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REVIEW: 1812 Theatre Company in Robin Hood’s Helmsley Adventure, Helmsley Arts Centre, until Sunday ****

Knock, knock, who’s there? Writer Martin Vander Weyer’s Dame Daphne and Oliver Clive’s undoubting Thomas in 1812 Theatre Company’s pantomime Robin Hood’s Helmsley Adventure. Picture: Florrie Stockbridge 

MARTIN Vander Veyer is a British financial journalist, business editor of The Spectator and member of the British-American Project.

Polymath Martin is also a poet, playwright, amateur actor, former investment banker in London, Brussels and the Far East, ardent Francophile, music lover, proud Yorkshireman of Flemish ancestry and intrepid traveller to boot.

His Any Other Business column in The Spectator stirred Boris Johnson to crown him “the most oracular and entertaining business commentator in London”. And now, should you be wondering if he has room for any other business in his busy, busy life, Martin has added another string to his ever-expanding bow.

Already Helmsley’s fabulously high-brow, low-blow dame, with the delivery of Edith Evans by way of Victoria Wood, he has scripted 1812 Theatre Company’s properly traditional  pantomime for the first time. Where else would you find “the Coalition of the Willing” in a script that is so eloquent, erudite yet mischievously entertaining too?

“I gave up plans for retirement and decided not only to get the frock on again this Christmas but to have a crack at writing a script myself,” he says in his programme notes, adding that he “loves pantomime because its mix of saucy jokes, slapstick, song and romance transports us to a simpler world – and because it brings together so many different skills and talents”.

More fun and games for Martin Vander Weyer’s Dame Daphne and Oliver Clive’s Thomas in Robin Hood’s Helmsley Adventure. Picture: Oli Valenghi

Spot on, Martin, who captures the “theatre is a village” essence of a community pantomime, working in tandem with Helmsley Arts Centre artistic director and bracing panto director Natasha Jones to give so many their moment in the spotlight, while still being the leading light himself, except when he very noticeably scurries to the back in the song-and-dance ensemble routines.

From delayed grand entry to his obligatory tennis racket-projected rally of balls back and forth between dame and audience, to his meta-theatre commentary on the thin plotline, Vander Weyer’s classicist dame, amply bosomy Daphne, is an old-school theatrical delight.

His dame is a saucepot, but never crude. He gives you time to think where his punchline might land, then, like those tennis shots, having set up the double entendre, he volleys it away with panache.

This is typified by his third entry in the pick of Denise Kitchin’s exquisitely detailed designs for the dame’s frocks, throwing everything but the Kitchin sink at them. This one parades pink camouflage military jodhpurs,  chest bedecked in medals. “Privates on parade,” he quips.  Of course! What else could he say?! You’ll love his digs at neighbouring Pickering too.

Knock Knock jokes have become a staple of the Helmsley panto, along with the repartee, those bouncing balls and the singsong, and here panto daft lad Oliver Clive’s Thomas takes every opportunity to knock, knock out another one, while the audience is encouraged to send in its own suggestions in a Knock Knock competition. Don’t knock it until you have tried it.

Bec Silk’s Robin Hood and Martin Vander Weyer’s Dame Daphne promoting Robin Hood’s Helmsley Adventure

Knock, knock, who else is there? Bec Silk’s Robin Hood is a principal boy in the best tradition of thigh slaps, lusty singing and plucky leadership; Vicki Mason’s understated, girl-next-door Maid Marian has the weight of the world on her shoulders in the Sheriff’s captivity; Joe Gregory’s Sheriff of Pickering brings gravitas and a foie-gras thespian voice to the dark side.

Carolyn Potts’s Friar Tuck, forever nibbling from Tuck’s Tuck Bag, Robert Barry’s Little John, forever firing off his bow and arrow, Simon Read’s stoical Baron Robert of Helmsley and Sarah Barker’s declamatory Sharon, Town Crier of Helmsley, all relish their comic opportunities.

Meanwhile, Millie Neighbour’s Save The Planet Janet is forever popping out of a bin, making magic from her “rubbish” role. Lottie Robson and Daisy Lamb bring feisty bite to the Sheriff’s Savage Hounds.

Aided by Michaela Edens’ choreography, senior chorus trio Jeanette Hambridge, Edwin Youngman and Mani Brown’s Sheep are anything but sheepish in taking centre stage and the Green Team and Red Team’s duties as Maid Marian’s Animal Friends bring a smile to everyone’s face.

Set designer and scenic artist Holly Cawte maximises the compact space with plenty of colour and time-honoured panto structures, always with room aplenty at the front for Vander Weyer’s larger-than-life dame to poke fun, tongue ever further in cheek.

1812 Theatre Company in Robin Hood’s Helmsley Adventure, Helmsley Arts Centre, tonight, 7.30pm; Saturday, 2.30pm and 7.30pm; Sunday, 2.30pm. Box office: 01439 771700 or helmsleyarts.co.uk.

The military camp sight meets the dark side: Martin Vander Weyer’s Dame Daphne and Joe Gregory’s villainous Sheriff of Pickering in 1812 Theatre Company’s pantomime. Picture: Oli Valenghi
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Pick Me Up Theatre launches Anything Goes on Christmas steamer at Theatre@41

Full steam ahead: Fergus Powell’s Moonface Martin and Alexandra Mather’s Reno Sweeney in Pick Me Up Theatre’s Anything Goes. Picture: Felix Wahlberg

YORK, it may be cold outside, but why not climb aboard the S.S. American as Pick Me Up Theatre’s all-singing, all-dancing Christmas production of Anything Goes sets sail at Theatre@41, Monkgate, York, from tomorrow?

Directed by Andrew Isherwood, Cole Porter’s swish 1934 Broadway musical follows the madcap antics of a motley crew as they ride the waves from New York to London on a Christmas-themed steamer.

On board are popular nightclub singer/evangelist Reno Sweeney (played by Alexandra Mather) and her pal, lovelorn Wall Street broker Billy Crocker (Adam Price), who has stowed away on board in pursuit of his beloved Hope Harcourt (Claire Gordon-Brown).

