Category: Breaking News

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Wharfemede Production to waltz its way into Sondheim’s A Little Night Music at Theatre@41 from February 24 to 28

Sanna Jeppsson’s Countess Charlotte Malcolm, left, Jason Weightman’s Fredrick Egerman and Alexandra Mather’s Anne Egerman in Wharfemede Productions’ A Little Night Music

NORTH Yorkshire theatre company Wharfemede Productions follows up 2025’s Little Women and Musical Across The Multiverse revue with Stephen Sondheim’s A Little Night Music at Theatre@41, Monkgate, York, next week.

Director and company co-founder Helen “Bells” Spencer says: “Sondheim has always been one of my favourite musical theatre writers. His work captures the full spectrum of the human experience; messy, beautiful and deeply relatable.

“What I find most inspiring is how his music doesn’t simply accompany the story; it drives it. Every note, rhythm and lyric reflects the emotional journey of the characters in a way that is both intricate and profoundly moving.”

Continuing to build its reputation for delivering high-quality, character-driven musical theatre, Wharfemede Productions brings together talent from across Yorkshire to present Sondheim’s witty, romantic and elegantly crafted 1973 musical.

Fan fare: Jason Weightman’s Fredrick Egerman and Alexandra Mather’s Anne Egerman in a scene from A Little Night Music

“Directing A Little Night Music has long been a dream of mine, and I’m thrilled to bring it to life with such an exceptional company,” says Bells, who will play Desiree Armfeldt, alongside Alexandra Mather as Anne Egerman, fresh from her outstanding Christmas performance as nightclub singer/evangelist Reno Sweeney in Pick Me Up Theatre’s Anything Goes.

In the company too will be Jason Weightman as Fredrick Egerman, James Pegg as Henrik Egerman,  Maggie Smales as Madame Armfeldt, Libby Greenhill as Fredrika Armfeldt, Nick Sephton as Count Carl-Magnus Malcolm and Sanna Jeppsson as Countess Charlotte Malcolm.

Completing the cast will be Katie Brier’s Petra, Chris Gibson’s Frid, soprano Emma Burke’s Mrs Nordstrom, soprano Hannah Thomson’s Mrs Anderssen, mezzo-soprano Rachel Merry’s Mrs Segstrom, tenor Matthew Oglesby’s Mr Erlansson and baritone Richard Pascoe’s Mr Lindquist.

“We’re drawing together an incredible mix of Yorkshire talent, particularly from York and Leeds, including actors I worked with in Les Miserables at Leeds Grand Theatre last year, and the chemistry within this cast is something truly special,” says Bells.

The Quintet in Wharfemede Productions’ A Little Night Music: Emma Burke, left, Richard Pascoe, Rachel Merry, Matthew Oglesby and Hannah Thomson. Picture: Matthew Warry

Joining her in the production team are musical director James Robert Ball, choreographer Rachel Merry and wardrobe mistress Suzanne Perkins. “It was so important to me to have a musical director who not only shares a passion for Sondheim’s music but also understands how to shape the dramatic journey alongside me,” says Bells.

“I am absolutely thrilled to be working with James, whose knowledge, enthusiasm and expertise in Sondheim’s work are second to none. A true Sondheim super-fan, academic and all-round expert, James is breathing such magic into this incredible score and as an assistant director.

“He is a joy to work with and has an extraordinary gift for bringing out the very best in the people around him, both musically and creatively.”

Set in turn-of-the-20th century Sweden, A Little Night Music explores the tangled web of love, desire and regret through Sondheim’s signature blend of sophistication, humour and hauntingly beautiful music, topped off by the timeless Send In The Clowns.

A directorial flash of inspiration for Helen “Bells” Spencer as she rehearses her role as Desiree Armfeldt in A Little Night Music

“A Little Night Music is a lot of people’s favourite Sondheim work – and a lot of cast members have said that too,” says Bells.

“You introduced me to it when Opera North did it in Leeds,” recalls company co-founder Nick. “Yes, I made Nick go and see it!” rejoins Bells.

“I really wanted to do this show, because I think it’s one of Sondheim’s most accessible musicals. It’s more classical in style, taking its inspiration from Mozart’s Eine kleine Nachtmusik. The very clever thing about it, and the very unusual thing too, is that apart from a few bars, it’s written in triple time (3/4 time), which is very rare, particularly in musicals.

“The show is made up predominantly of triangles of love interests, and therefore it reflects those tangled trios in the musical structure, while also reflecting wealthy family life and their servants at the turn of the 19th to the 20th century in Sweden.”

Maggie Smales’s Madame Armfeldt makes her point to Libby Greenhill’s Fredrika Armfeldt

Crucial to the structure too is Sondheim’s use of The Quintet, alias the Liebeslieder Singers, here comprising Burke, Merry, Thomson, Oglesby and Pascoe. “They act like a Greek chorus, and they’ve been represented in very different ways in various versions of the show, but I was really clear when I started that I wanted them to do more than just come on and do their pieces,” says Bells.

“I was really keen for them to be more integral to the plot and the structure, so I wanted them to feel they were part of the decision-making about who The Quintet were. Right at the beginning, I gave them materials about Greek choruses and how they worked in theatre.

“I also researched Swedish folklore, in particular Freya, the goddess of love, beauty, fertility and sex. We then had a few rehearsals where the quintet decided who they should be, and while not wanting to spoil it for anyone, I can say that essentially they’re the driving force of our show. They’re  in control; they can change things as an agent of fate, an agent of Freya.”

Bells continues: “They are in no way an ensemble. They are exceptional, doing the most difficult singing in the show, and they’re so on top of it. It’s so good to have such a strong quintet, and I’m really excited for audiences to see what we’ve done with the concept.

James Weightman’s Fredrick Egerman, left, and James Pegg’s Henrik Egerman raising eyebrows as well as glasses in A Little Night Music

“When the quintet is on stage, the lighting will be set for night-time, very ethereal, so it’ll be mysterious and nocturnal, and we will go in and out of that state, depending on the scene.”

Looking forward to a waltzing week ahead, Bells concludes: “Promising emotional depth, musical excellence and ensemble storytelling, Wharfemede Productions invites audiences to experience an evening of charm, laughter and lyrical brilliance, further cementing its place as one of Yorkshire’s most exciting rising theatre companies.”

Wharfemede Productions presents A Little Night Music, Theatre@41, Monkgate, York, February 24 to 28, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

Wharfemede Productions: back story

CO-FOUNDED in 2024 by Helen “Bells” Spencer, chief artistic director, and Nick Sephton, chief operating officer, the company is dedicated to bringing high-quality musical productions and events to Yorkshire, with respect and openness at the heart of their artistic philosophy.

After gaining a Drama degree from Manchester University, Bells co-founded and company-managed Envision Theatre Company, and now Wharfemede marks a return to those roots. Drawing on decades of logistics, managerial and computing experience, Nick uses these skills in Wharfemede’s work, combined with his love for music and theatre.

Wharfemede Productions’ poster for A Little Night Music at Theatre@41, Monkgate, York

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Colour & Light 2026 turns spotlight on York’s rogues & rebels at York Castle Museum and Clifford’s Tower until Sunday

Who was Mary Bateman? Find out at Colour & Light 2026 at York Castle Museum and Clifford’s Tower

THOUSANDS of visitors have already enjoyed Colour & Light 2026 as the dual-façade projection show continues to light up York Castle Museum and Clifford’s Tower.

Now into its final week, the family-friendly free event has turned the Eye of York into a gathering point each evening, when audiences can watch a fully choreographed ten-minute projection on rotation.

Delivered by York BID in partnership with Edinburgh installation designers Double Take Projections, as well as York Museums Trust and English Heritage, this winter’s show brings York’s rogues and rebels, scoundrels and legends to life in a projected experience that draws on the city’s rich and sometimes surprising history.

