Why is York poet Robert Powell publishing a collection about his Canadian past? Follow The Arrow’s flight path to find out

Robert Powell holds a newly printed copy of his sixth poetry collection, The Arrow, ahead of his book launch at Rise@Bluebird Bakery, Acomb, on November 6

AN arrow fails to return to earth. Adolf Hitler is spotted at a bowling alley. A talkative beaver foretells the future.

Welcome to Canadian-born York poet, playwright, storyteller and journalist Robert Powell’s innovative sixth collection, The Arrow, wherein a man contemplates his upbringing in a country he left long ago, haunted by its landscapes, the people he knew and one friend especially. Namely the truth-seeking fabulist, conservative iconoclast and vulnerable trickster O’Connell O’Connell.

Decades later the man returns to his native land with his pregnant wife, determined to discover the deeper significance of his past and to learn of O’Connell’s fate.

Robert will launch The Arrow at Rise@Bluebird Bakery, in Acomb, York, on November 6 from 7.30pm to 9.30pm, when he will be joined by Valley Press publisher Jamie McGarry and fellow poets Julia Deakin and Nicky Kippax (who is also the co-proprietor of the Bluebird Bakery chain in York, Malton and Leeds).

 “The poems in The Arrow are both personal and universal: imaginative, humorous, unflinching,” says Robert, who describes the collection as being as much an elegy, confession and celebration as a coming-of-age drama. “They explore the light and dark of childhood and adolescence, the nature of time, and the evasive but lasting power of memory.”

At this juncture, should you be asking “What’s a Canadian doing in York, and furthermore writing about our past?  Why York? What’s his story? What’s he up to? And why, here in Yorkshire, is he now publishing a set of poems inspired by his upbringing in Canada?”, let Robert give the answer to his own questions.

“Ever since I was a little boy, almost pre-education, I was fascinated by the past and history, in particular British history, from my ancestry,” he says.

“There was this house called The House Of England, full of stuff, and growing up in suburban Canada, where I had this hunger for the past, this house stimulated my interest.

“Me and my friends used to go into the fields to dig for Roman artefacts, but that of course was absurd as digging for Roman artefacts was impossible in Canada, but it indicated my leaning toward history. That’s partly why the narrator in the book leaves the country, and not only did I come once, but I came twice to York as it’s the perfect place for me with it’s layering of the past, like an amazing cake.

“In York, you can see the various pasts the city has had, which ties in with my other works such as Punch Porteous [the rogue and traveller, dazed, confused and lost in time within the city], who falls haphazardly into various times in York’s past.”

Robert Powell: From Canada with poetry. Picture: Bruce Amos

How apt that Robert and his wife, contemporary oil painter Di Gomery, have moved to a house built on the Trentholme Drive Archaeological Site, a Romano-British burial ground located off The Mount. “It’s a Roman graveyard, which is perfect, having started digging for ‘Roman artefacts’ at the age of seven. That’s why I’m as happy as Larry living in York, now publishing an autobiographically inspired book, partly about my background, but also about the old country versus the new country.”

Why call the collection The Arrow? “This book is about memory, and therefore time’s arrow is the most obvious reference, hence the collection’s title,” says Robert.

“The Arrow is as much a story as a collection of individual poems, where I write of these young lads firing bows and arrows – and one is reported as having never come down.”

Robert makes a reference to one of ancient Greek philosopher Zeno’s Paradoxes, the one where a flying arrow is motionless. “What fascinates me is that the arrow represents a sense of memory, which is still because it persists but it’s always changing too,” he says.

Powell is the narrator’s voice in The Arrow; O’Connell O’Connell is the narrator’s best friend, shaped as a complex amalgam of his friends. “The story is autobiographical in that I was over here for 20 years, went back to Canada with my pregnant wife, had our first child, lived there for eight years and then paradoxically came back to live here again,” says Robert.

“But it also uses the poems to tell stories that are not sugary and light but quite dark at times. There’s even a theme of misogyny, careless misogyny, that does turn into violence in a couple of pieces.”

The Arrow is divided into four Acts. “I’m borrowing that from theatre,” says Robert. “There’s  also a list of dramatis personae, so The Arrow encompasses poetry, theatre and narrative.

“I’ve even put an interlude right in the middle of the book where a talking beaver approaches the boy who has broken his arm and speaks to him in a humorous way, predicting the boy’s future. So there’s humour in the book; it’s not just another poetry collection.”

The Arrow is Robert’s sixth poetry collection in the past 15 years, where York’s past and present interweave. “I’m trying to bring more imagination into play, to question some of the clichés about York’s past, while still promoting it,” he says.

Robert Powell, The Arrow book launch, Rise@Bluebird Bakery, Acomb, York, with special guests Julia Deakin and Nicky Kippax, November 6, 7.30pm. Cue poetry, drinks and cake. Entry is free; to book a place, go to: https://www.eventbrite.co.uk/e/book-launch-the-arrow-by-robert-powell-tickets-2002800516258?aff=oddtdtcreator.

The Arrow will be published by Valley Press, Scarborough, on November 5. Order at https://valleypressuk.com/. Time Town, Powell’s poems about a Georgian museum and a man lost in time, from his 2023-2024 residency with York Civic Trust, is available from https://www.rjpowell.org/ or York Civic Trust.

Robert Powell narrating the multi-media performance of Punch Porteous – Lost In Time! at All Saints, North Street, York, in October 2023

Robert Powell back story

BORN and raised in Canada, Robert Powell has spent most of his career in the UK and now lives in York. His working practice has embraced journalism, the arts, curating, event management and urbanism.

In addition to cultural management and creative writing, he is an Honorary Fellow of the Royal Institute of British Architects (RIBA).

Robert has published six collections of poetry:  Harvest Of Light (2007), All (2015), Riverain and Aura (2018), Lost & Found (2021), Time Town: Some Poems of York (2024) and now The Arrow (November 5 2026).

He has worked frequently with other artists, making two short films, The River Speaks with Ben Pugh and Source with Jan-Erik Andersson, and two collaborative film/performances with Kitty Greenbrown and Ben Pugh, commissioned by York Theatre Royal.

He won the Elmet Prize in 2010 and was short-listed in the 2017 National Poetry Competition. In 2018 he was an artist in residence with the Kone Foundation in Finland and received a York Culture Award for Writing Excellence.

In 2020 he produced the diary-like Notes From A Border River, inspired by time spent on the Irish border during Brexit negotiations.

He was writer in residence with York Civic Trust in 2023-2024, producing the collection Time Town and writing and performing in Punch Porteous – Lost In Time!, his account of a man catapulted unwillingly into York’s past.

Top Ten Things To Do at Aesthetica Film Festival 2026 from November 4 to 8

The poster for Aesthetica Film Festival 2026: five days of film and much more in York

FESTIVAL director Cherie Federico provides her guide to five days of film and much more besides in York.

Film screenings

EXPERIENCE more than 300 shorts, features, documentaries, animations and experimental films from across the globe. Many of these titles are Oscar and BAFTA-qualifying, giving audiences a first look at the filmmakers of the future.  Genres include Advertising, Artists’s Film, Comedy, Dance, Drama, Family Friendly, Thriller, Fashion and Thriller.

Attend the Makers’ Forum at York Theatre Royal from November 5 to 8 to hear from directors and producers, discover new cinematic voices and celebrate bold, thought-provoking storytelling that pushes boundaries and challenges perspectives.

VR and Games Labs

STEP into the future of storytelling. The VR (Virtual Reality) and Games Labs at the National Centre for Early Music, St Margaret’s Church, Walmgate, invite audiences to explore cutting-edge works in virtual, augmented and mixed reality, plus innovative indie games. Engage with immersive environments, interactive narratives and demonstrations from the frontier of creative technology. Learn how artists are merging code, design and emotion to reinvent what it means to experience a story.

Enjoying the full virtual reality experience in Aesthetica’s VR Lab

Masterclasses and panels

AESTHETICA’S industry sessions feature icons and innovators from Ridley Scott Associates, Aardman, BBC, Film4 and Framestore. Gain insight into the craft and business of filmmaking, from production design and cinematography to pitching, funding and post-production. Ideal for anyone serious about their creative career.

