James Gilchrist: tenor Evangelist in Yorkshire Bach Choir’s St John Passion
CONDUCTOR Peter Seymour opted for a slower tempo in the opening chorus “Herr, unser Herrscher”.
While this had obvious merit – polyphonic transparency, clearly layered choral entries, crisp articulation of the text, and finely judged orchestral detail – it lost dramatic intent: the relentless drive and sense of agitation that a quicker tempo – think John Eliot Gardiner – can bring.
It is, of course, a trade-off: solemnity versus torment. And then something quite remarkable happened: James Gilchrist.
His tenor Evangelist proved the dramatic engine of the Passion. From the opening recitative, “Jesus ging mit seinen Jüngern,” he established the narrative with urgency and clarity. Particularly effective were the razor-sharp exchanges with the chorus, as the crowd – here the soldiers – interject in “Jesum von Nazareth!”
One of the most powerful Evangelist moments in Part I is the recitative “Da verleugnete Petrus abermal” – Peter’s denial – a secco recitative for tenor with continuo accompaniment. The rising tension was palpable.
This is followed by the cock crow, conveyed through the text, and then the shock of silence. What ensued was a remarkable depiction of Peter’s emotional collapse in “Und ging hinaus und weinete bitterlich”, again with no string or wind support.
A standout passage of Part II was Gilchrist’s delivery of “Und neigte das Haupt und verschied”. This is the climactic narrative moment of the Passion: after all the drama – indeed, all the operatic intensity – it is over. The music stops.
Gilchrist also shaped the work’s pivotal theatrical moments with real authority: the mob’s blunt rejection in “Nicht diesen, sondern Barrabam!”; the biting, almost grotesque sarcasm of “Sei gegrüßet, lieber Jüdenkönig!”; and, most strikingly, the escalating hysteria of “Kreuzige! Kreuzige!”. In each case, his framing of these interruptions ensured the narrative never lost momentum.
The voice of the choir in the chorales throughout is that of communal reflection: the exact opposite of mob rule. Personally, I felt the tempi were a touch brisk; I missed a sense of real stillness. That said, they were confidently performed. The final chorus, “Ruht wohl, ihr heiligen Gebeine”, with its warm, reassuring harmonies and gently rocking, lullaby-like rhythm, was very moving.
Yorkshire Bach Choir performing St John Passion at Sir Jack Lyons Concert Hall
The success of the performance depends on the contrast between the Evangelist’s narrative urgency and Christus’s centred stillness, each role demanding not only vocal control but also a finely judged sense of dramatic purpose.
Frederick Long proved an excellent Christus. His performance radiated authority, poise and inner calm. It was refreshing to hear such clarity of pitch in the lower bass register, rather than the all-too-common woolliness.
I found Long’s “Mein Reich ist nicht von dieser Welt” genuinely moving: surrounded by accusation and political tension, his quiet conviction, supported by the halo of strings, created a moment of true stillness and otherworldliness.
The other soloists all acquitted themselves admirably. Tenor Jason Darnell gave a fine account of the demanding “Ach, mein Sinn”, capturing its agitation and urgency. Darnell coped well with the quick, restless rhythms, generating a real sense of unease.
Alto Louise Dobson gave a compelling “Es ist Vollbracht”, beautifully supported by Richard Boothby on viol da gamba, whose intimate, haunting tone was ideally suited to the aria.
Both sopranos, Bethany Seymour and Wendy Goodson,delivered fine performances; Ms Seymour’s “Ich folge dir gleichfalls,” with flute and continuo, offered a moment of light, graceful contrast.
Perhaps most enjoyable of all was Caroline Sartin-Smith’s “Von den Stricken meiner Sünden”. Her rich alto voice suited the aria well, although the two oboes – beautifully played – occasionally compromised the balance.
The orchestra – from Lucy Russell and Agata Darashkaite on violins to Ben Horden on organ – was first-rate. There were moments when the balance did not favour the upper strings, but these are the forces Bach himself conceived, so perhaps best left there.
It was good to see Peter Seymour again, directing from the harpsichord with authority and assurance.
The Brand New Heavies on stage at York Barbican. Picture: Paul Rhodes
WHAT do you do after the hit has gone? For the Brand New Heavies, who flew near the top of the Acid Jazz movement in the late-1990s, the answer has been to keep on playing. Now one of many acts riding the mature audience gravy train, this talented group are definitely not resting on their laurels.
This reviewer last saw The Brand New Heavies nearly 30 years ago, and the good feeling they generate feels no different three decades on.
Founding members guitarist Simon Bartholomew (perhaps wearing one of Prince’s slinky outfits, with his rock star locks) and bassist Andrew Levy (getting jiggy in tight sequined trousers) remain the focal points, and their love of improvisation helps to keep the music fresh. All of the nine-strong band members were listening closely to one another and enjoying being on stage.
N’Dea Davenport has been gone from the line-up for ten years. In her stead since 2018, Angela Ricci’s poise and vocals were flawless. There’s a lot of repetition in their tunes, but she never wavered and made for a poised contrast with Bartholomew’s showboating.
