Author: Charles Hutchinson

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Bluegrass band The Coal Porters play ‘church-based entertainment venue’, All Saints in Pocklington, tonight

The Coal Porters: Led by Sid Griffin at All Saints Church, Pocklington, on September 19

THE Coal Porters, the world’s first “alt-bluegrass” act, play All Saints Church, Pocklington, tonight as one of “two (count ’em) encounters with church-based entertainment venues” on their nine-date tour.

Prominent figures in the UK Americana and bluegrass scene for 17 years, Sid Griffin’s band are back in the saddle throughout this month, performing one Yorkshire concert already at Filey Americana Festival at Filey Evron Centre on September 7.

In a further highlight, eighth-generation Kentuckian Griffin marked his 70th birthday with a special gig at the Water Rats, London, last night.

2025 has been quite a year for Long Ryders and Coal Porters frontman Griffin, both on the road and in the recording studio. “The Long Ryders have made a record and now The Coal Porters are firing up again for this tour,” he says.

Tonight AMA Award winner Griffin leads The Coal Porters at All Saints Church on vocals, mandolin, harmonica and autoharp, accompanied by Grammy winner and Adele string section leader Kerenza Peacock on fiddle and vocals; Paul Fitzgerald on banjo and vocals; Andrew Stafford on bass and Neil Robert Herd on guitar and vocals.

“We’ve played St Mary’s Creative Space, an absolutely beautiful church in Chester, and a deconsecrated church in Glasgow, so we love playing civic buildings of interest in any form or shape, which are worth their weight in plutonium,” says Sid. “If they can’t hear a choir singing the praises of the Lord, they can hear us.”

How does Sid know which of his songs will suit the his long-running American alternative country band The Long Ryders or the fiddle, mandolin, banjo, acoustic guitar and doghouse bass, four-part harmonies and melodies of The Coal Porters’ alt. bluegrass?

“Some of the acoustic songs are really written in the singer-songwriter/troubadour tradition, and are not right for the scale of The Long Ryders, and likewise some songs need those drums and bass,” he says. “I can tell upon writing a song where it should go – and the audiences hardly ever disagree!

The tour poster for The Coal Porters’ September travels

“There’s a danger that you start writing songs that you know the band can play, and that’s a mistake as you have to challenge them to get out of their comfort zone. You really have to watch that. It’s one of the pitfalls.

“You have to extend yourself, but not too far, you have to be different, but not too far, which seems contradictory. The Ramones and Credence Clearwater Revival managed to do that, but it’s usually the point at which bands split.

“The Temptations changed, ZZ Top changed, but sometimes you can’t do that – and that’s the thing. I’ve always tried to traverse, with The Long Ryders experimenting and The Coal Porters being entertaining – and being told  we’re too entertaining for hillbilly!”

Sid takes his point further. “We’ll take songs by Bob Dylan or David Bowie and we’ll ‘Porterise’ them, knowing we’re playing a Dylan/Bowie song but in a bluegrass form, being true to the idiom.

“The bluegrass police don’t like it. It’s like The Stanley Brothers again. People always want it to be better but different, and it’s pretty impossible to square the circle,” he says. “Traditionalists don’t like it but Coal Porters fans love us to death, so the question is, how do you make things better than yesterday?”

Should he shed the optimism in The Coal Porters’ performances, ponders Sid.  “That would be a mistake when you have to entertain but also give the audience a mirror of what’s going, but are we giving them respite, an escape, from what’s going on?” he says.

“I take performances at least as seriously as recording. They’re staring at you; you have their complete, undivided attention. They’ve paid their money, they’re facing you, whereas at home they’re not paying as much attention to a screen.

“Live gigs are now so important because no-one’s making money out of albums. Merch stands are important too. People come up to ask me questions  when it’s their moment to have that conversation with someone that has influence and they really want to give me their opinion.”

Singer, songwriter, band leader, musicologist, broadcaster and author Sid Griffin has lived in London for 33 years, where music will continue to frame his life. “It’s what I do, it’s what we do, as Robbie Robertson said of The Band. Good times, bad times, I make music. I don’t have riches or fame. I’m just happy,” he says, as he turns 70.

“It’s what I’ve been doing for a long time and I’ll keep doing it. I’m very pleased anyone wants to hear what I have to say. It’s very touching that these middle-aged guys, usually in their Clash and Ramones T-shirts, come with their wives and their kids and say what our music has done for them.”

Coming up next will be The Long Ryders’ sixth studio album, the follow-up to 2023’s September November. “It’ll be out in March/April. No title yet,” says Sid. “We recorded in a little town in the desert with producer Ed Stasium [who has worked with the Ramones, Talking Heads, Motörhead and the Smithereens, among others].

“It was a really great experience to get together with the guys again. It’ll possibly be our last one but it was a lot of fun to do.  Now we’ve got to be mix it for release in the spring.”

Hurricane Promotions present The Coal Porters, All Saints Church, Pocklington, tonight, 7.30pm. Box office: sidgriffin.com/tour; Pocklington, ticketsource.co.uk/hurricane-promotions/the-coal-porters/2025-09-19/19:30/t-eaoqmak.

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REVIEW: Pick Me Up Theatre in Fun Home, York Medical Society, Stonegate, York, tonight and tomorrow, 7.30pm ****

Alison times three in Fun Home: Libby Greenhill as ‘medium’ Alison, Claire Morley as Alison and Hattie Wells as ‘small’ Alison. Picture: Mike Darley

APOLOGIES for the tardiness of this review, delayed by five days of binging on Prague culture.  Nevertheless, it is not too late to see Pick Me Up Theatre’s York premiere of Jeanine Tesori and Lisa Kron’s award-garlanded musical Fun Home.

Well, hopefully not too late to acquire a ticket for tonight or tomorrow. York Medical Society’s Theatre Room is one of York’s more compact performance spaces (capacity 60, for lectures; 45, for cabaret; 24, for board meetings). And now 40 for Fun Home.

Director-designer Robert Readman gives the portrait-bedecked room more of a drawing-room entertainment vibe, or maybe a parlour. Make that a funeral parlour, as a funeral home – or ‘Fun Home’ as the Beckdel family call their unconventional Pennsylvanian abode – is where ‘small’ Alison and brothers Christian (Oliver Smith) and John (Teddy Alexander) play and make up songs amid the coffins.

