Strictly’s strict Craig Revel Horwood to direct Strictly Ballroom

Love is in the air…a year from now in Strictly Ballroom The Musical at the Grand Opera House, York

YOU will have to wait a year, but it will be well worth it to see Strictly Ballroom The Musical, on tour at the Grand Opera House, York.

Directed by acerbic Strictly Come Dancing judge Craig Revel Horwood, the show will be foxtrotting around Britain and Ireland from next September, visiting York from November 23 to 28 2020.

Revel Horwood, the Australian-born dancer, choreographer and director, will assemble a cast of more than 20 for the musical based on Baz Luhrmann’s 1992 Australian film.

Strictly Ballroom The Musical follows arrogant, rebellious young ballroom dancer Scott Hastings, whose radical and daring dance style rubs against the strict conventions of the Australian Dance Federation.

So much so that he is banished, forcing him to start all over again with a beginner, Fran. Together they find the courage to defy tradition and discover that to win, your steps don’t need to be strictly ballroom.

More than 30 hits will be performed on stage, such as Time After Time, Let’s Dance, I’m So Excited, Perhaps Perhaps Perhaps, I Wanna Dance With Somebody, Sway, Mambo No. 5, Dancing With Myself, Sugar Sugar, It’s The End Of The World As We Know It, Teardrops and Love Is In The Air.

Strictly Ballroom The Musical premiered at the West Yorkshire Playhouse, Leeds, in December 2016 before making its West End debut at the Piccadilly Theatre, London, in March 2018.

Tickets for the York run are on sale on 0844 871 3024 or at

Charles Hutchinson

A fete worse than death on the way in Ayckbourn’s Ten Times Table

The Classic Comedy Theatre Company in Alan Ayckbourn’s Ten Times Table, on tour at the Grand Opera House, York, next year. Picture: Pamela Raith

ALAN Ayckbourn’s Ten Times Table, the debut production by the Classic Comedy Theatre Company, will play the Grand Opera House, York, from February 10 to 15 next year.

This touring show is produced by impresario Bill Kenwright and his team behind the Agatha Christie, Classic Thriller and Classic Screen To Stage theatre companies for more than 15 years.

Premiered in January 1977, Ten Times Table is “the one with the committee from hell and a fete worse than death”. 

In the long-since grand ballroom of the Swan Hotel, a most miscellaneous assemblage gathers to conduct the business of the Pendon Folk Festival.

A tense moment in the Classic Comedy Theatre Company’s Ten Times Table. Picture: Pamela Raith

Unfortunately for excitable chairman Ray, his calamitous committee quickly divides as his wife, Helen, has a bone to pick.

Add a Marxist schoolteacher, a military dog breeder and an octogenarian secretary, and the table is set for a tumultuous comedy by committee.

In the cast will be Robert Dawes, Deborah Grant, Mark Curry, Robert Duncan, Elizabeth Powers, Gemma Oaten and Craig Glazey.

Tickets are on sale on 0844 871 3024 or at

REVIEW: Scrooge The Musical, Pick Me Up Theatre ***

Mark Hird’s Ebenezer Scrooge and Frankie Bounds’ Young Ebenezer in Pick Me Up Theatre’s Scrooge The Musical. Picture: Matthew Kitchen

Scrooge The Musical, Pick Me Up Theatre, Grand Opera House, York, until Sunday, December 1. Box office: 0844 871 3024 or at

FOR years and years, Pick Me Up Theatre artistic director Robert Readman has applied for the performing rights for Scrooge The Musical, more in hope than expectation.

This year, at last, the answer was affirmative, and so Readman reckons he must be the first director/producer to stage Leslie Bricusse’s musical on this scale since Bill Kenwright’s long-running tour show.

Those were the days with Tommy Steele in the lead, with songs specially added for his knees-up brand of showmanship, but Readman has restored the 1992 score, when Bricusse transferred his 1970 film musical to the stage as a vehicle for Anthony Newley, six new songs and all. Back come the likes of Good Times, the best in the show, says Readman.

Mark Hird’s Ebenezer Scrooge and Rory Mulvihill’s Ghost of Christmas Present in Scrooge The Musical

Ironically, if anything, there are too many songs, or, more precisely, there are not many memorable songs, making it feel like too many.