The hits were all present and correct, Midnight At The Oasis, You Are The Universe and Dream On Dreamer neatly spread throughout the set, leaving space for funky jams and a smattering of more recent numbers. At their best, the sound of The Brand New Heavies is like a light sunny breeze on your face.
The Brand New Heavies’ Andrew Levy, left, Angela Ricci and Simon Bartholomew
Their most loved songs are rightly regarded as feel-good anthems, tunes that will lighten the spirit. Music snobs may consider them inoffensive and superficial, but that would be to do them something of a disservice.
Their influences are in impeccable, classic soul and funk – and they work hard on the chops and the stage craft. The hip-hop influences in their later albums were downplayed.
In this they were the opposite of openers Galliano. Despite being a musical footnote, they provided a surprisingly good opening set, which was fun, funky, and had a lot of rapping.
Theirs was also a study of contrasts, the elegance of Valerie Etienne (despite her face being invisible beneath a golf visor) with Rob Gallagher’s latter-day Alf Garnett dancing (even if it is hard to imagine Garnett singing Everything Is Going to Get Better to Elsie…). Their set was much enriched by Ski Oakenfull’s keyboards and the propulsive bass of Erne McKone that never let up.
As the daffodils danced on the city walls outside, inside the crowd were definitely moved by these two fine bands, as welcome as Spring.
Alison Moyet: Returning to York Barbican this autumn. Picture: Naomi Davison
ALISON Moyet will play York Barbican on November 18 in one of ten new additions to her Songs Of Yazoo, the minutes and Other tour.
After 20 UK and Irish shows, including Sheffield City Hall on October 6, sold out within days, the Basildon-born soul, blues and pop singer-songwriter has announced further autumn dates, with another Yorkshire gig among them at Bradford Live on November 13.
The 2026 tour will focus exclusively on songs from Yazoo’s 1982-1983 catalogue and a selection from her solo electronica albums, 2013’s the minutes and 2017’s Other.
In her days as Alf, Moyet answered a Melody Maker advert to join fellow Essex musician Vince Clarke in Yazoo after his split from Depeche Mode. A handful ofYazoo hits have become staples of Alison’s live sets, but much of the electronic duo’s material has been performed only rarely outside of their two brief tours: 1982’s breakthrough travels and 2008’s Reconnected reunion.
Songs Of Yazoo, the minutes and Other is billed as a “unique opportunity to experience songs live that propelled their phenomenal yet short-lived run”, comprising 1982’s UK and USA platinum-selling debut Upstairs At Eric’s and 1983’s parting shot, the UK chart-topping You And Me Both.
Alison Moyet’s poster for the ten new shows on her Songs Of Yazoo, the minutes and Other tour
For the first time, Moyet will team multiple Yazoo numbers with songs from her creative return to electronica for the minutes and Other, both produced by principal co-writer Guy Sigsworth.
“Many years touring the same pool of songs and I am keen for a palate refresher,” says Moyet, 64. “Specifying which years I will be fishing from too, I think, is a grand way to serve pot luck for specific tastes. No bones…”
Moyet last visited York Barbican on February 20 2025 on her first headline tour since 2017, when she had been joined by keyboard players John Garden and Shaun McGhee on November 19 that year to promote Other.
Last year’s show followed Moyet’s graduation from Brighton University in 2023 with a first-class degree in fine art printmaking, whereupon she combined art and music on her 18-track October 4 album, Key, creating the artwork as well as reworking singles, fan favourites and deep cuts, complemented by two new songs.
In addition, Moyet will embark on a 21-date tour of North America this summer as a special guest on The Human League’s Generations tour, alongside Marc Almond’s Soft Cell.
Kim Wilde: Fourth visit to York Barbican in less than a decade
EIGHTIES’ pop queen Kim Wilde will conclude her 13-date Singles Tour at York Barbican on March 28 2027.
Definitely not alone now, she will be supported by Nashville singer, songwriter, producer, cookery book author, Let’s Food With Tiffany cooking club hostess and The Masked Singer participant Tiffany.
Wilde played York Barbican previously on her Here Come The Aliens tour in April 2018, Greatest Hits 2020 tour in September 2020 and Closer tour in March 2025.
The chart-topping, BRIT Award-winning Londoner, now 65, tours consistently with her brother and co-writer Ricky and their family band, performing such up-tempo synth pop hits as Kids In America, Chequered Love, Water On Glass, Cambodia, View From A Bridge, You Keep Me Hangin’ On, You Came, Never Trust A Stranger, Four Letter Word and If I can’t Have You.
Boys, Love Blonde, The Second Time, Rage To Love, Another Step, Say You Really Want Me, Love In The Natural Way, Love Is Holy and Heart Over Mind could all feature too.
Wilde, daughter of 1950s’ rock’n’roll legend Marty Wilde, continue to release new songs of edge, love and high energy, as well as appearing in her own radio and television shows and being an award-winning gardener.
Foo Fighters covered Kids In America on their Songs From The Laundry EP for Record Store Day in 2015, 24 years after frontman Dave Grohl first recorded a demo.
Support act Tiffany covered Wilde’s 1981 debut hit too on 2007’s I Think We’re Alone Now: ’80s Hits And More album.