Despite the incessant rain, an estimated 24,000 people watched Colour & Light 2026 in its first week when, at its peak, more than 1,200 people gathered to watch a single showing on the first Saturday evening, as York & Light seeks to surpass the 100,000 viewing figures for last year’s 18 shows per night across 20 nights.

Backed by £46,914 funding from the York and North Yorkshire Combined Authority, Colour & Light has drawn large and varied crowds into the city centre during February’s coldest and darkest weeks, supporting York’s evening economy at a quieter time of year.

Carl Alsop, operations manager at York BID, says: “Seeing over 1,200 people gathered together for one show on that first Saturday really highlighted what Colour & Light has become:  a moment people experience together in the city centre.

“Despite the very wet weather we’re experiencing at the moment, the atmosphere has been strong each night, with people meeting up, bringing family and enjoying York after dark. There’s still time to see it, and we hope many more people will take the opportunity.”

Siona Mackelworth, Head of Audience and Programme at York Museums Trust, says: “York Castle Museum is pleased to be supporting York BID on Colour & Light for 2026. York Museums Trust last participated in 2024, when the projections of our incredible collections lit up the front of York Art Gallery.

“The 2026 show brings something different as it explores some of York’s potentially lesser-known history and, for the first time, will be projected across multiple buildings. Working in conjunction with York BID and English Heritage at Clifford’s Tower has been an exciting venture in bringing two iconic York locations together.”

David Skaith, Mayor of York & North Yorkshire, says: “High streets are constantly changing, but they have, and always will be, hubs for our communities. That’s why I’m backing community-led projects across York and North Yorkshire.

“Like Colour & Light in York, which brings people into the city centre with a light show projected onto some of York’s best-known buildings. It’s a simple but creative way to attract visitors and give everyone something special to enjoy.

“Residents and businesses understand most what is needed in their communities, and I am proud to be backing their plans with my £10m Vibrant and Sustainable High Street Fund.”

Among those rebellious and legendary figures featured in Colour & Light 2026 are Dick Turpin and Guy (or “Guido”) Fawkes, Mary Bateman, Swift Nick, Eric Bloodaxe, Moonlight Maggie, the Filey Brigg Dragon, the Roman Soldiers at Treasurer’s House and the Barghest, a legendary monstrous black dog that haunts the snickelways and streets of York.

“We’re so lucky to be from a city that is so rich in heritage,” says Carl. “Everyone loves a villain: someone with an edge and whose backstory is as intriguing as it is alarming.

“They’ve got questionable morals and they’ve got complexities, complexities that keep appearing in fictional characters. This is what draws us in and is what we have in abundance in this city.”

The continuous, looped Colour & Light show runs every evening until Sunday (22/2/2026), with projections starting at 6pm and running every ten minutes until 9pm. Admission is free; no tickets are required; the best viewing point is the Eye of York.

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Kathryn Williams to perform her most personal songs yet on Mystery Park tour, opening at Pocklington Arts Centre

Kathryn Williams: “Making songs in the quiet margins of motherhood and memory, shaped by time’s shifting tides”. Picture: Emma Holbrook

KATHRYN Williams launches the second leg of her Mystery Park Tour at Pocklington Arts Centre tomorrow, fresh from celebrating her 52nd birthday on Monday.

“I was always disappointed I wasn’t born on Valentine’s Day, but I’ve discovered my birthday falls [a day later] on Lupercalia, the she-wolf festival, ancient Rome, Romulus & Remus and all that,” says Liverpool-born, Newcastle-based folk singer, songwriter, Arvon tutor, novelist, Before The Light Goes Out podcaster and watercolour and portrait artist.

Released on One Little Independent Records last September, Mystery Park is Kathryn’s 18th album: a deeply personal collection marked by emotional depth and lyrical precision in 11 reflective songs, “made in the quiet margins of motherhood and memory, shaped by time’s shifting tides”.

 “This record is for anyone who’s felt something and kept it quiet,” says Kathryn. “For those private echoes. I hope these songs give people space to hear their own.

“The cover artwork is my own painting, based on the willow pattern from my grandmother’s tea sets. Each part of it ties into the songs: a map of memories.”

Kathryn expands: “I think this album, more than anything, is a reflection of where I am in my life. A lot of songs on my other albums are works of imagination, flights of fancy, with fragments of what I’ve been doing. But this one places me on the bridge between parents getting older and kids getting older, and feeling that pull both ways. So I would say it’s my most personally revealing album.

“Writing these songs, you have the responsibility towards the people who the songs are about. It’s a pressure you feel, like if you were writing a memoir, where you want them to recognise themselves, as well as not hating you [for what Kathryn has written].”

Twenty-seven years since she self-released her debut album, Dog Leap Stairs, made for £80, working through the night in various studios, she sees a weightier significance in Mystery Park’s songs. “This far into my career, when I’m only two years off 30 years of putting music out, I kind of feel it’s a legacy record, with songs about my dad, my sons, other people in my life, and I hope these songs cast their nets out long after I’ve gone.”

“That song then walked towards me like in a mist,” says Kathryn Williams of her experience of writing This Mystery

Centrepiece song This Mystery utilises the metaphor of Kathryn seeing a record being shattered by a lorry driver as a symbol of her father’s dementia, or “memory being unplayable in the form that it was in,” as she puts it. “But this is a song for him, not the disease. Anyone who has had a loved one diagnosed with this cruelty will know how you just want to paint their skies blue and make everything all right,” she says.

“I wrote the opening words of that song a few years ago at an Arvon Foundation songwriting retreat where I was tutoring. I was waiting  at these traffic lights just before Hebden Bridge, when I got a phonecall from my mum,” she recalls.

Pulling over to one side, she received the message that her father had been diagnosed with dementia, and it was at that moment, the lorry drove over the record. “That song then walked towards me like in a mist,” says Kathryn. “It’s been hard to sing that song when they’ve come to a gig.”

Yet her father’s love of music, rooted in his own days as a singer in a folk group, is a solace. “Even now I’ll start singing a Paul Simon song to him and he’ll know the pitch and the tune, though he won’t necessarily know what day or what time of day it is,” says Kathryn.

As her father’s dementia progresses – he no longer attends Kathryn’s concerts – “it’s like holding someone, trying to stop them from falling off the cliff, so it’s really difficult.

“Even though we don’t have the answers, the only thing we can do is live each day in love – and some beautiful things come from his inability to find the words like he once did. Like when he couldn’t express the wonder of the pink skyline, he said, ‘Look what’s come downstairs’.”

Sea Of Shadows, co-written with Neill MacColl and producer Leo Abrahams, is a tribute to eldest son Louis, in response to watching him grow from infant to adult. “Parenthood isn’t fixed,” says Kathryn. “We think we will have small kids forever, but time quickens and before we know it, we have huge humans living with us where once there was a little baby. I love singing this song and thinking of him through the different images and travelling through time”.

Kathryn Williams’s artwork for her Mystery Park album cover. “It’s based on the willow pattern from my grandmother’s tea sets,” she says. “Each part of it ties into the songs – a map of memories”

Kathryn adds: “It’s not only about Louis; it’s also about me as a mother – and the amount of mothers who come up to me after a gig with tears in their eyes to say they really relate to that song. When listening to music, the one thing that really matters is if they connect with the song.

“That connectivity: that’s why I still continue to perform, despite finding it very difficult. I love the connection with the audience, so it’s about keeping up the energy and momentum on a tour, in spite of all the soul-sucking motorway travel.”

Closing track Servant Of The Flame was written for younger son Ted, capturing the act of sitting beside him while he plays video games: choosing presence, even in small moments, as an act of love, where Kathryn is “watching them evolve into their own identities. Seeing them struggle and hoping that they can navigate the ups and downs that we all face in life”.

