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More Things To Do in York and beyond when festivals flow and love bites. Here’s Hutch’s List No. 21, from The York Press

Who’s who and what’s what at York Pride 2026 at Knavesmire

FESTIVALS full of Pride, ideas and comedy are the headline acts in Charles Hutchinson’s selection of culture in colourful bloom as May turns to June.

Putting the unity into community, love and equality: York Pride 2026, Knavesmire York, today, 11am to 7.30pm

THE 90-munite York Pride parade sets off from Parliament Street to Knavesmire at 12 noon for a full day of Pride, protest, visibility, music, cabaret, family entertainment and community celebration.

The main stage line-up features Nadine Coyle, Joe McElderry, Urban Cookie Collective, Nicki French, Michael Marouli, Roxanne Cooper, Sweet Like Sabrina, Heavenly Bodies, Jordan Smart, DJ Rory Hoy and York Stage’s cast of Everybody’s Talking About Jamie. For full festival details, go to: yorkpride.org.uk. Entry is free.

Alexander McCall Smith: Discussing his books at York Festival of Ideas on June 7 at 6.30pm in Room PZA/103 in the Piazza Building, Campus East, University of York. Picture: Alexander McCall Smith Portraits

Festival of the fortnight: York Festival of Ideas, Place & Space, today until June 12

YORK Festival of Ideas 2026 explores Place and Space in more than 200 mostly free in-person and online events designed to educate, entertain and inspire. 

Led by the University of York, the event features world-class speakers (such as Nicola Sturgeon, Clive Myrie, Dame Kelly Holmes, Alexander McCall Smith, Sally Wainwright and Sian Williams), performances, exhibitions, tours, family-friendly activities, a Michael Morpurgo celebration day and much more, with topics ranging from archaeology to art, history to health, politics to psychology, football to Manchester’s Music Soul. For the full programme, go to:  yorkfestivalofideas.com.

Kiri Pritchard-McLean: Hosting the finale to Pocklington Arts Centre one-day Comedy Festival today

Comedy event of the week: Pocklington Comedy Festival, today, from 1pm

POCKLINGTON Arts Centre’s Comedy Festival opens with Seeta Wrightson’s work-in-progress (WIP) Fringe Preview of Middling at 1pm, followed by Out Of The Box at 2pm and Brennan Reece’s WIP Fringe Preview of New Jokes at 2.45pm.

Marcel Lucont presents Les Enfants Terribles – A Game Show For Awful Children at 4pm. Then come Tom Neenan’s WIP Fringe Preview at 4.30pm; Sarah Roberts’ WIP Fringe Preview at 6.15pm and the Mixed Bill finale at 8pm, bringing together Lou Wall, Marcel Lucont, Tal Davies, Pravanya Pillay and Raj Poojara, hosted by Kiri Pritchard-McLean. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

“You sit here,” says Pierre Novellie, who will be standing over there at Theatre@41, Monkgate

Novellie idea of the week: Pierre Novellie, You Sit Here, I’ll Stand There, Theatre@41, Monkgate, York, today, 5pm, tickets available, and 8pm, sold out

IT’S  time for Pierre Novellie to do stand-up! It’s time for you to watch! “Why not just embrace that, for God’s sake?” he ask on his return to Theatre@41, Monkgate. “All earthly glories fade!

Novellie is co-host of the Frank Skinner, Budpod and Button Boys podcasts and has been seen and heard on World’s Most Dangerous Roads (Dave), The Mash Report (BBC2), Stand Up Central (Comedy Central), The Now Show and The News Quiz (BBC Radio 4). Box office: tickets.41monkgate.co.uk.

The ELO Experience: Celebrating 50 years of Jeff Lynne songs at York Barbican

Tribute gig of the week: The ELO Experience, York Barbican, tonight, 7.30pm

IN 2025 Jeff Lynne’s ELO performed their last live shows on the Over & Out Tour. Now tribute act The ELO Experience are mounting their own 20th anniversary tour with a set of greatest hits and album gems spanning more than 50 years of Lynne’s music.

Between 1972 and 1986, ELO achieved more combined UK and US Top 40 hits than any other band, including 10538 Overture, Evil Woman, Living Thing, The Diary Of Horace Wimp, Don’t Bring Me Down and Mr Blue Sky. Box office: yorkbarbican.co.uk.

Molly Whitehouse and Dan Poppitt in rehearsal for Black Sheep Theatre Productions’ premiere of Love At First Bite

Premiere of the week: Black Sheep Theatre Productions in Love At First Bite, Theatre@41, Monkgate, York, June 4 to 6, 7.30pm plus 2.30pm Saturday matinee

JOSH Woodgate directs Dan Poppitt and Molly Whitehouse’s seductive new work Love At First Bite, wherein dating can be hell, but what if one of them were a creature of the night?” What happens when Alan and Minnie meet at a speed-dating night? A spark flickers. Dates follow. Laughter lingers.

“Yet beneath the rhythms of a familiar rom-com, something waits in the dark,” say Poppitt and Whitehouse, who play the lovers in York company Black Sheep’s premiere. “One of them is a vampire – but the secret shifts. Each night, the actors trade fangs and the audience is left to wonder who is hunter, who is prey.” Blending sharp-fanged wit with a brush of gothic shadow, their play toys with romance, rewrites folklore and invites audiences to consider what it means to love…and to hunger! Box office: tickets.41monkgate.co.uk.

Charlotte Hanna-Williams, left, Jamie-Rose Monk, Seán Carey, Holly Sumpton and Christian Andrews in SplitLip’s Operation Mincemeat: A New Musical. Picture: Matt Crockett

Musical of the week: SplitLip in Operation Mincemeat: A New Musical, Grand Opera House, York, June 2 to 6, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees

THE year is 1943 and we are losing the war but, luckily, we can gamble all our futures on a stolen corpse. Singin’ In The Rain meets Strangers On A Train in SplitLip’s Operation Mincemeat, the Olivier and Tony award-winning musical take on the unbelievable true story of the twisted secret mission that won us the Second World War.

Bursting at the seams with chaos beyond invention, the question is: how did a dead body, a fake love letter and MI5 operative Ian Fleming come together to wrong-foot Hitler? Let  Christian Andrews, Holly Sumpton, Seán Carey, Charlotte Hanna-Williams and latest recruit Jamie-Rose Monk tell the tale. Box office: atgtickets.com/york.

Sofia Romano in Silver Stage’s murder mystery Club Mistero, on tour at Helmsley Arts Centre

Immersive murder mystery of the week: Silver Stage & Solent University presents Club Mistero, Helmsley Arts Centre, June 5, 7.30pm

LOSE yourself inside the dazzling but dangerous Club Mistero in 1920s’ New York City, where a flighty barman, outspoken diva, secretive showgirl, neglected wife and an owner with eyes on every corner all become suspects when someone is, seemingly, nowhere to be found. Clutch your pearls, ol’ sport, murder is afoot.

In the heart of a speakeasy, surrounded by deception and secrets, a web of betrayal, revenge and power is spun, whereupon tensions rise as the line between friend and foe is blurred, but who will survive the night? Silver Stage’s Evelyn Foy, George Mclean, Niamh Boyle, Sofia Romano and Borna Vitlov will keep you guessing to the very end. Box office: 01439 771700 or helmsleyarts.co.uk.