Born on October 2 1971, Tiffany Renee Darwish grew up with an alcoholic mother and now supports mental health awareness and sobriety. Like Wilde, she is an advocate for female empowerment and body image, after experiencing the trials and tribulations of being in the media spotlight from their teenage years to midlife.
At the age of 16, Tiffany topped the UK charts for three weeks in 1988 with her cover of Tommy James & The Shondells’ 1967 hit I Think We’re Alone Now.
Darren Walsh: Puns by the punnet load at Theatre@41, Monkgate, York
A PLETHORA of puns, a dysfunctional American family musical, an alien invasion in film and theatre and a bakery burlesque night confirm variety is the spice of Charles Hutchinson’s arts life.
Comedy show like no other, bar pun: Darren Walsh: Do You Like Puns?, Theatre@41, Monkgate, York, tonight, 8pm
WITNESS a pun Goliath in person when Darren Walsh brings his 8ft frame to York for his Do You Like Puns? show. Noted for his Jokes On The Street series on social media, he combines sound effects, videos, one-liners and improvised jokes spun off audience suggestions. “Book now, li is two short,” he says. Think about it. Box office: tickets.41monkgate.co.uk.
Pianist David Hammond
Classical concert of the week: York Late Music: David Hammond, Unitarian Chapel, St Saviourgate, York, today, 1pm
PIANIST David Hammond’s recital celebrates Yorkshire and northern composers, brought together in an afternoon programme full of musical storytelling, ranging in mood and imagery from Patrick John Jones’s Eel and the world premiere of James Else’s Kitten’s Prelude, to butterflies, letters and birthday cards in works by Dawn Walters and Nicola LeFanu.
Two further world premieres, a new James Williamson piece, alongside Scarlatti’s Cat’s Fugue, echo the animal thread and electronic elements feature in Jake Adams’s Thirty In Eight, adding a contemporary edge to Hammond’s typically imaginative combination of local voices, strong themes and plenty of character. Tickets: latemusic.org or on the door.
Catrin Mai Edwards’ Martha, left, Estella Evans’ Mary Lennox and Dexter Pulling’s Colin in The Secret Garden The Musical at York Theatre Royal. Picture: Marc Brenner
Actor-musician show of the week: The Secret Garden The Musical, York Theatre Royal, until April 4
TONY Award-winning director John Doyle, artistic director of York Theatre Royal from 1993 to 1997, returns to pastures past in more ways than one to present his actor-musician staging of Lucy Simon and Marsha Norman’s Broadway musical account of Frances Hodgson Burnett’s story of love, loss, healing and hope, set on Yorkshire moorland in 1906.
Newly orphaned, Mary Lennox is sent to live with her widowed uncle at the secluded Misselthwaite Manor, a house in habited by memories and spirits from the past. On discovering her Aunt Lily’s neglected garden, she vows to breathe new life into its mysterious stasis as she learns the restorative magic of nature. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The BudapestCaféOrchestra: Fronted by Christian Garrick at Helmsley Arts Centre
Snappiest attire of the week: Christian Garrick & The Budapest Café Orchestra, Helmsley Arts Centre, tonight, 7.30pm
CHRISTIAN Garrick (violin, darbuka), Murray Grainger (accordion), Kelly Cantlon (double bass) and Adrian Zolotuhin (guitar, saz, balalaika, domra) team up in this refreshingly unconventional and snappily attired boutique orchestra. Playing gypsy and folk-flavoured music in a unique and surprising way, The Budapest Café Orchestra combine Balkan and Russian traditional music with artful distillations of Romantic masterworks and soaring Gaelic folk anthems.
Established by British composer Garrick in 2009, BCO have 16 albums to their name, marked by an “astonishing soundscape and aural alchemy” characteristic of larger ensembles, evoking Tzigane fiddle maestros, Budapest café life and gypsy campfires. Box office: 01439 771700 or helmsleyarts.co.uk.
This charming man: Nigel Havers is ready to talk at the Grand Opera House. Picture: Matt Crockett
Laughter, nostalgia and charm equals: Nigel Havers Talking B*ll*cks, Grand Opera House, York, March 23, 7.30pm
LET esteemed actor and self-deprecating raconteur Nigel Havers introduce his touring talk show. “Join me, a stage, and a lifetime of gloriously ridiculous stories to share with you. You’ll get the full Havers experience: charm, wit, and absolutely no running in slow motion.
“Of course, there’ll be behind-the-scenes gossip, tales of triumph (and disaster), moments of sheer madness, and a fair bit of talking b*ll*cks. And just when you think you’ve got me figured out, I might surprise you.” Box office: atgtickets.com/york.
Off Pat: Nevin is ready to talk at The Crescent
Football chat of the week: Pat Nevin, Football And How To Survive It, The Crescent, York, March 24, 7.30pm kick-off, doors 7pm
PAT Nevin, the “Wee Man” on the pitch but never short of opinions off it, shares stories and insights from 40 years in football, turning out on the wing for Clyde, Chelsea, Everton, Tranmere Rovers, Kilmarnock and Motherwell in a professional career from 1981 to 2000.
