REVIEW: Pilot Theatre in A Song For Ella Grey, York Theatre Royal, Hull Truck Theatre and on tour ****

Pilot Theatre’s Jonathan Iceton, left, Beth Crame, Olivia Onyehara, Grace Long and Amonik Melaco in A Song For Ella Grey

NEWCASTLE. Shopping for vintage clothes. Nights on the toon. Bamburgh Beach. Camping out. Beach parties. Cheap supermarket plonk. Best friends for life. First tingle of love.

Such is the teenage stuff of David Almond’s novel for young readers, and the stuff too of Pilot Theatre artistic director Esther Richardson’s days of growing up in the North East. Been there, done that, bought the book, the first one she read after taking up her post with the York company.

Eight years later, Richardson is directing Pilot’s touring co-production in partnership with York Theatre Royal and Northern Stage, in Newcastle, where rehearsals and the first peformances took place.

Almond has adapted past works for the stage, but this time Pilot commissioned Zoe Cooper, a playwright and dramaturg who has an M Phil in playwriting from the University of Birmingham and cut her teeth on the Royal Court Young Writers programme. Both her script and Almond’s book are on sale alongside the brownies and chai lattes at the café counter.

Working in tandem, Richardson and Cooper have pitched this particular theatrical tent on the cornerstones of storytelling, music, sound and vision to seek to capture the elusive nature of Orpheus, the “man-god” (as Richardson calls him). I say ‘him’, but this Orpheus is called ‘he’, ‘she’, ‘they’, at various points, depending on who is speaking.

Pilot’s primary target audience is teenage, studying Eng Lit, maybe theatre, and indeed schoolchildren were clustered in the dress circle at Thursday’s matinee, but peppered around the stalls were Theatre Royal matinee regulars.

Overhearing one in the interval and chatting with them afterwards, they praised the performances but had reservations over the storytelling. More specifically, the clarity of what we were watching. In a nutshell, not only was Orpheus elusive, so too was the story.

Your reviewer wholeheartedly agreed about the uniformly excellent cast, but did find himself drawn into the mysteries and murk of Almond’s modern-day re-telling of the myth of Orpheus and Eurydice, one that carried this contents notice in the foyer: References to death of a young person, bereavement/loss and adoption.

Already, on stage in York, at Stillington Mill, in Australia too, Wright & Grainger have explored the myth in a trilogy of exhilarating spoken-word and music shows, Orpheus, Eurydice and The Gods The Gods The Gods, billed as “stories from Greek mythology, told as if they were happening today”.

What Pilot Theatre’s production shares is both modernity and rich imagination in the storytelling, in this case the story of Ella Grey (Grace Long), who was adopted at the age of two and dreams of Orpheus singing to her in the company of her biological parents.

Ella prefers to spend her days and nights with Claire (Olivia Onyehara), her intense best friend since she was four, and Claire’s more open parents, with their baked aubergine suppers and ultra-comfy, tweedy sofas from a Scottish cottage industry. They understand her better, she protests.

Studying Eng Lit etc at A-level, they hook up regularly by the Northumbrian coast with Sam (Amonik Melaco), with his perfectly manicured eyebrows and far from perfect attitude towards young women; the more sensitive birdwatcher Jay (good name for a birdwatcher, Jonathan Iceton) and the ever-curious-to-experiment Angeline (Beth Crame, outstanding).

Craving a feeling of belonging, Ella is ever more drawn to Orpheus, represented here by a silhouetted figure with a crown of twigs behind white curtaining, by distant song and music too. Only she hears the voice at first, but gradually…well, that would be telling.

The content warning serves as a spoiler alert of her death, represented at the sea’s edge by her vintage dress, leaving so many questions to be answered for her friends, audience and Orpheus alike in Act Two.

Designer Verity Quinn switches the colour scheme for the two circular mounds that serve as beds and rocks on the beach from white to funereal black, accompanied by the squawk of a murder of crows and even a crow in the twig head gear worn by Claire.

All the while, Adam P McCready’s all-pervasive sound design (water, water everywhere), Chris Davey’s lighting and especially Si Cole’s video designs on the white backdrop give the atmosphere psychological depths.