Hope, however, is engaged to another passenger, English gent Sir Evelyn Oakleigh, played by Neil Foster, reprising the role he first played 27 years ago. “It’s amazing how I’ve remembered so many of the lines and lyrics,” he says. “They must have been buried somewhere in my memory.”

Sailing to England too is second-rate conman Moonface Martin (Fergus Powell), aka “Public Enemy #13”. Cue song, dance, fabulous farce and “chooey”  Big Apple accents as Reno and Moonface try to help Billy win the love of his life.

Full redhead ahead: Alexandra Mather in her first musical lead role as Reno Sweeney in Anything Goes. Picture: Felix Wahlberg

Reno will be Alexandra Mather’s first lead in a musical after principal roles aplenty for York Opera. “Taking on Reno Sweeney is incredibly exciting for me,” she says. “I’m stepping into such a sharp and charismatic role, which is a dream come true.

“It’s an utterly terrifying prospect, if I’m honest. I’ve been really, really lucky doing lead roles for York Opera, feeling comfortable wrapped in a carpet of familiarity, but Anything Goes is a very different style.

“I’ve been obsessed with the music since 2013 when I bought the soundtrack of the Joel Gray and Sutton Foster production and I’ve listened to the album for years and years, so I’ve looked forward to doing the show for years, and now is the chance.”

Assessing the abiding appeal of Anything Goes, Alexandra says: “With Cole Porter’s music and the brilliant, witty script, the whole experience feels nostalgic, stylish and incredibly glamorous.

“The songs are just so beautifully written. For a singer, they’re just a joy to sing, as Porter worked with some of the great artists of the burgeoning musical theatre scene. The other thing that should be highlighted is the lyrical quality, done to perfection. For someone like me, who often gravitates to the comedy side, it’s irresistible.”

Pick Me Up Theatre’s poster for Anything Goes. All aboard at Theatre@41, Monkgate, but can you spot what’s missing?!

Alexandra has “usually played ingénues and usually with comedy in the role”, but there is room to be more serious in Anything Goes. “In opera, because you’re focusing on the quality of the voice, you’re allowed a broader style of performance as it’s based on waves of emotion,” she says. In musical theatre, seeking a core truth rooted in realism, “you have to have  a bit more sincerity,” she suggests.

Director Andrew Isherwood highlights what acting style is needed. “It’s the principle of doing less to get a true performance where they’re still acting but you don’t realise they’re acting,” he says.

“Some characters are larger than life, but Alex’s Reno has more vulnerability in a show where you want the audience to care, to want things to be resolved and to end up right.”

Alexandra adds: “We’re all trying to create these fully realised characters. For example, Andrew has said that I sometimes use an ‘actor’s voice’, so I’m trying to strip that back.”

Blonde-haired Alexandra will be wearing a redhead wig. “It wasn’t me who suggested it!” says real-life partner Andrew. “No, we spoke to Robert (designer Robert Readman) and Jo (wardrobe assistant Jo Hird) as we wanted a really distinctive look for Reno,” she recalls.

York actress and opera singer Alexandra Mather

“We talked about elevating her to a fiery redhead, not to play to clichés, but because it works really well  for me, because usually I’m the blonde one playing these blonde roles, but getting into character, suddenly seeing a different person in the mirror, really does help.”

Andrew is promising an immersive production “where we’re all supposed to be on this cruise ship together”, audience and cast alike.”Robert has devised the set with lifebelts, so it feels like you’re on the deck of a ship – and it’s meant to be luxury transatlantic travel, not a budget trip!” he says. As for the costume design, “Reno is in the 1930s’ style of Greta Garbo and Katharine Hepburn.”

On the surface, December 12 to 30 would suggest a busy Christmas season for director and cast, but there will be room for a Christmas break. “Because of the how the dates have fallen, they’re more forgiving than  they were for Oliver Twist last year,” says Andrew. “So we’ll have a good stretch of shows up to December 21, then time off from December 22 to 26, and then be back in action from December 27 to 30.”

Pick Me up Theatre in Anything Goes, Theatre@41, Monkgate, York, December 12 to 30. Performances, 7.30pm December 12, December 15 to 18, December 20 and December 27 to 30; 2.30pm, December 13, 20, 21 and 27. Box office: tickets.41monkgate.co.uk.

Thea Fennell’s Erma Latour, left, James Robert Ball, front, and Charlie Fox’s Sailors and Alexandra Mather’s Reno Sweeney in Pick Me Up Theatre’s Anything Goes. Picture: Felix Wahlberg

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Elizabeth Godber’s Christmas show Jingle All The Way opens at Pocklington Arts Centre as reindeers start sleigh school

Jingle All The Way cast members Emilio Encinoso-Gil and Hannah Christina in rehearsal for Pocklington Arts Centre’s Christmas show with musical director Dylan Allcock

TODAY is Angela Stone’s last day as artistic director at Pocklington Arts Centre before moving to Ullapool in the Scottish Highlands.

Her last task in post is to oversee this evening’s opening of PAC’s Christmas show in her capacity as producer of Jingle All The Way.

Scottish-born Angela, who took over as artistic director in October 2022, says of this winter’s festive production: “We’re so proud to be staging our third Christmas adventure for all the family at Pocklington Arts Centre this December! We can’t wait to introduce audiences to our fabulous cast and deliver our trademark festive cheer.

“We take great pride in producing inclusive and engaging stories, bringing magical Christmas spirit to our stage and welcoming returning and new audiences to PAC.”

Suffused with humour, Christmas tunes, original songs, local references and festive fun, Jingle All The Way is written and co-directed by Elizabeth Godber, with Jane Thornton, from the John Godber Company stable, working alongside producer Angela in the same creative team behind PAC’s previous in-house Christmas productions, The Elves And The Shoemaker Save Christmas and Jack Frost’s Christmas Wish. 

Dylan Allcock provides the musical direction for this new festive family adventure, wherein reindeer siblings Rex (Emilio Encinoso-Gil) and Rosie(Hannah Christina) are reluctant to start at a new school just before Christmas, especially when that school is the East Riding Reindeer Academy, home of supreme athletes.