Now a familiar voice on BBC Radio 5 Live’s Premier League coverage, Nevin has seen the game from all sides, from playing for Scotland under Sir Alex Ferguson to being chairman of the players’ union and even a spell as a club chief executive, with a sideline in DJing at club nights too. Expect stories of Kenny Dalglish, Ally McCoist and ex-Chelsea chairman Ken Bates, Morrissey, Saddam Hussein and John Peel too, in conversation with journalist Duncan Steer. Audience questions will be welcomed. Box office: thecrescentyork.com.
Dale Vaughan, left, Ryan Richardson, Monica Frost, Niamh Rose, Fergus Green and Matthew Warry, at the back, in rehearsal for Pick Me Up Theatre’s Next To Normal
American musical of the week: Pick Me Up Theatre in Next To Normal, Theatre@41, Monkgate, York, March 25 to April 4, 7.30pm except March 29 and 30; 2.30pm matinees, March 28 and 29, April 4
ANDREW Isherwood directs York company Pick Me Up Theatre in Brian Yorkey and Tom Kitt’s Tony Award-winning musical exploration of family and illness, loss and grief as a suburban American household copes with crisis and mental illness.
Dad is an architect; Mom rushes to pack lunches and pour cereal; their daughter and son are bright, wise-cracking teens but their lives are anything but normal, because Mom has been battling manic depression for 16 years.Next To Normal presents their story with love, sympathy and heart. Box office: tickets.41monkgate.co.uk.
Mike Wozniak: Coming off The Bench to perform twice at the Grand Opera House, York
Sit-down stand-up of the week: Mike Wozniak: The Bench, Grand Opera House, York, March 25 and September 12, 7.30pm
THE Bench is the new stand-up tour show from Mike Wozniak, wherein in a story about a bench will be prominent. Previous experience of or strong opinions about benches are not required. Let Wozniak worry about that.
This Oxford-born comedian, writer, actor and former medical doctor portrays Brian in Channel 4 sitcom Man Down, is part of the team that makes Small Scenes for BBC Radio 4 and co-presents the Three Bean Salad podcast with Henry Paker and Benjamin Partridge. Box office: atgtickets.com/york.
Gorillaz: Bringing The Mountain to Leeds next Wednesday
Yorkshire gig of the week: Gorillaz, supported by Trueno, Leeds First Direct Bank Arena, March 25, 7.30pm; doors 6pm
DAMON Albarn and Jamie Hewlett’s BRIT and Grammy-winning British band showcase their chart-topping ninth studio album in Leeds after two warm-up shows at Bradford Live. Spanning 15 songs that embody the collaborative Gorillaz ethos, The Mountain creates a “playlist for a party on the border between this world and whatever happens next, exploring the journey of life and the thrill of existence”. Box office: gorillaz.com.
Bonnie Baddoo, Gareth Cassidy, Amy Dunn and Morgan Bailey in Imitating The Dog’s War Of The Worlds. Picture: Ed Waring
All’s Wells that ends in the worst nightmares of the week: Imitating The Dog in War Of The Worlds, Leeds Playhouse, March 25 to 28, 7.45pm plus 2pm Thursday and 2.30pm Saturday matinees
FOUR performers enter the stage and construct an epic road movie before your eyes in Imitating The Dog’s re-invention of H G Wells’s apocalyptic tale of alien invasion and the unfolding destruction of everything we hold dear as extraterrestrial life-forms land from the skies.
Using miniature environments, model worlds, camera tricks and projection, the ever-audacious Leeds company mixes the live and the recorded, the animate and the inanimate to ask “What would you do if order broke down? What would you do to survive? How far would you go to protect your own?” Box office: 0113 213 7700 or leedsplayhouse.org.uk
Vitamin String Quartet: Eroding boundaries between classical, dance, hip-hop and pop at Grand Opera House, York
Billie Eilish, Bridgerton & Beyond concert of the week: Vitamin String Quartet, Grand Opera House, York, March 27, 7.30pm
ERASING the boundaries between classical, dance, hip-hop and pop, Vitamin String Quartet perform renditions of everything from Billie Eilish to BTS, Taylor Swift to The Weeknd and Danny Elfman to Daft Punk. Formed in 1999, this Los Angeles group comprises Tom Lea, viola, Wynton Grant and Rachel Grace, violins, and Derek Stein, cello. Box office: atgtickets.com/york.
Freida Nipples: Baps & Buns burlesque on board a baguette at Rise@Bluebird Bakery
Cabaret of the week: Freida Nipples presents Baps & Buns Burlesque, Rise@Bluebird Bakery, Acomb, York, March 27, 8pm, doors 7pm
YORK’S queen of burlesque, Freida Nipples, swaps teas for tease as she turns the bakery cafe into a cabaret joint for a night of fun, frolics and freedom of expression in all shapes and sizes.
On the fabulously zesty menu will be Donna Divine, Ezme Pump, Callum Robshaw and Freida herself, hosted by Harvey Rose. Box office: bluebirdbakery.co.uk/rise.
The artwork for Alfie Boe’s April 10 album Face Yourself
AHEAD of his York Barbican concert on April 28, tenor Alfie Boe addresses his roots in northwest England on new single Face Myself.