Navigators Art’s poster for On Location, on show at City Screen Picturehouse from June 7

Exhibition launch of the week: Navigators Art presents On Location, York Festival of Ideas, City Screen Picturehouse, York, June 7 to July 3, from 10.30am each day

ON Location, a free art exhibition of some of York’s finest visual artists, explores ideas of place and space, venturing widely beyond conventional landscapes. Open every day in the cafe and upstairs gallery from 10.30am, the show will be launched officially on June 8 from 6pm to 8.30pm in the gallery (free admission, no booking required, all welcome). 

The Gold brick road leads to York Barbican for Shalamar on their 50th anniversary tour

Gig announcement of the week: Shalamar, The Gold Tour, Celebrating 50 Years, York Barbican, July 2, 7.30pm

FORMED in Los Angeles in 1976, Shalamar became a defining force in late-1970s and 1980s’ R&B, funk and dance music with 18 UK Top 75 hits, 11 Top 40 singles, four Top Ten hits and more than 25 million records sold worldwide.

Body-popping Jeffrey Daniel and Howard Hewett, from the classic 1982 line-up, are joined by Carolyn Griffey, the female lead vocalist since 2001, to perform  A Night To Remember, Take That To The Bank, The Second Time Around, Make That Move, Dead Giveaway, There It Is,  Friends and Dancin’ In The Sheets et al. Special guest will be Gwen Dickey, The Voice of Rose Royce. Box office: yorkbarbican.co.uk.

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REVIEW: Emma Rice Company in Enid Blyton’s Malory Towers, Leeds Playhouse, school term ends tomorrow *****

Molly Cheesley’s Alicia Johns, left, Eden Barrie’s Mary-Lou Atkinson, Robyn Sinclair’s Darrell Rivers, Bethany Wooding’s Sally Hope and Rebecca Collingwood’s Gwendoline Lacey in Emma Rice Company’s Malory Towers. Picture: Steve Tanner

ENID Blyton’s Malory Towers, the original post-war “Girl Power” story, was staged for the first time in a co-production by Emma Rice’s Wise Children company and York Theatre Royal in 2019, playing York in all-too-short stay that September.

Roll forward to 2026, when Rice now trades as the Emma Rice Company, for the school half-term visit to Leeds Playhouse of her revival of her “happy Lord Of The Flies”, as she calls her adaptation of the “naughty, nostalgic and perfect for now Malory Towers”, now touring in tandem with London’s Alexandra Palace Theatre, Coventry’s Belgrade Theatre, Manchester HOME and Liverpool Everyman & Playhouse.  It is indeed perfect for half-term, judging by Thursday’s matinee, packed with children and their mums.

Writer-director Rice read Blyton stories, Famous Five and Secret Seven capers but not Malory Towers, in her contrasting, inner-city Nottingham comprehensive schooldays in the 1970s, but found herself drawn back to the Cornish cliff tops she knew so well in her groundbreaking Kneehigh theatre days.

This Cornwall is Blyton’s Cornwall of the Blighty 1950s: school days of midnight feasts, pillow fights and an outdoor swimming pool, when “lucky girls have the chance… to be returned back to the world sensible, sound and strong… women that the world can lean on”.

Stephanie Hockley’s Irene Dupont, at the piano, with violinist Emily Panes and Molly Cheesley’s Alicia Jones. Picture: Steve Tanner

To emphasise why the stories are “perfect for now” in their school report on growth and growing up, Rice opens with a modern-day school setting, with doors not only to the headmaster’s office, but also to that symbol of changed times, the welfare officer’s office, beneath those imposing towers.

The children are displaying the same characteristics as they will once they morph into their Malory Towers selves, transformed as if in a dream once Eden Barrie, gawky and gauche in a fairy outfit, has been walloped on the head with a copy of Malory Towers.

Later this will be mirrored by the Malory Towers pupils enacting a fairy world scene from Shakespeare’s A Midsummer Night’s Dream, again with the girls’ own tropes influencing the choice of roles.

An electric charge of excitement spreads through the audience for an Emma Rice show like no other, and as ever you are smiling, beaming, from the effervescent, jollier-than-hockey sticks start when Benny Goodman’s Sing Sing Sing sets the ball rolling for a series of delightful, dazzling songs, some originals by Ian Ross (music) and Rice (lyrics), others takes on Edith Piaf’s Mon Menage A Moi, Sammy Fain’s I Can Dream Can’t I? and Pat Ballard’s Mr Sandman.

Cut up: Rebecca Collingwood’s spiteful Gwendoline Lacey, craving a switch to a Swiss finishing school in Malory Towers. Picture: Steve Tanner

One by one, Rice lets the new Malory Towers intake introduce themselves as the “deliciously naughty”, corny joke-loving West Country second-year pupil Alicia Johns (Molly Cheesley) welcomes the girls and their suitcase onto the Paddington train bound for the Cornish coast.

We meet Barrie’s bag-of-nerves, constantly apologetic Scottish pupil Mary-Lou Atkinson; returnee Rebecca Collingwood’s even-beastlier-than-in-2019 Gwendoline Lacey; Bethany Wooding’s ever-so-proper, prim and pucker Sally Hope and Robyn Sinclair’s furnace-hot-tempered, fierce-hearted Darrell Rivers, this production’s stand-out.

LIPA-trained Stephanie Hockley’s French student Irene Dupont, so free of spirit and musical to the tips of her piano-playing fingers, has a lead singer’s sense of melody and is humorous too in her head-strong character’s exasperation. To her side is violinist Emily Panes, so key to the beautiful arrangements. Along for the ride too comes Zoe West’s horse-loving Wilhemina “Call me Bill” Robinson, whose late arrival adds an air of mystery.

All is orchestrated by director Rice at a cracking pace, her ingenuity, inventive flair and sense of mischief complemented by Lez Brotherston’s typically witty, playful set and costume designs. The beds are employed so imaginatively in Alistair David’s choreography, while Simon Baker’s sound and video design and Beth Carter and Stuart Mitchell’s dream sequence animation are filled with the visual and verbal humour synonymous with the snap, crackle and pop of Rice’s crisply delivered shows.

Zoe West’s Bill Robinson in Malory Towers. Picture: Steve Tanner

From the rail route graphics from London to Cornwall to the furiously fast stride pattern of Bill’s animated heroic horse; from a swimming pool scene with Busby Berkeley swimsuit panache and puppet divers to a “Cliffhanger” punchline to end the first act; from a chalkboard to the shadow-puppet figure of headmistress Miss Grayling (voiced by Dame Sheila Hancock, no less), Malory Towers keeps delighting and amusing with its imagery.

Amid Blyton’s high jinks, high drama and high spirits, the performances from Rice’s typically diverse cast are ripe with personality and individuality beneath the uniformity of the school dress code.

Rice adds her own touches to the script, be it a Jackson Pollock drip-painting reference or, more gravely, the damaging, life-altering effect of the war on a father, to the cost of his troubled daughter. Part Blyton, wholly Rice, this Malory Towers is fun, feminist, joyful, old-fashioned yet fresh, championing compassion, inclusivity and freedom of expression with flair, fire and faith in the transformative power of education and theatre alike.