The poster for Pocklington Arts Centre’s Christmas show Jingle All The Way

Although Rosie fits in quickly, Rex struggles to find where he belongs, but a school-wide competition might change all that. Santa has a position free on his sleigh squad; could this be Rex’s big chance?

“It’s our third year at Pocklington Arts Centre, and I absolutely love working at Pocklington at Christmas,” says Elizabeth. “The audiences are fabulous, and we’ve really started to establish creating new work for younger-year children: we’re solidly for ten year olds and younger. Some have even come in pyjamas!

“Also, one of the things we were really keen on was to make the shows really accessible by doing half an hour each act. It’s very theatrical with masks and multi-role playing, and we’re very much into wholesome theatre. We make something that’s a little bit different to panto.”

She talks of the responsibility to “make sure that a child’s first experience of theatre is a positive one”. “The first time I went to the cinema I got really scared, because it was dark and scary, so I didn’t go back for a long time,” says Elizabeth, now 30.  “But I did go to the theatre with my parents [John and Jane Godber]: there’s a photo of me in my mum’s arms in the auditorium when I was three weeks old!”

Summing up Jingle All The way’s story, Elizabeth says: “Although reindeer Rex is a bit of a nerd and not very sporty, he decides to train for the competition to join Santa’s sleigh squad, so it’s an underdog story with a sibling rivalry, as twin brother and sister Rex and Rosie don’t always get on!”

Jingle All The Way runs at Pocklington  Arts Centre from December 11 to 23. Performances: December 11,  7pm; December 13, 1.30pm; December 14, 1.30pm (Relaxed Performance) and 4.30pm; December 19, 7pm; December 20 and 21, 1.30pm. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Meet The Cast

Emilio Encinoso-Gil

Part-Spanish actor from Hull who trained at Academy of Live and Recorded Arts (ALRA North).

Theatre credits include Do I Love You? (John Godber Company), On Your Marks (Dramatic Theatre CIC), and Peter Pan (Tony Peers Ltd). Screen work: Right Here In Hull, The Memory Project (Smashing Mirrors Theatre) and Scones & Skates (Hull Truck Theatre).

Contributed  voiceover work for Storyboard Media, Stage Door Theatre and Middle Child.

Hannah Christina

2025 graduate from first Acting cohort at Performers College Birmingham, where she appeared in graduate production of Caryl Churchill’s Top Girls, portraying Angie and Dull Gret.

Member of the Godber Theatre Foundation, making her professional debut in Jingle All The Way.

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Next Door But One delivers a different kind of Christmas show on York library tour of When Robins Appear from Dec 13 to 21

Next Door But One movement director Bailey Dowler, left, and artistic director Matt Harper-Hardcastle with When Robins Appear cast members Ceridwen Smith, centre, Annie Rae Donaghy and Emilly Chattle. Picture James Drury

NEXT Door But One brings a different kind of Christmas show to Explore York libraries from December 13 to 21, a show for those who have a different kind of Christmas.

This York theatre company and community arts collective is no stranger to making imaginative, accessible and fun-filled theatre for children and young people since 2013, but When Robins Appear will be NDB1’s first play for the festive season.

Since touring Philip Pullman’s The Firework-Maker’s Daughter in 2021, NDB1’s audiences and community groups have been asking the company when a Christmas show might be created.

However, Matt Harper-Hardcastle, NDB1’s chief executive officer and  artistic director, was hesitant initially, saying : ‘York already has an abundance of festive activity, from pantomimes and touring shows, to light displays and infamous markets. What could we offer that was different yet complementary?”

Matt wrestled with the idea for a while, but with each new project or production over the past three years, it became ever more apparent what NBD1’s inaugural Christmas production could be.

“Our 2023 tour of Operation Hummingbird, a show exploring anticipatory grief, originally intended for an adult audience, was engaging more and more young people,” says Matt. “Our extensive work with York Carers Centre would always gravitate towards navigating Christmas as the end of the year approached.

Emily Chattle, left, and Annie Rae Donaghy in a down moment in rehearsal for When Robins Appear

“Finally, primary schools wanted more theatre that was fun but could explore big topics for young people, following our tour of How To Be A Kid. So, since January, NDB1 has engaged more than 70 young people, listening to their experiences about winter and Christmas to shape a new script.

“Stories of becoming a young carer, of being in new places, of feeling overwhelmed by changes, of first Christmases without loved ones and so much more.”

Overall, however, rather than stories of sadness, what emerged were tales of incredible resilience and hope in the form of When Robins Appear. “Our show celebrates how families and individuals can create meaningful celebrations that work uniquely for them, and that something different to other people can be cherished and revelled in,” says writer Matt.

“The core message is simple: Your Christmas doesn’t have to look like a greeting card. If it works for you and your loved ones, it’s beautiful and valid.”

When Robins Appear follows two 12-year-old friends as they face the big changes of moving house, starting new schools and a first Christmas without Grandma, when the snow has fallen, the winter stars are twinkling but the sparkle of Christmas seems to be missing.

Equipped with the help of a magical Robin (played by Ceridwen Smith), Ellis (Annie Rae Donaghy) and Lowen (Emily Chattle) are whisked away on a heart-warming journey through their favourite wintery memories to find the magic again.

The poster for Next Door But One’s tour of Explore York libraries with debut Christmas show When Robins Appear

From festive food and colourful fairy lights, to joyful songs and thoughtful gifts, they soon discover that the real sparkle of Christmas will not be found under the tree, but in the laughter, love and unforgettable moments we share together and that can live forever in our hearts.

Given the subject matter, will When Robins Appear still feel festive? “The answer is a big, red-feathered ‘yes’,” says Matt. “Our show is high-energy, packed with catchy songs, an enchanting design and plenty of audience interaction. It’s a festive celebration that gently explores big feelings around change, loss, friendship and what really makes unforgettable moments!

“Co-created with children and young people from across our community – including young carers, those in care, youth theatres and disability and mental health support services – this  is as inclusive and meaningful as it is magical.”

Preceded by primary school shows today (11/12/2025) and tomorrow, the ten public performances have all but sold out (all except December 21, 11am, at York Explore): affirmation of the popularity of the £3.50 ticket price.