Recorded at Le Mob Studio, Branland, London, the title track from his April 10 new album evokes imagery of Liverpool’s shipyards, the illuminations in Blackpool and indie and dance music of his teenage years, with references to legendary Manchester club the Hacienda, as well as paying tribute to The Stone Roses’ bassist, Mani, who passed away last year.
The album will be his first record to feature predominantly original material. “Face Myself is a tribute to the North and to my youth, back in the days when I was into the indie movement and hopped on the train to Manchester every weekend to see bands, when The Stone Roses came on the scene, then Inspiral Carpets and The Charlatans, the Hacienda and the Northern Quarter in Manchester,” says Blackpool-born Boe, now 52.
“It has the line ‘The Roses sing our indie song, we bang the drum, home is the place where time won’t change us’, remembering the way we celebrated that music.”
Boe continues: “At the time that I was writing that song, we heard about the tragic death of Mani from The Stone Roses and Primal Scream. I put in a little tribute, which goes: ‘Dreams are grown in Burnage skies, a golden past that made us cry. The prom is glorified with lights, for good old Mani played it right. Those Cranwell boys, they sang along.’
“Face Myself is a tribute to the North and to my youth, back in the days when I was into the indie movement,” says Alfie Boe. Picture: Ray Burmiston
“I only met Mani once and never really got to know him – I wish I had. The ‘Cranwell boys’ is a reference to Liam and Noel Gallagher, who grew up in Cranwell Drive in Burnage.”
Before Boe found fame as a tenor on the great British stages, he had a scrape with indie fame, in the role of Opera Dude with The Clint Boon Experience – Clint being keyboard player for Manchester indie legends Inspiral Carpets – when supporting York band Shed Seven. Earlier, he had been a teen drummer in a band but had to stay in school instead of going on tour.
Face Myself is one of the key songs Boe wanted to write, with the title ringing in his head before the track took shape. “I thought, what is it about me that I have that I have to face?” he recalls. “For me, it was a number of moments in the past: my childhood, my teenage years, what got me to where I am today, the stories of my personal life.
“Reflecting on those things fed into other songs on the album as well. It’s been a wonderful journey doing that.”
The new single follows the poignant Meanwhile Gardens, lifted from the album produced by MyRiot (Tim Bran and Roy Kerr), whose credits include London Grammar and Primal Scream.
The itinerary for Alfie Boe’s Facing Myself tour
Born Alfred Giovanni Roncalli Boe on September 29 1973 , Boe’s career has spanned stage, recording and television. He has released more than a dozen studio albums, several of them topping the UK charts en route to multi-platinum sales. His collaborations with Michael Ball, including the record-breaking Together, Together Again and Back Together, have been complemented by sold-out arena tours.
The Tony Award winner has conquered the world’s greatest opera stages and arenas and led the cast of Les Misérables in his defining role as Jean Valjean, also starring in the concert tour of Les Misérables in Australia and the Arena Spectacular tour across the UK.
He has appeared at Buckingham Palace for the Queen’s Diamond Jubilee and the Royal Albert Hall too and was appointed an Officer of the Order of the British Empire (OBE) in 2019, in recognition of his outstanding services to music and charity.
Boe’s 35-date Facing Myself tour will take in further Yorkshire concerts at Hull City Hall on April 24, Harrogate Royal Hall, April 29 and Sheffield City Hall, May 1. Tickets are on sale at https://gigst.rs/AB26; yorkbarbican.co.uk.
His 2026 tour show will combine his most iconic hits and fan-favourite classics with a showcase of material from Face Myself.
This 30 Years of Standing Ovations milestone event promises a grand celebration of the revolutionary Irish dance production’s legacy, after captivating more than 60 million fans in 60 countries since its 1996 debut.
The 30 Years of Standing Ovations tour will feature “brand-new choreography, stunning costumes, state-of-the-art special effects and cutting-edge lighting, ensuring that the production continues to push boundaries and deliver an unforgettable experience”.
Creative manager James Keegan says: “Michael Flatley has taught me that there are no boundaries in the creative space. When he burst onto the scene in the mid-90s, he took traditional Irish dancing to a place nobody had ever dreamed of, and that has been the key to the show’s success.
“Michael often says in rehearsals that we need to push the boundaries as much as we can, and if it’s too far or doesn’t work, we can always pull it back. That mindset is what keeps Lord Of The Dance evolving.”
Michael Flatley
Keegan believes that the core elements of Flatley’s visionary production – choreography, music and storytelling – remain timeless while still evolving. “What made Lord Of The Dance famous 30 years ago is still what makes it work today: 40 of the greatest Irish tap dancers in the world performing in one line in perfect sync. It’s a spectacle that never loses its magic,” he says.
Reflecting on Flatley’s impact, Keegan says: “Professional Irish dancing didn’t really exist until Michael created his shows and added a more entertaining twist to the art form.
“He wasn’t just a dancer; he was a highly tuned athlete who could perform at astonishing levels for a full two-hour show, seven days a week. Today, we see young competitive dancers around the world striving to reach the levels he set.”