Most evocative of all are the compositions of Emily Levy, whose programme note talks of her starting points of “voice (spoken and sung), folk song, and the crossover point where naturally occurring sound morphs into music”. Her songs “pass through and between the performers”, beautifully, spellbindingly so, and they evoke the mystical North East as much as The Unthanks do.

The links with the Orpheus and Eurydice of yore grow ever clearer in song and storytelling alike, as the tragedy and pain of human fallibility, the impossibility of immortality, heighten once in the underworld, but come the finale, Almond and Cooper still allow teenage dreams to be so hard to beat as new worlds beckon for Ella’s friends.

Musician Zak Younger Banks rightly joins the cast on stage to take a bow: thoroughly deserved for his vital contribution. 

Performances: York Theatre Royal, tonight, 7.30pm; tomorrow, 2.30pm, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Hull Truck Theatre, March 5 to 9, 7.30pm; 2pm Wednesday & Saturday matinees. Box office: 01482 323638 or hulltruck.co.uk.

‘It certainly won’t be boring,’ says Emma Rice as she turns Blue Beard into a wonder tale celebrating women at Theatre Royal

Wise Children artistic director Emma Rice. Picture: Carmel King

WISE Children director Emma Rice has an admission to make ahead of Blue Beard’s arrival at York Theatre Royal on Tuesday.

“I love fairy tales, but I’ve actually never liked the story of Blue Beard,” she says. “Not wanting to add to the number of dead women scattered throughout our literature and media, I have always avoided the gruesome tale.

“However, haunted by the regular and painful chime of murdered woman in the news, I woke one morning with the story knocking powerfully at my dreams. I pulled my copy from the shelves and, with some trepidation, unlocked the door of Blue Beard’s castle.”

Emma thought Blue Beard was a story of controlling women, telling them off for asking questions and being curious. “But something changed a couple of years ago, and the story started to nag at me,” she says.

“What I found hidden in those pages was a story not about dead women but about vibrant, flawed, joyful living ones. Here was a story about female friendship, intellect and survival. It’s also a story in which, by working together, the aggressor is vanquished.

“And this is precisely why I want to tell Blue Beard now. In my middle years I want to join forces with those I love and take down the ones who threaten us. I, for one, have had enough, and for Zara Aleena, Jack Taylor, Bibaa Henry, Nicole Smallman, Daniel Whitworth, Sarah Everard and the thousands and thousands of others who have died at the hands of violent men – Blue Beard is my defiant and hopeful answer.”

Emma had become more and more haunted by “the regular chime of women being attacked, murdered and abused”. “Sarah Everard’s shocking murder and the ensuing chaos of her vigil captured the public’s imagination,” she says. “However, for me, it was the murder of Zara Aleena that really brought home my anger and made me think about adapting Blue Beard.

“She was just walking home. A week later, her family, friends, and people she would never know, met at the spot where she was killed and walked her memory home. This was the moment that I knew I wanted to walk Blue Beard’s victim’s home. I wanted to use my craft, my platform, and my experience to make a small difference.”

“I want the production to seduce with high comedy, tragedy, magic, romance and just a sprinkle of spine-tingling horror,” says director Emma Rice. Picture: Steve Tanner

Emma realised she wanted to tell this story, not to understand or excuse Blue Beard, but to breathe life into the women he tried to control. “I wanted to express not just the rage, grief and heartbreak so many of us feel at lives cut short, but also to celebrate brilliant living women in all their wild and surprising glory,” she says.

“So, my version of Blue Beard is very definitely about the women, about celebrating women and about saying enough is enough! We will not be afraid anymore.”

Adapted for the stage by Emma, Blue Beard carries the weight and power of a classic drama, she contends. “It’s almost Shakespearean and most definitely Greek in structure; I hope audiences will feel entertained, moved and transported.

“We found the subject matter very powerful in rehearsals and there have been lots of laughter and tears. I hope audiences will share the joy, the darkness, the fury and the hope. It certainly won’t be boring!”

Blue Beard, Emma’s fifth show for Wise Children, finds her returning to her roots at Cornwall’s now disbanded Kneehigh Theatre, where she specialised in folk tales before her brief encounter as the artistic director of Shakespeare’s Globe.

“After the shared trauma of lockdown and, in its wake, the long haul of getting back into the world, it felt like the right time to go back to my roots. ‘Wonder tales’ (as I like to call them) are an enduring source of inspiration for me,” she says.