Emma Rice Company in Enid Blyton’s Malory Towers, Leeds Playhouse, tonight, 7.30pm; tomorrow, 2pm and 7.30pm. Box office: 0113 213 7700 or leedsplayhouse.org.uk.

Emma Rice

Q & A with Emma Rice, director of Malory Towers

What inspired you to adapt Malory Towers for the stage, Emma?

“These books make me joyfully tumble back through history. I tumble through memories of my own scary comprehensive, to stories of my Mum’s Dorset grammar school and then to my Gran, who was an untrained teacher in the war. All of these stories have one thing in common – growing up. And Malory Towers, in my opinion, is the best of all growing-up stories! Funny, sharply well observed and fantastically moreish, these books are a pure delight.

“However, beyond the adventures and cliff-top thrills, I wanted to capture that time, just after the Second World War. A time where people were bruised and damaged but resolute about creating a better future. A future without cruelty, violence and hatred.

“Within these deceptively simple books, all these themes are gently explored. The challenge that Enid Blyton sets for us in these gorgeous books, stands the test of time as she asks us to be ‘women that the world can lean on’. If you haven’t already gathered, I love them.”

You initially took Malory Towers on tour in 2019. How does it feel to be returning to the play and why did you decide to bring it back now?

“Oh, I am thrilled to be returning to Malory Towers! There is something exciting about a new class and a new term. We have done some fantastic new work on the design, so it will feel like a box fresh new uniform. Why now? I think we are all ready for some hope and some fun and this will feel like spring has finally come.

“In these difficult and uncertain political times, this is exactly what we all need. A good time underpinned by kind and inclusive values.”

Did it feel daunting to take on such a beloved piece of work?

“How could I be daunted by something I feel such an affinity to? I feel I know these girls and have relished bringing them to theatrical life. Girls are much the same now as they were in 1945. I don’t think being scared helps anybody do anything, so I try hard in my working life to work instinctively, respectfully and joyfully.”

How will you integrate sound and music into Malory Towers?

“This production has the most virtuosic score and soundtrack. My cast are all exceptional singers and the close harmony songs will knock your socks off! We have gorgeous tunes from the time, mixed with newly composed songs by Ian Ross, my long-term collaborator. The result is soaring, impressive and moving.

“All this as well as specially created animation and soundscape by Simon Baker and artist Beth Carter. I wanted this show to feel astonishing, just like young women are to me – and it really is!”

How do you balance putting your own stamp onto Blyton’s work? Is it tricky to deviate from the source material?

“I haven’t deviated too much from the books. The characters are all very true to Enid Blyton, as is the setting and message. Yes, I wove together the best bits from all the books and swapped the pantomime for A Midsummer Night’s Dream, but this is absolutely the Malory Towers you all know and love.”

Is this show one for all the family to enjoy?

“Absolutely. This is a world that all the family can and should enjoy. The themes of friendship, compassion and hope resonate across gender, time, class and culture. It’s a cracking yarn, yes, but this deceptively simple subject matter really does give us all a chance to reflect. It allows us a moment to think about growing up, about war, empathy and about our own part in history.

“In a time when lots of us can feel hopeless and powerless (especially the young), this magic show gives us back a sense of community, agency and shared responsibility.”

What is the importance to you of creating new work outside London?

“For me, I have always made my best work out of London. There seems to be more time and space to focus and the work in turn becomes deeper and more rooted. Things can sometimes get lost in London but opening in Bath, our home venue, we can shine and shout as bright and as loud as we please. Like the wonderful girls at Malory Towers!”

Finally, why should theatre-goers see Malory Towers?

“Because it is pure entertainment and pure joy. It has everything; music, puppetry, film… and a cliff-top rescue! It really is for everybody and gives us all the lift we need in these dark times. Shake off the winter and dive into this cool and sparkling production.”

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Community event of the week: York Pride 2026, Knavesmire, York, May 30, 11am to 7.30pm. Who will be performing?

York Pride: Day of Pride, protest, visibility, music, cabaret and family entertainment at Knavesmire tomorrow. Picture: Milner Creative

YORK Pride 2026 celebrates love, equality and community as thousands head to Knavesmire for a day suffused with with music, colour and unity as the LGBT+ rainbow flies proudly across York tomorrow from 11am to 7.30pm.

Free to attend, the festival promises a full day of Pride, protest, visibility, music, cabaret and family entertainment, opening  with the 90-minute Pride parade from Parliament Street at 12 noon. Bring rainbow attire, water, comfortable shoes and sun cream or umbrellas (depending on the Yorkshire weekend weather).

The Main Stage line-up features Girls Aloud’s Nadine Coyle, musical star and pop singer Joe McElderry, Urban Cookie Collective, Nicki French, RuPaul’s Drag Race UK’s Michael Marouli, Roxanne Cooper, Sweet Like Sabrina, Heavenly Bodies, Jordan Smart, DJ Rory Hoy and York Stage’s cast for Everybody’s Talking About Jamie, performing the show’s biggest numbers ahead of the Grand Opera House run from October 16 to 24.

The Main Stage will be hosted by Ash Palmisciano, Mamma Bear and St Sordid Secret, bringing Pride energy, Yorkshire warmth, crowd moments and celebration throughout the day.

The Cabaret Stage returns with a packed line-up of drag, cabaret and queer performance, hosted by Miss Kitty Lee and Crudi Dench. On the bill will be RuPaul’s Drag Race UK’s Victoria Scone, JTG featuring Janice D, Tanya Hyde and Gloria Hole, Luna Hex, Queen Queef, Polly Glamourous, Elle Vosque, Sasha Glam, King Butch, Marigold Addams as Jane McDonald, Pembo, Robynne Ryske, Reese Wetherspoon, Ferne Ando and Mark Anthony.

Crudi Dench: Hosting Cabaret Stage at York Pride tomorrow and presenting Someone Help Her! in The Basement tonight

Crudi Dench, by the way, also will be presenting her “almost finished” debut solo show, Someone Help Her!, in her “ancestral homeland” of York in The Basement at City Screen Picturehouse tonight (29/5/2026) at 8pm.

Ring, ring, who is it? Drag comedian, West End writer, delusional icon and “all-round cheeky Northern piglet” Crudi Dench, of course, who will be taping the pilot episode for her new TV show, Someone Help Her! and needs the assistance of surprise celebrity guests in the audience (you) to help those phoning in.

Chaos ensues in this long-awaited, chaotic debut hour from the star and writer of award-winning, sell-out Edinburgh Fringe shows Drag Queens vs Zombies and Drag Queens vs Vampires. Expect stand-up comedy, audience interaction and a fabulous telephone that Crudi will pick up bravely without receiving a text beforehand. Box office: https://www.outsavvy.com/event/34931/crudi-dench-someone-help-her-york.

Across the festival site, York Pride 2026 will feature three stages, a dedicated dance tent, two bars, 100 stalls and food & drink traders, charities, community groups, sponsor spaces, an expanded Family Area and the UK’s largest one-day funfair, plus the proud hosting of York Trans Pride.