Polly Paulusma is among Kathryn’s co-writers, penning Goodbye To Summer together on an Arvon retreat. “[We were] outside on two wooden chairs watching the dying sunlight tip off the wings of the swallows and the swifts,” Williams recalls. “The last hurrah of summer before they fly away. The seasons begin to mark more and more. How many summers do we have in one life? Will the birds fly back home? Polly writes in open tunings so the new paths to melodies felt giddying and fresh.”

One name leaps out from the credits above all others, Mr Paul Weller, Kathryn’s collaborator on Gossamer Wings, a song built from voice notes and texts, capturing a moment of creative chemistry born at a distance.

“This was the first thing we did together, working remotely,” she says. “Paul came up with the idea for the song and the title,” she says. “Then I researched ‘gossamer wings’, and I sent him quite a lot of texts, where he would reply, ‘well, that sounds like a lyric’.”

Such was Kathryn’s enthusiasm to show “I’m not lazy, I’m a good girl”, she recalls Paul once commenting, ‘that’s great, but you haven’t really involved me!’.”I was just trying to do my part!” she says.

Paul Weller: Co-writer of Gossamer Wings on Kathryn Williams’s Mystery Park album

“My eagerness to show him I was diligent made me barge on ahead without him on this one, but we pulled it together and I calmed the heck down for the second sitting. This was based on the title that Paul had and an idea of spirits breaking free from the constraints.”

Paul contributed vocals and Hammond organ to the recording, and they went on to write So Quietly together for Weller’s October 2024 EP Supplement: 66, featuring Kathryn on lead vocals and the late double bassist Danny Thompson on his last recording.

“Even yesterday [this interview was conducted on February 15], he sent a text to say lyrics I’d sent should be the first line of our next song together.”

Songs from Mystery Park will be predominant on her tour set list. “The majority of the gig will be the new material because I always think it’s a special thing to play them for the first time, when they also take on a different life from the record,” says Kathryn.

Songs from the back catalogue will feature too in the set and encores, “though while some people forget songs they’ve written, I forget whole albums!” says Kathryn.

As on the tour’s first leg from October 5 to November 15 last autumn, She will be accompanied on guitar by Matt Deighton after he opens each show with a solo set. “For this tour, we’ve made a double A-side of our versions of Sea Of Shadows and Servant Of The Flame, from The Glasshouse [formerly Sage, Gateshead],” says Kathryn.

Look out for copies on Kathryn’s merchandise stall, run by her “wonderful best friend”, Sarah Williams, who will be driving the tour van too.

Kathryn Williams, Mystery Park Tour, with support and special guest Matt Deighton, Pocklington Arts Centre, tomorrow (20/2/2026), 8pm. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Kathryn Williams: Folk singer-songwriter, Arvon songwriting tutor, novelist (The Ormering Tide, 2021), Before the Light Goes Out podcaster, watercolour & portrait artist

Mystery Park track listing:

Thoughts Of My Own; Goodbye To Summer, co-written with Polly Paulusma; Gossamer Wings, co-written with Paul Weller; Tender, co-written with Polly Paulusma; This Mystery; Sea Of Shadows, co-written with Neill MacColl & Leo Abrahams; Move Me, co-written with Beth Nielsen Chapman; Knew You Forever; Sunsets and Servant Of The Flame.

Musicians on Mystery Park:

Kathryn Williams, vocals; Leo Abrahams,guitar, bass, keyboards, ukulele & piano, also album producer, arranger and mixer at The Shelter; Neill MacColl, guitar, vocals; Polly Paulusma, vocals, guitar (track 2 & 4); Paul Weller, vocals, Hammond organ (track 3); Ed Harcourt, piano (tracks 5, 6, 7 & 10), mariachi bass (track 7), vocals (track 10); Chris Vatalaro, drums, piano (track 9); David Ford,  harmonica (track 7); Emma Smith, violin (tracks 5, 6 & 7).

Did you know?

KATHRYN Williams is hosting her Striking Features art exhibition at Start-Yard in Birkenhead, from January 16 to February 20 to coincide with the Mystery Park Tour (opening hours, Monday to Friday, 9 am to 5 pm). Among the tour dates from February 20 to March 29 will be Future Yard, Birkenhead, on February 24.

Showcasing her work as a painter, the show features an intimate collection of portraits painted on matchboxes, alongside delicate watercolours and limited-edition prints. The collection captures character, emotion and quiet beauty, reflecting Kathryn’s style at the intersection of music and visual expression.

“I’ve been offered another exhibition in Newcastle, where it will open at the Biscuit Factory on May 8,” reveals Kathryn, who trained at art school in Newcastle and has designed the artwork for several of her album covers, such as Dog Leap Stairs and Mystery Park.

Kathryn Williams’s podcast

Did you know too?
KATHRYN is working on the third series of her bed-themed Before The Light Goes Out podcast, lining up her latest interviewees to explore the gap between wake and sleep.

In each episode, Kathryn talks to a special guest from the world of music or literature about “what they do as they enter the realm of sleep, what has changed for them over the years and other things”.

 What is Lupercalia?

THIS ancient Roman pastoral festival, observed on February 15 with its rituals to drive out evil spirits, promotes health, fertility and purification. It is tied closely to the founding legend of Rome and the Lupercal cave, where Romulus and Remus were nurtured allegedly by a she-wolf. 

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What’s On in Ryedale, York and beyond. Hutch’s List No. 7, from Gazette & Herald

Victoria Delaney in rehearsal for York Settlement Community Players’ Blue Remembered Hills. Picture: John Saunders

FROM Dennis Potter to Stephen Sondheim, showman  P.T. Barnum to a Phil Collins tribute, Charles Hutchinson is spoilt for cultural choice amid the incessant rainfall.

Play of the week: York Settlement Community Players in Blue Remembered Hills, York Theatre Royal Studio, tonight to February 28, 7.45pm, except Sunday and Monday; February 21 and 28, 2pm matinees

FLEUR Hebditch, former Stephen Joseph Theatre dramaturg for a decade, makes her Settlement Players directorial debut with Dennis Potter’s stage adaptation of his 1979 BBC Play For Today drama.

Seven children are playing in the Forest of Dean countryside on a hot summer’s day in 1943. Each aged seven, they mimic and reflect the adult world at war around them. Their innocence is short lived, however, as reality hits. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Blue Remembered Hills director Fleur Hebditch

Spooky adventure of the week: Flying Ducks Youth Theatre in The Addams Family Musical, Joseph Rowntree Theatre, York, tomorrow  to Saturday, 7pm plus 2pm Saturday matinee

YORK company Flying Ducks Youth Theatre undertake a whimsical, spooky musical adventure into the delightfully dark world of the hauntingly eccentric Addams Family on a night of unexpected revelations.

When Wednesday Addams falls in love with a “normal” boy, chaos ensues. As the two families converge over dinner, secrets are revealed and the true meaning of family is put to the test. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Kathryn Williams: Opening Mystery Park Tour at Pocklington Arts Centre

Time’s shifting tides of the week: Kathryn Williams, Mystery Park Tour 2026, Pocklington Arts Centre, Friday, 8pm

KATHRYN Williams, the Liverpool-born, Newcastle-based folk singer-songwriter, novelist, podcaster, tutor and artist long celebrated for her quiet emotional depth and lyrical precision, promotes her 15th studio album, last September’s Mystery Park, with support and special guest guitarist Matt Deighton in tow.

