Oops! Nik Briggs’s big Ben sees his Big Ben showstopper topple over in York Stage’s The Great British Bake Off Musical
NIK Briggs’s York premiere of Jake Brunger & Pippa Cleary’s musical spoof could not be better timed, opening the night after the final to series 16 of Channel 4’s The Great British Bake Off, most notable for the winner’s Showstopper being the largest cake in the show’s history.
It measured 1.2 metres in length, should you be wondering. Nothing is baked on quite that scale beneath York Stage’s tented stage decked in bunting and banter, but more than 50 models of cakes have been made in foam and Polystyrene for Technical Challenges and Showstoppers alike.
‘Bake Off’ is the first musical where the Showstopper meets the show-stopper, drawing the increasingly trim producer-director Briggs back to the boards for his first principal role since Shrek – his 2020 pantomime cow doesn’t count! – to sing two of the peachiest numbers, My Dad (with Eady Mensah’s Lily, his chaperoned daughter) and The Perfect Petit Fours (with Harriet Yorke’s outstanding Gemma).
Stu Hutchinson’s Russell holding court in The Great British Bake Off Musical
Briggs’s widowed Bristol police detective Ben – “the cooking copper” – and Yorke’s Blackpool carer Gemma are two of the eight contestants, each with a back story and motive for competing to be revealed in song, like cutting through a multi-layered cake.
Joanne Theaker’s Babs, thrice married and looking for a fourth, is a lemon-sharp Londoner prone to euphemisms and giving back as good as she gets from Chris Wilson’s droll, Knock Knock joke-telling Phil Hollinghurst (the Paul Hollywood caricature).
Grant McIntyre’s powerfully voiced Dezza is the forceful vegan hipster with a No Butter policy; Alana Blacker’s Francesca is a thirtysomething primary-school teacher, from Bognor via Bologna, bringing her Nonna’s traditional Italian recipes with her.
Joanne Theaker’s Babs on top form in Babs’ Lament, a show-stopper of the musical kind in The Great British Bake Off Musical
In his musical theatre debut, York busker Fredo (Sudeep Pandey) is Syrian-born Wembley teenager Hassan, with his lucky T-shirt and happy-go-lucky demeanour. In scene-stealing mode, York Stage regular Stu Hutchinson’s Russell is an aeronautical engineer, married to Mario, as camp as a tent and determined to apply science and spreadsheets to his experimental bakes.
Amy Barrett’s Izzy, the 21-year-old Cambridge student, is posh and pushy, taking the biscuit for being so ruthlessly determined to win, dreaming of books deals, TV series.
Introducing proceedings, teasing and goading as the heat rises, are Sam Roberts’s Jim and Mary Clare’s Kim (“Mel and Sue, who?”, they say), while Tracey Rae’s bespectacled grand dame Pam Lee fills the Prue Leith slot with polished glitter and nudge-nudge-wink-wink banter.
Having her cake and eating too much of it: Amy Barrett’s win-at-all-costs Izzy, front and centre, where else, in The Great British Bake Off Musical
Brunger and Cleary bring affection, rather more than tension, to the tent, sending up Hollywood’s motorbike riding, Leith’s myriad business deals and love of a tipple in a recipe, and the baking-hot baking conditions that always befall one episode per series.
All the while, the elimination fun and games must be played out, concertinaed largely into one song, Don’t Send Me Home, with ever reducing numbers and ever-changing harmony demands for the diminishing contestants.
Everyone has their solo moment to parade their singing chops, Theaker’s Babs excelling in the pathos of Babs’ Lament and Yorke’s Gemma rising to the occasion in Rise. Wilson’s Hollinghurst and Rae’s Dame Pam have a rather sweet moment in I’d Never Be Me Without You.
Harriet Yorke’s Gemma: Rising to the occasion in Rise
Bubbling away throughout – as the tables disappear one by one, cakes crumble and contestants tumble – is the growing bond of Briggs’s Ben and Yorke’s Gemma, both in slow recovery from loss, to provide the obligatory love interest of the piece. Eady Mensah’s Lily (in a role to be shared with Abigail Hodgson, Ella Laister and Megan Pickard ) is a delightful conduit between them.
In style, Bake Off echoes most closely the humour and musical diversity of Victoria Wood’s patter songs and Tim Firth & Gary Barlow’s Calendar Girls. The underscore music of the TV series filters cleverly through the songs, ranging from big bluesy ballads to Chicago and Cabaret pastiches.
Songs have a tendency to go on too long, to overegg the moment, but the humorous dialogue is well timed under Briggs’s joyous direction and Danielle Mullan Hill’s musical staging is whisked into pleasing shapes.
Bake Off contestants for starters:Stu Hutchinson’s Russell, left, Harriet Yorke’s Gemma, Joanne Theaker’s Babs, Grant McIntyre’s Dezza, Alana Blacker’s Francesca, Nik Briggs’s Ben and Fredo’s Hassan
We know that Edinburgh-born medical student Jasmine Mitchell won the Bake Off glass cake stand on Tuesday, but who triumphs in York Stage’s Great British Bake Off? Not telling, except to say that you’re the winner if you buy a ticket. Hollyhurst/Hollywood handshakes all round for a recipe delivered so creamily.
Iced buns being handed out on the forecourt before the show was the icing on the cake.
York Stage in The Great British Bake Off Musical, Joseph Rowntree Theatre, York, until Saturday, 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Well judged performances by Tracey Rea’s Pam Lee and Chris Wilson’s Phil Hollinghurst in The Great British Bake Off Musical
The Wild Man of the Woods telling a wartime ghost story by the soldier’s sculpture at St Anthony’s Gardens on November 5
GHOSTS: The Untold History has opened for an already sold-out run – or, rather, walk – at St Anthony’s Gardens, Peaseholme Green, York. There’s not a ghost of a chance of a ticket, alas.
Set among the atmospheric Ghosts In Gardens sculptures, bathed in ghostly light, this new 40-minute nocturnal storytelling experience uncovers York’s hidden histories and haunted past.
The candle-lit walk weaves together York’s spectral figures with previously untold stories spun by Yorkshire storyteller The Wild Man of the Woods (alias Dave Vale).
Guests wander through York’s snickelways and shadows, discovering tales that blend 2,000 years of myth, folklore and the city’s rich, chilling history, from ancient gods, through Jorvik times to the Second World War, with matters of sex and death often to the fore.
Ghosts: The Untold History storyteller The Wild Man of the Woods
Carl Alsop, York BID (Business Improvement District) operations manager, selected St Anthony’s Garden, on the back of the success of last November’s inaugural Ghosts After Dark showcased York’s tapestry of historical figures with light, sound and storytellers for four nights in York Museum Gardens.
Mad Alice, of the Bloody Tour of York, Lady Brigante, of the Polite Tourist, Dr Dorian Deathly, of the Deathly Dark Tours and York Dungeon’s Dick Turpin and Guy Fawkes, along with The Wild Man of the Woods, all told tales.
Ghosts After Dark and now Ghosts: The Untold Story forms the companion piece to the Ghosts In The Garden sculpture trail, which began five years ago with ten ghosts installations in York Museum Gardens and has since expanded to feature 58 3D wire mesh sculptures, all created by York company Unconventional Designs.
The translucent figures, including ten new additions for 2025, were on show from September 19 to November 2 in a trail through York’s public gardens, ruins, hidden corners and green spaces with free entry.
York BID presents Ghosts: The Untold History at St Anthony’s Gardens, Peaseholme Green, York, until November 9, from 6.30pm night. SOLD OUT.For more information, go to: theyorkbid.com/ghosts-untold-history/.
Red sky at night: two of Unconventional Designs’ Ghosts In The Gardens wire-mesh sculptures in St Anthony’s Gardens
Danny Horn, left, Oliver Hoare, Zakarie Stokes and Harry Curley in The Kinks’ musical Sunny Afternoon. Picture: Manuel Harlan
WHEN first encountering Sunny Afternoon at the Grand Opera House in February 2017, the Mother Shipton of reviewers envisaged The Kinks’ musical would be returning again and again, in the manner of Buddy: The Buddy Holly Story.