Young Alison (Hattie Wells) is one of three Alisons in Fun Home, whose story is drawn from cartoonist Alison Beckdel’s graphic memoir Fun Home: A Family Tragicomic. Omnipresent is adult Alison (Claire Morley), at the age of the 43 – the same age that her father, suicidal spoiler alert, stood in front of a truck – looking back on her childhood and her coming out at 19 at university in New York (‘medium’ Alison, played by 16-year-old Libby Greenhill).

“It’s such a moving and unusual story and I love the score and the book,” says Readman, who rates five-time Tony winner Fun Home among his very best productions.

He is not wrong. Hattie Wells reveals a precocious talent, so confident on stage already, singing brightly and delivering a spot-on American accent, as her Alison shows a preference for jeans over dresses and a love of drawing. Her solo rendition of Ring Of Keys, is a high-point of a musical that eschews an interval to achieve maximum impact.

Likewise Libby Greenhill shows maturity beyond her years in her account of ‘medium’ Alison, with her love of literature and first love for fellow student Joan (Britney Brett), expressed so humorously and passionately in the song I’m Changing My Major To Joan. She is particularly impressive in the scenes where she craves her parents’ response to telling them by letter that she is a lesbian.

Alison’s mother, Helen (Catherine Foster, in fine singing voice), is a professional actress, but the focus is on her home life, where husband Bruce (Dale Vaughan) is a towering mass of complexities, contradictions, gaslighting control and linear, intolerant  thinking, yet with a teacher’s love of literature, a reckless streak and an expressive sideline in house restorations.

Doors to the Theatre Room are kept open for the corridor sounds of Bruce kicking out in anger, shouting in foul-mouthed froth at his wife and introducing ‘small’ Alison to her first dead body, adding to their shock value.

Bruce is homosexual, and not a closet one, openly hitting on students (played by Cain Branton) without regard for his wife’s feelings. Vaughan’s frank, fearless, frightening performance is one of the best on the York stage this year.

Everything is observed by Morley’s Alison, drawing and writing captions for her memoir, trying to make sense of it all, not least her father’s suicide, and she does so with a mixture of humour and tragedy in Morley’s first musical since her All Saints schooldays. And she really can sing!  Who knew!

Oh, and if you miss tonight or tomorrow’s shows, you could always head to Manchester for the Royal Exchange production from July 3 to August 1 next summer.

Pick Me Up Theatre in Fun Home, York Medical Society, Stonegate, York, tonight and tomorrow, 7.30pm Content guidance: Themes of LGBTQ+, suicide and strong language. Parental guidance: 12 plus. Box office: ticketsource.co.uk/pickmeuptheatre.com.

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REVIEW: Alan Ayckbourn’s Earth Angel, Stephen Joseph Theatre, Scarborough ****

Russell Richardson’s Gerald Mallett, left, and Iskandar Eaton’s Daniel in Alan Ayckbourn’s Earth Angel at the SJT, Scarborough. Picture: Tony Bartholomew

INTRODUCING his 91st play, writer-director Alan Ayckbourn says: “We have to remember there are still good things floating about in the world today, though it’s often hard to see them. But the good is still there if we look for it.”

You might well put Ayckbourn’s annual world premiere at the Stephen Joseph Theatre on that list, but let’s consider his point – and note the Scarborough knight’s reference to “today”.

Latterly, his comedy dramas have tended to reflect on the past or look to the future, but Earth Angel is a play for today and of today, albeit its world of conspiracy theories, poisonous well of social media and scathing putdowns of anyone deemed “too nice” will only become more omnipresent. As for modern policing, Ayckbourn has plenty to say.

Earth Angel is a mystery and state-of-the-nation’s morals litmus test wrapped inside a domestic drama set in West Yorkshire. Not for the first time, Ayckbourn and his designer, Kevin Jenkins, give us a kitchen and a sitting room – or, rather, two sitting rooms, one for each half, in an open-plan theatre-in-the-round setting where the front door and inside and outside walls are cut off half way up.

It won’t wash: Elizabeth Boag’s nosey neighbour Norah, perplexed by Daniel’s evasive answers in Earth Angel. Picture: Tony Bartholomew

Mystery number one: who is Daniel (British/Malaysian actor Iskandar Eaton, originally from Sheffield, in his SJT debut)? All in Milk Tray Man black, he is helping well-meaning nosey neighbour Norah (Ayckbourn regular Elizabeth Boag) with the washing-up after the funeral wake for Amy, school teacher, former folk singer and hippy spiritualist wife of Gerald Mallett, fellow teacher and 15 years her senior.

Gerald (SJT newcomer Russell Richardson) is sitting alone in the sitting room as Daniel and Norah talk of the lovely service and the vicar’s even lovelier appraisal of Amy as an Earth Angel. Norah, like the audience, becomes increasingly curious as to whom and what Daniel is.

He was there to comfort Gerald, he explains, but admits he did not know Gerald until today, confirming he was not a former pupil. Curiouser and curiouser, thinks Norah, who doesn’t want Gerald to be on his own tonight.

Gerald, however, rather warms to the natural simpatico of Daniel, seeing Norah’s fussing and fretting off the premises. Perhaps Daniel is the Earth Angel? Norah, however, alerts fellow busy-body Hugo (Hayden Wood), who insists on staying on Gerald’s sofa, his laptop his perma-partner, his tunnel vision, as he looks into who Hugo may be. Eyes down for a full house of nonsense.

Wither of discontent: Liza Goodard’s Maxine and Stuart Fox’s Adrian in Earth Angel. Picture: Tony Bartholomew

Hugo, a deliciously satirical Ayckbourn character written in frustrated response to those who only have eyes for their screen, is a modern-day irritant who may be in the room and yet is not in the room, his mind elsewhere. In his case, the electronic web of intrigue.

In keeping with today’s self-righteous world, he never listens to anyone, except to the rumours spreading through the internet wildfire. Where once there were Chinese whispers, idle chit-chat and pub gossip, now it is the tap, tap, tap drip-feed of electronica that is all pervasive – and persuasive.

