museum, York
VIKING North is filled with magnificent objects, many unseen for generations and others that have never been on public display, adding up to “the best collection of Viking finds to be shown outside London” as these Viking treasures reveal the North’s power base, wealth and skills.
Telling the story of the Viking Age in the North of England from AD866 to 1066, the exhibition is underpinned by new archaeological research and cutting-edge technology and features objects from Yorkshire Museum’s own collection, the Vale of York hoard, co-owned with the British Museum, and specially loaned national and regional items, including from the Viking Army Camp at Aldwark, North Yorkshire.
Sea, Swell, Scribe: Jo Walton, Ruth King and Nicky Kippax combine in Pyramid Gallery’s exhibition of paintings, pottery and poetry
Exhibition of the week: Sea, Swell, Scribe, Jo Walton, Ruth King and Nicky Kippax, Pyramid Gallery, Stonegate, York, until August 31, open 10am to 5pm, Monday to Saturday
WHAT happens when you let a poet loose in an art gallery with a piece of charcoal? If the juxtaposition of sumptuous curvy and pointy pots against a backdrop of textured metallic atmospheric paintings is inspiring her, then she will scribble words and phrases all over the plinths
York artist Jo Walton, from Rogues Atelier, potter Ruth King, from the Craft Potters Association, and poet Nicky Kippax, from Bluebird Bakery, combine in a show planned and organised by Pyramid gallery manager Fiona Macfarlane and curated by Walton. Kippax has written Eksphratic verse in response to the paintings and pots.
Street artist Al Murphy in his Naughty Corner at VandalFest at 2, Low Ousegate, York
Street art takeover of the summer: Vandals At Work present VandalFest, 2, Low Ousegate, York, Friday to Sunday, then July 25 to 27, 11am to 6pm
VANDALS At Work reunite with youth homelessness charity Safe and Sound Homes (SASH) for VandalFest, the immersive street art takeover of a disused office block at 2 Low Ousegate, York, with a 2025 theme of the playful, cheeky, witty and mischievous.
The stripped-out interior provides four floors of blank canvas for bold, site-specific “intervention” that cover walls, floors and ceilings, complemented by live DJ sets. Among more than 30 artists from the UK and beyond are Bristol graffiti pioneer Inkie, subversive stencilist Dotmasters, inflatable prankster Filthy Luker, master of optical illusions Chu, rooftop renegade Rowdy and York’s own Sharon McDonagh, Lincoln Lightfoot and Boxxhead. Entry is free, with a suggested £3 donation to SASH.
Dame Harriet Walter: Pride And Prejudice celebration at Wesley Centre, Malton
Ryedale Festival theatre event of the week: Pride And Prejudice, Dame Harriet Walter, Melvyn Tan and Madeleine Easton, Wesley Centre, Malton, Sunday, 7pm
THIS theatrical retelling of Pride And Prejudice by novelist and Austen biographer Gill Hornby marks the 250th anniversary of Jane Austen’s birth. Star of stage and screen Dame Harriet Walter brings the romance of Elizabeth Bennet and Mr Darcy to life in an intimate drawing-room setting, in much the same way that Jane herself first read the story aloud to family and friends.
Carl David’s score for the 1995 BBC television adaptation will be performed by pianist Melvyn Tan and violinist Madeleine Easton. The festival runs until July 27; full details and tickets at ryedalefestival.com. Box office: 01751 475777.
Rob Auton: Barmby Moor comedian previews his Edinburgh Fringe show, CAN: The Story Of A Man Called CAN, at Theatre@41, Monkgate, York
Comedy event of the week: Halfway To Edinburgh, Theatre@41, Monkgate, York, until Saturday
IN a week of Edinburgh Fringe previews and comedy nights, Nina Gilligan discusses memory loss, health anxiety and goldfish-related trauma in Goldfish tonight (8pm) and Hayley Ellis navigates middle age in Silly Mare (Work in Progress) tomorrow (8pm).