Workshops and roundtables

BE hands-on with practical sessions designed for filmmakers, producers and writers. From screenwriting labs and pitching clinics to discussions on funding, diversity and distribution, these workshops provide actionable advice from professionals.

The roundtable format encourages open dialogue and peer learning: an ideal space to test ideas, ask questions and gain valuable mentorship.

Venues for masterclasses and workshops range from York Theatre Royal, the Yorkshire Museum and York St John University Creative Centre to Spark: York and the De Grey Rooms.

A still from Owen Richards’s Elsewhere, one of 300 films showing at Aesthetica Film Festival 2026

Networking and pitching

MEET producers, commissioners and collaborators at Aesthetica’s networking events and UK Film Production Summit, featuring more than 150 companies, at The Grand, Station Rise, on November 5. Socials and informal meet-ups give you a chance to share your ideas, find partners and make connections that could propel your next project forward. This is where creative relationships and future deals are born.

Parties and socials

WHEN the lights go down, the city comes alive. Aesthetica’s parties are legendary:  relaxed and welcoming spaces where creatives from film, music, gaming and art collide.

Whether you are winding down after a screening or celebrating a new collaboration, the festival’s social scene is where friendships form, ideas spark and stories continue long into the night.

Going behind the camera at Aesthetica Film Festival

Listening Pitch premieres

NOW in its sixth year, the Listening Pitch at City Screen Picturehouse from November 5 to 8 shines a spotlight on the future of audio documentary. Aesthetica has commissioned 13 original documentaries through this pioneering programme, and this year marks the premiere of three new projects.

Previous commissions have gone on to screen at SXSW (South By South West) and Sundance and have been acquired by the Guardian. This is the place to discover bold new documentary talent with live presentations, audience Q&As and an atmosphere that celebrates the art of sound and story.

New Music Stage

FEATURING a line-up of some of the UK and Ireland’s most exciting emerging artists, the New Music Stage blends film and sound in thrilling ways. This year’s acts at York Theatre Royal on November 7 from 1pm to 8.50pm include LFay, Katherine Aly, Lepani, Chisara, Circe, Pavey Ark, PH, Winemom, Other People’s Leisure and Roe –the headliners of tomorrow.

In addition, hear from the keynote speaker, BBC Introducing/BBC Radio 1 presenter Jess Iszatt, plusUniversal Music, Rough Trade, Domino Records and more. This event is included in all valid festival passes. Alternatively,  a New Music Stage ticket can be bought from York Theatre Royal at https://www.yorktheatreroyal.co.uk/show/aesthetica-new-music-stage/.

New Music Stage: Showcasing British and Irish emerging artists at York Theatre Royal

Immersive Media Arts Trail

CREATED in partnership with Audible, the Radical Listening Immersive Media Trail will bring three new installation-based artworks to York from November 4 to 8. Works by Squidsoup, Steve Messam and Being Now Here will use light, sound and interactive technology to transform public spaces in a free art trail that will run from Exhibition Square and York Theatre Royal and towards King’s Square.

Podcast Lounge

AESTHETICA is the first UK film festival to offer a dedicated Podcasting Lounge, a space where audio is at the centre of storytelling. Curated to spotlight dynamic voices in independent podcasting, the lounge offers the opportunity to pause and take a moment to truly listen. Here is a chance to sit down, discover new voices and listen to bold new stories in The Basement at City Screen Picturehouse, open daily from10am to 9.30pm throughout the festival.

Now in its 16th year, Aesthetica Film Festival will run in myriad York locations from November 4 to 8. For full details and to book festival passes and tickets, go to asff.co.uk.

Look out too for UNESCO City of Media Arts EXPO featuring games, films, VFX and design, showcased by 40 exhibiting organisations at the De Grey Rooms, Exhibition Square, York, on November 5 and 6 from 9am to 9pm. Admission is free, For more details, go to mediacityexpo.com.  This will be complemented by UNESCO Expo Workshops, presented by York Business School.

More Things To Do in York and beyond as Aesthetica Film Festival expands again. Hutch’s List No. 44, from The York Press

Fladam Theatre’s Florence Poskitt and Adam Sowter cooking up the York musical comedy duo’s Halloween show in Hallowbean

FROM the 16th Aesthetica Film Festival to a nocturnal ghost sculpture trail, Strictly stars after hours in Vegas to punk poet Dr John Cooper Clarke, Charles Hutchinson says yes to November events.

Children’s Halloween show of the week: Fladam Theatre in Hallowbean, Helmsley Arts Centre, Saturday, 2.30pm

FLADAM Theatre, the madcap York musical comedy duo of Florence Poskitt and Adam Sowter, head to Helmsley this afternoon with their spooktastic musical comedy Hallowbean. In the town of Ghooul, Dr Frankenheinz is rustling up his Hallowbean for the annual Halloween cooking competition, hoping his tomatoey terror will dazzle Scary Berry, the most frightful food critic of them all.

Rather than scary, however, Hallowbean is downright lovable. Problem! “Will Halloween have to be cancelled? Or can the Hallowbean find her scare in time?” ask Fladam. Find out in this hour-long, pun and puppet-packed Halloween treat for three to ten years olds. Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk.

Seann Walsh: Putting himself through an anxiety filled-hour at York Theatre Royal on November 6

Comedy gigs of the week: Russell Howard, Don’t Tell The Algorithm, York Barbican, today, 3.30pm & 7.30pm, and Sunday, 7.30pm;  Seann Walsh, This Is Torture, York Theatre Royal, November 6, 8pm

POLITICAL comedian and Five Brilliant Things podcaster Russell Howard returns with a new stand-up show for 2026, where he invites you back into the room: no phones, no distractions, only humans and jokes, but don’t tell the algorithm. Box office: yorkbarbican.co.uk; best availability on Sunday night.

I’m A Celebrity… Get Me Out of Here! 2022 series survivor Seann Walsh has decided to name his latest stand-up tour show after the phrase he says the most: “This Is Torture”.  The dishevelled Camden comedian brings his signature blend of chaos and charm to York to put himself through an anxiety filled-hour. Box office: 01904 623568 or yorktheatreroyal.co.uk

James Swanton: Back on track with The Signal-Man’s return to York Medical Society

Recommended but sold out already: James Swanton presents The Signal-Man, York Medical Society, Stonegate, York, November 2 to 8, 7pm, Monday, Tuesday, Thursday and Sunday; 5.30pm & 7.30pm, Saturday

A RED light. A black tunnel. A waving figure. A warning beyond understanding. And the fear that someone – that something – is drawing closer in The Signal-Man, Charles Dickens’s most frightening ghost story, here paired with the supernatural terrors of The Trial For Murder in York storyteller and actor James Swanton’s delightfully macabre double bill. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

Isabel Azar’s Clare in rehearsal for Black Treacle Theatre’s Poor Clare at Theatre@41, Monkgate

Life-changing story of the week: Black Treacle Theatre in Poor Clare, Theatre@41, Monkgate, York, November 3 to 7, 7.30pm plus 2.30pm Saturday matinee

THE lives of the young St Clare and St Francis of Assisi are the subject of American playwright Chiara Atik’s comedy Poor Clare, presented in York for the first time by Black Treacle Theatre, directed by Jim Paterson.

Noblewoman Clare (Isabel Azar) is set for marriage to a rich aristocrat and a life of wealth and privilege in 13th century Assisi, but then she meets Francis (PJ Gregan), whose strong faith and commitment to rejecting the established order and serving the poor makes her look at her life in a new way. Box office: https://tickets.41monkgate.co.uk.