While Hugo is piling up the conspiracies – is Daniel a zombie, a serial killer or maybe an alien? – Gerald’s stuck-up sister, intransigent, insufferable magistrate Maxine (Ayckbourn favourite Liza Goddard) and her grouchy, old-school, know-it-all  husband, ex-policemen Adrian (fellow Ayckbourn stalwart Stuart Fox) are turning up from Doncaster to stick their oar in, fanning the flames of the ever more absurd speculation.

Post interval, in Act Three, the sitting room is now the cushion-laden one in Norah’s house, where the impromptu surveillance squad of co-conspiracists are plotting what to do with Daniel – and recoiling at the disgusting coffee made by Norah (a running joke in Ayckbourn tradition).

Who can be trusted? Conspiracist Hugo (Hayden Wood) at odds with Gerald (Russell Richardson) in Alan Ayckbourn’s 91st play, Earth Angel. Picture: Tony Bartholomew

They are making a meal of everything; Daniel, meanwhile, is making the perfect breakfast  for a grateful, trusting Gerald, but still the mysteries remain. Who exactly is Daniel and who is the real Earth Angel?

One answer is provided as Ayckbourn’s tone turns darker, as he is wont to do in Ibsen vein, but still he pumps up the farce too in his latter-day theatre of the absurd. The other, you must decide for yourself, but it affirms that opening sentiment of the good still being there if you look for it. It feels a nourishing finale, in more ways than one.

Throughout, you can delight in director Ayckbourn’s mastery of movement around the 360-degree stage amid the shifting sands of his plot. As ever, he has cast superbly, both in familiar faces Goddard, Fox and especially Boag, and in those new to Ayckbourn at the  SJT, Richardson’s free-spirited Gerald, Wood’s taciturn meddler and Eaton’s quietly impressive Daniel.

Alan Ayckbourn’s Earth Angel runs at Stephen Joseph Theatre, Scarborough, until October 11, then on tour until November 8. Scarborough box office: 01723 370541 or sjt.uk.com.  

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Navigators Art to host Folk & Word Open at Artful Dodger tonight and YO Underground #5 at The Basement on Saturday

The poster for Navigators Art’s YO Underground #5 bill at The Basement on Saturday

YORK arts collective Navigators Art will hold a Folk & Word Open Mic upstairs at The Artful Dodger, Micklegate, tonight and subsequently on the third Thursday of each month.

Poets and singers can sign up from 7pm for the 7.30pm start. “We welcome writers and ‘wordful’ acoustic musicians who’d like to share their work,” says Navigators Art co-founder Richard Kitchen. “Bring a poem, a guitar, a voice. All are welcome. We have a safe, friendly ethos. Access is by stairs only, sorry.” Entry is free with a purchase from the bar.

Navigators Art’s regular fulcrum of bold, left-field new music, words and performance will return to The Basement, City Screen Picturehouse, York, for YO Underground #5 on Saturday at 7.30pm.

York flute and recorder player Carmen Tronsoco

“This edition features ethnic instruments, acoustic-electronic improvisation, words and guitar-based fusion, plus passionate new songwriting,” says Richard. “Expect bold, beautiful and adventurous sounds.”

On the bill will be Carmen Troncoso’s ethnic woody wind-blown instruments; York oboe musician Desmond Clarke & Osc~, featuring Barrington Brook, Iris Casling, Nika Ticciati and Gaia Blandina; No Spinoza’s words and guitar-based fusions, and a new York ‘supergroup’, the NSC Sound Union, combining members of Soma Crew, Namke Communications, Simon Micklethwaite and two others.

 Carmen Tronsoco is a flautist, recorder player and creative researcher. “In my artistic projects, I explore imaginative ways of engaging with my instruments, viewing them not as mere tools but as autonomous entities — or even creatures — capable of unfolding and revealing their own character,” she says.

York oboe player Desmond Clarke

“My practice aims to express the evolving, dynamic relationship between human and non-human agents.”

Desmond Clarke’s performances explore the boundaries and overlaps between acoustic instruments and their electronically inflected mirror images. Osc~ is a loose collective of musicians, based in the north, interested in long-form improvised musical performances. Previous performances have included four, seven, eight and 24-hour-long improvised megastructures.

No Spinoza is Thomas Pearson, a musician, poet and artist from the north east whose music – electronic folk with an art-rock edge – has received airplay on BBC 6 Music, BBC Radio York and on radio and playlists worldwide. His fourth album will be released later this year.

No Spinoza’s Thomas Pearson

As Thomas Pearson, his writing has been published in various books and magazines, from Litmus to the Architects’ Journal. His artwork has been exhibited at the National Poetry Library, the Royal Academy of Arts and as a large-scale landscape installation at RSPB Saltholme, near Middlesbrough.

NSC Sound Union, formed by members of long-standing York bands Neuschlaufen and Soma Crew, meets the two bands half way: the improvisation from Neuschlaufen versus the discipline of Soma Crew. “Find out at each show which one comes out on top,” says Richard. “It’s never the same show twice.”

Admission is £6 in advance at www.ticketsource.co.uk/navigators-art-performance) or £10 on the door. The Basement is fully accessible.

Navigators Art raised £1,500 for Palestine aid at last Sunday’s A Gig For Gaza fundraiser at at The Crescent.

What happens when Neuschlaufen’s improvisation meets Soma Crew’s discipline? Find out at The Basement on Saturday

Osc~: Loose collective of northern musicians interested in long-form improvised musical performances

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REVIEW: Military Wives The Musical, York Theatre Royal, until September 27 *****

Raising their voices: Rachael Wooding, left, Jessica Daley, Emma Crossley, Bobbie Little, Syndey Isitt-Ager, Kayla Carter, Ashleigh Gray and Caroline Sheen in York Theatre Royal’s world premiere of Military Wives The Musical. Picture: Danny With A Camera

AFTER Sir Gary Oldman’s spring return to York Theatre Royal after 35 years in the banana-munching, tape-spooling Krapp’s Last Tape, here comes the second Theatre Royal coup of 2025.

Again opening with a week of previews before press night, Debbie Isitt’s Military Wives The Musical is receiving its world premiere.

This has HIT written all over it. Isitt is the BAFTA-winning writer-director behind the Nativity! film and stage show franchise and the Stock Aitken Waterman musical I Should Be So Lucky.  Likewise, Military Wives is a highly successful brand already, with a Gareth Malone TV series, a Christmas number one single and the 2019 film.