Susan Riddell and Kate Dolan, on Friday (7.30pm), and Barmby Moor surrealist Rob Auton and Chloe Petts, on Saturday (7.30pm), round off the festival tasters. Box office: tickets.41monkgate.co.uk.
Georgi Mottram: Classical BRIT Award nominee performing at Voices United concert in aid of St Leonard’s Hospice
Charity event of the week: Ian Stroughair presents Voices United: Rubies For Our Angel, Grand Opera House, York, Friday, 7.30pm
YORK cabaret artiste and West End musical actor Ian Stroughair co-hosts this fundraiser to mark St Leonard’s Hospice’s 40th anniversary with radio presenters Joanita Musisi and Laura Castle, introducing a night of musical theatre and rock and pop classics.
On the bill will be Stroughair in Velma Celli drag diva regalia; York singer Jessica Steel and guitarist Stuart Allan; York musical theatre actress Joanne Theaker; retro party band Jonny And The Dunebugs; The Voice UK 2024 semi-finalist Lois Morgan Gay and West End classical singer Georgi Mottram. Box office: https://shorturl.at/G3qhV or atgtickets.com/york.
Strictly between us: Anton du Beke and Giovanni Pernice team up for Together Again at York Barbican
Dance show of the week: Anton Du Beke and Giovanni Pernice in Together Again, York Barbican, Friday, 7.30pm
STRICTLY Come Dancing alumni Anton Du Beke and Giovanni Pernice promise “more fun, more dance, more song and even more entertainment than ever before” in the terpsichorean double act’s new show Together Again, full of breathtaking routines, stunning choreography and a seamless blend of Ballroom, Latin and musical theatre. Box office: yorkbarbican.co.uk.
Craig David: In party mood at Scarborough Open Air Theatre this weekend
Coastal gig of the week: Craig David TS5 Show, Scarborough Open Air Theatre, Saturday; gates open at 6pm
SOUTHAMPTON rhythm & blues musician Craig David parades his triple threat as singer, MC and DJ at his TS5 party night, patented at his Miami penthouse. On the 25th anniversary of debut album Born To Do It, expect a set combining old-skool anthems from R&B to Swing Beat, Garage to Bashment, while merging chart-topping House hits too. Box office: scarboroughopenairtheatre.com.
Amelia Donkor and Antony Jardine: Playing Gulie Harlock and Seebohm Rowntree respectively alongside 100-strong community ensemble in His Last Report at York Theatre Royal. Picture: Millie Stephens
Community play of the week: His Last Report, York Theatre Royal, Saturday to August 3
FOCUSING on pioneering York social reformer Seebohm Rowntree and his groundbreaking investigation into the harsh realities of poverty, Misha Duncan-Barry and Bridget Foreman’s play will be told through the voices of York’s residents, past and present.
Seebohm’s findings illuminate the struggles of the working class, laying the foundation for the welfare state and sparking a movement that will redefine life as we know it. However, when fast forwarding to present-day York, what is Seebohm’s real legacy as the Ministry begins to dismantle the very structures he championed in His Last Report’s York story with a national impact? Box office: 01904 623568 or yorktheatreroyal.co.uk.
In Focus: Clap Trap Theatre in Pennyroyal, Helmsley Arts Centre, July 19 & 20, 7.30pm
Florrie Stockbridge’s Daphne, left, and Natasha Jones’s Christine in Clap Trap Theatre’s Pennyroyal
HELMSLEY Arts Centre artistic director Natasha Jones and musical partner Florrie Stockbridge take to the stage this weekend in Clap Trap Theatre’s production of Lucy Roslyn’s Pennyroyal.
Premiered in 2022 at the Finborough Theatre, London, this heartrending play about sisterhood and motherhood, enduring love and regrets many years in the making explores the things expected of women and what happens if life does not go to plan.
When Daphne (played by Stockbridge) is diagnosed with Premature Ovarian Insufficiency at 19, her sister Christine (Jones) steps in to help in the only way she knows how: by donating her eggs. For a while, the world seems corrected. However, as the years go by – and Daphne sets out on the long road of IVF – the sisters’ relationship begins to twist.