More than eight years later, that prediction finally comes true and not before time as Joe Penhall and Ray Davies’s Olivier Award-garlanded confluence of sunny afternoons and dark days will be here all day and all of the night from November 11 to 15.
“In these times of political uncertainties, it is a relief to know that Sunny Afternoon is on the horizon to lift our spirits,” says Kinks’ frontman and principal songwriter Ray Davies, now 81, who provides the show’s music, lyrics and original story.
Charting the highs and lows of The Kinks against the backdrop of the rebellious British Sixties, Sunny Afternoon celebrates the raw energy and the fevered life, the anarchic attitude and the controversies, the mendacious, manipulative management and the brotherly spats of the Muswell Hill firebrands that hold a place in pop history as the first British band to be banned from the United States, as re-told in Penhall’s witty and moving dialogue.
Playing Ray Davies on the Sonia Friedman Productions and ATG Productions tour is Danny Horn, who starred in the role for more than a year in the West End from 2015, then reprised it in the North American premiere at the Chicago Shakespeare Theater from January to May this year.
“I’d just finished it in London when I had a choice to jump from the West End version to the tour, but we’d been in the West End for 15 months, and I just needed a break, but I would have loved to have done the UK tour, and I always had this little part of me that was gutted not to have done it then,” he says.
“So this time round, I’ve jumped at the chance to play this great role and tell this amazing g story all around the country.”
Danny was speaking “deep in the belly of rehearsals at the London Irish Centre in Camden, a somewhat eccentric place with lots of Irish dancing sessions going on next door and Strictly Come Dancing rehearsals too”.
“It’s been a strange year because I didn’t know if I’d ever return to the role, but I’ve now rehearsed it with two different companies, all within one year. The experience in Chicago was fantastic and we had a brilliant company. Audiences over there absolutely loved it.
“But what I will say about this piece is that it is quintessentially English. We kind of take the mickey out of America a little bit, and it was interesting to see how they’d receive that over there, but something about the current political climate…at the moment, theatre audiences in America are actually very, very happy to make fun of themselves. And put their hands in the air and go, ‘yeah, give us your best shot’. They were really cool about it!”
“The Kinks were always mythologised in my household, growing up as this local band,” says Danny Horn
Danny and Oliver Hoare revisited their West End roles as Ray and Dave Davies in Chicago. “And he’s with me again now for the UK tour,” says Danny. “We come as a set!” You probably get on better than Ray and Dave did, Danny? “Yeah, that’s not too difficult.”
Danny was in his mid-20s when he first played Ray. “I was very, very aware of The Kinks’ music when I was young, partly because my father grew up in Muswell Hill in the 1960s, only a few doors down, and so The Kinks were always mythologised in my household, growing up as this local band.
“So I had a connection with them way before I even came to play Ray Davies, so when the opportunity came up, it felt like destiny appearing in front of me. It feels a particular honour to get to step into the shoes of this incredible singer-songwriter, whose music was playing so much in my house when I was growing up.”
Just as, if the Nineties’question is Blur or Oasis, the answer is Pulp, so, if the Sixties’ question is The Beatles or The Rolling Stones, the answer is The Kinks at their Waterloo Sunset peak. “Obviously Lennon & McCartney’s impact is almighty, and no-one can really compare, but I think Ray Davies is our all-time greatest singer-songwriter singularly. There’s no-one like him.
“Lennon & McCartney needed each other, but Ray was an absolute force to be reckoned with. Also, he wrote in a way that no-one else wrote. He was writing pop songs in 1967 which start with ‘From the dew-soaked hedge creeps a crawly caterpillar’ [Autumn Almanac]. Who, in their right mind, would start a lyric like that other than Ray Davies?
“He has three separate songs about drinking tea, yet he was one of the most dangerous, difficult pop stars of the 1960s, at the height of the artform.”
Sunny Afternoon charts the first four-five years of The Kinks’ career. “They were this unlikely bunch of working-class lads who basically against all odds managed to succeed. They were at each other’s throats half the time; they were managed by a bunch of very well meaning, upper-class twits who didn’t know the first thing about the music industry, and somehow their talent won out against everything.
“It’s the most turbulent story. It’s amazing that the story’s not better known, because everyone seems to know the story of the Stones and The Beatles, but this is an extraordinary tale about lads who, especially the two brothers, didn’t like each but they loved each other. They needed each other, loved each other, but couldn’t really stand to be in the same room, let alone on the same stage with each other.
“It’s a brilliant, gripping tale, fundamentally about family, the class system and about mental health of a young man who was fragile and thrown into this world completely beyond his control – with pressure to come up with so much original music, which he did.”
Sunny Afternoon, Grand Opera House, York, November 11 to 15, 7.30pm plus 2.30pm Wednesday, Friday and Saturday matinees. Age guidance: 12 plus. Box office: atgtickets.com/york.
‘It’s a story about resilience, really, about keeping your head when the world’s spinning too fast,’ says Ray Davies
The Kinks’ Ray Davies. Picture: Phil Tragen
HERE The Kinks’ songwriter discusses taking the Muswell Hill band’s story to the stage, their legacy and the next generation of fans.
How does it feel to see your songs and story come to life on stage in Sunny Afternoon, Ray?
“Daunting at first. I was working on the storyline on and off for three years, but in many ways the story is contained within the songs. The songs were written in such specific moments of my life and now they’ve been reinterpreted, given new context.
“It’s humbling, and sometimes a bit surreal, to see the audience connect to those moments as if they’re happening now. It’s proof that the music still has a pulse.”
You were closely involved in shaping the show. How did you approach revisiting your past and turning The Kinks’ history into a musical?
“With caution at the beginning so I pretended it was about somebody else. I didn’t want it to be just another jukebox musical. I wanted Sunny Afternoon to have heart, to show what it really felt like to live through that madness.
“We approached it as a piece of storytelling, not nostalgia. I went back to the songs and the memories behind them and tried to weave them into something honest. It wasn’t about polishing the past, it was about exploring it with the rawness that inspired the songs in the first place.”
Did collaborating with director Edward Hall and writer Joe Penhall challenge your version of events in any way?
“When you’ve lived something, you think you know the story inside out, but Edward (Hall) and Joe (Penhall) held up a mirror to it. They’d ask questions I hadn’t thought about in years and that made me reassess a lot of things. They didn’t rewrite my version, but they did expand it.”
Ray Davies poses by a billboard for Sunny Afternoon
The show captures both the highs and the struggles of The Kinks’ journey. What memories stand out most vividly for you when you look back on that era?
“The contrast, I think. One day we were scraping by in Muswell Hill, the next we were banned from America. There were moments of absolute chao, and others of beautiful clarity.
“Although we didn’t appreciate it at the time, the band celebrated being at the height of British culture, everything felt bright and exciting after coming out of the darkness of the SecondWorld War.”
Many of the themes in Sunny Afternoon – youthful ambition, creative freedom, the turbulence of the 1960s – still feel very timely today. Why do you think this story continues to resonate with new generations?
“Every generation goes through its own version of rebellion. For us it was a turbulent time of change, the class system was still there, but it began to feel that working class kids could also start to move up the social ladder. The Sixties were our revolution, but the spirit of that time – questioning authority, chasing authenticity – that never really disappears.
“I think people see themselves in that struggle, whether they’re forming a band or just trying to figure out who they are. That’s timeless.”
What has it meant to you to showcase your back catalogue all in one place?
“It’s been a gift. Songs like Lola or Days have their own lives, but when you hear them alongside Dead End Street or Sunny Afternoon you see the full picture. The musical gave me the chance to connect those dots for people, to show how the songs talk to each other. And it reminded me too, why I wrote them in the first place.”
What do you hope people will take away from the experience this time around on the new tour?
“The hope is that audiences will be able to see a glimpse of our history while enjoying a great night out. If people walk out humming the songs, that’s lovely. I hope they leave with a sense of joy, but also reflection. It’s a story about resilience, really, about keeping your head when the world’s spinning too fast.”
‘As a band The Kinks were the perennial outsiders – punk before punk,’ says Sunny Afternoon writer Joe Penhall
Danny Horn’s Ray Davies leading The Kinks in Sunny Afternoon. Picture: Manuel Harlan
Sunny Afternoon is heading back on tour. How does it feel to have the production returning to stages across the UK, Joe?