But beyond the footwork and the spectacle, Keegan reckons Flatley’s greatest legacy is his ability to inspire. “Michael’s motto has always been, ‘Nothing is impossible.’ He took an already intricate dance form and pushed it even further, breaking records like 38 taps per second and incorporating upper body movements that defied tradition,” he says.
“I’ve seen it time and time again: a dancer who never thought they could be a lead receives Michael’s encouragement, and before long, they are fulfilling their dream on stage.”
For Keegan, one moment stands out above the rest. “In 1997, I was a ten-year-old competitive Irish dancer in Manchester, struggling with the name-callers and the challenges of being a young male dancer,” he says.
Michael Flatley with his Lord Of The Dance dancers
“Then Lord Of The Dance came to town. Watching Michael and the cast that night at the Apollo Theatre changed everything for me. The masculinity, the precision, the energy, it was like nothing I’d ever seen before.
“I met Michael at the stage door, and suddenly, I knew that being an Irish dancer could mean being a superstar. Nineteen years later, I had the honour of sharing his final show with him at Caesars Palace, Las Vegas, in 2016. It was a full-circle moment I will never forget.”
As Lord Of The Dance prepares to embark on its 30th anniversary tour, Flatley reflects on the journey. “The magic of Lord Of The Dance lives on in the hearts of our audience, and I am thrilled to bring this iconic show back to the UK in 2026,” he says.
“30 Years of Standing Ovations celebrates the incredible journey we’ve shared with fans over the years. It’s a tribute to the enduring power of dreams, the joy of dance and the unwavering support of our audience. This tour is our way of saying thank you for three decades of unforgettable memories.”
Although Flatley, now 67, retired from performing during his final tour in 2016, he has remained at the helm of Lord Of The Dance, guiding its evolution while preserving its timeless magic.
Now, as the production prepares for its biggest celebration yet, fans can look forward to a breathtaking spectacle that honours the past, embraces the present, and inspires the future of Irish dance.
The 30th anniversary tour will open at Bradford Live from June 11 to 14; further Yorkshire performances will follow at Hull New Theatre, July 22 to 25, and Sheffield City Hall, August 20 to 23. For full tour dates and ticket information, go to lordofthedance.com.
The poster for the 30th anniversary tour of Michael Flatley’s Lord Of The Dance
Leeds abstract surrealist Nicolas Dixon, front, spotted at the launch of the debut RARE v WET exhibition with WET proprietors James Wall and Ella Williams and RARE Collective organiser Sharon McDonagh
A SURREALIST wine bar exhibition, a comedy thriller in an hotel and Australian children’s games stir Charles Hutchinson’s interest.
Exhibition of the week: Nicolas Dixon, RARE v WET, at WET, Micklegate, York, until April 22
YORK artist and event organiser Sharon McDonagh and DJ/artist Sola launch their RARE v WET series of solo exhibitions in aid of York charity SASH (Safe and Sound Homes) at WET, James Wall and Ella Williams’ indie wine bar and restaurant, with Nicolas Dixon first up.
Leeds abstract surrealist Dixon’s murals and artworks have become landmarks in Leeds, including at Kirkgate Market, Trinity Shopping Centre and the University of Leeds, as well as Leeds United tributes to the 1972 FA Cup Winners at Elland Road and the iconic Bielsa the Redeemer in Wortley. On show is a mixture of new and older work, both prints and originals.
In the shadows: Michael Hugo in Claybody Theatre’s The Grand Babylon Hotel. Picture: Andrew Billington
Thriller of the week: Claybody Theatre in The Grand Babylon Hotel, Stephen Joseph Theatre, Scarborough, tonight to Saturday, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees; Harrogate Theatre, April 1 to 4, 7.30pm plus 2pm Saturday matinee
CONRAD Nelson directs an ensemble cast of multiple flamboyant characters in a rollicking comedy thriller of rapid-fire character changes, sharp humour and theatrical fun, presented in association with the New Vic Theatre.
In Deborah McAndrew’s adaptation of Arnold Bennett’s novel, Nella Racksole discovers steak and beer are not on the menu for her birthday treat at the exclusive Grand Babylon Hotel, prompting her American millionaire father to buy the chef, the kitchen, the entire hotel. Cue kidnapping and murder. Have Theodore and Nella bitten off more than they can chew? Box office: Scarborough, 01723 370541 or sjt.uk.com; Harrogate, 01423 502116 or harrogatetheatre.co.uk.
Bluey’s Big Play: Australian bean bags, games and cleverness at Grand Opera House, York
Children’s show of the week: Windmill Theatre Co in Bluey’s Big Play, Grand Opera House, York, 10am, tomorrow and Friday; 10am, 1pm and 4pm, Saturday and Sunday
COMBINING puppets and original voices from Ludo Studios’ Emmy Award-winning Australian children’s television series, including Dave McCormack and Melanie Zanetti as Dad and Mum, this theatrical adaptation is based on an original story by Bluey creator Joe Brumm, featuring music by series composer Joff Bush. When Dad wants a bean bag time-out, Bluey and Bingo have other plans as they pull out all the games and cleverness at their disposal. Box office: atgtickets.com/york.