“We aim to make a heartfelt festive experience affordable to more families in York,” says Matt. “Teaming up with our fantastic friends at Explore York means we can bring affordable theatre right to the doorsteps of families across York this winter,” says Matt.

Making her first theatre appearance back home in York since graduating from East 15 Acting School with first class honours in contemporary theatre, Annie Rae Donaghy will be playing Ellis.

“Not only is When Robins Appear a beautiful story, but it will mean something to everyone in the room watching it,” says Annie Rae Donaghy

“Auditioning for this show really meant something to me,” she says. “I really wanted to be part of it and I rejoiced because I get to have Christmas at home and share mum and dad’s fridge!”

Her motive was more serious than that. “I think this show is the right way to address this subject. It’s all very well talking about it, but if you’re not helping the community you’re performing to, what’s the point of it?” says Annie.

“It’s brought my acting career and my own story and community life together. I grew up looking after my nan, and every Christmas we spend with lots of people at the Xmas Presence party [a festive appeal set up by dad Big Ian Donaghy in 2015 to stop 60 older York residents being lonely at Christmas each year].

“Not only is When Robins Appear a beautiful story, but it will mean something to everyone in the room watching it.”

Next Door But One presents When Robins Appear at York Explore, December 13, 11am and 2pm, and December 14, 11am and 2pm; Tang Hall Explore, December 15, 5.30pm; Clifton Explore, December 18, 5.30pm; York Explore, December 20, 11am and 2pm; December 21, York Explore, 11am (tickets available) and 2pm. Sold out unless stated otherwise.

BSL Interpreted performances are on December 14 at 2pm and December 20 at 11am. Age recommendation: Seven to 11 and their families. All except babes in arms requite a ticket to attend. Box office: www.nextdoorbutone.co.uk.

Annie Rae Donaghy, second from right, performing with Jess Steel, left, Heather Findlay and Beth McCarthy at Big Ian’s A Night To Remember charity fundraiser at York Barbican on November 12. Picture: David Harrison

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REVIEW: Cinderella, Grand Opera House, York, until January 4 2026 ***

Brandon Nicholson’s Harmony Hard-Up, left, and Luke Attwood’s Melody Harmony Hard-Up, the outre Ugly Sisters in Cinderella at the Grand Opera House, York. All pictures: Charlie Kirkpatrick Photography

THIS is the closest to a blue pantomime that York has ventured in 36 years of reviewing, and not because of the winter chill or the rising waters on the Ouse.

“Having a ball” in Cinderella takes on a whole new meaning in 2019 Great British Awards Best Script winner Jon Monie’s frankly fruity panto frolics, led by the thoroughly naughty Ugly Sisters of Luke Attwood and Brandon Nicholson’s Melody and Harmony Hard-Up.

You might say they struck a false note,  but there appeared to be plenty who favoured rudery over prudery, just as writer Monie and director Ellis Kerkhoven favoured slap-and-tickle over slapstick, a staple panto ingredient noticeably absent from Cinderella beyond the obligatory, well-worn ghost bench scene.

Lisa George’s Fairy Godmother and Rachel Grundy’s Cinderella on song in Cinderella

Monie is on the money in keeping the already familiar storytelling to the fore, allied to set-piece routines and the rather more cuddly comedy of actor, comedy performer and host Jimmy Bryant’s lovelorn Buttons, although even he takes a shine to a double entendre ou deux.

Bryant  does, however, have a rather lovely moment in conversation with a trio of shy/not-so-shy children picked from the audience for the Songsheet (Walking On Sunshine), a panto tradition lost from the Theatre Royal show.

Former Coronation Street star Lisa George swaps “loud, gobby” Beth Sutherland for the lighter beams of the beatific Fairy Godmother, up for a laugh and a song or two; Karl Moffatt’s Baron Hard-Up is a thoroughly good egg who stays out of the limelight –and sensibly out the way of monstrous Melody and Harmony – while Leeds lad Bradley Judge’s Dandini stays on the straight and narrow in his character-swapping double act with Mamma Mia I Have A Dream winner Tobias Turley’s Prince Charming.

Bradley Judge’s Dandini, left, and Tobias Turley’s Prince Charming larking around in Cinderella

Turley’s dandy royal handles the nudge-nudge, wink-wink stuff with aplomb and a knowing look, while keeping such boisterous boys-will-be-boys banter out of the hearing of West End musical actress Rachel Grundy’s rather more demure golden gal of a Cinderella. They both show off knockout singing chops, whether solo or in duet, but songs are often kept strangely short, even shorter than Strictly Come Dancing competitors’ routines.

This diminishes the impact of, for example, Golden, the KPop Demon Hunters hit that seemingly no panto can leave out this winter. The 2025 tick list also includes 6/7, Traitors (and Faithfuls), and Chappell Roan’s Pink Pony Club (re-booted as Pink Palace Club), and all are ticked off here, along with a profusion of bottom burps, especially in the aforementioned ghost-bench shuffling.  

White ponies, rather than pink, make an appearance, spoiler alert, at the climax to kitchen skivvy Cinderella’s transformation scene, orchestrated with a magician’s flourish by George’s Fairy Godmother: the show’s height of spectacle.

Jimmy Bryant’s Buttons with ensemble members Yasmin Riley, Maisie Marsh, Bill Evans, Matt Saunders, Joe Nolan and Nicole Jackson

York references are used sparingly; Popworld pops up, so too Bettys, and not one, but two digs at York City when, ironically, the Minstermen are only a point off the top of the National League.

Towering over this Cinderella are Attwood’s Melody (“it’s pronounced m’Lady”, she doth protest too much) and Nicholson’s Harmony in the West End “drag superstars” seventh year of Ugly Sister tongue-in-cheekery, in the manner of Julian Clary’s fabulously suggestive turn in the London Palladium pantomime or indeed Simon Knock’s dame in the Leeds City Varieties rock’n’roll pantos. 

Saucier than a French kitchen, smuttier than soot, they exploit every chance to be rude, crude and lewd, while never resorting to language as colourful as their utterly fabulous costumes (designed and constructed by the duo in tandem with Morgan Fergusson).