“It’s incredibly exciting to be doing it again. All of us involved feel we really need it in our lives. It’s got a medicinal quality that always makes everyone feel better about life.
“Since we started, over ten years ago, various cast and creatives have gone off and had babies, got married – sometimes to each other – become stars, played festivals and put out albums.
“We’re like a family that never grows old, somehow able to magically renew every time we regroup with new cast members…which is entirely appropriate since the musical is partly about family.”
What stands out the most when recalling premiering Sunny Afternoon more than a decade ago?
“The very first workshop was just Ray Davies and I with a piano and a handful of actors with guitars and tambourines. Ray would take them away for 20 minutes and teach them a pitch-perfect arrangement of Waterloo Sunset, exactly like the record. It was like a magic trick.
“Or I’d go off with Ray and he’d explain a particularly intense episode of his life to me in a perfect, poetic monologue and I’d build a scene from it. During previews at the Hampstead Theatre, Sir Tom Stoppard turned up and spent a couple of days feeding me notes and advice.
“When it opened, Dave Gilmour, Paul Weller and Noel and Liam Gallagher came, all big Kinks fans, all very approving. Geniuses as far as the eye could see!”
How involved was Ray Davies in the development, and what was it like to collaborate with him?
“Ray was across everything and in the early days was musical director. To work out the story, I’d go to Ray’s house every Friday and we’d drink tea and he’d tell me stories or show me clips, play me old bits of songs or suggest bits of films to watch.
“Sometimes I’d see or read something that inspired me and would show it to him and we’d figure out how it related to what we were doing. Sometimes we disagreed and wanted to go in different directions but there was always a kind of subliminal umbilical cord connecting us, because I’d been listening to his music since I was a child and he’d admired some of my work. (Davies watches Mindhunter!)
“It’s rare to have the luxury of developing a show that way, in each other’s pockets – a real labour of love.”
What makes Sunny Afternoon stand apart from “jukebox’ musicals”?
“Ray’s very theatre-literate and film-literate and knows everything there is to know about music. So we talked a lot about our favourite music, plays and films as we discovered the tone and atmosphere of the show.
“It’s rare for a musical artist to get so involved in the theatre, much less a giant of the rock world like Ray and that’s one of the secrets of our success.
“We didn’t just take the songs and cook up some filler to cash in. We both felt that the show had to be every bit as good as a great Kinks record – the same power to move, the same sophistication, emotion and wit – or else we’d have failed. And I think we achieved that.”
Why does The Kinks’ story and songbook continue to resonate with audiences today?
“The songs are both simple and extremely complex at the same time, but they speak to people on a profound level. As a band The Kinks were the perennial outsiders – punk before punk – and as they said themselves, ‘misfits’.
A scene from Sunny Afternoon. Picture: Manuel Harlan
“If the 20th century taught us anything, it taught as that it’s OK to be a misfit, to be different, to be unlucky or unloved or broke or lost – you still have power. It can lead to great success.
“The Kinks possessed immense humanity and a unique life force which is all there in the songs. People come to the show and feel euphoric and consoled and gripped all at once because they can see vestiges of their own lives in it – but they always end up on their feet dancing — and that’s the way we like it. It makes us feel alive.”
The new tour means new audiences, as well as returning fans. Have you made any tweaks or changes to the production since its original run?
“Unusually we haven’t changed a thing. If anything, the show is more powerful and resonant since Covid.
“In the scene where the band celebrates England winning the World Cup in 1966, it doesn’t feel like ancient history. It feels like the here and now — only these days it’s women winning the World Cup — and we feel the same euphoria now as people must have back then. The fractious scenes in America also feel incredibly current. In Chicago the audiences found it quite cathartic.”
Your career spans theatre, film and television. How does writing the book for a musical compare with those other outlets?
“It’s way more fun. It’s a little less technical and more intuitive, which is nice. With music you suddenly have this magic power at your disposal. It’s such a great tool for creating atmosphere, moving people, exciting them and stirring them up. It’s like being a painter and discovering a whole new colour spectrum.
“Even when I’m working on film or TV, I make sure to keep an eye on the music and really enjoy collaborating with composers. I collaborated with Nick Cave on the film The Road — it’s about the end of the world and a million miles away from this in every conceivable way — but also a joyous experience. I’m lucky to be asked to do such different things, but basically I’m flying by the seat of my pants.”
From the award-winning play Blue/Orange to the Netflix hit Mindhunter, how do you approach each different project. Is there a common thread?
“Believe it or not, there’s a thread between Blue/Orange, Sunny Afternoon and Mindhunter. They’re all pretty psychologically intense. They’re all about unique individuals challenging thestatus quo.
“In general, I treat my work as ‘found art’. If I find a story or characters or a situation or issue that stirs me up and intrigues me, I figure out how best to use it. Depending on its formal aesthetics, I’ll decide if it’s a play or a screenplay.
“Some things demand the wide screen of a film or TV, with camera moves and changing focus and atmospheric sound and music. Some just demand to be yelled out at night in a room full of people — dialogue to create a dialogue. But I could never just do one of them; I like to express myself in all sorts of different ways.”
Looking back on your career so far, is there a moment that fills you with pride the most?
“I try not to take too much notice of awards but the night Sunny Afternoon won four Olivier awards, one after the other, was my proudest. I was just so delighted for my friends – to see them winning best actor awards (original cast John Dagleish and George McGuire)— then to cap it all Ray and I won for the book and music.
“It’s almost impossible to make a show as individual and unique as Sunny Afternoon, but to have mainstream success with it was frankly a miracle.”
Finally, what excites you most about the future, both for Sunny Afternoon and your own upcoming work?
“I’m excited to take the tour as far as we can take it. I’d love to tour Europe and Australia with it. Or Japan! A lot of my plays go there and it’s also different and special. I love connecting with audiences from very different places and seeing how they react within their culture.
“I don’t know what’s in store in terms of upcoming work. I’m developing a couple of films, so I’d love them to happen. I’ve written a new play, which is hot off the press. And I have a couple of TV ideas too.
“You never know what’s going to come to fruition and what’s going to fall apart but the trick is, as Ray’s dad says in Sunny Afternoon, ‘Never give up, never back down — and never, ever forget who you are’.”
AS part of Aesthetica Short Film Festival 2025, ten breakthrough music acts will be competing live at York Theatre Royal on Saturday as the city becomes the epicentre of British music discovery.
This inaugural line-up will be a showcase of breadth and originality, featuring artists who have performed at SXSW, Glastonbury and Kendal Calling, appeared on The Voice and received plays from BBC Introducing, BBC Radio 1 and Radio X.
The Aesthetica New Music Stage is a bold, innovative platform like nothing else in the country, billed as the UK’s version of SXSW (South By Southwest, in Austin, Texas) and a first-of-its-kind national music competition embedded within a film festival.
DaisyGill
What’s more, New Music Stage involves collaborations with Universal Music A&R and Imagesound and opportunities for national airplay across Caffè Nero, as the festival creates a pipeline to connect grassroots talent with national and international audiences.
As Pablo Ettinger, founder of Caffe Nero and owner of Talentbanq, says: “There is nothing like this anywhere else in the UK. By working with Aesthetica, we are creating a national stage for discovery and giving artists the support they need to take their careers forward.
“It’s about creating pathways, reaching audiences in new ways and shining a spotlight on talent that deserves to be heard, Aesthetica is the perfect home for this kind of innovation.”
Isabel Maria
Spotlighting fresh music across genres, the event will give audiences the opportunity to hear new voices, discover tomorrow’s stars and be part of shaping the future of UK music.
“Aesthetica has always been about discovery – about bringing new voices, stories and ideas to audiences,” says festival director Cherie Federico. “This is the only event of its kind in the UK: a film festival that also platforms the future of music. The New music Stage gives audiences the opportunity to discover tomorrow’s stars right here in York.
“It’s about creating a cultural hub where film and music collide, ensuring that artists have the chance to be heard on both a national and international scale.”