Who’s who and what’s what at York Pride 2026

The Family Area will bring family-friendly entertainment, activities, performances and creative spaces for children, young people and families, making York Pride a celebration for all ages.

York Pride is free to attend, a policy only made possible by donations, sponsorship, fundraising, traders, volunteers and community support. Every donation and every purchase from the festival’s official shop helps keep Pride free and protects the future of the event.

Explore the website at https://www.yorkpride.org.uk/to find out more about the Pride Parade, accessibility, volunteering, trading, sponsorship, donating, shopping, travel information, performers and everything planned for York Pride 2026.

Follow @yorkpride for the latest announcements and updates.

DRAGGING It Out, York Pride’s Official Closing Party, will be held at Impossible York’s Wonderbar on Sunday from 5pm to 10pm, starring Janice D and Tanya Hyde and featuring fabulous entertainment, delicious food, games and giveaways. Tickets cost £20 at https://www.yorkpride.org.uk/product/dragging-it-out-york-pride-official-closing-party/.

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Folk gig of the week: John McCusker Trio, York Festival of Ideas, National Centre for Early Music, York, May 29, 7.30pm

John McCusker: Fiddler, composer, producer, trio regular, podcaster and masterclass teacher

SCOTTISH fiddler John McCusker is joined by virtuoso multi-instrumentalist and singer Sam Kelly and flute, whistle and guitar player Toby Shaer in his folk trio to perform a thrilling combination of instrumental dexterity, heartfelt songs and live energy on the eve of the York Festival of Ideas 2026.

“It was a really lovely surprise to learn it’ll be part of the festival,” says musician, composer and producer John. “I think it will influence what we’ll put in the set-list. It makes you look at the gig through a different lens, thinking about it being part of a festival of ideas.

“I always love coming to York. It feels like I’ve played everywhere there! It’s 36 years of touring now, where one of the lovely things is how places feel very familiar, like the NCEM in York, where we’ve made many friends and the stage feels very comfortable.”

Born in Belshill, fiddle, tin whistle, cittern and guitar player John began touring with the Battlefield Band at the age of 17. Now 53, he says: “One of the things I’ve always strived to do over those 36 years is to keep myself creatively stimulated, after working with many musicians that have inspired me.

“I feel lucky in having done things like bumping into Eddi Reader, who said she’d fallen in love with the songs of Robert Burns and then doing that record with her, or making a record with Kris Drever and Roddy Woomble [2008’s Before The Ruin].

“I’ve never had a plan. I’ve just bumped into people and ended up working with them, touring or making records, and hopefully they’re drawn to me by the magic that happens between us.”

John continues: “Like working with Michael McGoldrick and John Doyle [in an acoustic folk trio rooted in contemporary Celtic and roots music], when we didn’t want the magic to stop after doing Celtic Connections together.

“We’ve just done 40 gigs this year where what we play is barely discussed. We just go on stage and the creativity happens, the chemistry clicks.”

Now John’s attention turns to the John McCusker Trio with Sam Kelly and Toby Shaer, where their fusion of original compositions, traditional melodies and contemporary folk bursts with innovation, joy and soul.

“We’ve just made an EP that’ll be available at the gig – it was being pressed last week,” he says. “With Sam and Toby, it feels like we’re not just copying the other trios. This trio has its own qualities, developed by touring together several times.

“What we’ve discovered is that if I were to play what I play with McGoldrick and Doyle, it doesn’t sound right with Sam and Toby, so instead we try to play to our strengths, not doing something the other trios would, but thinking about what tunes would suit Sam and Toby. I’m loving the discovery of that, albeit I’m trying to do less travelling now.”

“After 36 years, I feel I still have so much to learn,” says John McCusker. Picture: Elly Lucas

John, who now lives in Perth & Kinross, has turned his hand to hosting a podcast, The Fiddle Line, interviewing the likes of fellow Scottish fiddlers Ali Bain and Duncan Chisholm. “The premise is that, as musicians, we meet at festivals, in recording studios or at concerts halls, where we’ll give each other a hug, play tunes together, but I didn’t know what Duncan’s back story was until I interviewed him for the podcast. I’m really enjoying doing the shows.”

John is also hosting fiddle weekends, “having shied away from teaching until I went to the Belfast Trad Festival”. “I did five days solid, teaching five hours a day, as well as concerts, where beforehand I was thinking ‘why am I doing this? I don’t like teaching’, when usually I’ll just do a two-hour masterclass at the Cambridge Folk Festival, but I so enjoyed it that I started teaching last year in the local village hall, in Crook of  Devon, just outside Kinross,” he says.

“One of the teaching sessions was with Duncan [Chisholm], where he gave a masterclass and we recorded the podcast live.”

From differing trios to podcasts and fiddle-teaching weekends, John is keeping himself “creatively happy”. “It’s this love of still learning, learning how to get better at teaching and podcasting,” he says. “After 36 years, I feel I still have so much to learn.

“I remember when I used to play in folk clubs at the age of 12, then joining the Battlefield Band at 17, then touring the world with Mark knopfler, playing arenas where the crowds got bigger and bigger, feeling out of my depth working with these genius musicians from all over, thinking how did I get here?

“But you learn so much by soaking it all up – and there are so many sides to it. I remember a chat with John Doyle and Michael McGoldrick, when we were playing at 100 miles an hour and feeling we were not getting anything back from the audience.

“We had to learn about the pacing of our gigs, when we were getting faster and faster. Or learning by talking to Ali Bain about what it was like in the early days.

“Or feeling that when I started playing with the Battlefield Band, I remember being young and touring with older musicians and observing the way they talked to the audience and set up a set of tunes or a song. That had a huge impact on me; how, after telling a joke, you can play anything because you have the audience right there.”

John returns to his statement of “sometimes wanting to travel less”, then qualifies what he means. “One thing I’ve never got tired of is how, when someone plants a creative seed, it blossoms into a record or into touring,” he says.

This applies to working with Sam and Toby. “We’re thinking, ‘what can we do with all these sounds?’; ‘how can we bring in as many influences as possible to the sound?’. I’m really buzzing off working with them, having been a fan of Sam for years, when I had no idea of his love of old songs.”

Tomorrow’s gig has sold out. Box office for returns only: 01904 658338 or ncem.co.uk.

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How SplitLip’s Operation Mincemeat turned the war and musical theatre upside down. Next stop, Grand Opera House, York

Jump to it: Charlotte Hanna-Williams, left, Jamie-Rose Monk, Sean Carey, Holly Sumpton and Christian Andrews in SplitLip’s Operation Mincemeat. Picture: Matt Crockett

THE decision to write the brash musical Operation Mincemeat was the last roll of the dice from its quartet of young British creative talents after years of performing sketch shows at the Edinburgh Fringe.

Next week, the world tour announced at the entrance of the United Nations in New York City on May 13 2025 arrives at the Grand Opera House, York, where musical comedy troupe SplitLip’s Olivier, WhatsOnStage, Off-West End and Tony awards winner will run from June 2 to 6.