This is in part because the dialogue is largely true to Charles Dickens’s novel, save for the occasional modernism, and you wish for rather more of it, but another song is always nudging it out of the way.

While you could not call it a “sung-through musical”, it is veering towards that style, yet the great joy of Dickens’s A Christmas Carol lies in its storytelling and the myriad ways of presenting it, whether James Swanton’s one-man show, Alexander Wright’s pub supper two-hander with audience participation or Deborah McAndrew’s  beautifully resonant adaptation for Hull Truck Theatre.

Readman goes for spectacle, garland upon garland of snowy white flowers decorating the stage; a huge door; a big four-poster bed; loud, very loud, sound effects for Jacob Marley’s entry, rattling chains et al;  echoing voices; a company of more than 40;  and two flying sequences. One for Tony Froud’s Marley; the other for Rory Mulvihill’s Ghost of Christmas Present and Mark Hird’s Ebenezer Scrooge, where they are held in suspense rather more than this ghost story holds us, in the absence of more darkness.

Sonny Love as Tiny Tim in Scrooge The Musical

Hird’s diminutive Scrooge carries the last residue of his wonderful Captain Mainwaring in Pick Me Up’s Dad’s Army, and consequently he is humorous from the start, full of bluster rather than the coldness of a blasted heath. You find yourself liking him, even when he is mithering and being miserly, rather like Rowan Atkinson’s penny-pinching Mr Bean, but Scrooge’s transformation is still highly enjoyable in his impish hands.

What’s more, his scenes with Young Ebenezer (Frankie Bounds) and his lost true love, Isabel (Jennie Wogan), and later with Bob Cratchit (Alan Park), Tiny Tim (Sonny Love) and the Cratchit family, are poignant to the core. Bounds, by the way, is the pick of the young talents, with a lovely singing voice in Happiness, while Olivia Caley, as the Ghost of Christmas Past, definitely has a future.

Look out too for Flo Poskitt’s comic cameo as Ethel Cratchit: not for the first time this year, she gives a peach of a supporting performance. Maybe next year, a director will reward her with an overdue lead.

Mulvihill amuses by lounging like Jacob Rees-Mogg in the House of Commons, in his Christmas green silks and ermine; Sam Johnson leads his musical forces with customary skill, and Iain Harvey and Readman’s choreography has most fun when Andrew Isherwood’s Tom Jenkins leads the stand-out  Thank You Very Much.

Overall, however, while it may feel “Bah Humbug” to say it, by Pick Me Up standards, this Scrooge  falls short of a Christmas cracker.

Charles Hutchinson  

Louise is just right for Snow White in first professional role

Royal appointment: Louise Henry as Princess Snow White in Snow White And The Seven Dwarfs at the Grand Opera House, York. Picture by David Harrison.

LOUISE Henry will swap flat whites for Snow White next week after being picked to lead the Grand Opera House pantomime cast in York.

Louise, 22, from Knaresborough, works at the Hoxton North café bar in Royal Parade, Harrogate, but will join rehearsals for Three Bears Productions’ Snow White And The Seven Dwarfs from Monday (December 2) for the December 13 to January 4 2020 run.

After playing Liesl von Trapp in York Stage Musicals’ The Sound Of Music at the Cumberland Street theatre, now she will star as Princess Snow White alongside Mark Little’s villainous Lord Chamberlain, regular dame Steve Wickenden’s Nurse Brexit, ’Allo, ’Allo! star Vicki Michelle’s Wicked Queen and Martin Daniels’ Muddles.

From producer Chris Moreno’s search for a local principal girl in Three Bears’ fourth Opera House panto, Louise was among 30 invited from the many applicants for a day’s auditions in May.

After queueing in the rain in the line of Snow White hopefuls that formed along the stage door wall, she won through to the shortlist of 12 for the afternoon’ s second session and was then picked for panto principal girl after a nervous wait.

Meet the Grand Opera House pantomime cast: Mark Little, left, Steve Wickenden, Martin Daniels, Louise Henry, Jonny Muir, and Vicki Michelle. Picture by David Harrison.

“The auditions were on the Wednesday, and they rang me just as I was setting off to work on the Friday afternoon,” Louise recalls. “I’d been refreshing my emails, hoping for news, and it was such a euphoric moment when the phone call came.      