“Magical and universal, they are ripe for re-interpretation and reinvention. They challenge and delight in equal measure and allow me to explore complex and important themes without having to be literal or naturalistic. They lend themselves to music and movement and I love them! With Blue Beard, I am back in my theatrical element.”

Given the themes of male violence and control, can York audiences expect a challenging evening? “Well, yes – in some way,” says Emma. “Our production does not shy away from violence and its devasting effect, but it is also hopeful and empowering.

Wise Children in a scene from Emma Rice’s Blue Beard, heading to York Theatre Royal from Tuesday. Picture: Steve Tanner

“I don’t think audiences will come away thinking everything’s awful and it’s never going to change. Instead, I want people to look these issues squarely in the eye and think: ‘right, that’s it. The world does not have to be like this, and I feel inspired to do something about it’.

“It’s also worth saying that I’m not a ‘naturalistic’ director. We use lots of different storytelling techniques to give the subject layers and nuance. This means a violent act could feature on stage as a dance, or a song. It won’t be graphic and unpleasant. Sometimes violence is suggested, sometimes it is shown in a metaphorical way and, at the end, we have a huge, bloody real life struggle.”

Although the underlying themes are urgent and dark, Emma’s show is not all darkness by any means. Blue Beard pulses with stylish theatricality, gritty reality and genuine emotion,” she says. There’s also comedy. Katy Owen, an actor I’ve worked with for many years, is one of the most brilliant comic actors working today, and she plays a nun at the Convent of the Fearful, F****d and Furious – so you can imagine where that goes!

“Using music, dance, and storytelling, I want the production to seduce with high comedy, tragedy, magic, romance and just a sprinkle of spine-tingling horror. It’s a blockbusting rollercoaster!”

As a practitioner of ‘devised theatre’, Emma likes to work closely with a composer throughout the rehearsal process, shaping, refining and reworking the music as the production develops.

“Music is shot through this magical tale,” she says. “I’m working with my longtime friend and collaborator Stu Barker, who I also worked with on Brief Encounter, Tristan & Yseult, and many, many more.

“Stu is a composing genius, who knows just when a song, a sting or an underscore is needed. I’m particularly loving working on this show because almost all my actors are also musicians. This means the music comes straight out of the heart of the show: it’s all performed live by this incredibly talented ensemble of actor-musicians.

“They jump seamlessly between playing and acting, and I marvel at their talent. The songs are dynamite, and I go to sleep with them running through my head and wake up singing them.”

“This is certainly the most ambitious piece of writing I have ever done,” says Emma Rice of her script for Blue Beard. Picture: Steve Tanner

In Emma’s account of the fairytale, Blue Beard is a magician, requiring actor Tristan Sturrock, Emma’s long-term collaborator, to work with several magicians in preparation for the show.

“He can now make coins vanish and cards appear, cut ladies in half and throw knives. It has been brilliant fun and creates fantastic ‘old school’ entertainment,” she says.

“I decided to make my Blue Beard a magician because it felt like a funny and surprising way to explore themes of lies, control and violence. The glamour of the magician’s assistant, mixed with the casual misogyny of these enduring acts, creates a heady cocktail which is the perfect match for Blue Beard.”

After adapting three novels, Angela Carter’s Wise Children, Enid Blyton’s Malory Towers and Emily Bronte’s Wuthering Heights for Wise Children productions, Emma has created her own version of Blue Beard.

“The piece has taken shape slowly, as I’ve been working on this project for over two years, and it has been a joyful and surprising path to this place,” she says. “But it’s certainly no less complicated than adapting, because, although I could have chosen to write about anything, I seem to have chosen something quite complex!

“We have three narratives running through the piece: the magical world of Blue Beard, a modern world where we hear the story of the Lost Brother and Sister, and then there’s a framing narrative, set in the extraordinary world of the Convent of the Fearful, F****d and Furious.”

Workshops have allowed Emma to explore these three worlds with her actors and musicians. “The narrative threads intertwine to bring meaning and perspective to the Blue Beard legend. It’s a tricky structure but one that pays great dividends,” she says.

“I’ve relished taking charge of the material and this is certainly the most ambitious piece of writing I have ever done. It feels great to be pushing myself artistically – and yet still allowing myself to be just a little bit silly.”