Military Wives writer-director Debbie Isitt in the rehearsal room. Picture: Danny With A Camera

Now Isitt’s musical brings together the best Isitt ingredients – comedy, high emotion, colourful, populist characters – fused with the pop appeal of chart hits and power ballads,  and the Military Wives true story already familiar to many.

York is an apt location for this world premiere, given the long history of Strensall and Imphal Barracks and the proximity of Catterick Garrison up the A1. Last night’s press night was preceded by a special pre-show foyer performance by the Military WAGS Choir from Catterick Garrison, and the presence of military wives in the audience had a palpable impact on the response throughout.

All this will be music to Debbie Isitt’s ears. She had maximised the authenticity of her storyline by her detailed research, meeting wives from barracks and Military Wives choir members.

In the line of fire in Afghanistan: Billy Roberts, left, Joe Kelly and Adrian Hansel’s soldiers in Military Wives The Musical. Picture: Danny With A Camera

What results is a nascent musical that already feels complete, that ticks every box, that is much more than a mere jukebox musical, that has broad appeal, all-important momentum, comedy and tragedy in tandem.

The show carries the content warning of “including depictions of war and violence in a military conflict and themes of bereavement”. Plus haze/theatrical smoke.  Tick. Pyrotechnics and loud noises/explosion effects. Tick. Strong language. Tick. Prop firearms. Tick.  You have been warned. Tick.

Military Wives is billed as a “funny, feel-good story of female empowerment and the perfect harmony of laughter, emotion and fun in a joyous celebration of female friendship, courage and ‘unsung’ heroes”. That might suggest the target audience is female, but to a man, every man around your reviewer was drawn to its winning formula too.

Across the divide: Caroline Sheen, left, Ashleigh Gray, Syndey Isitt-Ager, Emma Crossley, Jessica Daley, Rachael Wooding, Billy Roberts, Joe Kelly and Adrian Hansel in a scene from Military Wives The Musical. Picture: Danny With A Camera

The words “joy” and “feel-good” jump out, but what makes Military Wives more than that is that it never hides away from the reality of war: the fear of death, of no return, of PTSD, of loss of faith, of the loneliness of absence, of the importance of letters in the dearth of physical contact.

All life (and death) is here on Katie Lias’s set of boxes, barbed wire and poppies as Isitt introduces us to the wives and their soldier husbands as the men head out to Afghanistan. Bex (Emma Crossley) and soldier partner Paula (Bobbie Little), struggling with IVF; Faith (Kayla Carter) and Luke (Adrian Hansel), questioning his faith (but not Faith); potty-mouthed, chain-smoking Krissy (Rachel Wooding), at loggerheads with Dale (Billy Roberts); posh, wasp-tongued Susannah (Caroline Sheen), “Snuffle Bottom” to husband Simon (Roberts), the colonel.

Jessica Daley’s ever-harassed Jenny and Stewart Wright’s ever-chirpy Dave the Welfare Officer in Military Wives The Musical. Picture: Danny With A Camera

We also meet newly-weds Sarah (Sydney Isitt-Ager) and Adam (Joe Kelly), yet to go on honeymoon; pregnant Terri (Ashleigh Gray); mother-of-five shopkeeper Jenny (Jessica Daley), the can of Pringles of the barracks (“have one and she can’t stop”).

On hand at all times is Dave, the welfare officer, (Stewart Wright), always perky, always coming up with a new idea, always available to help, and throughout he is Isitt’s primary source of humour (along with the putdowns of Wooding’s Krissy).

Into this world, where the women have been living separate lives behind closed doors, comes choir leader Olive (Bobbie Little) to bring them together through song. Isitt in turn brings together all social classes and the frictions that go with that, leading to a superlative Spice Girls gag.

Ann Summers’ night for the Military Wives: Emma Crossley, left, Rachael Wooding, Ashleigh Gray, Kayla Carter, Jessica Daley, Syndey Isitt-Ager and Caroline Sheen. Picture: Danny With A Camera

All the while, on the choir’s journey from Bicester show to the Royal Albert Hall, songs are suddenly interjected with gunfire and explosions in Afghanistan, climaxing in the Act One cliffhanger with parallel dramas of childbirth on a hilltop and a medical emergency on the warfront. The shadow of death is never far away, but so too are revelations of past loss, infidelity, dementia and fatherhood.

George Dyer, arranger, orchestrator, musical supervisor and musical director, is on superb form at the piano, for Adele, Coldplay and Pink hits alike, matched by the moving, amusing performances of Isitt’s West End cast –and that is surely where Military Wives will be heading.

Maybe a tour first, given that this world premiere was made in association the Everyman Theatre, Cheltenham, and Buxton Opera House. Just as Seven Brides For Seven Brides and The Railway Children made their way from York Theatre Royal origins to London, so will Military Wives.

Debbie Isitt’s Military Wives The Musical, York Theatre Royal, until September 27, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 40, from Gazette & Herald

Rebecca Vaughan’s Lady Susan in Dyad Productions’ Austen’s Women: Lady Susan. Picture: Ben Guest

JANE Austen’s Lady Susan, supreme chamber musicians, nature photography and Inspector Morse’s stage debut keep September busy for Charles Hutchinson.

Magnificently crafted tale of manipulation and manners of the week: Dyad Productions in Austen’s Women: Lady Susan, York Theatre Royal Studio, tomorrow and Friday, 7.45pm, Saturday, 2pm; Helmsley Arts Centre, Sunday, 7.30pm

DYAD Productions return with a new solo comedy show, Jane Austen’s 1794 tale of manipulation and manners. Directed by Andrew Margerison, company regular Rebecca Vaughan plays devil-may-care widow Lady Susan, oppressed, rebellious daughter Frederica, long-suffering sister-in-law Catherine, family matriarch Mrs De Courcy and insouciant best friend Alicia.

At the vanguard of Vaughan’s wickedly humorous adaptation is the charming, scheming and witty Lady Susan, taking on society and making it her own, but has she met her match? Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk.