Jemma Johnson
BLANID
The line-up comprises:
BLÁNID: With a rich, storytelling voice that has graced BBC Radio 1 and RTÉ, BLÁNID has earned more than one million streams and toured the UK with folk legend Judy Collins. Her music blends grief, ecstasy and everything in between, marking her as a star in the making.
Jemma Johnson: This self-taught multi-instrumentalist is taking alternative pop to new heights, buoyed by BBC Radio 1 airplay, festival slots from Tramlines to MiCannes, and collaborations with major UK artists. Her live presence is nothing short of magnetic.
Crazy James: A rapper forging his own path through craft and consistency. Known for blistering flows and commanding live sets, he has turned grassroots energy into headline moments across London and beyond.
Kengo
Ewan Sim: Blending indie, pop, rock, and soul into songs of intimacy and power, Ewan Sim has sold out shows in Manchester and impressed audiences at SXSW London.
Daisy Gill: Liverpool’s retro-pop sensation brings powerhouse vocals and modern production. Her rare four-chair turn on The Voice UK and 10 million TikTok views testify that she is a rising star.
Dilettante: Francesca Pidgeon’s art-pop project delivers dazzling, groove-laden sets that have taken her from Manchester basements to SXSW and NXNE. Signed to EMI North and praised by Mojo and Uncut magazines, her sound is as inventive as it is infectious.
Tarian
Ewan Sim
Kengo: Songwriter and vocalist who channels honesty and lived experience into songs that bridge emotion and spirit, marked by lyrical depth and melodic sensitivity and addressing connection, healing and resilience.
Tarian: Welsh artist blending hip-hop with emotive pop and classical roots. Notching two million streams and a loyal TikTok following, Tarian is a genre-defying talent to watch.
Isabel Maria: At 19, Isabel Maria already has won major cultural awards and been celebrated by Rolling Stone magazine for her raw, alternative pop songwriting.
Pleasure Centre, from Scarborough
Pleasure Centre: Alt/art rock quintet from North Yorkshire coast conjures delicate melodies and euphoric walls of sound, inspired by shoegaze and Radiohead.
The New Music Pass (£21) gives audiences full access to all ten acts in one day. Enjoy free flow in and out of the York Theatre Royal: drop in for a set or immerse yourself from start to finish.
Audience members will have the chance to vote for their favourite act, playing a direct role in launching the UK’s next big star.
Dilettante
“This is more than a music stage,” says Cherie. “It’s an innovation in live music and festival programming, giving artists a national platform and audiences a front-row seat to the future of UK music. Don’t miss this chance to experience a festival within a festival, where creativity, performance and discovery collide.”
Universal Music A&R will be in attendance and Anglo-Italian singer songwriter Jack Savoretti will be on the jury.
Tickets and New Music Passes are available from York Theatre Royal on 01904 623568 or at yorktheatreroyal.co.uk. Hear more from the acts at https://www.asff.co.uk/music/
Jack Savoretti: On the New Music Stage judging panel. Picture: Paul Rhodes, Futuresound’s Live At York Museum Gardens , 2024
York actress Constance Peel in Service Please at Micklegate Social on November 9
IN its 15th year, York’s Aesthetica Short Film Festival introduces its debut Aesthetica Fringe in a celebration of emerging talent across music, comedy, exhibitions, installations, and performance.
These artist-led events are part of a citywide cultural programme, transforming York into a creative playground throughout November.
“York is a UNESCO City of Media Arts, and our Fringe embodies this status by activating galleries, venues and public spaces with diverse work,” says festival director Cherie Federico. “Together, we bring art, performance and audiences into a shared, inspiring moment.”
Pilot Theatre presents A Guide To Now For Those In The Future, York Explore, Library Square, York, November 5 to 9
YORK company Pilot Theatre’s unique installation, A Guide To Now For Those In The Future, is a bold and immersive experience remixing interviews and footage into a vibrant explosion of sight and sound. Capturing the emotions, dreams and perspectives of young people, it acts as a digital time capsule, reflecting life, culture, and concerns in 2025. Supported by Portakabin Community Support Fund and York Common Good Trust.Age rating: PG.
Wonkystuff and The Sounen Project’s Change Of Phase
Change Of Phase, National Centre for Early Music, Walmgate, York, November 5 to 9, 6-8pm
ICE into water, liquid into solid, sound into light, noise into music, soundscapes into stories, digital into analogue: Change Of Phase is a series of sound and light installations with performances, all set around a single, illuminated table. Wonkystuff and The Sounen Project provide the experimental audio landscape guiding the audience through moods. Age rating: PG.
Celebrating Creativity in Creative Ways, York Explore, November 5 to 9
CREATIVE Ways showcases powerful artworks inspired by York’s rich stained-glass heritage. Created by participants exploring creativity for both wellbeing and belonging, the exhibition celebrates connection, confidence and community and reflects the impact of art in a testament to how art can illuminate lives, provide hope and foster inclusion. Age rating: PG.
Bard At The Bar, Cat In The Wall, The Stonebow, York, November 5, 7.30pm
HAVE you always fancied yourself taking to the stage to try out one of Shakespeare’s great soliloquies? Bard At The Bar is a raucous, no-holds-barred night of “karaoke” Shakespeare. This is your opportunity to grab a drink, take a script and climb onto the stage to perform your favourite scenes. No experience necessary, just bring passion. Age rating: 18+.
Erler and Pilot in Crossroads, York Explore, Library Lawn, York, November 5, 5pm and 6pm; November 6, 6pm and 7pm; November 7,12 noon, 1pm, 4pm and 5pm
STEP inside and take the journey to the crossroads in a spooky immersive experience for teenagers and the young-at-heart by Erler and Pilot on Library Lawn, where you will meet your guide beside her trailer of truth. There she will drive you to the place where dreams come true. Age rating: 12+.
Griffonage Theatre’s poster for Kafka By Candlelight at The House of Trembling Madness
Griffonage Theatre presents Kafka By Candlelight, The House Of Trembling Madness, Lendal, York, November 5 to 7, 6.30pm & 8.30pm
DEEP in the cavernous belly of The House Of Trembling Madness, Griffonage Theatre, York purveyors of the madcap and the macabre, present Kafka By Candlelight, an unsettling adaptation of five of Franz Kafka’s strangest short stories, told in the dark, where each piece invites you to confront the bizarre with no guarantee of resolution or escape. Will you be able to stomach it? Audiences will be invited to wear theatrical masks (optional). Age rating: 18+.
Letterpress and Film, Thin Ice Press, York Centre for Print, A Celebration of Silence, Peasholme Green, York, November 5, 2pm to 5pm
EXPLORE the intersection of film and print in hands-on workshops that invite you to experiment with letterpress printing and create title cards inspired by the artistry of silent film. Bring your phone or camera to capture the process and discover the tactile beauty of print while celebrating the visual language of cinema. Age Rating: 12+.
Letterpress Film Night: Helvetica Screening, Thin Ice Press, York Centre for Print, Peasholme Green, York November 5, 7pm to 9pm
ENJOY a screening of Helvetica, a celebration of silent film, and the chance to try letterpress printing. Design and print title cards with the team, capture the process and explore the endangered craft of letterpress printing while embracing the timeless aesthetics of ink. This experience is a chance to explore how film and print intersect. Age rating: 13+.
Black Sheep Theatre Productions in The Inner Selves, The White Horse, Bootham, York, November 5 to 8, 10:30am, 1pm, 3pm
A VIEW into a dying marriage, wherein Henry and Nora represent the end of a marriage torn apart by the loss of their child, alcoholism and depression. They are joined by their Inner Selves (Henry’s Self and Nora’s Self) who torment them about what their lives could have been. Every interaction is heavy with the things left unsaid. Age Rating: 16+.
Dan Poppitt in Black Sheep Theatre Productions’ Inner Selves
The Bluffs present Unwritten, Rise@Bluebird Bakery, Acomb Road, Acomb, York, November 5, 8pm
IMPROV based on your literary suggestion, wherein York group The Bluffs take classic short-form improv games and infuse them with storytelling flair. Every show is unique, shaped by audience suggestions and spontaneous creativity. “Who knows where this evening will take us but it will be entertaining, inventive, and entirely in the moment,” they promise. Age rating: 12+.