“I’m so thankful to have been chosen. I’ve been beaming whenever I’m reminded that I’m signing my first professional contract. I’m really looking forward to getting into the theatre and putting the show together. Performing is all I have ever wanted to do and I feel so lucky that my Christmas this year will be doing just that.”

Although Louise has not studied at drama school since leaving school, “I’ve had acting and singing lessons for as long as I can remember and I’ve done lots of theatre work, like school plays when I was at King James’s in Knaresborough,” she says.

“From the age of nine to 17, I went to the ACTAcademy in Harrogate, run by Kelly Creates, when we took part in the Harrogate Festival of Speech and Drama and did The Big T talent show at Harrogate Theatre, and I’ve had singing tuition with Jacqueline Bell in Wetherby too.”

Louise impressed in Nik Briggs’s April production of The Sound Of Music, playing the eldest von Trapp daughter, Liesl. “I was 21 playing 16, and the next in age to me was 12, playing 15!” she says. “It’s such a nice show to do because it’s so honest, and it was sad when it came to an end as we all made such good friends.

Welcome to York: Louise Henry, from Knaresborough, is pictured by Clifford’s Tower after landing the role of Snow White in the Grand Opera House pantomime. Picture: David Harrison

“It was lovely to be able to become familiar with the Grand Opera House stage too before doing the panto.”

Since The Sound Of Music, Louise has appeared in two more York shows, the first being another Nik Briggs production, Joseph McNeice and Matthew Spalding’s new musical comedy, Twilight Robbery, at 41 Monkgate in May.

“I played Jane, the daughter, who’s 40 years old, so I went from one extreme, 16-year-old Liesl, to another…and now I’ll be playing Snow White!”

The nearest she has come to playing her own age was her most recent role, a young Australian woman, Gabrielle York, in Rigmarole Theatre Company’s debut production, Andrew Bovell’s apocalyptic family drama When The Rain Stops Falling, at 41 Monkgate in November.

Louise Henry, right, playing Gabrielle York in Rigmarole Theatre Company’s When The Rain Stops Falling earlier this month. Picture: Michael J Oakes

Now her focus turns to her professional bow, billed as “York’s very own Louise Henry” in Snow White And The Seven Dwarfs.

“I’ve done one panto before, Aladdin, an amateur one for the Pannal Players when I was maybe 14,” says Louise,

Looking forward to starting rehearsals on Monday, she says: “This opportunity is what I’ve been waiting for, and I’ve just got to have faith in my abilities.

“Snow White is on stage for most of the time, so I’ll always need to react in the moment, and that’s something that will add to my repertoire of skills, which I’m always working on.”

Imagine how Louise feels as the first night approaches, knowing she is taking on the title role in a star-laden show. “I know! It’s my show! How crazy is that!” she says. “When I rang my sister to tell her I’d got the part, she didn’t believe it…and when I rang my mum, I had to say, ‘no, I’m not kidding’. That was a really fantastic day!”

Louise Henry stars in Snow White And The Seven Dwarfs, Grand Opera House, York, December 13 to January 4 2020. Box office: 0844 871 3024 or at

Charles Hutchinson

History forgot genius scientist Nicholas Saunderson but musical will tell his story

Adam Martyn: partially sighted actor who will play 18th century blind scientist Nicholas Saunderson in No Horizon next year

NO Horizon, a new musical that tells the forgotten story of a Yorkshire maths genius, will tour to York Theatre Royal next April after more than a decade in the making.

Andy Platt’s show is inspired by the life of Nicholas Saunderson, a blind scientist and mathematician from the West Riding village of Thurlstone, near Penistone, who overcame impossible odds to become a Cambridge professor and friend of royalty.

Often described as an 18th century Stephen Hawking, Saunderson was born in 1862 and by the age of one he was blinded by smallpox. In an era before Braille, it is said he taught himself to read by running his fingers over the gravestones in a local churchyard.

He learned Latin and Greek and became Lucasian Professor of Mathematics at Cambridge, a post also held by Sir Isaac Newton, Charles Babbage and the aforementioned Stephen Hawking. 

In his day, Saunderson spent time with kings and queens and had a reputation that spread across Europe. Remarkably, his field of expertise was not in mathematical equations, but in lecturing about optics.