“I think of my body sometimes like it’s stubborn,” says Daphne. “We’re not good friends. Like it’s a spooky hotel, and I’m just a ghost haunting it. ’Cause you don’t live in a hotel, you just pass through.”
Pennyroyal is inspired by Edith Wharton’s 1922 novella The Old Maid, a 1922 novella adapted ten years later into a Pulitzer Prize-winning play by Zoe Akins. One hundred years on, the story is re-imagined by Roslyn, an award-winning Camden Town performer and writer.
Her most recent work includes Orlando, a previous collaboration with director Josh Roche and Jessie Anand Productions that won the Origins Award at VAULT Festival before transferring to the Pleasance, Edinburgh.
Other work includes Showmanship (Theatre503) and Goody (Pleasance, Edinburgh and Greenwich Theatre – Les Enfants Terribles’ Greenwich Partnership Award 2017). Her debut, The State vs. John Hayes, started life at the Edinburgh Fringe, before touring to Theatre Royal Bath, The Lowry, Salford, the King’s Head Theatre, London, and OSH Brooklyn, New York.
Jones and Stockbridge have received directing and production support from Libby Pearson. Roslyn’s 80-minute play contains strong language and discussion of infertility and domestic violence. Box office: 01439 771700or helmsleyarts.co.uk.
Farah Ashraf’s Roberta in the Bradford 2025 UK City of Culture revival of York Theatre Royal’s The Railway Children at Oxenhope Station. Picture: James Glossop
YORK Theatre Royal first staged The Railway Children in the purpose-built Signal Box Theatre at the National Railway Museum, York, in 2008 and 2009, later transferring to London’s Waterloo Station, Toronto in Canada and King’s Cross Theatre, London.
From this evening, York playwright Mike Kenny’s refreshed stage adaptation of E Nesbit’s novel is back on track in Yorkshire, as the Theatre Royal teams up with Keighley & Worth Valley Railway for Bradford 2025 UK City of Culture, in a revival of Damian Cruden’s Best Entertainment Olivier Award-winner.
All on board once more are the same director, writer, set and costume designer, Joanna Scotcher, lighting designer, Richard G Jones, composer, Christopher Madin, and sound designer, Craig Vear. “We’re all still here – somehow!” says Damian.
The setting is the railway line famously used as a location for Lionel Jeffries’ 1970 film, the one starring Jenny Agutter and Bernard Cribbins that transferred Nesbit’s rural setting from Kent to Yorkshire.
Audiences will begin by taking a steam train from Keighley to Oxenhope Station, a journey accompanied by an immersive scene-setting soundscape provided by Stand & Be Counted Theatre on the themes of exile, sanctuary, compassion and kindness.
Damian Cruden: Directing The Railway Children on the Keighley & Worth Valley Railwayline. Picture copyright: The York Press
Kenny’s re-worked adaptation will be staged in an adapted engine shed at Oxenhope, a location closest in character to the National Railway Museum premiere with a steam train from the Keighley & Worth stock and the audience on either side of the railway track in the 500-capacity auditorium.
“It’s very similar to when we first did it inside a tent [over the freight depot] at the NRM, partly because it’s another heritage railway environment, whereas Waterloo and King’s Cross had a very different railway atmosphere. Seven hundred volunteers work for Keighley & Worth, which tells you something about our relationship with the steam age,” says Damian.
“We’re using what’s a sort-of museum shed [officially the Exhibition Shed], a proper period engine shed, where they keep the locomotives, and it’s customary to hold live events there [such as the October beer festival], but usually on a much smaller scale, so we’ve had to empty the shed of all its ‘bits’.
“The steam engine we’re using is a full locomotive with a tender, from the 1880s, along with a Third Class carriage and the ‘Gentleman’s Carriage’, shunted from further down the line.”