Ghosts After Dark: Taking over York Museum Gardens for five nights from November 4

Sculpture trail of the week: York BID and York Museums Trust present Ghosts After Dark, York Museum Gardens, November 4 to 8, 5.30pm to 9.30pm; timed entry slots until 8pm

AFTER the Ghosts In The Gardens free public art trail of 70 wire-mesh sculptures – including ten new ones – across 32 city-centre locations concludes on Sunday, Ghost After Dark takes over for five atmospheric nights of nights of live storytelling, light, smoke and sound next week in the Museum Gardens, plus King’s Manor courtyard and Library Lawn, the Anglian Tower, Edible Wood, Artists’ Garden, St Olave’s churchyard and the area beside York Art Gallery.

Representing a fascinating person, creature or story connected to York’s history, each sculpture was made by York creative agency Unconventional Design. A new interactive experience and the inaugural night market will be further highlights of the 90-minute trail. Bookings: www.theyorkbid.com/ghosts-after-dark/.

All heading to the Aesthetica Film Festival 2026 as York awaits five days of film and much more

Festival of the week: Aesthetica Film Festival 2026, York, November 4 to 8

IN its 16th year under the artistic directorship of Cherie Federico, Aesthetica Film Festival welcomes filmmakers, games developers and virtual reality experts from around the world. The five-day programme comprises  screenings, VR & games labs, a podcasting lounge, industry masterclasses and workshops, networking sessions, live performances, pitching opportunities, the New Music Stage and much more. For the full programme and tickets, go to asff.co.uk.

Strictly Come Dancing stars Pasha Kovalev, Brendan Cole, Vincent Simone, Ian Waite and James Jordan head to York Barbican in Legends in Vegas: After Hours. Picture: Ryan Howard

From Strictly to Sin City dance show of the week: The Legends in Vegas: After Hours, York Barbican, November 4, 7.30pm

THE Legends, alias Strictly alumnae Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite, reunite for a third tour, Vegas: After Hours, where the dance floor never sleeps as they bring the spirit of Sin City to life through breathtaking routines and nonstop entertainment, set to a soundtrack inspired by the greatest Las Vegas performers of all time. 

Think neon lights and electric nights, roulette tables spinning, glamorous showgirls, dazzling casinos, desert sunsets, lavish pool parties, whirlwind weddings, iconic hotels and world-class entertainment, captured in dance. Box office: yorkbarbican.co.uk.

Julie Russell Wilson’s Miss Marple, front, leading the Joseph Rowntree Theatre Company cast in Agatha Christie’s A Murder Is Announced

Murder mystery of the week: Joseph Rowntree Theatre Company in Agatha Christie’s A Murder Is Announced, Joseph Rowntree Theatre, York, November 4 to 7, 7.30pm plus 2.30pm Saturday matinee

WHEN a mysterious announcement appears in the local newspaper, stating the date and time a murder will take place in a quiet village home, curiosity and disbelief turn quickly to alarm: it is chillingly clear that the threat is all too real. 

What follows is a classic Agatha Christie puzzle of mixed motives, concealed identities and long-held secrets for the sharp-witted Miss Marple (Julie Russell Wilson) to unravel in Alex Schofield’s fundraising production in aid of the JoRo. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Dr John Cooper Clarke: Showcasing new poetry collection Have It at the Grand Opera House, York

Punk poet of the week: Dr John Cooper Clarke, Grand Opera House, York, November 6, doors 7pm

SALFORD sage Dr John Cooper Clarke’s anarchic punk poetry and no-nonsense approach to his work has led to a career spanning cultures, art forms and continents, drawing audiences from clubs to arenas. On his 20-date tour, Cooper Clarke, 77, promotes his new collection, Have It, the follow-up to 2024’s What, as well as performing fan favourites with his trademark machine-gun delivery. Box office: atgtickets.com/york.

The Shires: Lighting up Bonfire at York Barbican the day after Bonfire Night

Country gig of the week: The Shires, York Barbican, November 6, 7.30pm

BRITISH country duo The Shires – Ben Earle and Crissie Rhodes – promote their sixth studio album, July 3’s Bonfire, on their 12-date UK tour, their first with a full band in four years. Expect new songs celebrating togetherness, escapism and positivity, complemented by fan favourites. Kaylee Bell supports. Box office: yorkbarbican.co.uk.

Gilbert O’Sullivan plays Harrogate Theatre tonight on 60 Years Of Music tour ahead of November 6 release of On The Record

Gilbert O’Sullivan: Playing songs old and new at Harrogate Theatre tonight

TO listen to Charles Hutchinson and Graham Chalmers’ interview with Gilbert O’Sullivan on the Two Big Egos In A Small Car arts podcast, head to: https://twobigegos.buzzsprout.com/1187561/episodes/19758732

IN 1972 Gilbert O’Sullivan topped the American Billboard Hot 100 for six weeks with Alone Again (Naturally), a song later covered regularly by Morrissey in concert.

The Smiths frontman has performed Nothing Rhymed too and recorded I Didn’t Know What To Do, the B-side to somewhat obscure May 1971 single Susan Van Heusen, as the flipside to his 2018 single Back On The Chain Gang. “He sent me a recording with a full band – and he told me he liked my image too,” recalls Gilbert.

Dusty Springfield performed Nothing Rhymed on The Marty Feldman Comedy Machine on November 22 1971, while Alone Again (Naturally) has attracted at least 88 cover versions, from Nina Simone to Shirley Bassey, Neil Diamond to Pet Shop Boys & Elton John, Diana Krall & Michael Buble to Donny Osmond, Herb Alpert & The Tijuana Brass to Sarah Vaughan, Johnny Mathis to Andy Williams. No wonder CMAT has called it “the greatest Irish song ever made”.

Born in Waterford, Ireland, and long resident in Jersey, triple Ivor Novello Award winner Gilbert will be turning 80 on December 1, but before then he is celebrating 60 Years Of Music on an autumn tour that visits Harrogate Theatre tonight.

It will be a chance to revisit his UK chart toppers, 1972’s Clair and 1973’s Get Down, as well as such O’Sullivan favourites as No Matter How I Try, We Will, Matrimony, Ooh-Wakka-Doo-Wakka-Day, Why, Oh Why, Oh Why  and What’s In A Kiss?, the last of his 16 Top 40 entries from August 1980. 

Gilbert O’Sullivan in his early songwriting days. Picture: Park Promotions

Then add selections from his multiple studio albums that bear witness to his enduring gift for endearing tunefulness, unabashed sentiment and existentialist musings, with his last three reaching the Top Ten, Top 20 and Top 30 respectively.

Sixty years, Gilbert: where has all that time gone? “I guess I don’t think about it because I always look ahead, with the imminent release my new album on November 6,” he says. “It’s all new material, and there’s a duet with the lead singer from The Corrs, Andrea. A song called Is That You?

“On the last studio album [July 2022’s Driven], we had duets with Mick Hucknall [Let Bygones Be Bygones] and K. T. Tunstall [Take Love], which were rock songs, and this time there’s no piano, just acoustic guitar, like a folk song.

“We thought, ‘who could we have singing on this?’, and it was suggested Andrea would be a good choice. So we approached her and she did it in her own way in her own studio because technology is really good for letting you do that now. That will be released as a single, hopefully before the album comes out.”

“Without ever having bothered to look it up, I’m told it will be my 21st studio album,” he says. It will be entitled On The Record (a title shared with a 1976 spoken-word album by controversial British politician Enoch Powell, according to AI Overview). “Between my daughters, my management, my wife and my record company, all my possibilities were rejected,” says Gilbert. “If there were five people arguing about it, this one had three supporting it.

Gilbert O’Sullivan with guitarist Bill Shanley, who will join him for the 60 Years Of Music tour

“We did the album artwork in Nashville, where I was playing the Grand Ole Opry after they got in touch with us and I was asked to go there to perform three songs, What’s In A Kiss, Nothing Rhymed and Alone Again (Naturally), one with a band and two with Bill [guitarist Bill Shanley], who’ll be playing on tour with me.”

After working with producer Ethan Johns on his self-titled 2018 album, Gilbert recorded Driven with Andy Wright, . “I feel that by having a different producer, you get that difference you want. He’d worked with Simply Red and Simple Minds, so this was Simply O’Sullivan!” he says.