York Fire Walk, York Minster, November 5, 2pm to 3pm; November 9, 12.30pm to 1.30pm
JOIN York Fire Walk to embark on a journey through the city’s fiery history, meeting by the Roman Column in Minster Yard, and finishing at City Screen Picturehouse. In the company of expert guides, discover how York Minster popped up in the Land of Fire – and then there’s some guy called Fawkes. There’s bound to be fireworks! Age rating: 8+.
Compulsive Light Art Show, Fabrication Store, Stonegate, York, November 6 to 8, 6pm to 8pm
THE inside of the Fabrication shop front is transformed into a living light installation in an exploration of the coexistence between art and inspiration. The window becomes a canvas where the very act of making becomes a performance of dancing light. Passers-by are invited to pause, watch and reflect on the journey from idea to creation. Age rating: PG.
Alice May in Sweet Pea & The Beech Tree, Patch@Bonding Warehouse, Terry Avenue, York, November 6, 7pm to 9pm
JOIN York actress Alice May for a script-in-hand performance of a new one-woman play, then offer feedback to help develop it for stage and screen. Sweet Pea & The Beech Tree is a comic tale of a granddaughter caring for her terminally ill grandmother that asks what caring for someone facing death can teach us. This opportunity invites you to engage with the work in progress. Age rating: 14+.
The Compulsive Light Art Show asks “Why Make Art?”
City Folk & York Creatives, Patch@Bonding Warehouse, Terry Avenue, York, November 7, 6.30pm
DROP into Patch for an all-vinyl DJ set by Mat Lazenby and Jono spinning a curated mix. Meet York creatives. Grab a drink, discuss ideas, find out how to be involved with City Folk magazine, a new publication made in the heart of the city, and be in with a chance to win a print by illustrator Tony Allen. This event is the perfect way to connect. Age rating: 14+.
Kids Just Wanna Fly, Ben Porter photobook launch, Patch@Bonding Warehouse, Terry Avenue, York, November 7, 6pm to 7pm |
LEAP into the unknown, through disposable cameras, polaroids and early iPhones. This is a tale of youthful ambition and the quest to craft an identity through the tumultuous years of young adulthood, comprising an exhibition, a photobook launch and short performances. Audiences are invited to reflect on who they are amidst their youth. Age rating: 16+.
Lara McClure in Oral Tradition, Amnesty Bookshop, Micklegate, York, November 7, 7pm
IN Iron Age Ulster, stories travelled from the mouths of bards into the ears of everyone else, with nothing written down. Storyteller, hypnotherapist and medieval historian Dr Lara McClure’s Edinburgh Fringe show offers a gnarly earful of ancient Ulsterwomen who used sex as a weapon – or, at least, so said the bards. The performance unpacks these bold yet provocative tales. Age rating: 16+.
Transmute- Live, Micklegate Social, Micklegate York, November 7, 8pm to 9.30pm
A SEMI-GENERATIVE particle system moves to an evocative mix of electronica, ambient, orchestral and techno sound. Immersive visuals and rich soundscapes merge, creating a mesmerising, cinematic experience that seamlessly blurs the boundaries between sight, sound and emotion in this exploration of movement, transformation, and connectivity. Agerating: PG.
Dr Lara McClure: Presenting Oral Tradition at Amnesty Bookshop
Rock Soil Scrape, West Park Bowling Club, November 8, 1.30pm to 4pm
AN installation inspired by the earth’s sediments, bringing together interviews with York workers and video projections, as well as food and drink to connect us to our physical environment, cultural histories and deep time. Presented in what was once a bakery, then a bottle shop and bar, the installation highlights the change of the site. Age rating: 12+.
In Limbo, De Grey Rooms, York, November 8, 4pm to 6.30pm
SOPHIE is dead. Probably. She thinks. Maybe. How could the happiest time of her life turn to this? Welcome to a rehearsed reading of In Limbo, Judi Amato’s new play about the realities of early parenthood and postpartum depression. A feedback session will follow the performance to help shape and deepen the development of the show. Age rating: 12+.
Constance Peel in Service Please, Micklegate Social, Micklegate, York, November 9, 2pm & 8pm
ALL Lara wanted was an easy job as she started to write her novel, but she is confronted with the sexist, stressful and chaotic reality of the service industry. This one-woman show by York-born, University of York-educated actress, writer, director (and waitress) Constance Peel plays the Aesthetica Fringe after a four-star debut run at this summer’s Edinburgh Fringe, and is marked by bright humour, artistic ambition and raw honesty. Age rating: 16+.
More, Spark:York, Piccadilly,York, November 9, 6.30pm to 7.30pm
MORE is a raw performance blending dance, visuals and music to explore the restless pulse of addiction – the craving for sensation, escape and wholeness. Through movement and image, it unravels cycles of desire and release in an intimate, sensory journey through the body’s aching longing to feel more and be enough.
The Storytelling Ensemble, Patch@Bonding Warehouse, Terry Avenue, York, November 9, 7.30pm
JOIN The Storytelling Ensemble for tales brought vividly to life with improvised music and original composition. Led by storyteller and composer Joe Allen, the ensemble breathes new life into fascinating fables and yearnful yarns, contributing to the magic of stories told aloud, inviting listeners to lose themselves in worlds ancient and new. Age rating: 12+.
For tickets, go to: asff.co.uk/fringe.
Aesthetica Short Film Festival 2025: Filmmaking In Schools
AESTHETICA Short Film Festival is putting young people at the heart of the festival run from November 5 to 9.
More than 150 students from seven York high schools – Huntington, Joseph Rowntree, Milthorpe, York High, All Saints, Fulford and Archbishop Holgate – will take part in the Filmmaking in Schools initiative, now in its second year.
The programme gives students the chance to develop practical filmmaking skills across storytelling, directing, writing, cinematography, editing and technical production, while also nurturing teamwork, creative collaboration and problem- solving. These skills are highly transferable, helping young people build confidence and abilities that extend far beyond the classroom.
York’s status as a UNESCO City of Media Arts provides a unique backdrop for creativity and innovation. In a city celebrated for its thriving digital media and creative industries, it is vital that students are offered hands-on, practical opportunities to bring their ideas to life.
Councillor Pete Kilbane, deputy leader of City of York Council and executive member for Economy and Culture, says: “It’s fantastic to see so many York youngsters getting hands-on experience in filmmaking. Through initiatives like this, students discover their creativity, learn new skills and get to see the wide range of exciting job opportunities that the film industry has to offer.
The Filmmaking in Schools programme puts this philosophy into practice, enabling students to write, direct and produce their own short films, while applying problem-solving and technical skills in a real-world environment.
Festival director Cherie Federico adds: “Our aim is to give young people a real chance to explore their creativity and find their voice. Filmmaking is a powerful tool for learning, teamwork, and self-expression – and by putting it in the hands of students, we are investing in the next generation of storytellers and innovators.”
Through mentorship, collaboration and the festival environment, students gain practical skills and inspiration that link directly to potential careers in media arts.
Stuart Campbell, head of communications at LNER, highlights the impact of industry partnerships: “The Railway 200 programme is all about supporting and fostering new talent,” he says. “It starts with young people, and here in York, we have the chance to do something truly different, giving students real-world opportunities to explore creativity and storytelling through film.”
The Filmmaking in Schools initiative sits within the context of the BAFTA-Qualifying Aesthetica Short Film Festival, giving students exposure to the professional world of film and insight into the wider creative industries. By combining mentorship, hands-on experience and festival immersion, the programme nurtures the next generation of screen innovators.
While young people are at the centre of this initiative, Aesthetica 2025 also provides opportunities for families to engage with creativity. From specially curated U and PG film screenings to VR and games workshops, interactive art, live music and city-wide Fringe events, the festival offers experiences that encourage children and adults to explore, learn and play together.
By blending professional insight, imaginative activities, and cultural exploration, Aesthetica ensures that creativity is accessible to all ages, inspiring the next generation while bringing the wider York community together.
Aesthetica Short Film Festival 2025: Launching Beyond the Frame programme at York Theatre Royal, November 5 to 8
Comedian Sophie Duker
Sophie Duker & Friends, Wednesday, 7.30m
TASKMASTER champion Sophie Duker, from Mock The Week and Frankie Boyle’s New World Order, tops the bill featuring Eleanor Tiernan and Bella Hull.