It is thought that Saunderson, who was elected a member of the Royal Society, may have been the earliest discoverer of Bayes’ theorem, a mathematical formula for determining conditional probability.

A past performance of No Horizon, set to be revived on a northern tour in 2020

Described by singer and BBC Radio Two presenter Elaine Paige as “one to watch out for”, Platt’s musical will run in York on April 9 and 11 – no performance on Good Friday – as part of its 2020 northern tour mounted by Right Hand Theatre, in the wake of an Edinburgh Fringe run in 2016.

The show was first written in 2003 by Platt, a former headmaster who rediscovered Saunderson’s remarkable journey after it was forgotten by history. 

“Saunderson’s achievement as the Stephen Hawking of his day was phenomenal,” says the writer and producer. “I wanted No Horizon to entertain and move the audience at the same time as restoring Saunderson to his rightful place as a national icon. Next year’s tour is the culmination of a 15-year dream.”

The lead role of Saunderson will be played by the partially sighted Adam Martyn, from Doncaster, South Yorkshire, who trained at Liverpool Institute of Performing Arts.

He will be on the road in the 2020 tour from March 19, when No Horizon opens at The Civic, Barnsley, the nearest major theatre near to Saunderson’s birthplace.

The poster for next spring’s tour of No Horizon by Right Hand Theatre

After further shows there on March 20 and 21, the tour will head on to the Viaduct Theatre, Halifax, March 26 to 28; Leeds City Varieties, March 31 and April 1; Cast, Doncaster, April 2 to 4; Harrogate Theatre, April 7 and 8; York Theatre Royal, April 9 and 11, and Millgate Arts Centre, Delph, Saddleworth, April 15.

Helen Reid, producer at Right Hand Theatre, says: “I’m so excited we’ve managed to pull off and organise a northern tour. It’s only taken over a decade to do it!

“We couldn’t have done it without the support of our fan base at the Edinburgh Fringe and locally, to help bring the show to a wider audience. 

“We look forward to seeing our old fans and new fans alike at any of the northern venues. The support we’ve had so far from the public and celebrities has been immensely rewarding for Andy and the producers. We thank them all.”

The 2020 tour is funded by Arts Council England and Foyle Foundation, co-commissioned by Cast, Doncaster, and The Civic, Barnsley, and supported by Sheffield Royal Society for the Blind.

York tickets are on sale on 01904 623568 or at; Leeds, 0113 243 0808 or; Harrogate, 01423 502116 or at

Charles Hutchinson

Ebor Players celebrate silver anniversary of Bishopthorpe pantos with Mother Goose

Ebor Players cast members for Mother Goose gather at Bishopthorpe Village Hall

THE Ebor Players mark the 25th anniversary of their first pantomime by staging Mother Goose from December 2 to 7 at Bishopthorpe Village Hall, near York.

David Rose will play the title role after “taking a huge break with tradition” last year when, for the first time in more than 20 years, he switched to the dark side as the villainous Abanazar in Aladdin.

“Although I thoroughly enjoyed the change, this year I’m back in frocks for my traditional role as dame,” he says.

The Ebor Players were formed in 1994 in Bishopthorpe. “The aim was to present a pantomime in the village,” recalls David. “Now, 25 years later, the Players just go from strength to strength.

“Our pantomimes today bear little resemblance to those early years. The group has evolved to present a much slicker, more professional-looking show. This year’s show, Mother Goose, has a cast and crew of more than 40 people and is a riot of colour, music and laughter, with something for everyone.”

Performances will start at 7.30pm each evening. “Our Saturday night adults-only shows have always been so popular and oversubscribed, so this year we’ve introduced a Wednesday evening adults-only – 16 plus – cabaret-style event, but at the same price as our regular shows” says David. “So you can come along, have a drink and let your hair down for the evening.”

Tickets cost £8 for adults, £6 for children, at\ebor-players, on 07591 297221 or via the Ebor Players’ Facebook page.

Charles Hutchinson

York company Pilot Theatre to stage premiere of Crongton Knights

Olisa Odele: cast as McKay in Pilot Theatre’s Crongton Knights

YORK company Pilot Theatre have assembled the cast for next year’s world premiere of Crongton Knights.