What began as a tiny and tiny-budgeted Fringe show at London’s 77-seat New Diorama Theatre in May 2019 – after a scratch performance at The Lowry, Salford –triggered sold-out runs at Southwark Playhouse and Riverside Studios, followed by a West End premiere at the Fortune Theatre in May 2023, subsequently drawing 88 five-star reviews and 64 award nominations and rising, while building a fanbase known affectionately as “Mincefluencers”.

“We wish to thank the audiences who continue to carry this show with love and enthusiasm,” say writer-composers David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

“Operation Mincemeat reminds us that in uncertain times, the bonds between allies are more important than ever – and that message feels especially relevant as we consider all the great nations in which our show will now have the opportunity to play. This show continues to be the adventure of a lifetime, and we’re wildly excited about what’s to come.”

Charlotte Hanna-Williams’s Jean Leslie in Operation Mincemeat. Picture: Matt Crockett

SplitLip’s musical is set in 1943, when the Allied Forces are on the ropes, but luckily they have a trick up their sleeve. Correction, not up their sleeve, per se, but rather, inside the pocket of a stolen corpse. Equal parts farce, thriller and Ian Fleming-style spy caper, Operation Mincemeat tells the wildly improbable true story of the twisted covert operation that turned the tide of the Second World War. 

Bursting at the seams with the kind of chaos that no-one could invent, the question is: how did a dead body, a fake love letter  and – of all people – MI5 operative Ian Fleming come together to wrong-foot Hitler?

In a nutshell, five actors play more than 80 roles as MI5 plans to fool the Nazis as to where an Allied invasion of Italy was to occur.  “We had been devouring every kind of source we could for telling the story of Operation Mincemeat, and we’d come to this realisation that it chimed every macabre, sick, twisted bell in all our horrible heads,” recalls Felix Hagan. “By miles, the funniest thing that we could think of at the start was that Ian Fleming was involved.”

SplitLip had a track record for “weirder, cabaret-style work” when they crafted Operation Mincemeat as their first musical, whose style spanned period ballads to hip-hop. “We approached every number completely with a clean slate as to what is the correct musical palette for this one song,” says David Cumming, who originated the role of Charles Cholmondeley, the nerdy MI5 conceiver of the subterfuge.

“And so we were less thinking about who’s going to be watching it; we were like, what does the story require in this moment, for this moment to be the best it possibly can be?”

Jamie-Rose Monk’s Johnny Bevan in Operation Mincemeat. Picture: Matt Crockett

Directed by Robert Hastie, former artistic director of Sheffield Theatres and director of Chris Bush and Richard Hawley’s Sheffield musical Standing At The Sky’s Edge, the touring cast combines Christian Andrews, Holly Sumpton, Seán Carey and Charlotte Hanna-Williams from the West End production with latest recruit Jamie-Rose Monk.

“I first saw it in the West End,” says Jamie-Rose. “I thought how sometimes, when you have a high expectation of a show with a bit of hype about it, that it doesn’t live up to it, but Operation Mincemeat absolutely smashed it, with so many characters in it, making you wonder how they did it and how it was one of things that could only work in the theatre, taking you on a storytelling journey.”

Charlotte recalls her first encounter. “I had friends who’d seen it before it went into the West End, but even at that point, when I was in the process of auditioning, I didn’t know what to expect,” she says.

“I was just in awe, and I was really excited from an actor’s point of view. It was such an exciting prospect, so rewarding to do, but also thinking, ‘oh my god, how on Earth are there only five actors doing this?!”

Charlotte was also struck by how “it’s a true story that’s managed to completely pass people by when we’re learning about the [Second World] War at school”.

“We do often see the male side of history, but actually this show is really good at showing how instrumental women were,” says Charlotte Hanna-Williams

Jamie-Rose rejoins: “The first thing that hit me when I watched it was the spirit of the show: the spirit of deception and the strategy involved. It really captures how a small group is trying to pull off this mad thing, which we see play out for real.”

The female perspective is a strong feature too. “We do often see the male side of history, but actually this show is really good at showing how instrumental women were,” says Charlotte.

“It’s not shoved down your throat, but it’s great to discover these people, and now even more research has been done by fans of the show, leading to a book about or characters, so it really shows how so many individuals came together, and quite unexpectedly, not the generals but people who work in the office.”

Jamie-Rose was delighted to be joining the debut Operation Mincemeat tour in February: “It’s a real gift to know that you’re about to do an excellent, tried-and-trusted show with brilliant writing, characters and music that we know works. It’s a real treat, but it’s also quite scary, because there’s expectation, which is terrifying but exciting too.”

Charlotte could draw on her West End experience of performing in the show. “You’re running on adrenaline a lot. That’s why we rehearse really thoroughly, so if anything goes wrong, we pick each other up 100 per cent. That’s why I’m really proud about doing this show.”

“It’s really good to get to play someone I would never be cast as normally. It’s one of my favourite moments,” says Jamie-Rose Monk of performing the role of MI5 operative Ian Fleming in Operation Mincemeat

Among her roles is Jean Leslie: “She’s the only female character being played by a female member of the cast! There’s lots of gender swapping for roles,” she says. “Jean is a young woman coming into MI5, which, at the time, was a bit of a boys’ club, and there’s this expectation that she’ll be part of the typing pool, but I get to play a character who’s really true to herself and is more than the girl who makes the tea.

“There’s also a moment of real poignancy in her journey, and it’s such a privilege to tell her story.”

Visiting York for the first time, Jamie-Rose’s principal role is Johnny Bevan. “He’s the ‘boss boss’, tasked by Downing Street to make up a deception plan, and I guess the main thing we get from Bevan are the stakes of the operation, where it’s so fast paced and fun, but it’s also serious with life consequences if it’s not pulled off successfully,” Jamie-Rose says.

“I also play Haselden [Francis Haselden, British Vice-Consul in Huelva], who’s in Spain, tasked with making sure it goes well, but he’s not so good at that, and Ian Fleming, who you see at the start at MI5. It’s really good to get to play someone I would never be cast as normally. It’s one of my favourite moments.”

Summing up the five-star appeal of Operation Mincemeat, Charlotte concludes: “It appeals to all demographics. Someone said, their husband usually hates musicals, but now he’s bought the soundtrack album!”

SplitLip in Operation Mincemeat: A New Musicalt, Grand Opera House, York, June 2 to 6, 7.30pm plus 2.30pm Wednesday, Thursday & Saturday matinees. Also Hull New Theatre, July 6 to 11, 7.30pm plus 2.30pm Thursday & Saturday matinees; Leeds Grand Theatre, September 7 to 12, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: York, atgtickets.com/york; Hull, hulltheatres.co.uk; Leeds, leedsheritagetheatres.com.

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Sam Meredith to premiere York Fanfare at York Early Music Festival’s 50th anniversary

[hanse] Pfeyfferey: York Early Music Festival 2026 artists in residence. Picture: Vasilisa Gorbacheva

YORK Early Music Festival is to mark its 50th year in July with a spectacular new commission, the majestic York Fanfare, Flourish At 50, to be played several times during the opening weekend.

To create the fanfare, the festival joined forces with West Yorkshire composer Sam Meredith and the all-female German ensemble [hanse] Pfeyffery – it translate as [town] pipes – to create this magnificent piece of music.