O’Sullivan and Wright then made Songbook, a collection of key songs from Gilbert’s expansive catalogue accrued over 55 years, recorded at Lafayette, King’s Cross, London in late 2023 for release in September 2024.

For On The Record, “I decided to go with Andy again, letting him choose the musicians, with some of them having played on the last album,” says Gilbert who recorded the 13 tracks over five days in Eastcote Studios in London. “They know how I work. I play the song to them on the piano, we rehearse it a few times, and then we do a take. No rocket science involved.

“There’s an element of a Sixties feel to a couple of tracks that I really liked, re-mixed with another producer in the USA, Tony Hoffer, who’s well respected in the production field, and it’s worked out really well on the album.”

The poster for Gilbert O’Sullivan’s tour, Celebrating 60 Years Of Music. Picture: Park Promotions

One song in particular addresses the ageing process. “We have a track called Growing Old Disgracefully, which I was anxious to get done before anyone else pinched it!” says Gilbert.

“We also have a song with a choir, made up of studio singers, to sing the chorus to See Us Gone. That song deals with the end of the world, Putin, and what’s going on now. That fear that one day someone is going to press that bl**dy button and we’ll all be gone.

“That’s what I like when writing songs. My songs are like newspapers with the common denominators as headlines, so you can incorporate things that are going on in the world, like on Nothing Rhymed too.”

Heading out on his 22-date tour from September 1 to November 8, pianist Gilbert travels with his own keyboard, rather than relying on each venue to provide him with a piano. “This keyboard allows me to face the audience, and the sound I get is proper sounding, with electric piano for a couple of songs,” he says.

“I have eight versions of one keyboard instrument now, including one in Nashville, one in Ireland and one in Denmark. They’re kept by people I’m working with, who are happy to put them up.

“In the beginning, of course, I used a grand piano – like I do when writing songs – and my voice could sing in concert pitch, then one tuned one below concert pitch, and now I have buttons on my keyboard that allow me to be one tone below concert pitch and a semi-tone below concert pitch.

“Morrissey told me he liked my image,” says Gilbert O’Sullivan, pictured in his trademark Charlie Chaplin-inspired garb when first making his name. Picture: Park Promotions

“It helps me because, as you get older, your voice drops and you have to drop your singing voice. I have a good voice but limited range so I make sure I’m in the right key.”

Gilbert conducts vocal exercises before each concert. “If you don’t have a good voice, forget it,” he says. “I look after my voice. I’ve had no issues, thank goodness.”

He has lived on the island of Jersey for more than 30 years, having moved there with his wife, Aase, to raise their two daughters. “I love it here. It’s just home,” says Gilbert, who has a studio there. “I’m not a social animal. I go on my walks; home life is great.

“My daughters look after the business for me. Tara is on the internet, doing the social media, which is so important for musicians now.”

Summing up 60 years of songwriting, Gilbert concludes: “Why are we able to keep doing it? You do it because of your love of music. You love what you’re hearing. You hear the chords of Burt Bacharach? You want that. I’m a rhythm pianist, I can’t tinkle the ivories, but we have the ability to write music because we love what we hear.”

Gilbert O’Sullivan, 60 Years Of Music 2026 Autumn Tour, Harrogate Theatre, October 30, 7.30pm. Box office: Harrogate, 01423 502116 or harrogatetheatre.co.uk.

The artwork for Gilbert O’Sullivan’s 21st studio album, On The Record, to be released on November 6 on BMG

What is the track listing for On The Record?

1. It’s Me

2. I Suppose

3. Growing Old Disgracefully

4. Go The Way I Came

5. I Must Be Going

6. Don’t Shout

7. She Never Ceases To Amaze Me

8. Our Love Is Gonna Grow

9. Is That You? (featuring Andrea Corr)

10. Wait

11. Minus Is A Plus With You

12. No Place Like Home

13. See Us Gone

REVIEW: Wharfemede Productions in The Addams Family Musical, Theatre@41, Monkgate, York, until Saturday ****

Meet the Addams Family and their butler in Wharfemede Productions’ The Addams Family Musical: Abbie Law’s Wednesday, left, Matthew Warry’s Pugsley, Henrietta Linnemann’s Morticia, Chris Gibson’s Lurch, Zander Fick’s Gomez, Nick Sephton’s Uncle Fester and Rosy Rowley’s Grandma. Picture: Simon Trow

JOKE shop bats and giant cobwebs and director Helen “Bells” Spencer in a rather fetching wig greet Halloween week theatregoers on the stairway to Wharfemede Productions’  production of The Addams Family Musical.

Enter the black box theatre, where more bats and cobwebs fill the walls, and it is immediately striking how the audience is younger than usual at Theatre@41, now full of families. All this week’s performances are sold out, such is the reach of Netflix’s two seasons of Wednesday,  whose visual style carries the hallmarks of executive producer Tim Burton, full of fashion flair and camply dark humour while making Jenny Ortega “Gen Z’s scream queen”.

Combining properly tuneful music and smart lyrics by Andrew Lippa, worthy of musical theatre’s golden age, with a deeply kooky, devilishly witty book by Marshall Brickman and Rick Elice, The Addams Family Musical spreads the focus more broadly, while giving the headline story to Abbie Law’s sourpuss Wednesday.

She may have a perma-scowl and carry a crossbow, but Wednesday Addams has fallen in love with a “normal” young  man, Dan Crawfurd-Porter’s floppy fringed, chisel-jawed Lucas Beineke, looking every inch the college jock in his varsity bomber jacket.

The masked Ancestors in director Helen Spencer’s nod to commedia dell arte in Wharfemede Productions’ The Addams Family. Picture: Simon Trow

When Wednesday invites Lucas’s ultra-respectable parents (Steven Jobson’s Mal and Connie Howcroft’s Alice) to dinner, two cultures will clash: the uptight Beinekes, from Ohio, with their unfortunate propensity for wearing yellow, and the eccentric, louche, strangely attractive Addams Family, from metropolitan, arty New York, with their penchant for black in both humour and clothing.

From the familiar theme tune opening to the disembodied hand in the picture frame and two cameo appearances by Cousin Itt (Lao Singhateh, face hidden beneath all that hair), everything is in place for a musical comedy that nods to the nostalgic TV past but also finds it own character, not least through the ghostly presence of the Ancestors, at the beck and call of Nick Sephton’s Uncle Fester.

Drawing on her own commedia dell’arte training in Italy, Spencer kits them out in masks – made with a 3D printer by Sephton – to complement their white clothing to add to their contrast to the Addams family members.

Each family member or retainer is established quickly, from Rosy Rowley’s loose-cannon Grandma to Chris Gibson’s taciturn, towering, gloom-and-doom butler Lurch and Matthew Warry’s Pugsley, whose unconventional relationship with sister Wednesday is rooted in stoic acceptance of being the target of her experiments in torture.

Zander Fick, the classically trained South African singer and actor – and software engineering director by day – has excelled on the York stage since his arrival in 2023 and here he gives his best performance yet as Gomez Addams, the father who often has to think on his feet to cover his initial actions.

Hair slicked back and turned jet black, pinstripe suit as immaculate and neat as his pencil moustache, accent a conflation of Hispanic and American, his Gomez leads the show with a showman’s panache, eyebrow-raised comic timing, nimble feet and a wondrous singing voice.

He combines delightfully with the glacial hauteur of Henrietta Linnemann’s Morticia, his elegant, aloof wife with her exacting standards and often contrasting strategy.  She sings superbly too, whether solo in Just Around The Corner or in the stand-out duet, Live Before We Die, with Fick’s Gomez.

Howcroft, always such a thrilling singer, brings the house down at the climax to Act One with her no-holds-barred rendition of Waiting, while Sephton’s love-struck Fester sings to his true love, the Moon at her fullest, in The Moon And Me, the show’s most unexpected yet beautiful moment.

Howcroft’s choreography is another joy, utilising the Ancestors to the max, capitalising on the clash between the itchy feet of Fick’s Gomez and sang-froid of Linnemann’s Morticia and exploring  the differing physicality within the company, not least Gibson’s lumbering Lurch and Rowley’s crumpled Grandma,  to humorous effect.