Opening her 12-date tour in Pocklington, 2000 Mercury Music Prize nominee Williams marks 27 years of diverse, multi-faceted music projects with a reflective, textured work, made in the quiet margins of motherhood and memory, shaped by time’s shifting tides. “This is the most personal record I’ve made,” she says. “The artwork is my own painting, based on the willow pattern from my grandmother’s tea sets. Each part of it ties into the songs: a map of memories.” Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Megson’s Debs Hanna and Stu Hanna: Performing at Helmsley Arts Centre on Friday

Folk gig of the week: Megson, Helmsley Arts Centre, Friday, 7.30pm

FOUR-TIME BBC Radio 2 Folk Awards nominees and double Spiral Earth Awards winners Megson combine heavenly vocals, lush harmonies and driving rhythmic guitars, topped off with northern humour. 

Hailing from Teesside and now based in Cambridgeshire, husband-and-wife folk roots duo Debs Hanna (vocals, whistle, piano accordion) and Stu Hanna (guitar, mandola, banjo) followed up 2023 studio album What Are We Trying To Say with Megson – Live In Teesside, recorded at Stockton-on-Tees Arc in 2025. Box office: 01439 771700 or helmsleyarts.co.uk.

Ryedale film event of the week: Summit Stories, Kirk Theatre, Pickering, Friday, 7.30pm

THIS evening of adventure films to raise funds for the Scarborough & Ryedale branch of Mountain Rescue England & Wales features a variety of exciting off-piste adventures, such as ski mountaineering, mountain climbing and mountain biking.

Created by elite athletes from around the world, the Faction Collective’s 150 Hours From Home, Blair Aitken of British Backcountry’s 10 In A Weekend, Commencal’s Dolomites and Jessie Leong’s The Last Forgotten Art contain scenes to take the breath away. The mountain rescue team, by the way, supports adventurers when things go wrong and conducts  day-to-day searches and rescues off the beaten track. Box office: 01751 474833 or kirktheatre.co.uk.

Seriously Collins: Taking Phil Collins at Face Value in tribute to solo and Genesis years at Milton Rooms, Malton

Tribute gig of the week: Seriously Collins – A Tribute To Phil Collins & Genesis, Milton Rooms, Malton, Saturday, 8pm

RETURNING by popular demand, Seriously Collins relive the hits of Phil Collins and Genesis, taking a musical journey through the songs that defined an era, echoing Collins’s soulful solo sound and re-creating the energy, intricacy and intensity of his more expansive original band. Expect “no gimmicks, just a genuine tribute to one of the greatest artists of our time”. Box office: 01653 696240 or themiltonrooms.com.

Lee Mead, centre, as showman P. T. Barnum, surrounded by actor musicians and circus acts in Barnum: The Circus Musical, on tour at Grand Opera House, York. Picture: Pamela Raith

Touring musical of the week: Bill Kenwright Ltd in Barnum: The Circus Musical, Grand Opera House, York, February 24 to 28, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees

MUSICALS leading man Lee Mead plays the most challenging role of his career, stepping into P. T. Barnum’s shoes and on to the tightrope as the legendary circus showman, businessman and politician in Jonathan O’Boyle’s touring production of the Broadway musical.

Mead leads the cast of more than 20 actor-musicians (playing 150 instruments), acrobats and international circus acts as, hand in hand with wife Charity, Barnum finds his life and career twisting and turning the more he schemes and dreams his way to headier heights. Box office: atgtickets.com/york.

Maggie Smales’s Madame Armfeldt and Libby Greenhill’s Fredrika rehearsing for Wharfemede Productions’ A Little Night Music

Sondheim show of the week: Wharfemede Productions in A Little Night Music, Theatre@41, Monkgate, York, February 24 to 28, 7.30pm plus 2.30pm Saturday matinee

SET in turn-of-the-century Sweden, A Little Night Music explores the tangled web of love, desire, and regret through Stephen Sondheim’s signature blend of sophistication, humour and hauntingly beautiful music, not least the timeless Send In The Clowns.

Directed by Helen “Bells” Spencer, Wharfemede Productions’ show combines the York company’s hallmark attention to emotional depth, musical high quality and character-driven ensemble storytelling. Box office: tickets.41monkgate.co.uk.

Levellers: Revisiting Levelling The Land at York Barbican this autumn. Picture: Steve Gullick

Gig announcement of the week: Levellers, Levelling The Land 35th Anniversary Tour, York Barbican, October  29

BRIGHTON folk-rockers Levellers have been among Britain’s most enduring and best-loved bands for nearly 40 years, their success built in part on the anthems that comprised their platinum-selling second album Levelling The Land, whose 35th anniversary falls on October 7.

To mark the occasion, Levellers will head out on a UK and European tour from October 16 to November 21, playing many songs from that album, alongside fan favourites from their extensive catalogue. Hotly tipped Essex punk duo The Meffs will support. Tickets go on sale on Friday at 10am from https://www.yorkbarbican.co.uk/whats-on/levellers-2026/.

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The Salus Trio to play Dementia Tea Friendly Tea Concert at St Chad’s Church

The Salus Trio’s Carmen Troncoso, left, Andrii Polishchuk and Sarah McNulty

THE Salus Trio performs tomorrow’s Dementia Friendly Tea Concert at St Chad’s Church, Campleshon Road, near York Racecourse.

Flautist Sarah McNulty, guitarist Andrii Polishchuk and recorder player Carmen Troncoso have put together the 2.30pm programme of music by Purcell, Telemann, Duarte and Carlos Zamora.

York ensemble The Salus Trio takes its name from the Roman goddess of safety and well-being of both the individual and state. This is particularly pertinent as guitarist Andrii Polishchuk had to leave behind his professional performing career and instrument in Ukraine following the Russian invasion, leading to the trio’s recent concerts raising funds to buy a new guitar for him.

“As usual, tomorrow there will be about 45 minutes of music, followed by tea, coffee and homemade cakes in the church hall,” says co-organiser Alison Gammon.

“There’s a small car park at the church, and on-street parking along Campleshon Road, but it can get busy so do allow plenty of time. If you are more mobile, it would really help if you could park on the street to allow for disabled parking in the car park.” Wheelchair access is via the church hall.

Tomorrow’s event has a relaxed format, ideal for people who may not feel comfortable at a formal classical concert. “So we do not mind if the audience wants to talk or move about,” says Alison.

“Seating is unreserved and there’s no charge for the concert, although donations are welcome. We give a donation to the church to cover heating and the rest goes to Alzheimer’s charities.”

Still to come this year will be concerts by Alan Easterbrook and Friends, playing Schubert’s work The Trout Quintet, March 19; Brass Quartet, April 16; Katie Jankinson, violin, Maria Marshall, cello, and Robert Gammon, piano, May 21, and Thea Jacob, soprano, and David Hammond, piano, June 18.

Then, Ripon Resound Choir’s Summer Concert will follow on July 16; Tina Sanderson and Friends, string ensemble, August 13; Billy Marshall, French horn,  and Robert Gammon, piano, September 17; Flauti Felici, flute ensemble, October 15; Robert Gammon, piano, November 19, and Ripon Resound Choir’s Christmas Concert, December 10.

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Gig announcement of the week: “force of nature” Goldie at Herbal Mafia 20th Birthday: Part 2, The Crescent, York, April 3

The poster for Herbal Mafia’s 20th Birthday: Part 2, featuring Goldie

GOLDIE, groundbreaking breakbeat jungle superstar, producer, DJ, graffiti artist, model and actor, will top Herbal Mafia’s 20th Birthday: Part 2 celebrations at The Crescent, York, on April 3.

Tickets for the 8pm to 3am party will go on sale at 6pm this evening at £20 at https://www.seetickets.com/event/herbal-mafia-20th-birthday-part-2-goldie/the-crescent/3603262.

Announcing “one HUGE new show” with a “Just wow” exclamation, The Crescent website describes Walsall-born Clifford Joseph Price MBE, alias Goldie, aged 60, as “an artist synonymous with drum’n’bass; an OG [as in OriginalGangster/Original Generation] pioneer who has pushed the boundaries of underground electronic music, receiving mainstream critical acclaim.