Rachel Grundy’s Cinderella transforms into Princess Crystal

Their “need to be skinny for when we meet the Prince” was a line delivered in the cause of a sight gag where they shrink to puppet size in a sweltering sauna, but it might be rephrased at a time when body dysmorphia among the young is a troubling concern.

Overall, these outre girls just wanna have fun, like a York hen party, and if you enjoy boisterous badinage with all the subtlety of Mercutio’s scatalogical teasing of the Nurse in Macbeth, then Melody and Harmony will be comedy music to your eyes. If not, and you would prefer them to clean up their act, then you will have a bawl  rather than a ball here.

Rob Bannon leads his band in brisk fashion, matched by Xena Gusthart’s happy and hearty choreography for principals, ensemble and  Dance Expression School of Dance juniors alike. Set design is never the strongest point of UK Productions’ York pantos, lacking local detail, but there is gold dust to the walkdown finale as each character throws a glittering flurry of ticker tape over themselves on entry: Kerkhoven’s most original directorial flourish. The gold after all that blue.

UK Productions present Cinderella, Grand Opera House, York, until January 4 2026. Box office: atgtickets.com/york.

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Gorillaz to play The Mountain tour warm-ups at Bradford Live on March 13 and 14, Leeds First Direct Arena awaits, March 25

The poster for Gorillaz’ warm-up shows for The Mountain Tour at Bradford Live

GORILLAZ will visit Bradford for the first time for two ”very special” warm-up shows at Bradford Live on March 13 and 14 2026. Tickets are on sale at.gigantic.com/gorillaz-tickets.

Damon Albarn and Jamie Hewlett’s BRIT and Grammy-winning British band will be showcasing their ninth studio album, The Mountain, set for release on their new label, KONG, on February 27.

The brace of Gorillaz gigs at Bradford’s newly restored Art Deco building – former home to the Bradford Odeon cinema – in the 2025 UK City of Culture will precede the 11-date The Mountain Tour that will visit Leeds First Direct Arena on March 25, when Trueno will support. Tickets can be booked at gorillaz.com. Gorillaz also will play Tottenham Hotspur, London, on June 20 in a standalone summer show with Sparks and Trueno in support.

Spanning a collection of 15 songs that embody the very essence of 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”.  

The poster for Gorillaz’ itinerary for The Mountain Tour. Ignore the album release date at the bottom! It has definitely moved forward to February 27

The Mountain is an expansive sonic landscape of instruments and sounds, richly layered with voices, melodies and addictive beats. The list of guest artists and collaborators takes in Ajay Prasanna, Amaan & Ayaan Ali Bangash, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, IDLES, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey.

Featured too are the voices of friends and collaborators who have gone before us, including Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E Smith, Proof and Tony Allen. IDLES guest on The God Of Lying and tour support acts Trueno and Sparks on The Manifesto and The Happy Dictator respectively.

Following last year’s London run, the iconic gates of Kong – the fabled home of Gorillaz –will open in Downtown Los Angeles when a new immersive exhibition, House of Kong, opens for a limited four-week run from February 26 to March 19 2026 at Rolling Greens. For exhibition tickets, go to: houseofkong.gorillaz.com. 

The exhibition will be accompanied by Gorillaz’ shows at the Hollywood Palladium on February 22 and 23. These American dates will see Damon Albarn and the Gorillaz live band joined on stage by special guests to perform The Mountain in full, from beginning to end, all under the watchful eye of Murdoc, Noodle, Russel and 2D. 

The cover artwork for Gorillaz’ ninth studio album The Mountain

Produced by Gorillaz, James Ford, Samuel Egglenton and Remi Kabaka Jr, plus Bizarrap (Orange County), The Mountain was recorded at Studio 13 in London and Devon, various locations in India, including Mumbai, New Delhi, Rajasthan and Varanasi, as well as Ashgabat, Damascus, Los Angeles, Miami and New York. The album features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. 

The artwork for The Mountain finds visual artist Jamie Hewlett’s distinctive, yet ever-evolving, style illustrate the world of Gorillaz with detailed and beautiful intricacy across a series of hand-drawn images that capture Murdoc, Noodle, Russel and 2D’s time in India working on the new album, available both as a book and as a collection of 12 x12 prints. 

The track listing is:

  1. The Mountain (feat. Dennis Hopper, Ajay Prasanna, Anoushka Shankar, Amaan Ali Bangash and Ayaan Ali Bangash)
  2. The Moon Cave (feat. Asha Puthli, Bobby Womack, Dave Jolicoeur, Jalen Ngonda and Black Thought)
  3. The Happy Dictator (feat. Sparks)
  4. The Hardest Thing (feat. Tony Allen)
  5. Orange County (feat. Bizarrap, Kara Jackson and Anoushka Shankar)
  6. The God of Lying (feat. IDLES)
  7. The Empty Dream Machine (feat. Black Thought, Johnny Marr and Anoushka Shankar)
  8. The Manifesto (feat. Trueno and Proof)
  9. The Plastic Guru (feat. Johnny Marr and Anoushka Shankar)
  10. Delirium (feat. Mark E. Smith)
  11. Damascus (feat. Omar Souleyman and Yasiin Bey)
  12. The Shadowy Light (feat. Asha Bhosle, Gruff Rhys, Ajay Prasanna, Amaan Ali Bangash and Ayaan Ali Bangash)
  13. Casablanca (feat. Paul Simonon and Johnny Marr)
  14. The Sweet Prince (feat. Ajay Prasanna, Johnny Marr and Anoushka Shankar)
  15. The Sad God (feat. Black Thought, Ajay Prasanna and Anoushka Shankar)

The Mountainwill be available in various formats: Digital Download; Standard CD; Deluxe 2CD; Standard Vinyl; Hardback Book Vinyl Edition; Limited Edition Collectors Box (including art prints). Pre-order at gorillaz.ffm.to/themountain.