Classical festival of the week: York Chamber Music Festival 2025, Friday to Sunday

YORK Chamber Music Festival artistic director Tim Lowe brings the cream of European string playing to York for three days. Taking part in five concerts at the National Centre for Early Music, Unitarian Chapel, St Saviourgate, Sir Jack Lyons Concert Hall, University of York, and St Olave’s Church will be Charlotte Scott and Jonathan Stone, violins; Helene Clement and Gary Pomeroy, violas; Lowe and Jonathan Aasgaard, cello, and Katya Apekisheva, piano. For the full festival programme and tickets, go to: ycmf.co.uk.

Comedy gig of the week: Russell Kane, Hyperactive, York Barbican, Friday, 8pm

WHIRLWIND physical comedian, presenter, actor and author Russell Kane is out on the road again with his latest tour carrying a safety warning: “Wear strong underwear. Pants will be spoiled”. This show will be high-energy, high-octane and hyper-active. Box office: yorkbarbican.co.uk.  

Film event of the week: Mother Vera with Q&A, City Screen Picturehouse, York, Friday, 6pm

IN a hidden Orthodox monastery in Belarus, Mother Vera weaves the inner world of an unorthodox young nun with the community that saved her life. After 20 years as a monastic, Vera faces deep inner conflict. Now, she must confront her past and trust her instincts to find the liberation she desires.

Friday’s screening of Cécile Embleton and Alys Tomlinson’s winner of Best Documentary at the 2024 BFI London Film Festival – shot in black and white – will be accompanied by a question-and-answer session with Tomlinson, conducted by Aesthetica  writer and curator Rachel Pronger. Box office: picturehouses.com/cinema/city-screen-picturehouse.

Americana gig of the week: The Coal Porters, All Saints Church, Pocklington, Friday, 7.30pm

THE Coal Porters, who claim to be the world’s first “alt-bluegrass” act, will be led as ever by Sid Griffin in Pocklington, a day after celebrating his 70th birthday.

Prominent figures in the UK Americana and bluegrass scene for 17 years, Griffin’s band are back in the saddle this autumn for eight dates. Their songs showcase the power of fiddle, mandolin, banjo, acoustic guitar and doghouse bass, all harmonised with four-part vocals and melodies. Box office: sidgriffin.com/tour; ticketsource.co.uk.

Ryedale exhibition launch of the week: All The Wood’s A Stage, Nunnington Hall, near York, from Saturday to March 29 2026

ALL The Wood’s A Stage will continue the 2022 showcase Woodland Sanctuary, exhibited originally at the Moors Centre in Danby. This latest chapter features predominantly new photographs that celebrate the beauty and vital significance of trees, woodlands and forests across the UK.

Photographers Joe Cornish and Simon Baxter depict trees as silent performers on nature’s stage, encouraging us to observe, listen and reflect. Trees provide joy, peace and inspiration, being lungs of the Earth, guardians of biodiversity and a crucial part of our mental and physical well-being. Through changing seasons, they symbolise life, death and renewal. Tickets: nationaltrust.org.uk/visit/yorkshire/nunnington-hall.

Dance show of the week: The Return Of The Legends, starring Brendan, James, Pasha, Vincent and Ian, York Barbican, Saturday, 7.30pm

STRICTLY Come Dancing alumni Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite follow up 2024’s  Legends Of The Dancefloor with new Latin, tango, rumba and ballroom routines and more Strictly stories in The Return Of The Legends. Joined by a supporting cast, they deliver a night of dancing, camaraderie, music and laughter. Box office: yorkbarbican.co.uk.  

Murder mystery of the week: Inspector Morse: House Of Ghosts, Grand Opera House, York, September 23 to 27, 7.30pm plus 2.30pm Wednesday and Saturday matinees

BIRMINGHAM Repertory Theatre and Simon Friend Entertainment are touring the Inspector Morse franchise’s debut original stage play, House Of Ghosts, penned by Alma Cullen, directed by Anthony Banks and starring Tom Chambers.

A chilling mystery unfolds when a young actress dies suddenly on stage during a performance, prompting Detective Chief Inspector Morse to embark on a gripping investigation. What begins as a suspicious death inquiry takes a darker turn when the legendary inspector, in tandem with Detective Sergeant Lewis, uncovers a connection to sinister events in his own past, 25 years earlier. Box office: atgtickets.com/york.

Blues gig of the week: Ryedale Blues Club, The Della Grants, Milton Rooms, Malton, September 25, 8pm

LEICESTER band The Della Grants’ songs seamlessly bridge the gaps between blues, rock and Americana. Since their inception in 2014, they have made a name for themselves among industry professionals and fellow musicians for their song-writing ability and performances. Box office: 01653 696240 or themiltonrooms.com.

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Film event of the week: Documentary Mother Vera with Q&A, City Screen Picturehouse, York, Friday, 6pm

The poster for Friday’s screening of Mother Vera at City Screen Picturehouse

IN a hidden Orthodox monastery in Belarus, Mother Vera weaves the inner world of an unorthodox young nun with the community that saved her life. After 20 years as a monastic, Vera faces deep inner conflict. Now, she must confront her past and trust her instincts to find the liberation she desires.

Friday’s screening of Cécile Embleton and Alys Tomlinson’s 91-minute film, winner of the Grierson Documentary Award for Best Documentary at its UK debut at the 68th BFI London Film Festival in 2024, will be accompanied by a question-and-answer session with Tomlinson, conducted by Aesthetica writer and curator Rachel Pronger.


“Shot in breathtaking black and white, Mother Vera is a visually arresting and deeply meditative portrait of a woman confronting the shadows of her past,” says Alys. “The film originally came out of a photograph, so it’s an interesting story that tackles themes around community, spirituality and addiction.”

Mother Vera was released by SheMakes Productions to British and Irish cinemas on August 29. “We are a totally independently made and distributed film, so are reliant on word of mouth to attract audiences,” says Alys.

Introducing her film, she says: “Vera has spent 20 years in a convent on the outskirts of Minsk, living among men undergoing addiction rehabilitation. When a conversation with her mother stirs long-buried memories, Vera is compelled to revisit her own past and the tragic events that led her to this secluded life. What unfolds is a quiet, powerful story of resilience, healing and spiritual transformation.”

The film poster for Mother Vera

Combining haunting cinematography with contemplative pace, Mother Vera invites audiences into a world rarely seen on screen — one of silence, struggle, and redemption. View the trailer at https://vimeo.com/797081818?fl=pl&fe=sh.