Adapted for the stage by Emteaz Hussain from Alex Wheatle’s award-winning novel, Corey Campbell and Esther Richardson’s co-production will be launched at the Belgrade Theatre, Coventry, from February 8 to 22 before playing York Theatre Royal from February 25 to 29.

In Crongton Knights, life isn’t easy on the Crongton Estate. McKay and his mates favour keeping their heads down, but when a friend finds herself in trouble, they set out on a mission that goes further than any of them imagined. 

Katie Donnachie: playing Bushkid in Crongton Knights

Pilot Theatre’s show will take you on a night of madcap adventure as McKay and his friends, The Magnificent Six, encounter the dangers and triumphs of a quest gone awry.

The pulse of the city will be alive on stage, propelled by a soundscape of beatboxing and vocals laid down by the cast and created by musician Conrad Murray.

Rehearsals will begin in Coventry on January 6 2020. Leading the cast will be Olisa Odele as McKay, having played Ola in Chewing Gum on E4 and PC Merrick in BBC1’s Scarborough, while Kate Donnachie will take the role of Bushkid; Simi Egbejumi-David, Festus; Aimee Powell, Venetia; Khai Shaw, Jonah; Marcel White, Nesta, and Nigar Yeva, Saira.

Khai Shaw: taking the role of Jonah in Crongton Knights

The production team is led by Corey Campbell, artistic director of Strictly Arts Theatre Company and co-artistic director of the Belgrade Theatre for 2021, and Esther Richardson, Pilot’s artistic director. The designer is Simon Kenny; lighting is by Richard G Jones, who lit The Railway Children at the National Railway Museum, York.

Crongton Knights will be the second of four co-productions between Pilot Theatre, Derby Theatre, Belgrade Theatre, Coventry, and York Theatre Royal, who last year formed a partnership to develop theatre for younger audiences in tandem with the Mercury Theatre, Colchester.

Heather Agyepong as Sephy in Pilot Theatre’s Noughts & Crosses at York Theatre Royal in April 2019. Picture: Robert Day

From 2019 to 2022, the consortium will commission and co-produce an original mid-scale touring production each year. Each show will play in all the consortium venues, as well as touring nationally

The consortium’s first production, Noughts & Crosses, was seen by more than 30,000 people on tour this year, with 40 per cent of the audience being aged under 20.

After the Coventry and York runs, Crongton Knights will be on tour until May 9, with further Yorkshire performances at the Lawrence Batley Theatre, Huddersfield, from March 31 to April 4. York tickets are on sale on 01904 623568, at or in person from the Theatre Royal box office.

Charles Hutchinson

Mark Hird picks favourite Scrooge as Pick Me Up musical prepares to fly

Bah Humbug! Mark Hird as Scrooge in Pick Me Up Theatre’s Scrooge The Musical. Picture: David Harrison

WHO is your favourite Scrooge? Albert Finney? Tim Curry? Patrick Stewart? George C Scott? Lionel Barrymore on the radio?

Maybe Michael Caine in The Muppets’ Christmas Carol? Jim Carrey? Or how about Jim Backus as the voice of Mister Magoo in Mister Magoo’s Christmas Carol, or even Bill Murray’s Frank Cross in Scrooged?

Mark Hird, who plays Scrooge from tomorrow (November 26) in Pick Me Up Theatre’s Scrooge The Musical at the Grand Opera House, York, has no hesitation in picking Alastair Sim from Brian Desmond Hurst’s 1951 film, Scrooge.

“I loved his performance! He was unashamedly nasty, but there was something in his eyes, that glint, that made you think there’s something going on there,” says Mark, who is leading Robert Readman’s cast, fresh from directing this autumn’s Pick Me Up musical, Monster Makers, at 41 Monkgate.

He now adds Charles Dickens’s Ebenezer Scrooge to a diverse Pick Me Up CV that includes Captain Mainwaring inDad’s Army, Colonel Pickering inMy Fair Lady and Uncle Fester in The Addams Family, and he is particularly enjoying performing the songs in Leslie Bricusse’s musical.

“Maybe we need another Dickens for this age,,” says Mark Hird, who sees the abiding resonance in A Christmas Carol

“The songs really help in bringing out Scrooge’s thoughts, whether in the 1970 film musical with Albert Finney or the stage version with six extra songs. You discover new things every time you do it.” says Mark.