The Brand New Heavies: Acid Jazz joy, funk, love and fancy clothes at York Barbican
York gig of the week: The Brand New Heavies, York Barbican, tomorrow, doors 7pm
EALING Acid Jazz pioneers The Brand New Heavies – Simon Bartholomew, vocals and guitar, Andrew Levy, bass and keyboards, and Angela Ricci, vocals – mark their 35th anniversary with a 12-date tour that takes in York Barbican as their only Yorkshire destination. Expect joy, funk, love and fancy clothes. Galliano support. Box office: yorkbarbican.co.uk.
Lizzie Lawton’s Jack Worthing, front, and Jorja Cartwright’s Algernon Moncrieff in Rowntree Players’ The Importance Of Being Earnest
Comedy classic of the week: Rowntree Players in The Importance Of Being Earnest, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2pm Saturday matinee
ROWNTREE Players bring Oscar Wilde’s 1895 farcical comedy of manners to the York stage in the original four-act version reconstructed by Vyvyan Holland, under the direction of Hannah Shaw.
Lizzie Lawton’s Jack Worthing and Jorja Cartwright’s Algernon Moncrieff lead double lives under the false name of “Ernest” to escape social obligations, leading to romantic entanglements and comedic misunderstandings, played out by a cast featuring Jeanette Hambridge’s Lady Bracknell, Bethan Olliver’s Gwendolen Fairfax, Katie Shaw’s Cecily Cardew, Wayne Osguthorpe’s Reverend Canon Chasuble, Rebecca Thomson’s Miss Prism and Max Palmer’s Lane/Merriman. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Jessica Fostekew: “The silliest of comedy for the scariest of days”in Iconic Breath at Pocklington Arts Centre
Comedy gig of the week: Jessica Fostekew: Iconic Breath, Pocklington Arts Centre, Friday, 8pm
ICONIC Breath, Jessica Fostekew’s most rousing and uplifting show yet, provides the silliest of comedy for the scariest of days as The Guilty Feminist, Hoovering and Contender Ready podcaster discusses tolerance and temperance.
“I can feel myself becoming an emotional wildebeest right when my world (and the whole world, thanks) demands cool, collected, ultra detached, saint-like kindness and understanding,” says Fostekew, who has hosted two series of Sturdy Girl Club on BBC Radio 4. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
This won’t hurt: Andrew Margerison, Rebecca Vaughan and Gavin Robertson in General Medical Emergency Ward 10
Hospital drama homage of the week: Dyad Productions and Company Gavin Robertson in General Medical Emergency Ward 10, Theatre@41, Monkgate, York, Friday, 7.30pm
UNITING for the first time, Dyad Productions and Company Gavin Robertson’s Rebecca Vaughan, Andrew Margerison and the aforementioned Gavin Robertson knit every cliché-ridden doctors-and-nurses TV and film drama into a pacy comedy mash-up spoof that promises to leave you in stitches.
On Dr Ann Fleming’s first day at St David’s, her unfortunately-named mentor, Dr Death, is determined to show her who’s boss. As medical emergencies overload the hapless staff, Dr Fleming must juggle a complicated budding love affair with a kidney and a nosey hospital boss. Not literally, of course. Box office: tickets.41monkgate.co.uk.
The Budapest Café Orchestra: Fronted by Christian Garrick at Helmsley Arts Centre
Snappiest attire of the week: Christian Garrick & The Budapest Café Orchestra, National Centre for Early Music, York, Friday, 7.30pm, sold out; Helmsley Arts Centre, Saturday, 7.30pm
CHRISTIAN Garrick (violin, darbuka), Murray Grainger (accordion), Kelly Cantlon (double bass) and Adrian Zolotuhin (guitar, saz, balalaika, domra) team up in this refreshingly unconventional and snappily attired boutique orchestra. Playing gypsy and folk-flavoured music in a unique and surprising way, The Budapest Café Orchestra combine Balkan and Russian traditional music with artful distillations of Romantic masterworks and soaring Gaelic folk anthems.
Established by British composer Garrick in 2009, BCO have 16 albums to their name, marked by an “astonishing soundscape and aural alchemy” characteristic of larger ensembles, evoking Tzigane fiddle maestros, Budapest café life and gypsy campfires. Box office: 01439 771700 or helmsleyarts.co.uk.
Hope & Social: Unforgettable spectacle, energetic songs and chaotic moments at Milton Rooms, Malton
Ryedale gig of the week: Hope & Social, Milton Rooms, Malton, Saturday, 8pm
LEEDS band Hope & Social’s eight musicians pour their heart and soul into creating exuberant, high-energy tunes in gigs full of pure joy, infectious enthusiasm, unforgettable spectacle and chaotic moments.
Each performance by “Yorkshire’s own E-Street Band” is spiced up with Northern wit and self-deprecating humour as a powerhouse three-piece horn section and intricate five-part harmonies contribute to a massive sound that spans genres, drawing influence from soul, indie, folk, disco and art rock. Box office: 01653 696240 or themiltonrooms.com.