Tickets can be booked at picturehouses.com/cinema/city-screen-picturehouse.

Mother Vera synopsis

AFTER two decades in a Belarusian Orthodox monastery, Vera reflects on her unexpected path to nunhood, rooted in a history of addiction. Facing her lingering guilt, she finds herself at a crossroads between her monastic sanctuary and an uncertain future.

With a poignant gaze, Vera’s quiet journey of self-examination offers an intimate glimpse into the complexities of faith, recovery and personal transformation within cloistered walls.

A scene from Cécile Embleton and Alys Tomlinson’s documentary feature Mother Vera

The directors

Cécile Embleton

 British-French documentary director. Her directorial debut The Watchmaker’ screened at Hot Docs, Dok Leipzig and SXSW (South By South West).

Mother Vera is her first feature documentary. The project is supported by the Sundance Institute and won second prize at the Hotdocs Forum 2021 and first prize at Locarno First Look 2023.

Alys Tomlinson

British photographer, working with black-and-white analogue film. Work featured in more than 20 international exhibitions. Named Sony World Photographer of the Year in 2018.  Long-term project Ex-Voto was published by GOST Books in 2019. Mother Vera is her directorial debut.

SheMakes Productions: back story

SheMakes was founded by producer Laura Shacham in 2018. Focusing on artist moving image and documentary film (and the intersection of the two), the company works primarily on projects led and imagined by women: short and long form documentary film for theatrical release, broadcast, online and artist film for international art institutions.

Work includes Mother Vera (supported by Sundance, HotDocs, Locarno, winner of BFI LFF Grierson Award for Best Documentary 2024) and I Will Keep My Soul (commissioned by The Rivers Institute for Contemporary Art + Thought, New Orleans) by Turner Prize-winning artist Helen Cammock.

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Here comes Lady Susan, ‘the most accomplished coquette in England’, as Dyad Productions unveil another of Jane Austen’s Women. Next up, York and Helmsley

Rebecca Vaughan’s Lady Susan in Dyad Productions’ Austen’s Women: Lady Susan. Picture: Ben Guest

DYAD Productions sweep into York Theatre Royal Studio with Rebecca Vaughan’s new solo comedy account of Lady Susan, Jane Austen’s 1794 tale of manipulation and manners, from Thursday to Saturday. Helmsley Arts Centre follows on Sunday.

Directed by Andrew Margerison, multi-role-playing London company regular Vaughan will switch between devil-may-care widow Lady Susan, oppressed, rebellious daughter Frederica, long-suffering sister-in-law Catherine, family matriarch Mrs De Courcy and insouciant best friend Alicia.

At the vanguard of Vaughan’s adaptation of Austen’s wickedly humorous depiction of Georgian society and the women trapped within it – their struggles, desires, temptations and manipulations – is the charming, scheming and witty Lady Susan, taking on society and making it her own, but has “the most accomplished coquette in England” met her match?

Here Rebecca Vaughan and Andrew Margerison discuss Lady Susan, Jane Austen, GK Chesterton and solo shows with CharlesHutchPress.

What attracts you to Austen’s women, as opposed to, say, to the Brontë sisters?

Rebecca: “I do actually love both!  And I see Austen and the Brontës as all fabulous, but very different beasts.  Austen’s writing is so witty and economical, and her commentary on society is biting and incisive.  Her female characters reveal so much about the social mores of the time, and the ways in which women are trapped by society.”

Andrew: “They’re all wonderful and have created incredible work. Certainly in this case, one of the things that really piqued my interest was the comedic element.

“Whilst they’re all using satire in their works, the sharpness of the satire in this particular piece along with the very modern feeling characters was a match made in heaven from a creative standpoint, to really gift us some very interesting, engaging and mostly unknown material.”

“Creating a far darker character in Susan reveals so much about the ways in which Georgian society treats widows, even higher up in society.” says Rebecca Vaughan. Picture: Seamus Flanagan

GK Chesterton said of Lady Susan: “I for one would have willingly left Lady Susan in the wastepaper basket.” Why is Chesterton wrong and where would you place Lady Susan?

Rebecca: “Chesterton is so wrong! Lady Susan is of course a very different piece to any of Austen’s other work – but that’s what makes it so fascinating.  The space between the letters and the epistolary nature of the work only add to the humour.  

“The dissonance between Lady Susan’s machinations and Catherine’s increasing frustrations are hilarious (and this is certainly borne out with the audiences reactions to our show).

“Also, creating a far darker character in Susan reveals so much about the ways in which Georgian society treats widows, even higher up in society, especially those without a son to inherit property.  Whilst Lady Susan was created by a younger Austen, there’s a freshness to it which is so apparent, and which audiences really respond to.”

Andrew: “Chesterton is wrong simply because it would seem that he can’t see the characters for the wonderful cross-section of society that they represent. They’re naive, cutting, foolish, pompous, entitled, maligned, ignored, raised up and mistreated. For all those reasons they belong on your bookshelf and on your stages!”

On the other hand, Margaret Drabble said of Lady Susan, Austen’s first full-length novel: “In no other novel is Jane Austen so evidently writing at a turning-point in the morals of the nation. The machinations of the wicked, witty and beautiful heroine clearly identify it with the outspoken and ribald 18th century.” Discuss…

Rebecca: “Absolutely!  It’s thought that she finished the novel in 1794, and it certainly feels more of a Georgian piece than a Regency piece.  There are more references to sexuality (and sensuality) and Lady Susan herself is outspoken and powerful in a way even Lizzie Bennet isn’t [in Pride And Prejudice].  

Rebecca Vaughan in multi-role-playing mode in Austen’s Women: Lady Susan. Picture: Seamus Flanagan

“She’s aware of herself and those around her and has the maturity to understand the situation she’s in, and thus try to use everything in her armoury to survive.  It’s the 18th century nature of the novel we were drawn to – and really wanted to bring this into our adaptation.”

Andrew: “I think that’s an absolutely accurate insight into the character of Lady Susan. As we know, Jane Austen was fascinated by her own times and had the most incredible eye making her the consummate commentator on society. Her ability to transform what she observed into narrative and character are hugely impressive.”