“I’ve had the chance to play some really cold, nasty characters: there’s nothing redeemable about Inspector Wormold in Betty Blue Eyes or The Beadle in Sweeney Todd: The Demon Barber Of Fleet Street, but, on the other side, I also get to play all the ridiculously loveable characters, like Captain Mainwaring, Uncle Fester and Colonel Pickering.

“So, in many ways, Scrooge is more interesting because he goes on a journey from one to the other, and it’s really fun as an actor to make that transition, but also not to make him black and white. There are reasons in his past for some of the things he’s doing.”

Time for a quick refresher course: based on Dickens’s Victorian cautionary tale A Christmas Carol, Scrooge tells the tale of old miser Ebenezer Scrooge on the night he is visited by the ghosts of Christmas Past, Present and Yet To Come. Here that tale is told in an “all-singing, all-dancing, all-flying” show.

“I haven’t flown on stage before, but I’m not scared of heights,” says Mark Hird

All-flying, Mark?  “Yes, we have some flying in this show. Scrooge has to fly with Rory Mulvihill’s Ghost of Christmas Present, and Tony Froud’s Jacob Marley will float above the stage to sing his big number,” says the Scotsman.

“I haven’t flown on stage before, but I’m not scared of heights. I love walking the hills in Scotland.”

Joining Mark in the company will be Alan Park’s Bob Cratchit. “The advantage we have doing the show at the Grand Opera House, rather than our other home at 41 Micklegate, is that you can put on a big spectacle, but you can also have intimate scenes too, such as Cratchit and Tiny Tim’s scenes,” says Alan.

“But the experience of performing at 41 Micklegate develops that intimate form of acting, which you can then take into the bigger theatre,” says Mark.

He and Park see the contemporary resonance in Dickens’s story. “It’s amazing to look back at the impact Dickens’s book had on politicians, as well as general readers, concerning the inequality of working conditions for the working classes, and the cruelty Cratchit faces. That strikes a chord today,” says Mark.

” it’s really fun as an actor to make Scrooge’s transition, but also not to make him black and white,” says Mark Hird

“Cratchit thinks ‘this is my lot; I will make the most of what I have’, and he sees Scrooge as alien to his world, because that’s how society is,” says Alan.

“No politician will change Scrooge, but the three Ghosts do have an impact, which makes him change himself.

“But what’s more depressing is that if A Christmas Carol were to be played out in modern times, I’m not sure there would be sympathy for the Bob Cratchits of this world.”

“Maybe we need another Dickens for this age,” says Mark. “If the Ghost of Christmas Yet To Come brought Dickens to 2019, I think he would be horrified.”

“You could argue that we need the Ghost of Christmas Yet To Come to visit some of our politicians right now,” says Alan, as the winter-of-discontent General Election fast approaches.

Pick Me Up Theatre’s Scrooge The Musical runs from Tuesday, November 26 to Sunday, December 1 at Grand Opera House, York. Performances: 7.30pm, Tuesday to Sunday; 2.30pm, Thursday, Saturday and Sunday. Box office: 0844 871 3024 or at

Charles Hutchinson

Baron Productions pick The Rivals for winter laughs in Pickering and York

Dave Parkinson’s Sir Lucius O’Trigger gives Paul Toy’s Bob Acres a duelling lesson for Baron Productions’ The Rivals

YORK company Baron Productions are to stage Richard Brinsley Sheridan’s Georgian comedy of manners, The Rivals, next month.

Premiered at Covent Garden Theatre, London, in January 1775, its latest York production is being directed by Paul Toy, who also will play bombastic rival suitor Bob Acres in 7.30pm performances at the Quaker Meeting House, Pickering, on December 7 and St Mary’s Church, Bishophill Junior, York, from December 12 to 14.

Company founder Daniel Wilmot says: “The story of Captain Jack Absolute’s clandestine courtship of the cynical, yet romantic, Lydia Languish, under the noses of their respective guardians, blustering Sir Anthony Absolute and hilarious Mrs Malaprop, is one that has made me smile from the first time I read it.

Baron Productions’ poster for next month’s production of The Rivals

“Given that it’s in keeping with our company’s tradition of theatre with a ‘thoroughly dashing edge’ – period settings, witty dialogue, lush costumes, occasional duelling, sometimes even in character – it seemed the perfect choice to bring a laugh or two to the winter months after our darker production of Hamlet this summer.”