Wakefield- born composer and multi-instrumentalist Meredith, who now lives in London, was a finalist in the 2023 NCEM Young Composers Award.

He was chosen from a strong line up of applicants, all alumni from the composers award, to be this year’s Commission Composer for the York Early Music Festival.

“We put out a call to all 100 of our award alumni, inviting bids from these composers,” says festival director Delma Tomlin. “[hanse] Pfeyffery then had conversations with selected composers and settled on Sam.”

Last year, Meredith completed his MA in Opera-Making and Writing at the Guildhall School of Music and Drama. His work has been performed at the Barbican, London, and the annual Bauhaus Festival, London, under the tutelage of John Harle, who has commissioned him to write pieces for big band, large ensemble and most recently a duet for saxophone and piano. 

Meredith has sung and toured with the Idrisi Ensemble and was proud to appear in the choir for Alan Bennett’s 2025 film The Choral, filmed in Saltaire, West Yorkshire, directed by Nicholas Hytner.

The Yorkshire Fanfare will be performed by this year’s festival artists in residence, [hanse] Pfeyffery, a Renaissance wind band that specialises in improvised and rediscovered music from around 1500 played on shawms, cornetto, dulcian, slide trumpet and trombone.

The ensemble of Hannah Geisel, shawm, Lilli Pätzold, cornett, and Alexandra Mikheeva, slide trumpet and trombone, were finalists in the 2024 York International Young Artists Competition when they won the Cambridge Early Music Prize.

Composer Sam Meredith

The York Fanfare will open this year’s festival on Friday, July 3, played on the grass outside the Sir Jack Lyons Concert Hall, University of York, at 6.20pm before the opening concert by I Fagiolini, and then be performed outside the West Door of York Minster before The Sixteen’s concert on Saturday, July 4 at 6.45pm, 7pm and 7.15pm.

The last chance to catch [hanse] Pfeyffery playing the fanfare will come on BBC Radio 3’s The Early Music Show, broadcast live from the NCEM, St Margaret’s Church, Walmgate, on Sunday, July 5 at 5pm.

[hanse] Pfeyffery also will perform Serenade for Isabella: The Casanatense Chansonnier at the York Early Music Friends Coffee Concert, a morning of music, conversation and coffee at the NCEM on July 4 from 10.30am to 11.30am.

Hosted by the Friends and open to everyone, the concert features works from the Casanatense Chansonnier, written as a wedding gift for Isabella d’Este in Ferrara in 1492, but also serving as a repertoire book for her piffari, or court wind-players.

[hanse] Pfeyffery will perform works from the Chansonnier based on vocal originals by Dufay, Agricola and Josquin, alongside instrumentally conceived pieces from Southern Germany, reflecting the powerful cultural exchanges that occurred at the Italian courts, creating a new secular repertory that would become widely popular across Europe.

York Fanfare composer Sam Meredith says: “In this piece, I wanted to emulate the rousing and awe-inducing nature of a traditional fanfare, while also creating a sense of playfulness, joy and celebration, more in the spirit of folk and dance music.

“The often syncopated landscape that emerged, first during the compositional process and then through working with [hanse] Pfeyfferey, is hopefully an exciting and an energetic tribute to the National Centre for Early Music, who commissioned this fanfare to introduce the 50th Early Music Festival in York.”

Dr Christopher Fox, who has been involved in selecting and mentoring the young composers for the NCEM Award since 2011, says: “Every year I am amazed at the imagination and skill of the composers who create music for the award scheme. The workshop day, at which eight young composers develop their work with a professional ensemble, is always very exciting.

“It’s also been a delight to see so many of the NCEM composers, such as Sam Meredith, go on to make a name for themselves. The NCEM alumni are a fantastic bank of compositional talent.”

For the full festival programme and tickets, visit ncem.co.uk/whats-on/yemf.

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REVIEW: Martin Dreyer’s verdict on York Guildhall Orchestra, York Barbican, May 10

Violinist Bradley Creswick

YORK Barbican’s orchestra-in-residence ended its season with a mixed bag centred around Bruch’s First Violin Concerto – by far the most famous of the three he wrote – alongside two overtures from opposite ends of the Romantic era, plus Britten’s Sea Interludes and Ravel’s La Valse.

It was all very tastefully delivered but lacked the final punch that a meatier second half – with a symphony perhaps – might have produced.

Bradley Creswick made his name hereabouts as leader for 25 years of the Royal Northern Sinfonia, of which he is now Leader Emeritus. He lollops onto the stage with a mischievous smile that radiates both surprise and delight, but his casual demeanour belies a fluent technique and a seriousness of intent.

He immediately took a slower tempo than that suggested by the opening chords: his entire approach to the introduction was leisurely, liberally laced with rubato, and his mellow tone in the slow movement was ideally suited to its tear-jerking melodies.

It was not until the jaunty rhythms of the finale that he really let loose, bouncing crisply through both main melodies and accelerating with panache through the coda. Accompanying his relatively wayward tempos, especially in the first two movements, would have tested a lesser conductor than Simon Wright. However, the orchestra stayed in remarkably close attendance, even matching Creswick’s energy in the finale.

Each half of the afternoon was prefaced with an overture. The horn quartet at the start of Weber’s Der Freischütz was stylish, near faultless in fact. Not to be outdone, the violins were positively spine- tingling in the Vivace section.

Creswick humbly took a seat with them after the interval, when Verdi’s overture to La Forza del Destino offered the brass a chance to show their mettle, especially in the final prolonged crescendo – a trick Verdi had learned from Rossini.

Britten aligned four of the six sea interludes in his opera Peter Grimes into a suite, to which he appended the passacaglia that falls between the two scenes of Act 2.

In many ways, the different moods of the interludes reflect varied aspects of Grimes’ own volatile personality. Playing them as a suite relies on the chameleon qualities of an orchestra.

Two aspects here predominate. The woodwinds need to be highly flexible, running around seemingly in circles while the rest of the orchestra remains largely calm, as in ‘Dawn’.  He also uses an extensive percussion section. Wright handled both these superbly.

He also brought extra emphasis to the dark underlay of ‘Moonlight’, while benefiting from the aplomb of his viola soloist in the Passacaglia, and encouraging some real shrieking from his winds in ‘Storm’.

Ravel’s ‘choreographic poem’ La Valse was at first rejected by Diaghilev as not being balletic enough, but was eventually staged. Above all, it needs to dance, particularly in its apotheosis when its constituent parts seem to disintegrate.

After conjuring a passionate mood for the central section, Wright was not afraid to launch into stridency in the final frenzied chords when the waltz seems to self-destruct.

It was both brave and dramatic, as it should be.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Ebor Singers & Manchester Baroque, The Quire, York Minster, May 16

Ebor Singers soloists Alisun Russell Pawley (soprano), top left, Caroline Sartin (alto); Jason Darnell (tenor), bottom left, and Jonty Ward (bass-baritone)

WHEN an event is announced as a gala and includes an imported period band, you naturally prick up your ears. This one not only looked good on paper, it was succulent in reality.

Three works by Handel, culminating in his Dixit Dominus, were further leavened by choral pieces of Purcell and Bach. It was worth every penny of what it must have cost to promote.