Silent Cinema & Live Score with The Dodge Brothers, Thursday, 7.30pm
IN a dazzling collision of classic cinema and live music, The Dodge Brothers bring their live score to Beggars Of Life, the 1928 landmark American silent film starring Louise Brooks.
The Dodge Brothers
Film critic and BBC presenter Mark Kermode, on double bass and harmonica, is joined Neil Brand, celebrated silent film accompanist and star of BBC Four’s Sound Of Cinema, on piano, as this electrifying ensemble transforms a black-and-white masterpiece into a full-blooded cinematic event.
Mark Kermode: In Conversation with Jenny Nelson, Friday, 7pm
HEAR from the co-authors of Mark Kermode’s Surround Sound about the magic of film music. Join film critic Mark Kermode and award-winning radio producer Jenny Nelson for an evening of cinematic insight, sharp wit and passionate debate.
Together, they explore the power of film music, inspired by their new book. From cult classics to blockbuster scores, expect passionate discussion, revealing stories and plenty of chances to ask questions and join the debate. Expect honest, humorous and informed film talk.
Mark Kermode: Discussing his new book, Mark Kermode’s Surround Sound, with co-author Jenny Nelson at York Theatre Royal. Picture: Julie Edwards Visuals
Aesthetica New Music Stage, Saturday, 2pm to 11pm
IN the UK’s first national New Music Stage, BLANID, Jemma Johnson, Crazy Mark, Kengo, Ewan Sim, Daisy Gill, Dilettante, Tarian, Isabel Maria and North Yorkshire band Pleasure Centre will compete in a showcase supported by Universal Music A&R, Imagesound and Caffe Nero. Anglo-Italian singer-songwriter Jack Savoretti will be on the judging panel.
Tickets (and New Stage Passes for the New Music Stage) are available from the York Theatre Royal box office, 01904 623568, or online at yorktheatreroyal.co.uk.
York Theatre Royal is a venue for the ASFF 2025 line-up of film screenings and masterclasses too. More details on booking festival passes can be found at asff.co.uk/tickets/.
Daisy Gill: Taking part in the Aesthetica New Music Stage event
Be ready to be spooked: Griffonage Theatre cast members in masks for Kafka By Candlelight in the House Of Trembling Madness cellar, in Lendal, York
GRIFFONAGE Theatre, York’s theatrical confluence of the madcap and the madcap, proudly presents Kafka By Candelight as part of the Aesthetica Fringe 2025 from tonight to Friday.
“This collection of Franz Kafka’s strangest short stories will be disturbingly told in the darkness, in the bowels of The House of Trembling Madness, Lendal. Dare to join us down below?” teases director Katie Leckey.
In Poseidon, the God of The Sea is overwhelmed with the bureaucracy of managing the oceans; in The Penal Colony, an elaborate torture/execution device carves the crimes of criminals onto their skin as they slowly perish.
What next? In The Bucket, a woman is freezing to death, prompting her to seek out a coal dealer as she pleads for help. However, she is not understood.
In The Burrow, a badger-like creature holes himself up in his home, afraid of enemies outside…but soon strange noises begin to threaten his existence from within.
And lastly? In The Vulture, a vulture pecks mercilessly at the soles of a young person’s feet. A stranger tries to help, inadvertently making things wholly worse.
“This production is a work-in-progress piece, with sections that are script-in-hand,” says Katie. “We’re also experimenting with audience members adding to the atmosphere by optionally wearing [theatrical] masks…
“Griffonage are hoping to develop some of the selected stories into a longer show in the future. To this end, we would value any and all audience feedback after the performances. Please email katieleckey@griffonage.uk with feedback or questions!”
Constance Peel: Writer, director, performer…and waitress, serving up Service Please at inaugural Aesthetica Fringe
CONSTANCE (Connie) Peel, York-born director, producer, writer and performer, will present her debut one-woman show Service Please as part of the inaugural Aesthetica Fringe.
“I’ve been working as an assistant director and performer in theatre professionally for the past two years, since graduating from the University of York,” says Connie, 24. “This show explores the reality of working in hospitality, including the harassment and sexism you can face as a young woman.”
Service Please is billed as “a relatable and comedic monologue that follows Lara, a creative writing graduate, who hopes to write the next best-selling fantasy romance novel. There’s only one thing standing in her way, her casual waitressing job that keeps the money coming in.”
“We’ve all been there, but Lara wasn’t ready for the stressful and chaotic reality of working in the service industry,” says Connie, introducing her monodrama. “Can Lara keep her sanity and get her big writing break or will she crumble under the pressure of understaffed shifts, creepy comments and customers who say their only food allergies are ‘women’?”
Constance Peel’s poster for this week’s performances of Service Please at Rise@Bluebird Bakery and Micklegate Social
Hospitality is the fastest-growing economic sector, worth £93 billion to the UK economy. “But it’s under severe pressure with more than 100,000 job losses predicted by the time of this month’s Budget, due to National Insurance rises (according to UK Hospitality),” says Connie.
“It’s evident working in the sector that to continue profits and keep up with the cost of living, food prices and discounts both need to increase while labour hours decrease. Being a server has never been more stressful and unpredictable and this experience (as other working-class experiences) is so often overlooked by theatre.”
Sexual harassment is an epidemic in the hospitality industry too, says Connie. “As many as 47 per cent of workers having experienced it – and 69 per cent witnessed it in 2021 (Culture Shift).
“These statistics, though informative, mask the personal cost to the individuals harassed and abused. My play presents interpretations of my own personal experiences, including those with harassment, and they’re an unfortunate part of the job when working as a waitress.
“I wanted to show the emotional toll of struggling as an artist, especially as in the past five years there has been one third fewer arts jobs,” says Connie
“They shouldn’t be, and awareness of this experience even in Fringe-scale theatre is always beneficial to the cause.”
Lastly, says Connie, Service Please tells the story of an artist with no clear way into her industry. “This is the most personally accurate part of my script. I wrote and performed the 50-minute monologue while producing and marketing it alone for its six-day debut run at the world-famous Edinburgh Fringe, where it won plaudits from critics and top reviews.
“Though this is hopeful for creatives, both in the execution of the play and my own story behind it, I wanted to show the emotional toll of struggling as an artist, especially as in the past five years there has been one third fewer arts jobs (directly impacting my career).
“It was important that I brought this show back to where my career started, in York where I graduated from the University of York and where I’ve been working for the past three years between York and Leeds. I hope this production and my story makes people see the importance of a small-scale play like this in today’s society.”
Clive Marshall RIP: Trombone player, character actor, director, chairman, designer, set builder, English and drama teacher, hockey player and club president
YORK Railway Institute Band and York Opera members will come together for one night only on Saturday (8/11/2025) for a charity musical tribute to much-loved colleague Clive Marshall (October 12 1936-March 11 2025).
Expect soaring choruses, heartfelt arias and the very best of operatic overtures in this 7.30pm concert of popular classics at The Citadel, Gillygate, York, all in aid of St Leonard’s Hospice, where Clive spent the final days of his life in March this year.
Clive, who trained as a teacher at St John’s Teacher Training College in York, was chairman of the York Railway Institute Band, leading the trombone section for many years, and first performed for York Opera – or City Opera Group, as it was then called – in 1968, going on to play multiple character roles and stage direct myriad productions too. He was president of City of York Hockey Club to boot, playing into his 70s.
As an English and drama teacher, he taught at Derwent and Knavesmire Secondary Modern schools before becoming head of drama at Hemsworth High School in West Yorkshire. After early retirement from Hemsworth, he took on part-time teaching at Northfield School in Acomb and as a drama teacher at Bootham School until the age of 70.
York Opera chairman Ian Thomson-Smith says: “Clive was the heart and soul of York Opera for more than 50 years, as a director, performer, designer and set builder. So many of us who shared a stage with him will be forever grateful for his guidance, good humour and encouragement. This concert is a small way of recognising how much he has meant to us.”
York Railway Institute Band manager Martyn Groves-Williams adds: “Clive was a truly remarkable, talented and generous man, who thankfully lived a long and joyous life. His memory will be cherished by all of us who were lucky enough to be part of his banding life, and we shall all miss him dearly.”