Damian is delighted to be staging arguably his biggest ever hit again. “Bringing The Railway Children to Bradford this year offered us a unique opportunity to restage the production as part of the UK City of Culture programme, starting on the tracks where the iconic 1970 film was shot in the beautiful Worth Valley.
The poster for the Bradford 2025 UK City Of Culture production of The Railway Children
“It’s great that it’s part of the festival and that it’s coming to the point of origin, the railway line that goes through Oakworth station, the primary location in the film.”
Set in 1905, The Railway Children tells the story of three children forced to move from wealthy Edwardian London to rural Yorkshire after their father, an official in the Foreign Office, is imprisoned falsely on charges of espionage. Living in newly impoverished circumstances, they find adventure and hope on the railway that passes nearby.
“The reality is it’s a made-up story, a construct, set in the past, but very strongly as a metaphor of what a journey does, taking you from one way of being to another, while looking at the nature of being human and the benefit of integrating with others, so in some ways it’s a moral tale for today, showing us how we can be better as humans and how we can know ourselves better.
“It’s constructed as a mythical tale, but the fact is the train delivers things that are good and brings justice with it, in this case for the Russian political refugee Schepansky.”
In a significant adjustment by playwright Mike Kenny for the Bradford UK City of Culture production, the children and their mother will be a South Asian family, played by Farah Ashraf (Roberta), Raj Digva (Peter), Jessica Kaur (Phyllis) and Asha Kingsley, latterly seen as Surinder in York company Pilot Theatre’s Run Rebel. Father (Paul Hawkyard), high-ranking Foreign Office civil servant Charles Waterbury, met and married Mother while working in India, then brought up his family in London.
Farah Ashraf’s Roberta, Raj Digva’s Peter and Jessica Kaur’s Phyllis in a scene from The Railway Children at the gates of Oakworth Station. Picture: James Glossop
Damian notes the story’s resonance with Bradford’s own story: “Bradford is a wonderful example of a city that has welcomed people throughout its history, and this theme of welcome and global connection resonates through The Railway Children, which at its heart is brilliant family entertainment – a classic adventure yarn with a famously emotional ending,” he says.
“In so many ways, Bradford’s strength is the diversity of its community, so it felt important to have that as part of the story this time. Just as the notion of needing to find sanctuary as refugees is an important theme too, when so many people fit that description. It’s up to us to meet them and that need.
“That might be frightening at times…so it’s an interesting time in national and international history to bring the story back to the stage, with a huge amount of paranoia of strangers coming into people’s minds, as being something to be feared, but that fear does not match up to scrutiny.”
York Theatre Royal, Keighley & Worth Valley Railway and Bradford 2025 UK City Of Culture present The Railway Children, Keighley Station and Oxenhope Station, West Yorkshire, July 15 to September 7. Box office: https://bradford2025.co.uk/event/the-railway-children/.
Florrie Stockbridge’s Daphne, left, and Natasha Jones’s Christine in Clap Trap Theatre’s Pennyroyal
HELMSLEY Arts Centre artistic director Natasha Jones and musical partner Florrie Stockbridge take to the stage this weekend in Ryedale company Clap Trap Theatre’s production of Lucy Roslyn’s Pennyroyal.
Premiered in 2022 at the Finborough Theatre, London, this heartrending play about sisterhood and motherhood, enduring love and regrets many years in the making explores the things expected of women and what happens if life does not go to plan.
When Daphne (played by Stockbridge) is diagnosed with Premature Ovarian Insufficiency at 19, her sister Christine (Jones) steps in to help in the only way she knows how: by donating her eggs. For a while, the world seems corrected. However, as the years go by – and Daphne sets out on the long road of IVF – the sisters’ relationship begins to twist.
Clap Trap Theatre’s montage of Pennyroyal pictures featuring Florrie Stockbridge and Natasha Jones
“I think of my body sometimes like it’s stubborn,” says Daphne. “We’re not good friends. Like it’s a spooky hotel, and I’m just a ghost haunting it. ’Cause you don’t live in a hotel, you just pass through.”