Blue Beard’s tour takes in Theatre Royal Bath, HOME Manchester, the Lyceum in Edinburgh, Birmingham Rep and Battersea Arts Centre, as well as York Theatre Royal. “I love touring!” says Emma.

“With Blue Beard, I am back in my theatrical element,” says writer-director Emma Rice of Wise Children’s premiere. Picture: Steve Tanner

“I look forward to the food and architecture in Bath, the cool shops in Manchester, the museums in York, the magnificent natural beauty of Edinburgh, the Bullring in Birmingham and the fabulous moody and smoke-damaged Grand Hall at Battersea Arts Centre.

“Four of our tour venues – Manchester, York, Edinburgh and Birmingham – are co-producers on the show, meaning not only have they helped to finance it, but, more importantly, they have brought all their skills and experiences to the creation of the show, helping us to make something more wonderful, and better resourced, than we could have done alone.

“It’s such a hard time for theatres, but these particular venues have all been superstars, backing us, believing in us, and making it possible for us to bring this show to their audiences.”

Emma has celebrated five years of Wise Children by opening a new venue, The Lucky Chance, in Frome, Somerset, renovating and transforming the early 20th century Methodist Chapel into the company’s creation space and base for their training programmes.

“It’s been wonderful. In the true sense of the word,” she says, after the move from Bristol. “I begin to realise that this has always been my dream: to create a home for the work and the people that make it. The Lucky Chance is a place to create, to party, to take shelter in and to return to.

“It gives Wise Children roots and a beautiful space to welcome our diverse community of friends, audiences, neighbours and students alike. I couldn’t be prouder or happier. It’s called The Lucky Chance because that is exactly what it is.”

Wise Children presents Blue Beard, York Theatre Royal, February 27 to March 9, except next Sunday and Monday; 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Wise Children’s Blue Beard: the back story

BLUE Beard the Magician makes hearts flutter and pupils dilate. With a wink, a stroke and a flick, things just seem to vanish. Cards, coins, scarves…and women. When someone tells you not to look, open the bloody door, advises Wise Children’s world premiere, adapted and directed by artistic director Emma Rice.

Emma brings her brand of theatrical wonder to this beguiling, disturbing tale with her signature sleight of hand to explore curiosity and consent, violence and vengeance, all through an intoxicating lens of music, wit and tender truth.

Artistic director Emma Rice outside Wise Children’s new venue, The Lucky Chance, in a former Methodist Chapel at Frome, Somerset. Picture: Carmel King

More Things To Do in Ryedale, York and beyond when comedy bites. Here’s Hutch’s List No 3, from Gazette and Herald

Deaf comedian Steve Day: Playing on the Hilarity Bites bill at Milton Rooms, Malton

A DEAF comedian and history-charting musicians, a classic thriller and a feminist fairytale, a community choir festival and a prog-rock legend make Charles Hutchinson’s list of upcoming cultural highlights.

Ryedale comedy gig of the week: Hilarity Bites Comedy Club, Steve Day, Ashley Frieze and Carl Jones, Milton Rooms, Malton, Friday (23/02/2024), 8pm

THE first Hilarity Bites bill of 2024 will be headlined by Steve Day, who describes himself as “Britain’s only deaf comedian and if there are any others he hasn’t heard them”! Actually, a couple of others have started since he wrote that joke, but it is only a joke after all.

On the bill too are guitar-toting funny man Ashley Frieze, with his charming, daft and warm brand of music-infused stand-up, and Midlands storytelling comedian Carl Jones, a football fanatic who interviews comedy cohorts for his ​Premier League nostalgia podcast When Football Began Again. Box office: 01653 696240 or themiltonrooms.com.

Chris Green and Sophie Matthews: 600 years of music crammed into 90 minutes at Pocklington Arts Centre

Musical tour of the week: Green Matthews: A Brief History Of Music, Pocklington Arts Centre, Friday, 8pm

STRING player Chris Green and woodwind player Sophie Matthews take in 600 years of musical history in 90 minutes, spanning the Middle Ages to the 20th century in a whistle-stop tour of Western music.