Crosscut Saw’s Alex Eden : Leading his blues band at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents Crosscut Saw, Milton Rooms, Malton, March 26, 8pm
YORKSHIRE blues trio Crosscut Saw’s Alex Eden (lead singer, guitarist and harmonica player), Richard Ferdinando (drums) and Richard Green (bass) draw inspiration from Magic Sam, RL Burnside, Taj Mahal and Dr John in performances marked by raw energy and unpredictability.
They hold a monthly residency at the Duck & Drake in Leeds, have played the Great British Blues Festival and Tenby Blues Festival, collaborated with TJ Norton, Paddy Wells and The Haggis Horns and worked as a backing band for Jake Walker and King Rollo. Box office: 01653 696240 or themiltonrooms.com.
Bass-baritone soloist Alex Ashworth. Picture: Debbie Scanlan
THE opening “Kommt, ihr Töchter, helft mir klagen” – scored for double choir and double orchestra – set the performance tone impeccably.
The beautifully judged slow processional unfolding – surely one of the most distinguished openings in all music – allowed the textures to breathe. Bach immediately establishes the Passion’s grand dramatic architecture: public narrative and crowd commentary interwoven with moments of intensely personal reflection.
The performance used an English translation; original German titles are used here when referring to individual movements.
The simple question-and-answer phrases of the two choirs acted as dramatic crowd commentary, while the soprano ripieno choir (from St Peter’s School) sang the floating chorale “O Lamm Gottes, unschuldig” impeccably. The YMS orchestra provided the dotted rhythmic processional underpinning.
This antiphonal, call-and-response writing was further exploited by director David Pipe in the positioning of the six soloists. Bass-baritone Alex Ashworth, singing the role of Jesus, performed from the elevated pulpit, while tenor Gwilym Bowen, as the Evangelist, was placed on the left-hand side of the performance space.
The remaining soloists – soprano Clare Lloyd-Griffiths, mezzo-soprano Marie Elliott, tenor Daniel Joy and bass Jack Comerford – were positioned on the right-hand side.
For listeners seated on the left-hand side of the nave, however, clarity proved problematic. From that position it was difficult to hear the soloists with any real degree of definition, particularly the soprano and mezzo-soprano voices.
For example, although Clare Lloyd-Griffiths brought depth of interpretation to “Wenn ich einmal soll scheiden,” some detail – especially in the lower register – was lost in “Jesu, deine Passion will ich jetzt bedenken.”
Similarly, Jack Comerford’s singing in “Der Heiland fällt vor seinem Vater nieder” and “Gerne will ich mich bequemen” suffered from the same loss of textual and musical clarity.
Fortunately, Daniel Joy overcame the acoustic challenges in his performance of the reflective aria “Ich will bei meinem Jesu wachen”. The relatively spare texture – tenor line, single oboe obbligato (Jane Wright) and short choral interjections – comes through with admirable clarity. Consequently, it proved one of the highlights of Part I.
No such acoustical difficulties troubled Gwilym Bowen’s Evangelist or Alex Ashworth’s Jesus. The clarity of their delivery could hardly have been greater.
Particularly moving was Ashworth’s “Ihr seid ausgegangen als zu einem Mörder”. Bach’s characteristic halo of sustained strings often surrounding the words of Christ added an extra layer of expressive warmth.
The closing Part I chorale “O Mensch, bewein dein Sünde groß” – one of Bach’s most expressive chorale settings – provided a beautifully judged musical conclusion to the first half.
Matters improved noticeably in Part II. The reason, I suspect, lies in Bach’s scoring. Whereas Part I is often monumental and choral – with large crowd scenes and dramatic exchanges – such textures can become dense in a very resonant space.
By contrast, Part II is more introspective, with arias frequently accompanied by smaller instrumental groups and prominent obbligato lines, allowing individual vocal and instrumental details to emerge more clearly.
Mezzo-soprano Marie Elliott sang “Erbarme dich, mein Gott” – one of Bach’s loveliest arias and arguably the emotional heart of the Passion – with touching expressiveness. The aria was beautifully enhanced by the lyrical violin obbligato (Sarah Reece), creating a moment to treasure.
Clare Lloyd-Griffiths was heard to particularly good effect in “Aus Liebe will mein Heiland sterben”. The absence of a continuo bass line – highly unusual in Bach – together with the delicate scoring for flutes (Della Blood and Ruth O’Brien) and oboes da caccia (Jane Wright and Alex Nightingale), created an atmosphere of striking purity and stillness.
Jack Comerford brought conviction to the dramatic aria “Gebt mir meinen Jesum wieder,” protesting at Christ’s arrest, with strong support from energetic strings and continuo.
Bach’s gentle closing chorus, “Wir setzen uns mit Tränen nieder,” brings the work to one of the most serene endings in all sacred music. What a work — and what an impressive performance.
The choir sang their hearts out and held fast throughout; the orchestral playing, with excellent obbligato contributions, was consistently musical; the sopranos of St Peter’s School sang beautifully; and the soloists, although sometimes hampered by the acoustic, were consistently excellent.
Shaun Turnbull (chamber organ) and Lindsay Illingworth (continuo cello) were the evening’s unsung heroes – but the Oscar surely goes to director David Pipe, whose assured direction balanced both the drama and the inward reflection at the heart of Bach’s St Matthew Passion, even in the vast acoustic of York Minster.