Dixit Dominus, a setting of Psalm 109, is the first of three concerted Latin choral works from Handel’s time in Rome, where he was primarily honing his operatic talents at the fountainhead. It dates from April 1707, when he was barely 22.

Although thus youthful, its importance lies in its legacy: many of its pseudo-operatic techniques found their way into his later English church music.

The conductor, Paul Gameson, capitalised on its dramatic moods, which seemed to come naturally to Handel despite his Lutheran background. The title chorus was confidently paced and its succeeding aria, with fluent cello obbligato, smoothly handled by alto Caroline Sartin.

The choir was not disturbed by the tempo changes in ‘Iudicabit’ and the soprano duet with male chorus was equally effective. Only the fugal finale would have benefited from a more relaxed momentum, the sopranos, doubtless tired at the end of a strenuous evening, sounding stretched.

Welcome To All The Pleasures, one of Purcell’s three odes to St Cecilia, made a sprightly opening, with chorus members stepping into the solo roles with flair, as throughout the programme. It was aptly partnered by the tenor cantata Look Down, Harmonious Saint, whose aria was despatched by Jason Darnell with considerable brio, although he reserved touching restraint for its central musings.

The steady pace of the opening Kyrie in Bach’s Lutheran Mass in G was well adapted to its testing chromaticism. The busy strings made the Gloria especially exciting, and Jonty Ward’s crisp bass in ‘Gratias agimus’ was a highlight.

The two oboes danced sweetly through ‘Quoniam tu solus’, accompanying Darnell. Their attentiveness typified the contribution of Manchester Baroque (named twice in the programme as ‘Camerata’), who briefly took the spotlight in a stylishly articulated account of Handel’s D minor Concerto Grosso.

The interval had arrived slightly earlier than planned when a performer fainted. Concertgoers will be relieved to know that after treatment in hospital he was able to return home the next day. The incident made no impact on the success of the evening.

Review by Martin Dreyer

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Nature lovers of the week: Navigators Art presents Back To The Garden, York Festival of Ideas, The Basement, City Screen Picturehouse, York, Saturday, 7.30pm

The poster for Navigators Art’s Back To The Garden event at The Basement, City Screen Picturehouse

NAVIGATORS Art has invited York performers to celebrate and explore the 2026 York Festival of Ideas theme of Place and Space with a focus on the peaceful, wild, mythical, inspirational green worlds of gardens.

Original words and music feature alongside well-loved works by familiar names in the company of storyteller Lara McClure; Mike Amber & Lola-Mae, taking on Joni Mitchell’s Woodstock; poet and novelist Janet Dean and performance poet Carrieanne Vivianette, exploring words and sounds.

Sofa Sofa: Songs rooted in nature and people, woods, weather, long walks, short thoughts, longing and love

Taking part too will be alt folk band Sofa Sofa (Charley, vocals, guitar, harmonium;
Rich, guitar, vocals, bells, synths; Ayse, violin; Filipe, cello, and Adam, drums/percussion), whose songs are rooted in nature and people, woods, weather, long walks, short thoughts, longing and love.

Box office: ticketsource.com/navigators-art-performance or on the door from 7pm. The venue is fully accessible.

Back To The Garden headliner Lara McClure

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What’s On in Ryedale, York and beyond. Hutch’s List No. 21, from Gazette & Herald

John Robb: Discussing his new memoir, Punk Rock Ruined My Life: And Other Stories, at Pocklington Arts Centre

WILDLIFE photography and nature-inspired poetry and music turn Charles Hutchinson’s thoughts to the sunnier days ahead. 

Talk of the week: John Robb, Pocklington Arts Centre, tomorrow, 8pm

JOHN Robb is a multi-faceted creature: author, musician, journalist, Louder Than War music website boss, Louder Than Words and Louder Than War Live festivals boss, Eco champion, vegan behemoth and punk rock warlord, as well as TV and radio talking head, frontman of post-punk mainstays The Membranes and ambassador for home-town Blackpool. 

To mark the May 12 publication of his memoir, Punk Rock Ruined My Life: And Other Stories, he is undertaking a spoken-word and book tour, where each show comprises a one-hour talk by Robb, followed by a conversation and Q&A with a special guest. Tomorrow, he welcomes Pauline Murray, Penetration singer and author of Life’s A Gamble, her 2023 autobiography. Box office:  01759 301547 or pocklingtonartscentre.co.uk.

Nobody puts Baby’s poster in the corner for Dirty Dancing In Concert at York Barbican

Film event of the week: Dirty Dancing In Concert, tomorrow, 7.30pm

RELIVE the film that stole the hearts of generations with this live-to-screen concert event featuring Emile Ardolino’s 1987 American romantic drama projected in full, accompanied by a live band and singers performing every song from the soundtrack. 

Feel the romance, rhythm and emotion as the love story of Baby and Johnny (Jennifer Grey and Patrick Swayze) comes to life on a full-size cinema screen. A dance-along encore party follows the final scene. Box office: yorkbarbican.co.uk

Now you see him, now you don’t: Daniel Davis and Georgina Sockett in Our Star Theatre Company’s The Invisible Man, to be spotted at Kirk Theatre, Pickering

Vanishing act of the week: Our Star Theatre Company in The Invisible Man, Kirk Theatre, Pickering, Friday, 7.30pm

THE thought of invisibility, and the advantages it could bring, has captured the imagination since HG Wells’s science-fiction novella was published in 1897. The Invisible Man has been adapted many times for film, but rarely for the stage. 

Here comes Derek Webb’s original, fast-paced and riotous adaptation boasting 15 characters, split between  three energetic actors, Daniel Davis, Georgina Sockett and Rhys Harris-Clarke, aided by quick and daft costume changes, prop manipulation, whacky imagination and tons of tongue-and-cheek fun in Herefordshire company Our Star’s touring production, directed by founder Ben Mowbray. Box office: 01751 474833 or kirktheatre.co.uk.

The poster for The Future Is Vintage, the latest Scott Bradlee’s Postmodern Jukebox concert at York Barbican

Retro gig of the week: Scott Bradlee’s Postmodern Jukebox, The Future Is Vintage Tour 2026, York Barbican, Friday, doors 7pm

SCOTT Bradlee’s troupe of singers, dancers and instrumentalists perform a new show in signature time-twisting style, putting a retro spin on everything from Seventies’ rock classics and Britpop hits to the latest chart toppers and movie and video game soundtracks. 

“We’re humbly presenting our own unique vision of a spectacular future; one that is built upon the timeless musical genres of the past and the authentically human spirit of creativity that inspired them,” says founder and arranger Bradlee, who invites you to dress in your vintage best for the full time-travel experience. Box office: yorkbarbican.co.uk.

The Ocelots’ Ashley and Brandon Watson

Literature-inspired musings of the week: The Ocelots, The Arts Barge, Foss Basin Moorings, Tower Street, York, Friday,7.30pm

BLOOD harmonies are at the centre of The Ocelots’ sound with its Americana echoes of Neil Young and Sufjan Stevens. Twin brothers Ashley and Brandon Watson, from Wexford, Ireland, blend absurdity and sincerity in an array of literature-inspired musings.