Helen Lay, community and events fundraiser at St Leonard’s Hospice, says: “We’re incredibly grateful to the York Railway Institute Band and York Opera for teaming up for this special event in Clive’s memory.
“As a charity, we rely on brilliant events like this to raise much-needed funds, so we can continue providing our expert care and support to so many across our area. We’re incredibly grateful to everyone involved.”
SCRAVIR author C.M. Vassie, pictured in Whitby, where his gothic horror trilogy is set. Costume courtesy of York Theatre Royal costume hire department
YORK author C.M. Vassie will hold a book signing and meet & greet session for the third instalment of his supernatural thriller trilogy, SCRAVIR III – Possession, at Holman’s bookshop, on Skinner Street, Whitby, on Saturday.
This 2pm to 4pm event forms part of the first Whitby Literature Festival Fringe and concludes Vassie’s promotional travels to the East Coast after book signings at the Whitby Shop and Whitby Bookshop over Whitby Goth Weekend.
Vassie is not only a gothic horror author but also the City of York councillor for Wheldrake with a long back story as film and TV music composer Xian Vassie for the BBC and others too from 1992 to 2012.
“While the SCRAVIR books are dark and nasty, they are nowhere as dark or as nasty as local politics,” says Liberal Democrats Councillor Christian Vassie/author C.M. Vassie.
SCRAVIR – a word made up by the author – is a contemporary gothic horror story that serves up a thriller and a police detective story too. Set in Whitby and Romania, its protagonists are a London youth, Daniel, and a Whitby lass, Tiffany, who works in a fish-and-chip shop. The nemesis is a Goth music star and the action takes place over Whitby Goth Weekend when emaciated bodies appear on streets in the old town.
The original book, SCRAVIR – While Whitby Sleeps appeared in the summer of 2021; the second, SCRAVIR II – Lacklight, followed in 2023. Now Vassie completes the trilogy for Injini Press with Possession, whose plot finds Thor Lupei dead and the pandemic shrinking in the rear mirror, as Daniel and Tiffany make a life together in Whitby, thinking they are safe.
Daniel’s past, however, looms over everything, and when a Goth Weekend gig at the Pavilion goes awry, they decide a holiday in Romania – to discover his mother’s Transylvanian origins – would be a grand idea.
“What could possibly go wrong?” teases the back cover taster. Go wrong? Not so for Christian Vassie, for whom everything has gone right since he ventured on his SCRAVIR journey (also writing the time-travelling adventure The Whitby Trap, set in the 1820s, en route).
Ahead of last weekend’s SCRAVIR III launch, he said: “The last book signing I did there had 65 costumed goths queuing for a chat and copies of the SCRAVIR books. Which is nice, though quite daunting as some of the fans know the stories better than I do!”
Whether composing music or writing books, Christian “finds things I want to do, and I don’t make a fortune but I’m able to make a living, like everyone else, and that’s fine,” he says. “When artists start off they have wild dreams of kidney-shaped swimming pools and five houses, but actually, if you can live a good life, that’s fine.
“I produced music for over 80 productions, but over those 20 years, downloading music has become so easy. You used to have to go to Denmark Street [in London]; now you have access to millions of pieces of music on your computer.
Author C.M. Vassie meets SCRAVIR book fans at launch events at Whitby Goth Weekend. “One even came as a deathly bride, one of the characters in the first book,” says Vassie
“I did the music for a series about the Medici in 2003 that you can find on YouTube and has had a million views, but I’ve never earned a penny from that. So you can either feel sorry for yourself or you adapt.”
Adapt he did, a decision brought on partly because he was going deaf. “I could trust my musicality, but I couldn’t trust my hearing,” says Christian. “I no longer had the confidence I needed – but I went out with a bang with Bishaash, a 12-part sci-fi series where Scooby Doo meets Star Trek meets Doctor Who, produced by BBC Worldwide and Bangladesh TV. That had 17 million views! What a wonderful way to go out. I could feel fulfilled.”
Christian had been the head chorister at York Minster in his Archbishop Holgate schooldays, going on to study African Languages and World Music at the School of Oriental and African Studies in London from 1979 to 1982. “I didn’t come from a musical family, but from the age of 11 or 12, I understood the meaning and value of excellence.”
That drive has never left him. “It has to be part of creativity,” he says. “When I worked on compositions for films, often the director would be satisfied before I was, and I would keep looking to improve. We’re driven to be artists because that is who we are – we just want to explore creative things.”
Hence the move into writing books, already armed with a grasp of how scenes are written how characters develop, from working on films. “It started off with writing a couple of thrillers that did nothing, printing 100 copies and selling 30,” he says.
“Then I wrote a children’s environmental book, a picture book, The Three Little Pigs And The Straw Stick House, when I was also instrumental in the eco-depot being built in James Street with straw bale cladding. That book sold in its thousands.”
Christian was off and running. “Careers in the arts are partly about learning a craft, but also about how you position yourself to make something that appeals to people, to find your audience, and these SCRAVIR books have been transformational for me,” he says.
“People ask me why I don’t set stories in York, but I went to Whitby as a child and loved it, and it’s been in my heart ever since, as it is for many York people. Whitby is so condensed and it’s on the edge of the unknown.
“That romanticism, being at the top of the cliff, looking out at what might be. Like Captain Cook, at a time when things were bl**dy hard, you could just pack your bags and leave. In reverse, it’s where Dracula arrives, so you can go out into the unknown or the unknown can come to you. That’s what makes Whitby so special; what makes it different from York. It’s like a door that’s permanently ajar.”
A door ajar for C.M. Vassie to explore his creativity in three SCRAVIR books. “It’s great to play a small part in shaping how our collective sense of place,” he says. “Yorkshire came close to losing Whitby old town altogether in the 1920s and 1930s as plans were advanced to bulldoze the entire area and replace the yards with modern housing.
“We are all lucky that didn’t happen. I like to imagine that the stories authors create in those ginnels and old buildings help to protect it from developers and give us a clearer view of our history. The armies of goths help too.”
Councillor Christian Vassie’s political thought for the day
“Councillors should be the conscience of the city.”
The Great Plague: Cutting provided by Christian Vassie
The Great Plague: Xian Vassie’s back story
CHRISTIAN Vassie composed the score for Chanel 4’s The Great Plague in 2001. “Samir Shah, now chairman of the BBC, told me it was the film of which he was most proud,” he says.
“It won the Best History award at the Royal Television Society awards in 2001 or 2002. It was a groundbreaking story because it told the story of the lives of a group of Londoners during the Great Plague, not from the recollections of Samuel Pepys or other lofty fellows but from the simple records of a churchwarden.
“He had recorded in absolute detail the tragedy that befell the inhabitants of an alley in London: who he had money to feed when they were locked in their homes to stop the spread of the disease; who he paid to bury their neighbours; how families were torn apart. Real peopl with real names.
“My contribution was to write a score that wasn’t period music to tell you how long ago the events took place; the music blended bluegrass and folk music. Drama documentaries at the period only had a silent cast, over which historians would be the human voices. My score gave the inhabitants of the alley back their voices, using songs without words to draw us into their world.”
Christian used a similar approach for their next joint film project, 2003’s Invitation To A Hanging, winner of the RTS Best History award the following year.
“That told the story of Jack Shepherd, a young man who arguably became the first working- class hero in England because his brief life, and escapes for Newgate Prison, coincided with the birth of newspapers,” he says.
“The score for that film, set in the 1720s, was a mixture of jazz, reggae, and soundscapes. Again the point was to avoid using music to tell the audience when the story was set, but rather to communicate that they were watching the original ‘Jack the Lad’, the hero of The Beggar’s Opera, the inspiration for the song Mack The Knife.
“Jack didn’t see himself as a historical figure but as a man about town, a celebrity. Until he was caught a fifth time and hanged…”
Mark Kermode Taking part in Aesthetica Short Film Festival’s Beyond the Frame strand at York Theatre Royal. Picture: Julie Edwards Visuals
THE 15th Aesthetica Short Film Festival tops the bill in a week when hauntings and musical buns rise to the occasion, as Charles Hutchinson highlights.