Jamie Hewlett’s artwork for Gorillaz at work on The Mountain

Gorillaz: back story

CREATED by musician Damon Albarn and artist Jamie Hewlett in 1998, the Gorillaz fictional line-up comprises  2D, bassist Murdoc Niccals, drummer Russel Hobbs and Japanese guitar prodigy Noodle. The BRIT and Grammy-winning virtual band formed following a collision of mishaps, meetings and pure luck to blow up a pre-digital world with their colourful backstory and ground-breaking virtual ways.

Based at Kong Studios, Gorillaz settled into a life of musical innovation with a remarkable roster of collaborators, a list that includes musical legends, geniuses and future stars from Elton John to Little Simz, MF Doom to Jean-Michel Jarre, Grace Jones to slowthai, Kali Uchis to Sidiki Diabaté, and many more.

Gorillaz have eight albums to their name: Gorillaz (2001), Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017), The Now Now (2018), Song Machine: Season One – Strange Timez (2020) and Cracker Island (2023), to be followed by The Mountain on February 27 2026.

Gorillaz have achieved success in new and unique ways, touring the world from San Diego to Syria, Montevideo to Manchester, and winning numerous awards including the coveted Jim Henson Creativity Honor.

Gorillaz musician Damon Albarn. Picture: Linda Brownlee

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What’s On in Ryedale, York and beyond. Hutch’s List No. 52, from Gazette & Herald

Wanderful: Lisa George’s Fairy Godmother in Cinderella at the Grand Opera House, York

CHRISTMAS music and pantomimes aplenty dominate Charles Hutchinson’s recommendations for December fun-filled fulfilment. 

Having a ball: Cinderella, Grand Opera House, York, until January 4 2026

CORONATION Street star Lisa George’s Fairy Godmother leads the cast of Tobias Turley’s Prince Charming, Bradley Judge’s Dandini and West End actress Rachel Grundy’s Cinderella in UK Productions’ Cinderella, scripted by Jon Monie. 

Directed by Ellis Kerkhoven, West End drag stars Luke Attwood and Brandon Nicholson bring the mayhem in Ugly Sisters mode as Harmony and Melody Hard-Up, joined in the comedy corner by Jimmy Bryant’s Buttons. Box office: atgtickets.com/york.

Radiant: Jennie Dale’s Fairy Moonbeam in Sleeping Beauty at York Theatre Royal. Picture: Pamela Raith Photography

No sleep till January 4: Sleeping Beauty, York Theatre Royal

YORK Theatre Royal creative director Juliet Forster directs returnee dame Robin Simpson’s Nurse Nellie, Jocasta Almgill’s Carabosse, Tommy Carmichael’s Jangles, CBeebies star Jennie Dale’s Fairy Moonbeam, Aoife Kenny’s Aurora and Harrogate actor Christian Mortimer’s Prince Michael of Moravia in Sleeping Beauty.

Written once more by Paul Hendy, the Theatre Royal’s festive extravaganza is co-produced with award-winning Evolution Productions, the same team behind All New Adventures Of Peter Pan, Jack And The Beanstalk and last winter’s Aladdin. Box office: 01904 623568 or yorktheatreroyal.co.uk. 

Hooked: Jamie McKeller savours the role of Captain Hook in Rowntree Players’ The Pantomime Adventures Of Peter Pan at the JoRo. Picture: Matt Hillier

Putting ‘Pan’ into pantomime: Rowntree Players in The Pantomime Adventures Of Peter Pan, Joseph Rowntree Theatre, York, Wednesday to Friday; Saturday, 2pm and 7.30pm

HEAD to the fantastical world of Neverland in Howard Ella and Gemma McDonald’s pantomime for Rowntree Players. Cling on to your seats as Hannah King’s Peter Pan and the Lost Boys do battle with Jamie McKeller’s rather nasty Captain Hook and his even nastier bunch of pirates.

Fear not as Michael Cornell’s Nanny McFlea and McDonald’s ever-eager apprentice Barkly are on hand to assist in the most ridiculous of ways. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Paul Toy: Directing York Mystery Plays Supporters Trust in A Nativity For York

Nativity play of the week: York Mystery Plays Supporters Trust in A Nativity For York, All Saints Church, North Street, York, tonight, 7.30pm

USING medieval scripts from the York Cycle of Mystery Plays and music both medieval and folk in style, Paul Toy’s community cast tells a familiar story of a marvellous birth, threaded with humour, reverence and, sadly, hatred, where candlelight emphasises the constant struggle of the light  against the darkness.

The performance lasts one hour with no interval. Refreshments will be available. Box office: 033 666 3366, ympst.co.uk/york-nativity or on the door.

Kate Rusby: Winter wonderland of South Yorkshire folk carols at York Barbican

Alternative carol concert of the week: Kate Rusby, Christmas Is Merry, York Barbican, tomorrow, 7pm

BARNSLEY folk nightingale Kate Rusby plays her regular festive fixture at York Barbican, returning with her folk band and the Brass Boys for two sets of jolly carols from South Yorkshire’s pubs, Christmas chart chestnuts and original winter songs.

Christmas Is Merry marks her 20th anniversary of these winter warmers, drawing on her six studio Christmas albums: 2008’s Sweet Bells, 2011’s While Mortals Sleep, 2015’s The Frost Is All Over, 2017’s Angels And Men, 2019’s Holly Head and 2023’s Light Years. Box office: yorkbarbican.co.uk.

Musical director Dylan Allcock in rehearsal with cast members Emilio Encinoso-Gil and Hannah Christina for Elizabeth Godber’s Jingle All The Way at Pocklington Arts Centre

Deer duo of the week: Jingle All The Way, Pocklington Arts Centre, tomorrow to December 23; relaxed performance on December 14, 1.30pm

FROM the team behind The Elves And The Shoemaker Save Christmas and Jack Frost’s Christmas Wish comes Elizabeth Godber’s latest Christmas family adventure, co-directed by Jane Thornton with musical direction by Dylan Allcock.