Wilmot formed Baron Productions in 2015 to produce and direct the swashbuckling pirate romp Crossed Swords, since when they have performed Oscar Wilde’s The Picture Of Dorian Gray in 2016, Charlotte Bronte’s Jane Eyre in 2017 and a Yorkshire tour of Shakespeare’s Hamlet this year.

“The choice of The Rivals is a poignant one for me as well,” says Wilmot. “I did the show back in 2012 as a rehearsed reading at the York Theatre Royal Studio, under the direction of Edward Pearce, and lovely Ruth Ford was in the cast as well, playing Mrs Malaprop of course.

Touching moment: Meg Davies as Julia and Daniel Wilmot as Captain Jack Absolute in The Rivals

“Neither of them is still with us. I have a lot of happy memories of working with them, so aside from liking the show, I wanted to do a fully-fledged version dedicated to them and their memories.”

Toy’s cast features Steve Mawson as the domineering Sir Anthony Absolute; Margaret Davey as Mrs Malaprop; Daniel Wilmot as Captain Jack Absolute; Raffy Parker as Lydia Languish and Dave Parkinson as the argumentative Irish baronet Sir Lucius O’Trigger.

Fired up: Molly Ridley’s David panics as Paul Toy’s Bob Acres prepares his pistols in The Rivals

Tyler Cooke will play the hapless lovelorn Faulkland; Meg Davies, his long-suffering partner Julia; Zoe Glossop, pompous butler Fag; Molly Ridley, Acres’ terrified servant David, and Amy Fincham, conniving housemaid Lucy.  

Toy has set the piece at the turn of the 19th century. “This allows for lots of dashing Poldark-esque costumes, the occasional wig, and a healthy dose of swaggering and swashbuckling,” says Wilmot. “He’s also promised a little singing as well.” 

Tickets cost £10, concessions £8, under 18s £5, at or on the door from 7pm each night.

Charles Hutchinson

Meet the new Jesus in Superstar show

John Whitney as Jesus and Marlena Kelli as Mary Magdalene in York Musical Theatre Company’s Jesus Christ Superstar

YORK Musical Theatre Company will stage Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar from November 27 to 30 at the Joseph Rowntree Theatre, York.

Company newcomer John Whitney will lead director Paul Laidlaw’s cast for this 1972 rock opera, a “musical phenomenon” that follows the last week of Jesus’s life through the eyes of Judas Iscariot, exploring the struggles and personal relationships between his followers and disciples. 

For this gritty and touching emotional rollercoaster ride, Lloyd Webber and Rice’s score parades such favourites as Superstar, Everything’s Alright and I Don’t Know How To Love Him.

Laidlaw is joined in the creative team by musical director John Atkin, overseeing a cast led by Whitney’s Jesus, Marlena Kelli’s Mary Magdalene, Peter Wookie as Pilate and Chris Mooney as Judas.

“We were thrilled to have such a great response to auditions, particularly from so many new faces to the company,” says Laidlaw. “We’ve always been proud of the fact that we welcome any new people to join any show that we do, and if you’re new, you can walk into lead roles, and that’s what’s happened.

“Our actors playing Jesus, Judas, Pilate and Mary Magdalene are all new to the company and it’s really encouraging to see. The strength in the singing is staggering and is going to sound just fantastic on stage. We really can’t wait to show York audiences all our hard work.”

Further principal roles go to John Haigh as Herod; Chris Haygard as Simon Zealotes; Martin Harvey, Caiphas; Matthew Clare, Annas; Simon Trow and Malcolm Poole, Priests; David Martin, Apostle Peter, and Heather Richmond, Maid.

In the ensemble will be Helen Barugh; Victoria Hughes; Helen Goodwill; Samantha Hindman; Jane Holiday; Elly-Mai Mawson; Karen Mawson; Jennifer Page; Amie Stone; Holly Inch; Amy Lacy; Paula Stainton; Charlotte Wetherell; Matthew Ainsworth; Derek McMahon and Andrew Pilot.

Tickets for the 7.30pm evening shows and 2.30pm Saturday matinee are on sale at £18, concessions £16, at or on 01904 501935.

Charles Hutchinson