Musical director James Robert Ball has a ball with Lippa’s wonderful songs, his band at once playful and diligent, sprightly and fun.

Wharfemede Productions bring the “wonderfully weird world” of the distinctly dysfunctional Addams Family to glorious Gothic life, perfectly timed for Halloween. As Spencer puts it, “Beneath all the darkness, eccentricity and wonderfully questionable behaviour lies a story about love, belonging and celebrating things that make us different.” And that, by the way, is the very essence of theatre, whether performing or watching.

Wharfemede Productions present The Addams Family Musical, Theatre@41, Monkgate, until Saturday, 7.30pm plus 2.30pm Saturday matinee. SOLD OUT. For returns only: tickets.41monkgate.co.uk.

Strictly legends reunite as ‘Rat Pack of dance’ for glitz and glamour of Vegas: After Hours at York Barbican on November 4

Enjoying Vegas: After Hours: Strictly legends Pasha Kovalev, left, Brendan Cole, Vincent Simone, Ian Waite and James Jordan

STRICTLY Come Dancing legends Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite are on the road again, this time with Vegas:  After Hours.  

York Barbican awaits on November 4, after playing host to The Return Of The Legends on September 20 last year.

The terpsichorean quintet is promising “a breathtaking brand new show that captures all the glitz, glamour and excitement of Las Vegas, where the dance floor never sleeps”, bringing the spirit of Sin City to York in the company of their female dance partners.

Expect “stunning routines and non-stop entertainment, all set to a soundtrack inspired by the greatest Las Vegas performers of all time”. “Neon lights and electric nights, roulette tables spinning, glamorous showgirls, dazzling casinos, desert sunsets, lavish pool parties, whirlwind weddings, iconic hotels and world-class entertainment, Vegas: After Hours captures it all in one unforgettable evening,” promise Brendan and co.

“Anyone who saw our last two shows will tell you that a Vegas-themed show is the perfect next step for us,” says Brendan of the 31-date tour that runs from October 3 to November 8. “We are the Rat Pack of dance and we’re going to have a Vegas-style party. It’s going to be a riot.” 

James Jordan says: “We spent the last two years proving to everyone that we’ve still got it, so as long as my body holds up, I look forward to bringing our most dazzling dance spectacular yet, with my brothers in dance, to audiences across the UK.”

Called to the bar: The Legends raise a glass to their Vegas: After Hours tour as Brendan Cole, left, James Jordan, Ian Waite, Pasha Kovalev and Vincent Simone prepare to turn York Barbican into a dancefloor. Picture: Ryan Howard

Russian Latin and ballroom dancer  Pasha Kovalev exclaims: “Vegas, baby! The Legends shows have been such a blast, but I’ve got a feeling Vegas: After Hours is going to top them all!”

Vincent Simone says: “As if I haven’t got myself into enough trouble every single night of our last two tours together, our brand new show is inspired by Sin City. What could possibly go wrong? I can’t wait for everybody to find out!”

Ian Waite enthuses: “After having an absolute blast on tour with the guys, it’s now all about Vegas: After Hours for 2026. Maximum glitz, maximum glamour. I’m already there.”

One of the original professional dancers on Strictly Come Dancing in 2004, New Zealander Brendan appeared in every Strictly season until 2017, winning the coveted Glitterball trophy in the first series with celebrity partner Natasha Kaplinsky and later partnering presenter and actress Kelly Brook, supermodel Rachel Hunter and singer Sophie Ellis-Bextor, among others.

Now he feels happier than ever on the dance floor at 50. “There’s a maturity that comes with it now,” he says. “I was a better dancer 20 years ago, slicker, faster, but I prefer how I dance now. Looking back, it was bl**dy good,  if I don’t mind saying so myself, but now there’s an ease and beauty that my dancing didn’t have then.”

Whether in Legends Of The Dance Floor in 2024, The Return Of The Legends last year or Vegas: After Hours now, Brendan loves the camaraderie of the Strictly five. “We try to be a bit naughty, not too naughty, well, a little bit too naughty! We’re five I’d-like-to-say grown men, but we’re more like children!” he says.

“Audiences are enjoying it, we’ve been enjoying it, and we’ve been doing it for three years now, finding our feet again in the first few days of rehearsals. “

The tour poster for The Legends in Vegas: After Hours

Did he expect The Legends concept to succeed? “I was concerned at first, especially because egos can be huge,” says Brendan. “Our producer, Stephen Howard, came to us with the idea, after my wife first suggested ten years ago that we should get together, but at that time I said it would never work, but now we’re more mature in age, if not in mind, and we no longer have those egos.

“It was like we’d never been apart, mucking about again! The camaraderie was there, the chemistry was right – and it was an intangible feeling too.”

The Legends shows are directed and choreographed by Scott Coldwell. “He was new to the five of us, but he’s been on the scene for a while and he’s a fantastic dancer with a great vision,” says Brendan. “It’s not often you get five egos like ours that get together and give the choreography to someone else, and there may be bits thrown in where you think ‘I don’t want to do this’, but there’s no ‘I’ in team.

“We get it that it’s about being a greater show for Scott wanting to make us all look as good as we can be – and in some ways the girls are the stars of the show as dancers that we’ve each worked with over the years.”

Explaining the Vegas: After Hours title, Brendan says “After Hours” does not mean “being naked or effing and blinding”: “We’re five naughty boys just wanting to make a great theatre show for Strictly fans. It’s elegant with fun numbers too with a great combination of things that you liked about the old Strictly.”

Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite in The Legends in Vegas: After Hours, York Barbican, November 4, 7.30pm. Box office: yorkbarbican.co.uk or via legendsofthedancefloor.com.

REVIEW: Melting Pot & Birmingham Rep in The Curious Incident Of The Dog In The Night-Time, Grand Opera House, York ***

Alex Keenan’s neurodivergent teenager Chris encountering a phalanx of police officers in Melting Pot and Birmingham Rep’s The Curious Incident Of The Dog In The Night-Time. Picture: Johan Persson

IT would be unfair to compare and contrast Ned Bennett’s new vision of Simon Stephens’s stage adaptation of Mark Haddon’s novel with Marianne Elliott’s remarkable piece of total theatre for the National Theatre (and subsequent tours), a show that defined the possibilities of movement (by Frantic Assembly), set design (Bunny Christie) and lighting (Paule Constable), integrated with music and video.

The new ‘Curious Incident’ must stand or fall on its own virtues. Nevertheless, all those ingredients are present anew in Bennett’s reinvention, one that is more playful yet darker, the language more visceral, the adults harsher. 

The one key change, beyond the addition of Minecraft and the teenage lead character not being allowed a mobile phone, is that 15-year-old Christopher Boone is now female: Chris, played by Alex Keenan and matinee alternate Imi Price, who are both neurodivergent, like Chris.

Joe McFadden’s Ed, Chris’s exasperated dad, in The Curious Incident Of The Dog In The Night-Time. Picture: Johan Persson

Melting Pot and Birmingham Rep’s touring production takes care to be as inclusive as possible for neurodivergent theatregoers. At the start, narrator and Chris’s teacher Siobhan (Bridgette Amofah) steps through the curtain to explain how each performance will be “relaxed”, retaining the auditorium lighting on a low level and using a gradually rising sound to build to moments of highest commotion.

This decision comes in response to reports of neurodivergent  audience members having found the National Theatre production too loud, too bright. Furthermore, Eleanor Bull’s set design has taken great care in its choice of colour, and indeed the pastel tone of that colour: a soft pink (and sometimes white) to match the soft play look of the cavernous open-plan stage with its moveable foam blocks for beds and more besides.

Everything is seen through the eyes and notebook notes of Keenan’s Swindon teen Chris, albeit sometimes filtered through the mouth of the narrator, as the science, Maths and rat-loving teenager opens the play prone over the newly dead dog of potty-mouthed neighbour Mrs Shears (Alex Murdoch).