Reindeer siblings Rex (Emilio Encinoso-Gil) and Rosie(Hannah Christina) are reluctant to start at a new school just before Christmas, especially when that school is the East Riding Reindeer Academy, home of supreme athletes. Although Rosie fits in quickly, Rex struggles to find where he belongs, but a school-wide competition might change all that. Santa has a position free on his sleigh squad; could this be Rex’s big chance? Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Setting sail in Pick Me Up Theatre’s Anything Goes: Reno Sweeney (Alexandra Mather, second from left) and her Angels, Sophie Curry, left, Chloe Branton and Sophie Kemp. Picture: Felix Wahlberg

Getting a kick out of you musical of the week: Pick Me Up Theatre in Anything Goes, Theatre@41, Monkgate, York, Friday to December 30

DITCH York’s December chills and climb aboard the S.S. American as it sets sail in Andrew Isherwood’s all-singing, all-dancing staging of Anything Goes!, Cole Porter’s swish musical, charting the madcap antics of a motley crew leaving New York for London on a Christmas-themed steamer.

Meet nightclub singer/evangelist Reno Sweeney (Alexandra Mather) and lovelorn Wall Street broker Billy Crocker (Adam Price), who has stowed away on board in pursuit of his beloved Hope Harcourt (Claire Gordon-Brown). Alas, Hope is engaged to fellow passenger Sir Evelyn Oakleigh (Neil Foster). Enter second-rate conman Moonface Martin (Fergus Powell) to join Reno in trying to help Billy win the love of his life. Box office: tickets.41monkgate.co.uk.

Swinton & District Excelsior Band: Festive cheer at Milton Rooms, Malton

Afternoon of festive music and joy: Swinton & District Excelsior Band’s Christmas Spectacular, Milton Rooms, Malton, December 14, 2pm

THIS musical matinee with the Swinton & District Excelsior Band features the senior band, training band and beginners’ group, who perform a joyful mix of carols and seasonal favourites with festive cheer for all the family. A raffle and retiring collection will boost band funds. Entry is free but donations are welcome at the close. To book, go to: ticketsource.co.uk/swinton-district-excelsior-band/t-nolgkxa.

Bill Scott & Friends: In concert at Kirk Theatre, Pickering

Yuletide Tales of the week: Bill Scott & Friends, Kirk Theatre, Pickering, December 17, 7.30pm

THIS Christmas celebration “in harmony with a difference” comes to Pickering for the first time as vocal quartet Bill Scott, Lesley Machen, Jan Burtenshaw & Tim Tubbs perform a seasonal programme of carols, songs, poems and readings in every mood, from sacred, secular and lyrical to comic, sad and joyous.

Whether moved by the solemn beauty of a traditional carol or lifted by a light-hearted poem, this Yuletide fusion of music and tales promises to be a magical gathering. Box office: 01751 474833 or kirktheatre.co.uk/events/yuletide-tales/.

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REVIEW: Martin Dreyer’s verdict on York Early Music Christmas Festival, Apollo’s Cabinet, Apollo’s Jukebox Menu, National Centre for Early Music, York, December 5

Apollo’s Cabinet: Opening concert at York Early Music Christmas Festival 2025

YORK Early Music Christmas Festival swung straight into high gear in a seasonal knockabout, with a tenor and five Baroque players reacting to audience whims.

Apollo’s Cabinet specialises in such laid-back shows. This was the Christmas edition of its “jukebox menu”, with several courses offered to us on arrival.

In the event, we began with an instrumental medley, which set a breezy tone. Thereafter, we trod a fairly well-trodden path in a haphazard manner, depending on audience choices: Bach and Handel each featured twice and there were eating and drinking ballads from Purcell and Locke.

Otherwise, apart from an anonymous “battle” between two recorders, the audience was actively involved in a sing-along, or “Slow Set”, of four carols.

Rory Carver used his tenor intelligently in an aria from the New Year’s Day section of Bach’s Christmas Oratorio. He also prefaced Lowell Mason’s Antioch (aka Joy To The World, based on Handel) with a smooth account of Comfort Ye from Messiah.

The recorder players, Teresa Wrann and Thomas Pickering, the latter doubling on harpsichord and flute, dazzled in their duel, while also enabling Bach’s sheep to graze safely. It was all good fun, but punters may have wondered whether their £23 was truly well spent on such trifles.

Review by Martin Dreyer

York Early Music Christmas Festival continues until December 14. For full details and tickets, go to: ncem.co.uk. Box office: 01904 658338.

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Art launch of the week: Swarmgate!, Art Of Protest Gallery and National Centre for Early Music, December 11, 5pm to 9pm

What’s the buzz? Tell us what’s a-happening at the Swarmgate! launch tomorrow

THE Swarmgate! artwork launch takes place at the Art Of Protest Gallery and National Centre for Early Music, Walmgate, York, tomorrow.

This free event celebrates the Walmgate Reframed Project and installation of Gemma Wood’s Swarmgate! artwork. “York Creatives has led on this project, and you can come along to find out all about what we’ve done and what might be coming next,” says York Creatives’ Sarah Williams.

Here is tomorrow’s timetable:

5pm to 6pm: Head to the Art of Protest Gallery to view the Swarmgate! exhibition.

6pm to 6.30pm: Follow the Swarmgate Trail: Art Of Protest to Huby Court.

6.30pm: Arrive at NCEM, St Margaret’s Church, Walmgate, to hear about the project.

7pm to 9pm: Stay awhile amid the ancient charms of the NCEM for live storytelling and poetry. Enjoy a chat with the Swarmgate! artist and York Creatives team, while finding out how you can tell the bees your own news.

No ticket or booking is required. Just turn up!

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REVIEW: Sleeping Beauty, York Theatre Royal, no rest for the wicked or the wacky until January 4 2026 ****

Jennie Dale’s radiant Fairy Moonbeam in York Theatre Royal and Evolution Productions’ Sleeping Beauty. All pictures: Pamela Raith Photography

NOT even the cast knows what to expect in York Theatre Royal’s sixth collaboration with Evolution Productions when a button is placed under the control of Moss, the dame’s pick from the audience for affable humiliation on Monday.

An inspired pick, it turns out, with a laugh as distinctive and unusual as his name, giving more grist to the mill for Robin Simpson’s saucy, smart returnee dame to grind.

This was press night, but a press night with a difference. When would Moss press that button to release the explosive power of the confetti cannon?