“He has helped create and inspire the whole scene from the streets, to the record industry, to the television; and has gone above, and far beyond, to represent the subculture we know and love.”

The Crescent enthuses: “Twenty years ago it would have been unimaginable for us to be hosting one of the most well-known and respected DJs on the planet; we are blessed and honoured to be welcoming the one and only Goldie to The Crescent!

“This will probably be one of the most intimate settings that you will ever see this force of nature in action. We have a very limited capacity so we can guarantee that this will sell out and be one for the history books too!”

Support slots will go to local legends and residents, while Room 2 will play host to hip-hop, funk, soul, reggae, dancehall and dub, powered by Herbal Mafia Hi-Fi.

Goldie: back story

THE first superstar produced by the breakbeat jungle movement, Goldie popularised drum’n’bass as a form of musical expression, just as relevant for living-room contemplation as techno had become by the early 1990s.

He emerged as one of the first personalities in British dance music, his gold teeth & b-boy attitude placing him leagues away from the faceless bedroom boffins who had become the norm.

For the first time, England had a beat maestro and tough-guy head who could match the scores of larger-than-life hip-hop stars produced by the USA, and the high profile of drum’n’bass as the first indigenously UK dance music made Goldie a figure of prime importance.

After spending several years working on his production skills at Reinforced Records (the home of 4hero), he founded Metalheadz Records to release seminal dark yet intelligent singles by some of the greatest producers in the scene.

In 1995, Goldie released Timeless, one of jungle’s first and best full-length works of art. The album put him squarely at the top of the drum’n’bass heap – at least in the minds of critics and mainstream listeners – although his follow-up, 1998’s SaturnzReturn, displayed an ambitious, personal side of Goldie hardly in keeping with the usual jungle’s producer mentality.

A native of Walsall, in the Midlands, Goldie was born to a Scottish-Jamaican couple and put up for adoption. He bounced around child-care homes and several sets of foster parents during his childhood years.

He became fascinated with the rise of hip-hop, breakdancing and graffiti art. By 1986, he was involved with breakdancing crews around his home of Wolverhampton. After  making several trips to London for all-day breakdancing events (and to see hip-hop pioneer Afrika Bambaataa), Goldie appeared in Bombin’, Dick Fontaine’s 1987 documentary for Channel 4 on British graffiti art and hip-hop culture.

He also spent time in New York and Miami, working on a market stall selling customised gold teeth, but returned to England by 1988. For a time, Goldie worked at the Try 1 shop in Walsall, also selling gold teeth, then moved to London.

He began hanging out with two fellow heads from the British hip-hop scene, Nellee Hooper and 3-D (later of Massive Attack), and by 1991 he had been introduced to the breakbeat culture that birthed jungle.

At the seminal club night Rage, DJs Grooverider and Fabio pitched ancient breakbeats up to 45 rpm, blending their creations with the popular rave music of the time. Goldie was hooked on the sound of raw breakbeat techno, and gradually he switched his allegiance to jungle from the British hip-hop scene that later generated trip-hop.

Through his girlfriend DJ Kemistry (later to make her name with the mixing duo Kemistry & Storm), Goldie hooked up with Dego and Mark Mac, two of the most influential figures in the emerging drum’n’bass scene. The duo’s Reinforced Records and recordings as 4hero were fostering an increasingly artistic attitude to the music, and Goldie learned much about breakbeat production and engineering at their studios.

He recorded his first single as Ajax Project, then debuted on Reinforced as Metalheadz with two 1992 singles, Killermuffin and Menace. 1993 single Terminator broke him into the jungle scene, besides pioneering the crucial jungle concept of “timestretching” (basically extending a sample without altering its pitch). The single marked the growing separation between the uplifting rave scene and its emerging dark side, reliant on breakbeats and restless vibes.

The name was later taken for his influential Metalheadz Records, which released material from a legion of crucial jungle artists: Photek, Doc Scott, Dillinja, Source Direct, Peshay, J Majik, Alex Reece, Lemon D and Optical, among others. Later singles such as Angel and remixes for 4hero’s Reinforced label spread Goldie’s fame, and in 1995 he signed a contract with London Records.

His first major-label single was Timeless, and his debut album of the same name followed in August 1995. He gained further fame in early 1996, when an American tour supporting Björk sparked a relationship between the two and led to a brief engagement before they called off the wedding.

Goldie resurfaced in 1998 with a high-profile follow-up, SaturnzReturn, an epic two-disc set, including one track, Mother, that broke the 70-minute barrier. The album tanked with critics and fans, however, leading to a return to the underground later that year with the Ring Of Saturn EP.

The beginning of the millennium ushered in a new era for Goldie’s musical production, when Say You Love Me, Malice In Wonderland and Breakin Glass were instrumental in the development of his own style. Metalheadz, meanwhile, amassed just shy of 60 releases throughout the decade, nurturing Alix Perez, Noisia and S.P.Y, to name but a few.

At the turn of the decade, Goldie received two honorary academic achievements, courtesy of Brunel University, in Social Sciences, and the University of Wolverhampton, where he became an honorary Doctor of Design.

He was made a Member of the British Empire (MBE) not long after, for services to music and young people, becoming one of few electronic musicians to achieve such an award.

During this period, he produced official remixes of Ed Sheeran’s Lego House (2017) and Jessie Ware’s Midnight (2018); released his third studio album, 2017’s The Journey Man; collaborated with UK rap act Skepta on Upstart (2018) and formed Subjective, a collaborative project with fellow drum’n’bass producer Submotive, eliciting their first album on Sony Music in 2020.

Goldie began a seven-week residency at long-running London nightclub XOYO, selling out the venue multiple times. He performed at global festival stages, including Glastonbury, Tomorrowland in Belgium and Primavera Sound in Spain, and ventured into the classical music realm, hosting and performing full orchestral shows at two of London’s premier concert halls, the Royal Albert Hall and Southbank Centre.

In June 2021, Goldie entered into the modelling world, making his catwalk debut for luxury fashion house Louis Vuitton in the SS22 menswear collection, Amen Break. The late Virgil Abloh chose him for the role, directing him in the collection’s cinematic fashion film, in a testament to how Goldie is recognised and admired across several creative industries.

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Neil Wood & Annabel van Griethuysen vow to make each night a good night as Martyn Knight says goodnight to York Light

Neil Wood’s Oliver “Daddy” Warbucks and Hope Day’s Annie in York Light Opera Company’s Annie at York Theatre Royal. Picture: Matthew Kitchen Photography

FOR Neil Wood, playing rich, paternalist 1930s’ Wall Street industrialist Oliver “Daddy” Warbucks in Annie takes him away from the dark side after such York Light Opera Company roles as the villainous Mr Bumble in Oliver!, corrupt lawyer Callaghan in Legally Blonde The Musical and, above all, the cut-throat Sweeney in Sweeney Todd: The Demon Barber Of Fleet Street.

For Annabel van Griethuysen, the drunken orphanage proprietor Miss Hannigan fulfils her long-held wish to play “one of my favourite characters in one of my favourite musicals”.

Both the leading adult players in the ongoing run at York Theatre Royal are working with director-choreography Martyn Knight for the last time in his swan song to York Light after 22 shows.

“We only found out at the Sunday rehearsal on January 25 when he suddenly announced it,” says Neil. “I’ve only managed six of his shows as I’m a York Light late-bloomer, but he really knows his stuff and is an amazing director. We want full houses all week to give him a fitting send-off.”

Annabel concurs: “Martyn has brought a level of expertise that I’ve not seen in any other director. He brings out the best in everyone, where he has this vision and the practical skills to bring that vision to life, such as in knowing how to move people around the set.