Alex Keenan’s Chris with her mother, Charlie Brooks’s Judy, in The Curious Incident Of The Dog In The Night-Time. Picture: Johan Persson

Wellington’s body has been skewered by a gardening fork. Mrs Shears duly accuses Chris. Not so, says Chris, who never lies, vowing to turn detective to find out whodunit, against the orders of her father, the ever-stressed, prone-to-shouting Ed (Joe McFadden), who is struggling both with looking after Chris and the “loss” of his wife, Judy (Charlie Brooks).

She has died in hospital, from a heart attack, he tells Chris, whose investigations will lead not only to a revelation of the dog killer but her discovery of a web of sex, lies, infidelity and general unhappiness, whereas her own disposition is one of positivity, frankness and good cheer, in the face of falling foul of the police or frustrating her father.

Bull’s design combines with Laura Deward’s lighting, Hayley Egan’s video projections, Matt Hutchinson’s puppetry and especially Jennifer Jackson’s movement direction to best effect in ensemble scenes where the supporting company plays multiple roles or rolls gymnastically, enacting what’s going on inside Chris’s head, often with a humorous physicality or verbal punch to complement the technical craft.

Take note: Alex Keenan in her remarkable performance as Chris in Ned Bennett’s production of The Curious Incident Of The Dog In The Night-Time. Picture: Johan Persson

However, Scott Graham and Stephen Hoggett’s choreography was wholly superior for the National Theatre, especially in the cacophonous set-piece zenith of Chris trying to negotiate her way through the rail transport system, from Swindon to her mother’s London address via the London Underground.

Typified by Chris being trapped in a cage full of product-promoting bouncing yellow balls – her least favourite colour – the accumulative effect is to capture Chris’s befuddlement at behaviour all around her and her determination to survive against the tide of anxiety and unfathomable adversity, but sometimes there are lulls in momentum.

Less impactful, to the ultimate cost of Bennett’s production, are Chris’s more intimate, emotional family scenes, whether with McFadden’s Ed, drowned by his large chair on an otherwise barren stage more than once, or with Brooks’s apologetic Judy. The design swallows up what should be the heightened drama of these key moments.

Rising above everything, however, is Keenan’s remarkable performance, one that encapsulates Chris’s characteristics of taking every utterance literally, her dislike of being touched, her boundlessly mathematical mind, her sensory and physical discomfort with strangers.

Melting Pot and Birmingham Rep present The Curious Incident Of The Dog In The Night-Time, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: atgtickets.com/york. 

Black Treacle Theatre to stage York premiere of Poor Clare, Chiara Atik’s story of St Clare and St Francis Of Assisi. UPDATED with Jim Paterson interview

Isabel Azar’s Clare helps PJ Gregan’s Francis straighten himself out in Poor Clare in rehearsal for Jim Paterson’s production. Picture: Jim Paterson

MODERN meets medieval in the York premiere of American playwright Chiara Atik’s award-winning comedy Poor Clare, presented by Black Treacle Theatre at Theatre@41, Monkgate, York, from November 3 to 7.

The lives of the young St Clare and St Francis of Assisi receive a fresh telling in Atik’s story of noblewoman Clare being set for marriage to a rich aristocrat and a life of wealth and privilege in 13th century Assisi.

However, she then meets a young man named Francis, whose strong faith and commitment to rejecting the established order and serving the poor sparks a change in her that makes her look at her life in a new way. Clare will go on to found the Poor Clare order of nuns.

“The play has been hailed as a hilarious and off-beat take on these established religious and historical figures, told with modern, witty dialogue,” says Black Treacle Theatre director Jim Paterson.

Premiered at the Echo Theater Company in Los Angeles in 2020, Poor Clare won the 2022 American Theatre Critics/Journalists Association’s New Play Award and the Los Angeles  Drama Critics Circle Award for Best New Play and was shortlisted for the Susan Smith Blackburn Prize.

P J Gregan’s Francis in contemplative mode in rehearsal for Black Treacle Theatre’s Poor Clare. Picture: Jim Paterson

“I was hooked from the moment I first read Poor Clare,” says Jim. “Chiara Atik has crafted a funny and unique play that makes Clare’s story come to life, whilst also posing questions for us about our own attitudes and responsibilities when it comes to questions of poverty and inequality.”

After productions of Howard Brenton’s Anne Boleyn and Willy Russell’s Educating Rita, Poor Clare completes York company Black Treacle’s informal trilogy of productions on the theme of women who reflect the quote that “well-behaved women seldom make history”.

“Clare’s growing commitment to a better world, driven by her faith and sense of justice, drive this story in unexpected directions and I’m really proud of the work the cast and creative team have done to bring it to Theatre@41’s stage,” says Jim.

Isabel Azar, who plays Clare, says: “Clare is such a deeply relatable role. She’s a young woman figuring out her vocation and she’s so raw and honest. I love her integrity, her fervent faith and her intense hunger and thirst for righteousness.

“The beauty of this play is its message that whatever our life circumstances may be, we are called to help the less fortunate and be instruments of the Lord’s peace. My wholehearted thanks to Jim for this incredible opportunity and to my amazing fellow cast-mates for making this production pure joy.”

Isabel Azar’s Clare seeks to provide clothes for the poor of Assisi in a scene in rehearsal for Black Treacle Theatre’s Poor Clare. Picture: Jim Paterson

PJ Gregan, taking the role of Francis, says: “In the play, Francis is very far from the idyllic holy leader that we know today. He’s brash, stubborn, angry, nervous, petulant and immensely fun to play as an actor.

“It’s been a pleasure working with Jim and Isabel to craft the journey of this rebellious young man taking his first steps toward the saint he will be, even if he stumbles a little along the way. You may laugh or cry – probably both – but one thing is certain: you must see Poor Clare!”

Black Treacle Theatre in Poor Clare, Theatre@41, Monkgate, York, November 3 to 7, 7.30pm plus 2.30pm Saturday matinee. Box office: https://tickets.41monkgate.co.uk. Running time: Two hours, including interval.  

Poor Clare director Jim Paterson

Jim Paterson’s Q & A with CharlesHutchPress on directing Poor Clare and matters of faith

How did you discover Chiara Atik’s play and what attracted you to performing it?

“I read a review of last summer’s Orange Tree Theatre production (the play’s European premiere) and was intrigued by the description of the play’s deliberately anachronistic use of modern, ‘Gen Z’ dialogue and attitudes in the telling of the lives of these religious figures in 13th century Italy.

“I ordered it to read and found it funny and smart, but also a play that cleverly drew parallels with our time to discuss materialism and morality. Not in a purely didactic way, but raising questions for both the characters on stage, and the audience watching, to grapple with. It quickly came to life in my head and when the opportunity came up to perform this autumn at Theatre@41, this was the first piece I chose.”

What does the story of Clare and Francis of Assisi say to modern audiences in this age of increasing indifference towards religion?

“One of the reasons I really like this play is that it asks us to consider questions of personal and societal morality that are as true in the modern day as they were in Clare and Francis’s time.

“In other words, what does it mean to be a good person? What sacrifices could we make to live in line with our own moral code? How much moral compromise do we personally ignore to live the life we want?

“For our characters, their choices to devote their lives to easing suffering and inequality is rooted in their religious faith, but the skill in Chiara Atik’s writing is that we can empathise with their personal struggles and their situations regardless of our own beliefs.”

Alma (Emily Hansen, right) shares the latest gossip in Assisi with Clare (Isabel Azar, middle) and Peppa (Clare Meadley). Picture: Jim Paterson

In turn, how important is the religious message, not least being presented in a building with its own faith history?

“I think this play is, in many ways, about the importance of faith, and how it can give us purpose and help us discover more in ourselves than we thought possible. Faith can take many forms – in people, institutions, ideas – and even if you aren’t necessarily a person of religious faith yourself, I think you can recognise how it matters to and drives Francis and Clare. 

“It’s important to note that this play doesn’t mock or belittle the characters’ faith, but recognises it as the guiding light for their moral code.