Pennyroyal was inspired by Edith Wharton’s The Old Maid, a 1922 novella adapted ten years later into a Pulitzer Prize-winning play by Zoe Akins. One hundred years on, the story is re-imagined by Roslyn, a Coventry-born, award-winning performer and writer.
Her most recent work includes Orlando, a previous collaboration with director Josh Roche and Jessie Anand Productions that won the Origins Award at VAULT Festival before transferring to the Pleasance, Edinburgh.
Natasha Jones and Florrie Stockbridge, front, in a scene from Lucy Roslyn’s two-hander Pennyroyal
Other work includes Showmanship (Theatre503) and Goody (Pleasance, Edinburgh and Greenwich Theatre – Les Enfants Terribles’ Greenwich Partnership Award 2017). Her debut play, The State vs. John Hayes, started life at the Edinburgh Fringe, before touring to Theatre Royal Bath, The Lowry, Salford, the King’s Head Theatre, London, and OSH Brooklyn, New York.
Jones and Stockbridge have received directing and production support from Libby Pearson. Roslyn’s 80-minute play contains strong language and discussion of infertility and domestic violence.
Clap Trap Theatre in Pennyroyal, Helmsley Arts Centre, July 19 and 20, 7.30pm. Box office:01439 771700 or helmsleyarts.co.uk. Watch the trailer at https://www.youtube.com/watch?v=alYKAml0ffQ&t=4s
Miles Salter: Gang leader of Miles And The Chain Gang
YORK band Miles And The Chain Gang will release new single Road To Damascus on July 18.
“It feels like an Americana classic with shades of blues and soul, but with the energy and swagger our fans have come to expect,” says frontman Miles Salter, York songwriter, musician, poet, storyteller, podcaster, presenter and festival programmer.
“The song first came out in 1995, when I made an album of songs called Time To Credit Marvels. I think I pressed 200 copies of the cassette. I was living in Hull at the time and the sleeve was done by a back-street printer with mixed results. It was before I started to put CDs out. Those tapes were always a labour of love!”
The new version of Road To Damascus was recorded in York at Young Thugs Studios, where Miles has recorded nearly all of his songs since 2018, working with producer and musician Jonny Hooker.
“Jonny is very patient,” says Miles. “I get a bit perfectionist-neurotic in the studio; I can’t bear doing stuff that’s ‘nearly but not quite’, so I keep going back to something until it’s right. It can be frustrating, but I honestly feel the catalogue of songs we have now is really good.
“So when something comes out, it has to be as good as I can get it. If that means re-doing the vocal five times, so be it.”
As for the lyrics, is this a tale of love as redemption? “Yes,” affirms Miles.”The idea that love can save you. Saint Paul had his ‘Damascus Road’ experience, but not everybody, these days, gets the reference. Biblical and classical ideas are less available to people than Marvel superheroes.
“There’s a link between spirituality and love. Think of I Say A Little Prayer by Aretha Franklin, or Hallelujah by Leonard Cohen, although I wish I could write lyrics as good as Leonard’s – he’s in the premier league of songwriters, as far as I can see. He closed the gap between poetry and lyrics.”
Joining Miles on the new recording are a talented bunch of York musicians: Stomp! percussionist and drummer Billy Hickling, bass player Tim Bruce, York pianist par excellence Karl Mullen and saxophonist Fay Donaldson. Holly Taymar-Bilton provides backing vocals and York blues enthusiast Paul Winn plays harmonica.
Miles And The Chain Gang have released ten songs in total, reaching listeners in the United States, Canada, Australia and Europe as well Great Britain via indie and internet radio. “The internet is a mixed blessing, but it’s cool to know that people are listening to the songs around the world,” says Miles. “We’ve racked up more than 30,000 listens on Spotify and 50,000 views on YouTube too.”
Emma Scott, radio presenter and PR guru, praises Miles’s tunes. “They’re very good songs,” she says. “Miles has an ear for hooks, and that’s what rock and pop is all about at the end of the day: those little earworms that keep coming back for more.”