Annabel van Griethuysen’s Miss Hannigan with Martin Lay’s Rooster in York Light’s Annie. Picture: Matthew Kitchen Photography

“He’s going to be very sorely missed at York Light. He brings his own style, where you can tell you’re watching a Martyn Knight production because there is such professionalism to his work. He inspires you to want to work hard and you don’t want to let him down. You want to make him proud of you, and it’s such an honour to work with him.”

Annabel is performing under Martyn’s direction for the fourth time. “I made my York Light debut for him as Sarah Brown in Guys And Dolls in 2018, played Widow Corney in Oliver!, then something completely different as Aquata with blue hair and Heelys [roller shoes] in Little Mermaid, and now Miss Hannigan,” she says.

“It’s been a real journey for me. I’m pleased for Martyn that he’s decided it’s time to focus on himself, but I really hope he will still come up to York to see us because he will always be welcome.

“I’m so glad to have been able to work so closely with him on Miss Hannigan for his swan song, having come such a long way since playing Sarah Brown.”

Neil is enjoying playing the larger-than-life Oliver Warbucks, albeit hoping for better luck than he had in Legally Blonde last February. “I had to play Callahan with a broken arm: it happened just a week before we opened, so they’re wrapping me in cotton wool this time,” he says.

Neil Wood’s Professor Callahan in York Light’s Legally Blonde The Musical last February

“Warbucks is a lovely fellow, and what’s nice is that you don’t have to play to the stereotype of the bullish billionaire. Martyn lets you find your own character. It’s about finding the caring side of Warbucks, his vulnerability. For a man who is so important, so rich, and has all these people cow-towing to him, it’s orphan Annie’s humanity that catches him off-guard.

“If it were not for Grace Farrell [his personal secretary] being that solid foundation in his life, goodness knows how he would be. Myself and Sarah Craggs [playing Grace] have sat down with Martyn and Kathryn [assistant director Kathryn Addison] to settle on how their relationship should play out, as they need to be seen as real people, rather than being cartoon characters, so that you empathise with them.”

Central to his characterisation is the decision to include the rarely used Why Should I Change A Thing? “I’ve not seen it in a previous production. In fact, the only time I found a version was from a 30th anniversary recording where they included everything, but it’s a delightful song that follows Easy Street and finds Warbucks at his most vulnerable.

“It’s lovely to be able to sing it and it reflects how his philanthropic side develops the more the show progresses,  how he changes from being almost frightened of children to inviting all the orphanage children to his mansion at Christmas.”

Annabel is revelling in playing the villainous Miss Hannigan. “She’s one of those roles I’ve always wanted to play,” she says. “I first fell in love with Carol Burnett’s performance [in the 1982 film adaptation], when I nearly wore out the VHS watching it again and again.

Annabel van Griethuysen’s Lithuanian vamp of a show hostess, Marlene Cabana, in York Light’s Eurobeat: Pride Of Europe

“Miss Hannigan is just such fun because she’s so horrible but so lovable in being so horrible – and I love interacting with the children so much, trying to get them to giggle at me in rehearsals.

 “I definitely feel like they were scared of me at first, but as the weeks and months have gone by, that’s disappeared and they’re now giving it so much energy.

“On top of that, the songs that Miss Hannigan gets to sing are some of the best songs in musical theatre [from Little Girls to Easy Street], so it’s an absolute honour to play her.”

As for playing a drunkard, Annabel says: “I’m just method acting. What’s important is that you don’t go over the top and stumble just because she’s a chronic drinker. It’s in her physicality that her drunkenness comes out: that sense of imbalance, rather than staggering around as you don’t want her to be a caricature.

“She mustn’t become a pantomime villain, when she does have some small redeeming features, however small. When things gets tough, that’s when she reaches for the bottle, as she lurches from one emotion to another.”

On Easy Street: Chloe Jones’s Lily St Regis, left, Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan in York Light’s Annie. Picture: Matthew Kitchen Photography

Her big number is Little Girls. “That’s my favourite. I’ve worked with Paul [musical director Paul Laidlaw] to really put some light and shade into it, so it’s not just a belter, but there’s some comedy in there too,” she says.

Annabel previously played an equally tyrannical loose cannon as spoof Eurovision hostess Marlene Cabana, the glamorous Lichtenstein singing star with an Alpine European accent befitting a Bond Girl of Sean Connery days, in York Light’s Eurobeat: Pride Of Europe at Theatre@41, Monkgate, last July, directed by Neil incidentally.

“What’s similar is their need for control. Marlene was guiding things and Miss Hannigan is the same,” she says. “She’s trying to control the children, trying to control the orphanage and trying to control Grace Farrell too.

“But audiences love seeing someone get their comeuppance – and right at the end she gets her full comeuppance!”

York Light Opera Company in Annie, York Theatre Royal, until Saturday, 7.30pm plus.  Box office: 01904 623568 or yorktheatreroyal.co.uk.

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Lee Mead walks the tightrope in most challenging role of career as showman P. T. Barnum in Barnum: The Circus Musical

Lee Mead’s American showman P. T. Barnum in Barnum: The Circus Musical, on tour at Grand Opera House, York. Picture: Pamela Raith

LEE Mead will lead the cast as legendary circus showman, businessman and politician P. T. Barnum in Bill Kenwright Ltd’s tour of Barnum: The Circus Musical at the Grand Opera House, York, from February 24 to 28.

West End performer and television star Mead, now 44, made his breakthrough when winning the BBC One reality show Any Dream Will Do in 2007, going on to star in the Joseph And The Amazing Technicolor Dreamcoat tour that brought him to the Cumberland Street  theatre in 2010.

Lee is no stranger to Barnum, first playing the show-hosting Ringmaster in a school production when he was 13 or 14 in his home town of Southend-on-Sea.

“I had such a brilliant time and I thought the story and the characters were wonderful. And it had all these fantastic songs, like Come Follow The  Band, The Colours Of My Life and There Is A Sucker Born Every Minute.”

Lee’s friend Chris was cast in the lead role. “And he was a great Barnum, but I remember thinking, ‘It would be lovely to play that part one day’.”

Now, three decades later, his wish has come true at last as he headlines a lavish new UK tour of the 1980 musical by Cy Coleman (music), Michael Stewart (lyrics) and Mark Bramble (book).

Barnum: The Circus Musical tells the story of legendary American showman, marketing genius and master of spectacle P.T. Barnum, who revolutionised entertainment in the 1800s through the Barnum & Bailey Circus and the Greatest Show on Earth.

Premiered on Broadway in 1980 and fronted by Michael Crawford at the London Palladium in 1981, ahead of a UK tour, the show has been revived numerous times since, both here and around the world.

As he steps into the ring for the 2026 tour, Lee says: “It’s an absolute classic and I can’t quite believe I now get to play Barnum some 30 years after that school production. I think I must have somehow manifested it.”

“This is definitely my most challenging role,” says Lee Mead of playing P. T. Barnum

Barnum’s tour show is directed by Jonathan O’Boyle, choreographed by Strictly Come Dancing alumna Oti Mabuse and features more than 20 actor-musicians, alongside acrobats and international circus acts.

Starring as Barnum is not only a dream come true for the Any Dream Will Do winner but also an homage to his grandfather Bert and grandmother Lil, who did not have much money, meaning that a trip to the theatre was very rare for them.

“But they saved up for a year and a half to see Barnum at the London Palladium and they loved it,” says Lee. “It stayed with them their whole lives. Sadly they’re no longer with us, but I know they would have been so proud to see me in it. Every performance is going to be for them.”

Since Joseph and the Amazing Technicolor Dreamcoat, Lee has starred in Wicked, Legally Blonde, Chitty Chitty Bang Bang, Chicago and Sister Act and plenty besides. “But this is definitely my most challenging role,” he says.