Open tunings and clawhammer banjo merge country-folk contemplation with urban imagery, as heard on 2020’s Started To Wonder and 2025’s Everything, When Said Slowly albums and 2023’s Addlepated and March 2026’s Revisions EPs. Fionnuala Mary Bradbury supports. Box office: artsbarge.com.

Ian Smith: Stories of stress, love and buying a magic spell off Amazon in Foot Spa Half Empty at Helmsley Arts Centre

Comedy gig of the week: Ian Smith, Foot Spa Half Empty, Helmsley Arts Centre, Friday 8pm

EDINBURGH Comedy Award nominee and Northern News podcast co-host Ian Smith heads out on tour with Foot Spa Half Empty, his new show about stress, love and buying a magic spell off Amazon, in his follow-up to 2023’s Crushing.

Smith, 37, from Goole, has appeared on Live At The Apollo, Have I Got News For You, The Stand Up Sketch Show, BBC Radio 4’sThe News Quiz, The Unbelievable Truth and Just A Minute and hosted his own Radio 4 series, Ian Smith Is Stressed. Box office:  01439 771700  or  helmsleyarts.co.uk.

Mike Amber: Taking on Joni Mitchell’s Woodstock songs with Lola-Mae at Navigators Art’s Back To The Garden night of poetry and music

Nature lovers of the week: Navigators Art presents Back To The Garden, York Festival of Ideas, The Basement, City Screen Picturehouse, York, Saturday, 7.30pm, doors 7pm

NAVIGATORS Art has invited York performers to celebrate and explore the York Festival of Ideas theme of Place and Space with a focus on the peaceful, wild, mythical, inspirational green worlds of gardens.

Original words and music feature alongside well-loved works by familiar names in the company of storyteller Lara McClure; Mike Amber & Lola-Mae, taking on Joni Mitchell’s Woodstock; poet and novelist Janet Dean; performance poet Carrieanne Vivianette and alt folk band Sofa Sofa, whose songs are rooted in nature and people, woods, weather, long walks, short thoughts, longing and love. Box office: ticketsource.com/navigators-art-performance or on the door.

Country Bound: Performing upbeat country songs, complemented by floor fillers re-imagined in a country music style, at Milton Rooms, Malton

Country gig of the week: Country Bound, Milton Rooms, Malton, Saturday, 8pm

COUNTRY Bound put the ‘fun’ into country function band, performing upbeat modern and classic country songs, complemented by classic floor fillers re-imagined in a country music style.

Fronted by Micki Consiglio, they cover hits by Taylor Swift, Shania Twain, Zach Brown Band, Luke Combs, Carrie Underwood, Chris Stapleton, Dolly Parton, Lady A, Blake Shelton, Faith Hill, Morgan Wallen, Billy Cyrus, Luke Bryan, Darius Rucker, Kacey Musgraves, Garth Brooks, Sheryl Crow, Kelsea Ballerini, Kenny Rogers, Patsy Cline and more. Box office: 01653 696240 or themiltonrooms.com.

Rick Wakeman: The Wizard of Prog reunites with the English Rock Ensemble at York Barbican next March

Gig announcement of the week: Rick Wakeman, The Wizard of Prog, Ultimate Highlights Concert Tour with English Rock Ensemble, York Barbican, March 11 2027

KEYBOARD player extraordinaire Rick Wakeman, who turned 77 on May 18, will be reuniting with the English Rock Ensemble to focus on a broad sweep across his classic back catalogue, including extracts from epic concept albums Journey To The Centre Of The Earth and The Myths & Legends Of King Arthur & The Knights Of The Round Table, Yes material and surprises.

The band line-up reassembles from 2025’s Return Of The Caped Crusader Part 2 tour: Wakeman, Jesse Smith (lead vocals), Adam Wakeman (keyboard, guitars and vocals), Dave Colquhoun (guitars and vocals), Lee Pomeroy (bass and vocals), Adam Falkner (drums) and backing vocalists Sara Davey, Jo Goldsmith-Eteson and Jo Marshall. Tickets go on sale on Friday at 10am at yorkbarbican.co.uk/whats-on/rick-27.

Paul Hobson’s A Toad Swims Across Its Woodland Pond: Grand Prize winner in British Wildlife Photography Awards 2026, on show at Nunnington Hall

In Focus: British Wildlife Photography Awards 2026, Nunnington Hall, Nunnington, near Helmsley, until July 5, open Tuesday to Sunday, 10.30am to 5pm

THE winners of the British Wildlife Photography Awards 2026 have been unveiled at the National Trust’s Nunnington Hall, where 75 photographs are on show.

Paul Hobson’s A Toad Swims Across Its Woodland Pond, photographed from a pond-floor perspective in Sheffield, has taken the top prize from more than 12,000 images submitted by professional and amateur photographers. 

“I am lucky to have a pond close to my house that has relatively clear water,” says Hobson. “Toads use this pond to breed in, and I decided I wanted to try to capture an image looking up from the bottom of the pond.”

To accomplish this, he housed the camera inside a home-built glass box, complete with old tripod legs and ballast to prevent sinking, and triggered the camera using an adapted long cable release.

“I had to wait quite a long time until a toad swam across the surface,” says Hobson. “Most of them would usually swim below it and rest on the glass. He was eventually successful, however, and the outcome provides a rare view of a toad in its woodland home.

Ben Lucas’s Feathery Pillow: Winner of the Young British Wildlife Photographer of the Year Award 2026

Ben Lucas won the Young British Wildlife Photographer of the Year 2026 award with Feathery Pillow, his charming image of a mute swan cygnet taking a nap on its sibling’s back. “Nature can often be so cruel, but tender moments like this warm my heart,” he says.

The annual showcase of nature photography is a crucial reminder of what value British woodlands, wetlands and other ecosystems still hold.

“This year’s winners celebrate the wonder, diversity and character of British wildlife in truly exceptional ways,” say British Wildlife Photography Awards director Will Nicholls. “From familiar species to rarely seen moments, the portfolio showcases the skill and passion of the photographers behind the lens.

“Together, they offer a joyful celebration of Britain’s natural world, while also reminding us why these places and species are so deserving of our care and protection.”

Photographers competed in 11 categories in the adult competition: Animal Behaviour, Animal Portraits, Botanical Britain, Black & White, Coast & Marine, Habitat, Hidden Britain, Urban Wildlife and Wild Woods, plus British Seasons and Documentary Series making up the special awards.

Three photographs from the British Wildlife Photography Award 2026 exhibition

Further awards were given for Wildlife in HD Video and three age groups in the youth competition: age 11 and under, 12 to 14 and 15 to 17.

All awarded images are published by Graffeg Books in a hardback coffee-table book, available online at bwpawards.org, with a foreword by actor, writer and director Mackenzie Crook.

The 2027 competition is open for entries at bwpawards.org, inviting photographers of all levels of experience to submit their photos of Britain’s nature at its best.

Nunnington Hall invites visitors take time in the organic gardens overlooking the River Rye to spot many birds and insects and maybe the occasional otter or kingfisher that calls the garden home.

Tickets: nationaltrust.org.uk/nunnington-hall. Entry is free for National Trust members and under-fives.