The show is ticking over nicely when suddenly… Bang! Cue Kool And The Gang’s Celebration, Aoife Kenny’s Princess Aurora being jolted from her Sleeping Beauty slumbers and a mass outburst of cast  “corpsing”.

Come Hull or high water: Jocasta Almgill’s villainous Carabosse in boastful skulduggery mode with her creepy Goth acolytes in Sleeping Beauty

Whereupon Simpson’s ever-gregarious Nurse Nellie improvises, interjects, scolds Moss and interrupts Christian Mortimer’s Prince Michael of Moravia as he tries to resume singing Lady Gaga and Bruno Mars’s aptly titled Die With A Smile once he regains his composure, only to put him off his stride again.

This is panto mayhem at its best, unpredictable, bringing out Simpson’s innate sense of capitalising on the moment. One of many reasons why his dame is the poster face for next year’s Snow White & The Seven Dwarfs – his seventh Theatre Royal dame too.

That explosion is not the only moment when Sleeping Beauty goes off piste to winning effect. Tommy Carmichael’s returning daft lad, Jangles, finds himself in a pickle, when a bed fails to rotate in the obligatory ghost scene, leaving him in view of the audience.

In tandem with Simpson’s dame, he milks this glitch to the ad-libbing max, and it would surprise no-one if this easily solved technical hitch does not become a regular part of the show. It’s how pantomimes grow and change through a run, and one of live theatre’s greatest joys. No two shows are ever the same.

Harrogate actor Christian Mortimer’s Prince Michael of Moravia in Sleeping Beauty

It helps that Evolution Productions director Paul Hendy writes such a well structured show with the strongest of foundations to leave Simpson and Carmichael, blossoming in his second York panto, to play fast and loose when chance allows.

Mortimer joins in the fun and games too, a playful change from the conventional straight-laced princely type entrusted with soppy ballads that peaks with the best slippy-slidey slapstick slosh scene at the Theatre Royal in years. Indeed, the slapstick is an upgrade on Aladdin last year, now more than a match for Hendy’s verbal wit.

Hendy and Theatre Royal creative director Juliet Forster, in their sixth panto partnership, place equal emphasis on story, set-piece, slapstick, spectacle and sass, respectful of tradition but thoroughly modern too. 

No YTR/Evolution panto would be complete without  a CBeebies star – it’s becoming a tradition in itself – and Jennie “Swashbuckle” Dale is the best yet, radiating joy, warmth and no little wit as the “fun, silly storyteller” Fairy Moonbeam. No wonder she worked with Victoria Wood, no less, in the past on What’s Larks!.

Top: Fired up! Kris Madden’s pyrotechnics in Sleeping Beauty. Bottom: The more vacuous than vicious Velociraptor called Raptor in Sleeping Beauty

She just happens to have a spectacular singing voice too – capable of going down valley, up, up, up Dale – at its best in a show-stopping sing-off with Jocasta Almgill’s “evil, stroppy and silly” Carabosse in Ugly Kid Joe’s Everything About You. 

Powerful voice, physical presence, a thoroughly good sport at being panto-villainous, Almgill tops it off with a Hull accent, exaggerated just so, you kner, for comic effect. Her rendition of The Who’s Pinball Wizard with re-tooled lyrics is a belter too.

The Hendy staples are wheeled out, from the dame’s cart with pictorial placards, this year on the theme of musicals, to an animal, still not on a par with Zeus the scene-stealing Border Collie two years ago but designed to thrill dinosaur-fixated children in the form of “the vicious Velociraptor”, whose bark turned out to be worse than his bite, as it were.

Indeed, the dawdling, limb-twiddling dinosaur somewhat undermined the impact of speciality act Kris Madden’s fire artistry as Guardian of the Raptor. I’d be tempted to fire the Raptor to give Madden the unimpeded spotlight his hot stuff deserves, but that wouldn’t fit with his role!

Robin Simpson’s gaudy, gregarious dame Nurse Nellie in Sleeping Beauty

As ever, there is as much to enjoy in Hayley Del Harrison’s punchy choreography as in Hendy’s puns in the punchlines, together with Terry Parsons, Michelle Marden and Stuart Relph’s dazzling set designs, Parsons, Amy Chamberlain and Ella Haines’s costumes and especially Michael J Batchelor and Joey’s Dame’s Creations’ ever-changing  wardrobe for Simpson’s dame. The pink theme for the walkdown attire is particularly striking.

Musical director, arranger, composer and drummer Edwin Gray adds to the drama with his superb arrangements for songs that vary from Chappell Roan’s Hot To Go, for the dame, to an ensemble mash-up of Schools Out/Baggy Trousers/ABC; from two Beatles’ numbers, the opening Good Day Sunshine and Golden Slumbers, to this year’s fizziest pop anthem, Golden, from KPop Demon Hunters.  

Ensemble players Alyssia Turpin, Elijah Daniel James, Sophie Flora, Chris Morgan-Shillingford, Carlotte Rose O’Sullivan and Jayden Tang play their part to the full too, bringing added oomph to songs and having fun in myriad cameos, such as Carabosse’s dungeon Goths and towering guards.

Politics pretty much misses out this year – nothing feels funny about politics right now – although a flooding joke goes down well in flood-familiar York. Sleeping Beauty is very much awake, picking up momentum as the best pantos do, with  Simpson, Dale and Almgill outstanding and Moss making sure everyone keeps their wits about them.

York Theatre Royal and Evolution Productions presents Sleeping Beauty until January 4 2026. Box office: 01904 623568 or yorktheatreroyal.co.uk.  

Aoife Kenny’s Princess Aurora and Tommy Carmichael’s Jangles with the ensemble cast of Chris Morgan Shellingford, back row, left, Elijah Daniel James, dance captain Alyssia Turpin, Sophia Flora, and , front row Jayden Tang, and Charlotte Rose O’Sullivan

Did you know?

NEXT winter’s York Theatre Royal & Evolution Productions co-production will be the Theatre Royals’ first-ever pantomime staging of Snow White & The Seven Dwarfs. Written by Paul Hendy and starring regular dame Robin Simpson, the show will run from December 4 2026 to January 3 2027. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.