“It’s one of those rare roles for a leading man. It’s an enormous part, with huge monologues and so many songs, and I don’t think I leave the stage for two hours, apart from the interval of course.”

Then add the tightrope walking, a discipline that has required several months of intense training for Lee. “It’s the kind of thing you learn at 24, not 44,” he says. “I’ve had to get myself fit and put in the work. The rope is about 7ft off the ground and, although I trained with a harness on, there’s no harness during the show itself.

“You have to use your whole body, your whole core and every ounce of your focus and energy to get across that wire, but I like a challenge.”

Does he play an instrument too in this actor-musician show? “I don’t, no. I already have enough to do with the acting, singing, dancing and tightrope walking!” he says.

Lee Mead in the poster image for Bill Kenwright Ltd’s tour of Barnum: The Circus Musical

As with Hugh Jackman’s portrayal of P.T. Barnum in The Greatest Showman, the musical looks at the real man behind the on-stage showman, not least how he had a wife named Charity but became infatuated with Swedish singer Jenny Lind.

“So he’s a flawed character, as most human beings are,” muses Lee. “As an actor, it’s interesting to explore that side of him alongside all the spectacle. It makes for great drama.”

When researching the role, “it was interesting to learn about Barnum’s tenacity and his drive, which I think you have to have to be as successful as he was,” says Lee. “At times he kind of put his wife to one side, even though she was so supportive and loving, so I guess you could say that he was very selfish.

“But he wanted the world to see all these amazing acts that he brought together, like the oldest woman in the world, Joice Heth and General Tom Thumb. It was his passion.”

Lee picks The Colours Of My Life as his favourite song in the show “because the melody is beautiful and it’s about him trying to explain to Charity why he is the way he is, with all the different colours to him as a person and why he wants to light people up, entertain them and make them happy,” he says.

Since his schooldays productions of Barnum and Grease, Lee has enjoyed the camaraderie of the stage life and the chance to lose himself in different characters. “Then, as time went on, I discovered I had a bit of a talent for it and I worked really hard, trying to get better and better,” he says.

He attended Whitehall Performing Arts College in Essex, performed on the Portsmouth to Bilbao ferry and at Bridlington Spa Theatre, played Levi and the Pharaoh in a touring production of Joseph and the Amazing Technicolor Dreamcoat and was in the The Phantom Of The Opera ensemble in the West End.

Any Dream Will Do then launched him to stardom. “It was a bit of a blur, although I remember certain moments in detail, so it was very surreal,” he recalls of competing on the BBC One talent show in front of a panel that included composer Andrew Lloyd Webber and impresario Bill Kenwright, winning the public vote and then playing the lead at London’s Adelphi Theatre.

Oh what a circus: Lee Mead’s P. T. Barnum, centre with actor-musicians, acrobats and circus acts in Barnum: The Circus Musical. Picture: Pamela Raith

“You never think anything like that would ever happen to you, and the TV show was seen by around 13 million viewers every week. Even now, more than 18 years later, I get people stopping me in the street or at the supermarket and saying that they voted for me. I feel very blessed, because it opened up all the parts that have come my way since.”

His subsequent career highlights include performing at the London Palladium on his 40th birthday with a full orchestra as he followed in the footsteps of legends such as  Frank Sinatra and Judy Garland.

Singing in front of H.M. The Queen and the Royal Family at the Royal British Legion’s Festival of Remembrance at the Royal Albert Hall in 2019 is way up there too, along with playing Caracticus Potts in Chitty Chitty Bang Bang.

“I remember seeing it as a teenager, with Michael Ball in the lead and thinking ‘I’m going to play that role one day’. Again, as with Barnum, I must have manifested it somehow,” says Lee.

His television work has included stints as Nurse Lofty Chiltern on Casualty and Holby City, but his appearance as himself on Motherland drew the biggest response from the public. “I played Lofty for five years in total but I’ve had more people stop me and ask about Motherland, even though I was only in one episode. That’s the one thing in my career that I haven’t done yet that I would love to do:  to have a recurring role in a sitcom.”

For now, however, Lee is focusing on Barnum. “I get to be in one of the greatest, most iconic musicals ever,” he says. “I’m still in shock that I’ve landed the part, to be honest, and I can’t wait to take it around the country and to see the smiles on the audience’s faces.”

Lee Mead stars in Barnum: The Circus Musical at Grand Opera House, York, February 24 to 28, 7.30pm plus Wednesday, Thursday and Saturday matinees at 2.30pm. Box office: atgtickets.com/york. 

Also Alhambra Theatre, Bradford, March 31 to April 4, 7.30pm plus 2pm Wednesday & Thursday matinees and 2.30pm Saturday matinee, 01274 432000 or https://www.bradford-theatres.co.uk/;  Hull New Theatre, June 2 to 6, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees, https://www.hulltheatres.co.uk/

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REVIEW: York Light Opera Company in Annie, York Theatre Royal, the sun’ll come out, tomorrow to Saturday ****

Harriet Wells’s Annie with Primrose’s Sandy in York Light Opera Company’s Annie at York Theatre Royal. Picture: Matthew Kitchen Photography

ANNIE is Watford-based director Martyn Knight’s swan song with York Light Opera Company after 22 shows over two decades of working with “such a wonderful theatre ‘family’”.

All that travelling north to make the Light shine brightly has been rubber-stamped by Knight being made an honorary life member, and he leaves with a sparkling account of Charles Strouse, Martin Charnin and Thomas Meehan’s 1977 musical.

He knows Annie so well – this is his fifth production – but by comparison, York Light has not revisited the show since 2001 when the late titan of the York am-dram stage, Bev Jones, was at the helm as director, choreographer and conductor. “No nonsense but great,” as Gemma Kirk, one of his Annies, described him in her 2026 programme recollections, grateful for his guidance into “what it’s like in the real world of performing”.

In turn, Martyn Knight believes the greatest joy of Annie is the chance to see young talent blossom, in this case in the nine-strong Yellow Team (on press night) and Blue Team of orphans, being nurtured under the erratic, maladroit tutelage of Annabel van Griethuysen’s ever-tipsy Miss Hannigan under the shadow of the Wall Street Depression in 1933 New York City.

Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan. Picture: Matthew Kitchen Photography

Among those orphans is the precocious, wilful Annie, a role shared between Harriet Wells, so impressive as Young Alison in Pick Me Up Theatre’s Fun Home at York Medical Society last year, and Hope Day, whose stage credits list already takes in the Grand Opera House pantomime Beauty And The Beast, Opera North’s A Midsummer Night’s Dream, Jemima Potts in York Stage’s Chitty Chitty Bang Bang and York Theatre Royal’s 2023 community play Sovereign.

It was all Wells that starts Wells on press night ­– Day’s nights would follow – as Harriet affirmed all that promise in Fun Home in a musical production on a much grander stage and scale. She looked every inch at home as much as Primrose, the four-year-old Golden Labrador, in the role of Sandy, the stray dog she befriends on the Big Apple’s impoverished streets.

Harriet’s Annie, she of the ginger hair and eternal optimism, is the show’s driving force, determined to find her long-missing parents. Her opening song may be Maybe, but she has the positivity of Definitely, not Maybe. Harriet has the nascent singing chops, the American accent, and all the indefatigable energy, reminiscent of Judy Garland’s Dorothy in The Wizard Of Oz.

Director-choreographer Knight and assistant director Kathryn Addison bring out the full characterisation in Miss Hannigan’s cheeky, defiant orphans (Yellow Team members Elizabeth Reece’s Duffy, Sophie Helme’s Pepper, Perdie Rolfe’s July, Belle Sturdy-Flannery’s Tessie, Bea Wells’s Kate, Lottie Barnes’s Lizzie, Leonore Thornton’s Lilly and the particularly exuberant Emilia Cole’s Molly). Their dancing is so full of joy; their singing in It’s The Hard Knock Life a thrill rather than shrill.