Austen’s writing style is magniloquent/grandiloquent/detailed. How do you transfer this into action on stage?

Rebecca: “It’s the absolutely detailed nature of her language which makes it so easy to transfer to the stage.  Austen is so clever at writing dialogue which fits perfectly into the mouths of each character, and when spoken aloud, reveals so much of what that character is about.

“Whether it’s overblown, or languid, or almost tripping over itself, she’s an absolute genius at fitting the language to the character – which makes it perfect for theatre.”

Andrew: “We make that transfer with a lot of time in the rehearsal room! We start from our adaptation and no matter what’s on the page, nothing is sacred. More often than not, it’s very clear what works when one lifts it off the page and breathes it into being.

“Austen is so clever at writing dialogue which fits perfectly into the mouths of each character,” says Rebecca Vaughan. Picture: Seamus Flanagan

“There’s a natural simpatico with the moment presented on stage whereby one recognises if it sounds ‘right’ or not. Which isn’t to say you can’t go backwards and forwards with ideas and alternatives, but quality will out!”

What are the strengths of solo shows that Dyad Productions stages so consistently? Cost effective to tour, for sure, but it must be more than that?

Rebecca: “We’re fascinated about going back to the origins of theatre, and the storytelling nature of witting in a dark room and hearing a story told.  By the breaking of the fourth wall, which forms such a part of our solo work, we can create a space where the audience is absolutely part of the action, and not just passively watching it.”  

Andrew: “I’d suggest that we all go to the theatre to experience something. A connection of some variety with the work being shown. Breaking the fourth wall, speaking directly to the audience is a fantastic method in which to connect. The audience from the very start becomes party to the piece, an integral player and that connection cannot be undersold in its importance.”

Does it ever become lonely on stage?

Rebecca: “I do absolutely love sharing a stage with other actors – and it’s certainly easier being on stage with loads of others! – but there’s nothing like sharing the story each night directly with the audience.  The audiences bring such variety and it’s a real honour to be able to share these great stories.  So no,  no loneliness at all!”

Hospital drama incoming:  Dyad Productions will be teaming up with Company Gavin Robinson to create General Medical Emergency Ward 10 next spring

What’s coming next for Dyad Productions?

Rebecca and Andrew: “We’re touring three other shows this autumn: That Knave, Raleigh (about Elizabeth I’s dandy warrior, Sir Walter Raleigh) in October and November across the UK and Northern Ireland, then two Christmas shows, Christmas Gothic and A Christmas Carol in November and December.  

“Then, next spring, we’re collaborating with Company Gavin Robertson to devise and create a very different piece, where there’ll be three of us on stage!  

“To give you an idea of it: imagine a pastiche and parody of every hospital soap opera/drama you can think of, called simply General Medical Emergency Ward 10!  It’s going to be lots of silly fun!”

Dyad Productions in Lady Susan, York Theatre Royal Studio, tonight and tomorrow, 7.45pm; Saturday, 2pm. Also Helmsley Arts Centre, Sunday, 7.30pm. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Helmsley, 01439 771700 or nhelmsleyarts.co.uk.

Dyad Productions: the back story

“In the dark between life and death, a haunted woman tells strange and terrifying tales”: Rebecca Vaughan in Female Gothic in 2021

THIS year marks Dyad Productions’ 16th year of touring in the UK, Ireland, Australia, New Zealand and the USA.

“Specialising in high-quality literary adaptations as well as original work, we’re always thrilled to bring something fresh and new to often believed well-known works,” states the London company.

Producer, actor and writer Rebecca Vaughan has adapted and performed in Austen’s Women, A Room Of One’s Own,  Orlando,  Jane Eyre: An Autobiography, I, Elizabeth,  Dalloway, Christmas Gothic, and Female Gothic.

Andrew Margerison has directed Dyad’s A Christmas Carol and Frantic Assembly’s Macbeth and Fatherland.

Lady Susan was created in collaboration with The Old Town Hall, Hemel Hempstead, where Dyad Productions are the resident company.

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Inbetweeners’ James Buckley and vlog co-star wife Clair to play York Barbican and Sheffield City Hall on Out With The Buckleys tour. When do tickets go on sale?

The UK Tour 2026 poster for James and Clair Buckley’s Out With The Buckleys

“THE internet’s favourite husband-wife duo”, James and Clair Buckley, are taking their vlog offline and around Great Britain on an unfiltered, unedited live tour next spring.

Inbetweeners star James and Glasgow-born Clair will visit York Barbican on April 10 2026 on their 13-date Out With The Buckleys tour. Tickets go on general sale on Friday (19/9/2025) at 10am at https://www.yorkbarbican.co.uk/whats-on/out-with-the-buckleys.

The Buckleys will be embarking on their first live itinerary after four years of At Home With The Buckleys, their YouTube channel that has drawn 275,000 subscribers to the couple “documenting their relationship in its authentic form”.

The live show will “deliver everything fans know and love about the pair, plus much more”. Expect James and Clair’s signature banter, never-heard-before stories, everyday gripes and  a few surprises along the way.

“We’re genuinely thrilled to be announcing our first ever tour, Out With The Buckleys,” they say. “It’s really exciting to have the chance to share a room with some of the amazing people who have supported our channel over the years and hopefully have some new faces in the audience too.

“It’s going to be an entertaining night where you will get to know us in the most authentic way we’ve ever shared before: no editing, no filters, no topic off limit!”

Last November, James and Clair launched their comedy podcast The Buckleys, subsequently reaching number one on Spotify and Apple Podcasts charts and chalking up 80 million social views and counting.

Earlier this year, they were announced as new cast members on Channel 4’s Celebrity Gogglebox. 

Next spring’s tour will offer a different side of The Buckleys with no cameras and no producer edits. Who knows what they might share in a night of open, honest and delightfully nonsensical chat, plus audience participation and maybe even a song or two with James on his favourite guitar?

Out With The Buckleys will play a second Yorkshire show at Sheffield City Hall on April 12; tickets, from Friday at 10am, at https://www.sheffieldcityhall.co.uk/out-with-the-buckleys/.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 39, from Gazette & Herald

Grainne O’Hare: Discussing her debut novel, Thirst Trap, a study of friendship in Belfast, with York theatre-maker and university tutor Bridget Foreman at Helmsley Literature Festival

HELMSLEY’s book festival, musical premieres, Ayckbourn’s 91st comedy and the Yellow Brick Road are beckoning Charles Hutchinson. 