“The other thing about the characters’ faith is that it is personal to them, as is their relationship with God, and the play deftly explores where these differences create tensions and challenges for our characters – such as how Francis’s disagreements with the Bishop and established church require strength to follow his convictions:  strength drawn from his faith.

“And of course, performing this at Theatre@41 means stepping into a space with over a century of faith in its bones, and where people still come together for shared ritual and communal experience.”

Introduce your two lead actors, Isabel Azar and PJ Gregan…

“Isabel and I first worked together on Anne Boleyn, and it’s been a joy to work with her again here. She’s been a font of ideas about the play and her character from day one, crafting a rich emotional journey for Clare’s arc, from carefree young noblewoman, to the woman who will go on to found the Poor Clare’s order of nuns.

Francis (PJ Gregan, kneeling) listens as Clare (Isabel Azar) asks him how he will help the poor in Assisi in Black Treacle Theatre’s Poor Clare. Picture: Jim Paterson

“This is the first time I’ve worked with PJ, having previously seen him on stage in The Spanish Tragedy last year, and have been hugely impressed with his improvisational energy in rehearsal, changing up his reading and approach from run to run to build ‘his’ Francis’.

“Both actors have also brought in a huge amount of background research to better understand the context and religious beliefs of their characters (Isabel even added a trip to Assisi to a pre-planned family holiday to Italy!), which has helped them find different approaches and subtext in their character development.”

What have been the directing challenges of this play?

“It’s definitely had some different challenges for us to navigate. The individual scenes are quite self-contained and dialogue-led, so ensuring we keep them dynamic for our audience has meant a lot of experimentation in rehearsal with finding movement and opportunities for play in the text that still feels true to the moments and characters.

“And with the dialogue, balancing the sometimes (deliberately) flippant dialogue with the real emotional weight of some scenes has been a careful balancing act. Fun challenges though!”

Why should people see Poor Clare next week?

“It’s very funny! I know I’ve talked a lot about the importance of the themes and meaning, but it’s packed full of great one-liners and character comedy. And this helps what is, in many ways, a modern play of ideas, to engage and enthral an audience.

“Our hope is that audiences have a fun evening at the theatre, but still end up talking about the ideas within it, and how they interpret them, long into the night.”

Beatrice (Eleanor Stephenson), right, argues with her sister Clare (Isabel Azar) in Black Treacle Theatre’s Poor Clare. Picture: Jim Paterson

Black Treacle Theatre’s cast and creative team for Poor Clare

Clare – Isabel Azar

Alma – Emily Hansen

Beatrice – Eleanor Stephenson

Bianchi/Beggar – Ben Reeves-Rowley

Francis – PJ Gregan

Peppa – Clare Meadley

Ortolana – Victoria Delaney

Director – Jim Paterson

Set and prop designer – Richard Hampton

Lighting designer – Kathryn Wright

Sound designer – Sage Dunn-Krahn

Production lead – Dave Robertson

Black Treacle Theatre’s past productions

NICK Payne’s Constellations (March 2022); Gary Owen’s Iphigenia In Splott (March 2023); Nassim Soleimanpor’s White Rabbit, Red Rabbit (November 2023); Dario Fo’s Accidental Death Of An Anarchist (October 2024); Laura Wade’s The Watsons (July 2025, co-production with Joseph Rowntree Theatre); Howard Brenton’s Anne Boleyn (March 2026) and Willy Russell’s Educating Rita (June 2026).

Did you know?

VICTORIA Delaney will be performing in York productions in successive weeks. From tomorrow to Saturday, she will play “power hungry” businesswoman Kat in York Actors Collective’s York premiere of Stephanie Jacob’s three-hander power struggle The Strongbox at York Theatre Royal Studio (box office: 01904 623568 or yorktheatreroyal.co.uk). Next week she will appear as Ortolana in Black Treacle Theatre’s York premiere of Chiara Atik’s Poor Clare.

Victoria Delaney in rehearsal for her role as Kat in York Actors Collective’s The Strongbox, opening at York Theatre Royal Studio on October 29

What’s On in Ryedale, York and beyond. Hutch’s List No. 44, from Gazette & Herald

Alex Keenan’s Chris and Charlie Brooks’s Judy, her mum, in The Curious Incident Of The Dog In The Night-Time, staged by Melting Pot and Birmingham Rep. Picture: Johan Persson

FROM a new female spin on ‘Curious Incident’ to Ricky Gervais’s “most personal” tour, Halloween shows to Leo Sayer’s last tour, Charles Hutchinson finds ways to brighten up darker nights.  

Reboot of the week: Melting Pot and Birmingham Rep present The Curious Incident Of The Dog In The Night-Time, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Wednesday and Saturday matinees

MELTING Pot and Birmingham Rep are touring a gender-swap reboot of Simon Stephens’s inventive adaptation of Mark Haddon’s compassionate novel, in which neurodivergent 15-year-old Chris Boone is now a female role, played by Alex Keenan and matinee alternate Imi Price.

Ned Bennett’s cast features Joe McFadden as dad Ed and Charlie Brooks as absentee mum Judy in the story of Chris becoming both detective and suspect when a neighbour’s dog is discovered killed, drawing her into a mystery that grows darker and more complex with every clue uncovered. Box office: atgtickets.co.uk/york.

The Addams family in Wharfemede Productions’ The Addams Family Musical at Theatre@41, Monkgate, York

Halloween family entertainment of the week: Wharfemede Productions in The Addams Family Musical, Theatre@41, Monkgate, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee

COMPANY co-founder Helen Spencer directs North Yorkshire company Wharfemede Productions in Andrew Lippa, Marshall Brickman and Rick Elice’s devilishly funny, deeply kooky comedy The Addams Family Musical.

When Wednesday Addams falls in love with a “normal” young man and invites his respectable parents to dinner, chaos, secrets and macabre mayhem ensue in this spooky celebration of family, love and embracing the wonderfully weird, replete with sharp comedy, dazzling dance numbers, a witty score and a nine-piece band. Box office: tickets.41monkgate.co.uk.

Victoria Delaney’s Kat, left, Beryl Nairn’s Ma and Clare Halliday’s Maudie in York Actors Collective’s The Strongbox

Struggle for survival of the week: York Actors Collective in The Strongbox, York Theatre Royal Studio, tomorrow, 2.30pm & 7.45pm, Friday, 7.45pm, and Saturday, 2pm

YORK Actors Collective presents Stephanie Jacob’s study of freedom and control, The Strongbox,  in which a mother (Beryl Nairn’s Ma) and her daughter (Victoria Delaney’s Kat) keep a homeless woman (Clare Halliday’s Maudie) as a slave in their London home. Power shifts, however, when the daughter becomes distracted by business and the mother falls ill.

“Three women learn how to live and survive by making their own rules, but at what cost?” asks director Angie Millard. “As Ma says, ‘ If you do and do and do and do to someone, can it be undone?’ That’s the question the play explores with honesty and some humour.” Box office: 01904 623568 or yorktheatreroyal.co.uk.

New York Brass Band: Having a blast at Malton’s Milton Rooms for the fourth time

Ryedale gig of the week: New York Brass Band, Milton Rooms, Malton, Friday, 7pm

NEW York Brass Band return to the Milton Rooms for a fourth party night of big tunes, huge brass sounds and plenty of dancing. York-born, New Orleans-inspired and Glastonbury festival fixtures for eight years, they have performed for Kylie Minogue, Liam Gallagher, Ellie Goulding and Jamie Oliver with their trademark infectious energy. Tickets: 07813 889085 (Ali) or newyorkbrassband.co.uk.

Leo Sayer: Playing York Barbican on “what could well be his final full UK tour”

The show must go on…for one last tour: Leo Sayer, Can’t Stop Loving You, York Barbican, Friday, 7.30pm

AFTER almost 60 years on the road, Leo Sayer, now 78, returns to the UK stage for “what could well be his final full UK tour”. “I love performing for my fans and look forward to doing so for many more years, but this will be the last time I play so many dates across the country. I am not retiring, just slowing the number of live shows down a little,” clarifies Sayer, in a year when he is releasing his autobiography and a career-spanning box set.