Neil Wood’s Oliver “Daddy” Warbucks with Hope Day’s Annie in York Light’s Annie. Picture: Matthew Kitchen Photography

Knight’s first instinct was that Annabel van Griethuysen – who he first directed in her York Light debut in Guys And Dolls in 2018 – might be a little young for the sozzled sourpuss role of Miss Hannigan, but her audition had “Cast me”  written all over it, he said.

As her programme profile states, Miss Hannigan is “one of my favourite characters in one of my favourite musicals”, and that assertion is matched by van Griethuysen’s woozy headache of a performance: that skill of ‘drunk’ acting, flask in hand, but without overplaying it, so that there is still humour, even pathos, in her villainy: at once a lush, but louche. She’s a mighty fine singer too, caustic in Little Girls, full of bravado in Easy Street.

From Mr Bumble in Oliver to Callaghan in Legally Blonde and especially cut-throat Sweeney in Sweeney Todd: The Demon Barber Of Fleet Street, Neil Wood has put the dark into York Light shows aplenty, but here he shines as principled industrialist Oliver “Daddy” Warbucks, influential friend of the President.

Warbucks may have a house full of servants and famous paintings (latest acquisition, Leonardo da Vinci’s Mona Lisa), but something is missing from a life fuelled by making money and the need to reopen his factories. Annie, the orphan he gives a home for Christmas, opens his heart with her belief that “the sun’ll come out tomorrow”.

Lottie Barnes, Sophie Helme, Belle Sturdy-Flannery and Emilia Cole from the Yellow Team’s Orphans

Wood’s partnership with Wells’s Annie is delightful – Warbucks blooms as she blossoms – while his singing is full of warmth, conviction and resonance, assertive in N.Y.C, questioning himself in Why Should I Change A Thing? and reflective in Something Was Missing.

Sarah Craggs’s unflappable Grace Farrell is ever supportive of Annie and Warbucks alike; Martin Lay’s Rooster and Chloe Jones’s Lily St Regis bring bags of wrong’un personality to grafter duo Rooster and Lily St Regis; Richard Weatherill makes a dapper radio show presenter, Bert Healy, performing Never Fully Dressed Without A Smile so perkily with Pascha Turnbull, Clare Meadley and Rhian Wells, who amuse as vintage harmony act The Boylan Sisters.

Fifty years after his York Light debut in Showboat (“when half the cast blacked up,” he recalled in conversation post-show), John Hall  brings gravitas to President Roosevelt, his singing as powerful  as ever. Paul Laidlaw’s orchestra enrich every number, Scenic Projects’ set design and The Loft Costumes’ costumes are colourful and smart, adding to the high quality of Knight’s fantastic finale to his York Light years.

York Light Opera Company in Annie, York Theatre Royal, resuming tomorrow until February 21, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Chloe Jones’s Lily St Regis, left, Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan performing Easy Street in York Light’s Annie. Picture: Matthew Kitchen Photography

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Fleur blooms in Settlement Players directorial debut with Blue Remembered Hills at York Theatre Royal Studio

York Settlement Community Players director Fleur Hebditch stands outside York Theatre Royal, where her production of Blue Remembered Hills opens on Wednesday

FLEUR Hebditch, former Stephen Joseph Theatre dramaturg for a decade in Scarborough, is making her York Settlement Community Players directorial debut with Blue Remembered Hills.

From Wednesday to February 28, her production of Dennis Potter’s stage adaptation of his 1979 BBC Play For Today drama will run at York Theatre Royal Studio.

This is the Potter one where seven children – five boys, two girls – are playing in the Forest of Dean countryside on a hot summer’s day in 1943. Each aged seven, they mimic and reflect the adult world at war around them, but their innocence is short lived as reality hits hard.

“I first saw the play at the National Theatre in the 1990s with Steve Coogan in the role of Willie,” says Fleur. “Without giving the plot away, it just affected me so much that I can still remember images to this day – and I’ve never seen it since.”

On moving to York, her own involvement in theatre took a back seat while looking after her eldest daughter Ariel’s career as a stand-up comedian, who has performed at the Brighton Fringe and the Edinburgh Fringe (with Spruce Moose).

“But then last year I spoke with Juliet [York Theatre Royal creative director Juliet Forster] to see if she needed any help with the community production of His Last Report, and I worked as assistant director on that show,” says Fleur.

York Settlement Community Players cast members in rehearsal for Blue Remembered Hills. Picture: John Saunders

“That’s where I met Helen Wilson and Maurice Crichton, who were in the cast, and they said they were always looking for directors for Settlement Players. ‘Oh, that’s my favourite job,’ I said.”

Fleur duly put forward Blue Remembered Hills for Settlement’s February’s choice of classic play for timely revival. “It’s Potter’s writing that attracted me, the stories he tells, and how he’s at the forefront of being able to be on the edge [as a playwright], which is the same with seven-year-old children in this play and how they’re playing in the fields and the barn,” she says. “I’m also attracted to dark tales, and this is one of them.”

Potter’s play calls on adults to play children who in turn are mirroring adult behaviour. “They’re all so different, and that goes back to the audition process,” says Fleur. “They were so impressive when we started with a workshop where I needed the actors to improvise and have a freedom to get into character, not as children but as human beings. At that point we then read the text.”

As stage manager Helen Wilson notes: “It’s a very, very physical play.” “That’s another reason I like it, as I was a dancer when I was young,” says Fleur, who has had her cast playing games of Tig in the rehearsal room. “There’s a lot of playing around and fighting in the play, and that’s why I’ve stripped away the props so that it’s just about the actors interacting.

“The play is just straight through, no interval, and it’s all over in an hour. That makes it very immediate, and so the audience is in the moment, just as the characters are. It’s very intense as well as really physical, and that helps the actors as they don’t  have a break and their journey through the play is very focused.”

Potter’s dialogue matches that intensity. “He is quite fantastical in a lot of his plays, but this one is more naturalistic, because the language is colloquial, and that helps the actors find their characters. They speak as children without making it a parody,” says Fleur.

Victoria Delaney in the Blue Remembered Hills rehearsal room

“The beauty of his writing is that the words are very simplistic, but as we’ve gone through rehearsals, we’ve realised the depth of what we’ve been given to explore.”

Helen joins in: “Even the bully, Peter [played by Settlement newcomer Rich Wareham, after only four months in York] , you actually see the other side of him through Potter’s writing, so there’s a poignancy to him, even it’s only for a few seconds – and there is empathy with all of the characters.”

Fleur rejoins: “Being children, they have this innocence about them, where they don’t yet know what ‘wrong’ is. I decided to create each of their worlds by working individually with each actor, like working with Rich on bringing out  the reasons for why he’s a bully; making him a more human character, rather than merely two-dimensional where you just think, ‘well, he’s a bully’. Bringing out the individuality has fed into the rehearsals really well.”

Although Aristotle once said, “Give me a child until he is seven and I will show you the man”, Fleur notes how a seven-year-old child’s behaviour differs from adulthood. “That’s a specific time when  they go from one emotion to another in the blink of an eye, and you just have to put your adult self to one side because that’s how children are. It’s about having that freedom, where they go from being best friends one minute to falling out or pulling their hair. They can be feral.”

Fleur, by day a registrar at York Register Office, has enjoyed her Settlement directorial debut “immensely”. “I’ve been trusted to use my artistry and to be creative in the way I wanted, and having that freedom has been fantatstic,” she says.

York Settlement Community Players in Blue Remembered Hills, York Theatre Royal Studio, February 18 to 28, 7.45pm, except Sunday and Monday; 2pm, February 21 and 28. Box office: 01904 623568 or yorktheatreroyal.co.uk.