Festival of the week: Helmsley Literature Festival, Helmsley Arts Centre, Friday to Sunday.

HELMSLEY Literature Festival presents an entertaining weekend of writers, theatre and music, opening with Joanne Harris & The Storytime Band’s musical storytelling show on Friday at 7.30pm and concluding with the Studio Bar literary quiz on Sunday at 8.30pm.

Saturday presents retired clinical oncologist Grahame Howard at 2pm; Belfast-born debutant novelist Grainne O’Hare (Thirst Trap), 4.30pm; Debbie Cannon’s play The Remarkable Deliverances Of Alice Thornton, 7pm, and Poets’ Corner, hosted by Steve Harvey in the Studio Bar, 8.30pm. Sunday features Cliff Hague’s Cup Finals: Football Stories Of Great Games, Heroes And Villains, 2pm; northern authors Jenn Ashworth (The Parallel Path: Love, Grit And Walking The North) and Wendy Pratt  (The Ghost Lake), and Saltburn bookshop owner and The Hometown Bookshop novelist Jenna Warren, 7pm. Box office: 01439 771700 or helmsleyarts.co.uk.

Musical world premiere of the week: Military Wives – The Musical, York Theatre Royal, today to September 27, times vary

YORK Theatre Royal stages the world premiere of writer-director Debbie Isitt’s musical based on the 2019 film, rooted in Gareth Malone’s The Choir: Military Wives project.

Faced with husbands and partners being away at war, the women are isolated, bored and desperate to take their minds off feelings of impending doom. Enter Olive to help them form a choir. Cue a joyous celebration of female empowerment and friendship, courage and ‘unsung’ heroes. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Interdimensional journey of the week: Wharfemede Productions in Musicals Across The Multiverse, Theatre@41, Monkgate, York, today to Saturday, 7.30pm and 2.30pm Saturday matinee

DIRECTOR Helen “Bells” Spencer and musical director Matthew Clare follow up 2023’s Musicals In The Multiverse 2023 with another blend of iconic musical theatre hits reconfigured with surprising twists. 

“Think unexpected style swaps, minor to major key switches, gender reversals, era-bending reinterpretations, genre mash-ups and more,” says Bells. Box office: tickets.41monkgate.co.uk.

York premiere of the week: Pick Me Up Theatre in Fun Home, York Medical Society, Stonegate, York, today to September 19, 7.30pm plus 2.30pm Saturday and Sunday matinees

ROBERT Readman directs the York premiere of Jeanine Tesori and Lisa Krow’s five-time Tony Award winner, based on Alison Bechdel’s graphic novel. 

When her volatile father dies unexpectedly, Alison (Claire Morley) recalls how his temperament and secrets defined her family and her life. Moving between past and present, she relives her unique childhood at the family’s Bechdel Funeral Home, her growing understanding of her sexuality and the looming, unanswerable questions of her father’s hidden desires. Box office: ticketsourse.co.uk/pickmeuptheatrecom.

Exhibition of the week: Paint & Print, Beryl Braddock, Judith Ellis & Pauline Brown, Helmsley Arts Centre, until October 31

SINCE gaining a Fine Art degree at Leeds and Goldsmiths as a mature student, Beryl Braddock has enjoyed more than 40 years of drawing and painting, using watercolours, crayon, inks, charcoal and oils in still life, landscape and life drawing works, often in portraits of family and friends.

Judith Ellis’s paintings and prints utilise the process of mark making – colour, shape, form and texture – developed with elements of order and chance. Her work evolves with or without a pre-conceived idea; sometimes fragments of diaries are used to develop texture and form or a poem might provoke a colour. Artist, art therapist and theatre designer Pauline Brown paints and draws mostly outdoors in nature, following the changing seasons, using layers of colour and texture to capture the landscape’s moods and atmosphere.

Brass band gig of the week: Stape Silver Band, Brass Across The World, Kirk Theatre, Pickering, Friday, 7.30pm

STAPE Silver Band takes a musical journey around the world in the company of Pickering Musical Society members, performing works associated with myriad genres of brass band music. Box office: 01751 474833 or kirktheatre.co.uk/events/stape-silver-band/.

Tribute show of the week: Abba Sensation, Kirk Theatre, Pickering, Saturday, 7.30pm

KIRK Theatre “simply had to have them back” after Abba Sensation’s sold-out last visit. Combining costume changes, lighting effects and a faithful account of the Abba sound, the band welcomes audience participation, whether singing, clapping or dancing. Anyone “too posh” to join in can rattle jewellery instead. Box office: 01751 474833 or kirktheatre.co.uk/events/stape-silver-band/.

Ruby slippers of the week: York Stage in The Wizard Of Oz, Grand Opera House, York, Friday to September 20

UNDER Nik Briggs’s direction, York Stage skips down the Yellow Brick Road as Erin Childs’ Dorothy, Toto and her friends, the Scarecrow (Flo Poskitt), Tin Man (Stu Hutchinson), and Cowardly Lion (Finn East), journey to the Emerald City to meet the Wizard (Ian Giles).

In navigating the enchanting landscape of Oz, Dorothy is watched closely by Glinda, the Good Witch (Carly Morton) as the Wicked Witch of the West (Emily Alderson) plots to thwart Dorothy’s quest and reclaim the magical ruby slippers. Box office: atgtickets.com/york.

Theatre event of the week: Alan Ayckbourn’s 91st premiere, Earth Angel, Stephen Joseph Theatre, Scarborough, Saturday to October 11, 7.30pm plus 1.30pm, Wednesday and Thursday, and 2.30pm Saturday matinees

GERALD has lost his wife of many years. Amy was the light of his life, almost heaven-sent. Trying his best to put a brave face on things, he accepts help from fussy neighbours. Then a mysterious stranger turns up at Amy’s wake, washing the dishes and offering to do a shop for Gerald, but is he all that he appears?  

Alan Ayckbourn’s 91st play digs deep into one of life’s greatest mysteries: what makes someone a good person – and in this day and age, can you ever be sure? Box office: 01723 370541 or sjt.uk.com.