Meanwhile, Brighton folk-rockers Levellers have sold out tomorrow’s return to York Barbican. Box office: yorkbarbican.co.uk.

Fladam Theatre’s Florence Poskitt and Adam Sowter cooking up their Halloween show Hallowbean

Children’s Halloween show of the week: Fladam Theatre in Hallowbean, Acomb Explore, Front Street, Acomb, York today, 3pm, and Helmsley Arts Centre, Saturday, 2.30pm

FLADAM Theatre, the madcap York musical comedy duo of Florence Poskitt and Adam Sowter, head to Acomb and Helmsley with their spooktastic musical comedy Hallowbean. In the town of Ghooul, Dr Frankenheinz is rustling up his Hallowbean for the annual Halloween cooking competition, hoping his tomatoey terror will dazzle Scary Berry, the most frightful food critic of them all.

However, his ‘eeny beany’ lacks scariness. Instead she is downright lovable. Problem! “Will Halloween have to be cancelled? Or can the Hallowbean find her scare in time?” ask Fladam. Find out in this hour-long, pun and puppet-packed Halloween treat for three to ten years olds. Box office: York, https://www.tickettailor.com/events/exploreyorklibrariesandarchives/2432836; Helmsley, 01439 771700 or helmsleyarts.co.uk.

Clare (Isabel Azar) helps Francis (PJ Gregan) to straighten himself out in rehearsal for Black Treacle Theatre’s Poor Clare. Picture: Jim Paterson

Life-changing story of the week: Black Treacle Theatre in Poor Clare, Theatre@41, Monkgate, York, November 3 to 7, 7.30pm plus 2.30pm Saturday matinee

THE lives of the young St Clare and St Francis of Assisi are the subject of American playwright Chiara Atik’s comedy Poor Clare, presented in York for the first time by Black Treacle Theatre, directed by Jim Paterson.

Noblewoman Clare (Isabel Azar) is set for marriage to a rich aristocrat and a life of wealth and privilege in 13th century Assisi, but then she meets Francis (PJ Gregan), whose strong faith and commitment to rejecting the established order and serving the poor makes her look at her life in a new way. Box office: https://tickets.41monkgate.co.uk.

Ricky Gervais: Returning to York Barbican next February, this time in his Legend show

Gig announcement of the week: Ricky Gervais, Legend, York Barbican, February 15 2027

COMEDIAN Ricky Gervais will return to York Barbican as one of the newly added 2027 dates on his 2026-2027 tour after all this year’s shows sold out. Already Legend has been acquired for streaming on Netflix.

“This is my most personal show so far and because both cancel culture, and most people I knew growing up, are dead, I can really say what the **** I want now,” promises Gervais, who once again will donate a portion of the ticket-sale proceeds to charity after giving £2.43 million to worldwide animal charities from his Mortality tour in 2025. Tickets go on sale on Friday at 10am at: https://www.yorkbarbican.co.uk/whats-on/ricky-gervais-legend.

Levellers mark 35th anniversary of groundbreaking Levelling The Land album at sold-out York Barbican on Thursday

Levellers: Returning to York Barbican on Thursday. Picture: Steve Gullick

BRIGHTON folk-rockers Levellers are celebrating the 35th anniversary of landmark second album Levelling The Land with an 11-date autumn tour that visits the sold-out York Barbican on Thursday (29/10/2026).

Playing songs from the platinum seller, alongside further fan-favourites from their extensive catalogue, Levellers opened their travels in Köln, Germany, on October 16, coinciding with the original release date of 16/10/1991.

On the road until November 21, Levellers will be sure to perform the hit singles One Way, Fifteen Years and Far From Home, plus the incendiary Battle Of The Beanfield.

In fact, the set list for Holmfirth Picturedrome on October 21 featured all 11 Levelling The Land songs in track order, taking in The Game, Liberty Song, Riverflow, The Boatman, Sell Out, Another Man’s Cause and The Road, complemented by Hope St., a cover of The Devil Went Down To Georgia and Beautiful Day.

“We’re playing the album from start to finish, then coming back after a break to play some greatest hits,” says bass player Jeremy Cunningham. “That’s what people are expecting. I just think it’s the best way: give people what they want. It’s not rocket science! Come and see us again next year and it’ll be a different set.

“Usually we’re used to building things up, slowing things down, with peaks and troughs in a live show, but when you’re playing the whole album you can’t do smoke and mirrors because the audience know what’s coming next and they’re excited by that.

“On some of these shows, we’re also going to have a string section playing with us to beef up the really big tunes.” It is not known whether York Barbican will be one of those nights.

“I didn’t realise Levelling The Land would go on to have such significance as our most recognisable album,” says Levellers bassist Jeremy Cunningham (third from left). Picture: Steve Gullick

Looking back to the gestation of Levelling The Land, Jeremy says: “It was quite easy to make. We started writing it almost immediately after the first album [A Weapon Called The Word]. We wrote the first song, Liberty Song, then Alan [original bassist and mandolin player Alan Miles] left and Simon Friend joined, bringing some songs with him, like Battle Of The Beanfield, which was a particularly important to us.

“The album came quite quickly to us, which was remarkable since we were touring so much. In a couple of years’ time, in our 40th anniversary year, we’ll be doing 40 shows, but back in the day we were doing 100 shows a year.”

Jeremy recalls riding down to the sea front, listening to Levelling The Land as he cycled. “I thought , ‘wow, we’ve made a better album than the first one’, but I didn’t realise it would go on to have such significance as our most recognisable album,” he says.

During that summer of 1991, Levelling The Land redefined the UK’s musical landscape by providing the counter-cultural soundtrack for a society fed up with Thatcherite politics and the post-1980s, pre-grunge music scene. 

“I think it was a certain time and a certain place. It captured the zeitgeist of that time and place very well,” says Jeremy. “That’s why it did well, but now it sustains because it’s full of banging tunes  and the lyrics unfortunately still resonate as much as they did back then. If you write great tunes, they will last forever.”

Levellers took their name from a radical political movement in the English Civil War. “Back in Thatcher’s Britain, they were political times when you could still get a political song to number one,” says Jeremy. “People weren’t afraid to wear their heart on their sleeves and to declare their beliefs, whereas now they’re more timid.”

Levellers’ legacy runs deep, whether in contemporary folk music, grassroots political movements or the evolution of British festival culture, encapsulated in their Beautiful Days Festival, whose 23rd instalment in Escot Park, Devon featured Madness, Super Furry Animals and Levellers in August.

Two thirds of the band still live in Brighton, including Jeremy. “It’s hard to leave,” he says. “I moved here at 19 to go to art college and I never left.

Jeremy Cunningham’s artwork for Levellers’ frontman Mark Chadwick’s 2026 solo album Ouse Dragon

“I do all the band’s artwork; since the start I’ve done all the record covers and T-shirts – I’m doing some T-shirts for the tour. I’ve also done the cover for Mark’s solo album [Mark Chadwick’s Ouse Dragon, released on August 21]. The River Ouse runs through Lewes, where Mark lives, so it’s an album about his adopted home.”

This year too, Jeremy held an exhibition in Lewes, at the Star Brewery Gallery, where he showcased a year’s collection of artworks in Edge Of No Control, reflecting a journey back to health after a mental breakdown in September 2025, moving away from his gig posters and album sleeves for Levellers.

Now his focus is on the Levelling The Land tour, where Battle Of The Beanfield will ring out loudest once more. “That song tells of a piece of underground British history, which we told six years after it happened and were amazed that no-one had written about it in those six years, especially some of the underground punk and political groups that hadn’t touched it,” says Jeremy.

“But we did write it and got to commemorate the event as part of the underground folk history, and now it’s above ground as one of the big events of 1985.”  

Levellers, Levelling The Land 35th Anniversary Tour, at York Barbican, October 29, supported by Essex punk duo The Meffs; doors 7pm. SOLD OUT.

Did you know?

LEVELLERS last played York Barbican on March 9 2025 as the only Yorkshire date of their 17-date Levellers Collective acoustic tour with a ten-piece line-up.

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