Festival of the week: Aesthetica Short Film Festival, all over York, today to Sunday
NOT so much a film festival as a “screen and media event”, in its 15th year, York’s Aesthetica Short Film Festival is bigger and broader than ever. Not only more than 300 shorts, features, documentaries, animations and experimental films, but also the VR & Games Lab; masterclasses and panels; workshops and roundtables; networking and pitching; Listening Pitch premieres; the inaugural New Music Stage and Aesthetica Fringe shows; Beyond the Frame events at York Theatre Royal; the UNESCO City of Media Arts EXPO and the Podcasting strand. For the full programme and tickets, go to: asff.co.uk.
Mary Gauthier: Playing Pocklington Arts Centre tonight
Troubadour of the week: Mary Gauthier, Pocklington Arts Centre, tonight, 7pm
MARY Gauthier hung up her chef’s coat to move to Nashville at 40 to start a troubadour career, going from open-mic gigs to playing Newport Folk Festival a year later. Twenty-five years ago, this courageous lesbian songwriter’s groundbreaking debut album Drag Queens In Limousines announced: “Drag queens in limousines, nuns in blue jeans, dreamers with big dreams, they all took me in.”
The song has become an anthem for anyone who has ever felt like an outsider: as it turns out, all of us. It is typical of her deeply personal, yet paradoxically universal work, written in reaction to what matters most to her, as Gauthier expresses boldly what is often too hard for us to say. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Bugsy at the double: Zachary Stoney, from Team Malone, left, and Dan Tomlin, from Team Bugsy, in Pick Me Up Theatre’s Bugsy Malone
Young performers of the week: Pick Me Up Theatre in Bugsy Malone, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee
LESLEY Hill directs and choreographs York company Pick Me Up Theatre’s cast of more than 40 young performers in Alan Parker and Paul Williams’s musical, replete with the film songs You Give A Little Love, My Name Is Tallulah, So You Wanna Be A Boxer?, Fat Sam’s Grand Slam and Bugsy Malone.
In Prohibition-era New York, rival gangsters Fat Sam and Dandy Dan are at loggerheads. As custard pies fly and Dan’s splurge guns wreak havoc, penniless ex-boxer and all-round nice guy Bugsy Malone falls for aspiring singer Blousey Brown. Can Bugsy resist seductive songstress Tallulah, Fat Sam’s moll and Bugsy’s old flame, and stay out of trouble while helping Fat Sam to defend his business? Box office: atgtickets.com/york.
David Sturzaker’s Gareth Southgate giving a team talk in James Graham’s Dear England, on tour at Leeds Grand Theatre
Sporting drama of the week: National Theatre in Dear England, Leeds Grand Theatre, until Saturday, kick-off at 7.30pm plus 2pm Wednesday, Thursday and Saturday matinees
JAMES Graham’s Olivier Award-winning play (and forthcoming television drama) takes its name from revolutionary England football manager Gareth Southgate’s open letter during the Covid-19 pandemic.
David Sturzaker plays Southgate, Samantha Womack, team psychologist Pippa Grange, in this “inspiring, at times heart-breaking and ultimately uplifting story” of England, penalties, lost finals and a new-found national identity. Box office: 0113 243 0808 or leedsheritagetheatres.com.
Ben Rosenfield and Laura McKeller in Neon Crypt and The Deathly Dark Tours’ The Wetwang Hauntings– Live!
Halloween horrors and jump scares of the week: Neon Crypt and The Deathly Dark Tours in The Wetwang Hauntings – Live!, Theatre@41, Monkgate, York, Monkgate, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee
BETWEEN 1986 and 1993, a series of often violent hauntings rocked the small Yorkshire town of Wetwang. The cases went cold and all the records were lost…until now! Join York ghost walk guide Dr Dorian Deathly and his team as they dig into the history and horrors of these cases. “This show is not for the faint of heart,” he forewarns. Suitable for age 13 upwards. Box office: tickets.41monkgate.co.uk.
Jessica Shaw’s Forms Of Water, on show at Pocklington Arts Centre
Ryedale exhibition of the week: Jessica Shaw, Forms Of Water, Helmsley Arts Centre, until February 27 2026
BASED on the edge of the North York Moors, printmaker Jessica Shaw explores the impact of water and ice on landscape, inspired by Leonardo da Vinci’s assertion that “in time and with water, everything changes”.
Combining screenprint, woodcut, monoprint and etching with diverse media such as gouache and acrylic ink, her work draws from organic patterns and shapes made by water and ice, detailing their effect on the North York Moors National Park’s topography by highlighting the shapes of its high ground and the curls of its rivers, to the ephemeral ice patterns found in puddles and windows in winter.
Katie Leckey: Directing Griffonage Theatre in Kafka By Candlelight
Deliciously disturbing stories of the week: Griffonage Theatre, Kafka By Candlelight, The House Of Trembling Madness, Lendal, York, tonight to Friday, 6.30pm and 8.30pm
“NO rest for the week,” say Griffonage Theatre, York’s purveyors of the madcap and the macabre, who are performing Kafka By Candlelight in the cavernous belly of the House Of Trembling Madness cellar as part of Aesthetica Short Film Festival’s debut Aesthetica Fringe, featuring 25 shows across the city.
This one showcases five of Franz Kafka’s strangest short stories, told disturbingly in the darkness with the audience in masks (optional). “Dare to join us?” they tease. Box office: eventbrite.com/e/kafka-by-candlelight-tickets-1815618316259.
Entwined: Nik Briggs’s cooking copper, Ben, and Harriet Yorke’s carer, Gemma, in York Stage’s York premiere of The Great British Bake Off Musical
York musical premiere of the week: York Stage in The Great British Bake Off Musical, Joseph Rowntree Theatre, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee
BAKING battles, singing sponges and a sprinkling of hilarity is the recipe for York Stage’s York premiere of The Great British Bake Off Musical, rising to the occasion under the direction of Nik Briggs, who also makes a rare stage appearance as one of the Bake Off contestants.
Expect a sweet and savoury symphony of British wit and oven mitts, propelled by a menu of jazz hands and jubilant original songs that capture the essence of the Bake Off tent, from nerve-wracking technical challenges to triumphant showstoppers. Be prepared for an emotional rollercoaster ride, where cakes crumble, friendships form and dreams become fruitful reality. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Understaffed and overworked: The hotel workforce on clean-up duty in John Godber Company’s Black Tie Ball. Picture: John Godber Company
One helluva party of the week: John Godber’s Black Tie Ball, Pocklington Arts Centre, Thursday to Saturday, 7.30pm plus 2.30pm Saturday matinee
ON the glitziest East Yorkshire fundraising night of the year, everyone wants to be there. The Bentleys are parked, the jazz band has arrived, the magician will be magic, but behind the bow ties, fake tans and equally fake booming laughter lie jealousies and avarice, divorces and affairs, as overdressed upstairs meets understaffed downstairs through a drunken gaze.
The raffle is ridiculously competitive, the coffee, cold, the service, awful, the guest speaker, drunk, and the hard -pressed caterers just want to go home. Welcome to the Brechtian hotel hell of John Godber’s satirical, visceral comedy drama, as told by the exasperated hotel staff, recounting the night’s mishaps at breakneck speed in the manner of Godber’s fellow wearers of tuxedos, Bouncers. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Offcut Theatre’s poster for Libby Pearson’s Four By Three
Uplifting mini-dramas of the week: Offcut Theatre in Libby Pearson’s Four by Three, Milton Rooms, Malton, Thursday, 7.30pm
PAULINE, Bill and Martin invite you into parts of their lives through three separate monologues before coming together in a short play in Libby Pearson’s hopeful, uplifting, light-hearted look at the need for human contact.
In The Woman Next Door, is Pauline a lonely, nosey neighbour or a woman full of unfulfilled longing? In Silk FM, Bill runs a very local radio station; catch it on Thursdays, 1pm to 3pm, term-time only. In The Picker, Martin is desperate to be acknowledged for his innovative litter-picking ideas. In Shelved, Pauline, Bill and Martin run a volunteer-led library, where the council may have plans for it, but so do they. Box office: 01653 696240 or themiltonrooms.com.