Featuring long-forgotten songs, tunes and jokes too, Green and Matthews paint a vibrant and vivid picture of our musical DNA, mixing the familiar and the obscure, the raucous and the reflective and the courtly and the commonplace. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Skylights: Lighting up York Barbican in November

Gig announcement of the week: Skylights, York Barbican, November 2

YORK band Skylights will play their biggest home-city show yet this autumn, with tickets going on sale on Friday at 10am at ticketmaster.co.uk in a week when latest release Time To Let Things Go has risen to number two in the Official Vinyl Singles Chart.

Guitarist Turnbull Smith says: ‘We’re absolutely over the moon to be headlining the biggest venue in our home city of York, the Barbican. It’s always been a dream of ours to play here, so to headline will be the perfect way to finish what’s going to be a great year. Thanks to everyone for the support. It means the world and we’ll see you all there.”

Rick Wakeman: Return Of The Caped Crusader at York Barbican

Catch him while you can: Rick Wakeman, Return Of The Caped Crusader, York Barbican, Saturday, 7.30pm

PROG-ROCK icon and Yes keyboard wizard Rick Wakeman, 76, is to call time on his one-man shows to concentrate on composing, recording and collaborating, but not before playing York. “I always planned to stop touring by my 77th birthday,” he says. “For those of you who wish to send me a card, it’s 18th May!”

Saturday’s show opens with Wakeman’s new arrangements of Yes material for band and vocalists, followed after the interval by his epic work Journey To The Centre Of The Earth. Box office for returns only: yorkbarbican.co.uk.

Jessa Liversidge: Directing Easingwold Community Singers’ performance at the York Community Choir Festival

Choirs galore: York Community Choir Festival 2024, Joseph Rowntree Theatre, York, February 25, 6pm; February 26 to March 1, 7.30pm; March 2, 2.30pm and 7.30pm

THE 8th York Community Choir Festival spreads 31 choirs across eight concerts over six days at the JoRo. On the opening evening, Easingwold Community Singers will be premiering director Jessa Liversidge’s arrangement of The Secret Of Happiness  from the American musical Daddy Long Legs, with permission of composer and lyricist Paul Gordon.

Choirs range from York Philharmonic Male Voice Choir to The Rolling Tones, Sounds Fun Singers to York Military Wives Choir, Selby Youth Choir to Track 29 Ladies Close Harmony Chorus. Six choirs from Huntington School perform next Friday, taking up all the first-half programme. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Todd Boyce, left, and Neil McDermott in Sleuth, on tour at Grand Opera House, York. Picture: Jack Merriman

Thriller of the week: Sleuth, Grand Opera House, York, Monday to Saturday, 7.30pm; 2.30pm Wednesday and Saturday

TODD Boyce, best known for playing Coronation Street’s notorious baddie Stephen Reid, will be joined by EastEnders soap star Neil McDermott in Anthony Shaffer’s dark psychological thriller about thrillers, directed by Rachel Kavanaugh.

What happens? A young man arrives at the impressive home of a famous mystery writer, only to be unwittingly drawn into a tangled web of intrigue and gamesmanship, where nothing is quite as it seems. Box office: atgtickets.com/york.

Emma Rice: Writer-director of Wise Children’s Blue Beard, playing York Theatre Royal from next Tuesday

Play of the week: Wise Children in Emma Rice’s Blue Beard, York Theatre Royal, February 27 to March 9, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

BLUE Beard meets his match when his young bride discovers his dark and murderous secret. She summons all her rage, all her smarts and all her sisters to bring the curtain down on his tyrannous reign as writer-director Emma Rice brings her own brand of theatrical wonder to this beguiling, disturbing tale.

Applying Rice’s signature sleight of hand, Blue Beard explores curiosity and consent, violence and vengeance, all through an intoxicating lens of music, wit and tender truth. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Rob Auton: Star of The Rob Auton Show, full of firsts, from memories to girlfriends to jobs

Comedy gig(s) of the week: Rob Auton, The Rob Auton Show, Burning Duck Comedy Club, The Crescent, York, February 28, 7.30pm; Mortimer Suite, Hull City Hall, February 29, 7.30pm; The Wardrobe, Leeds, March 1, 7.30pm

ROB Auton, Pocklington-raised stand-up comedian, writer, podcaster, actor, illustrator and former Glastonbury festival poet-in-residence, returns north from London with his self-titled tenth themed solo show.

After the colour yellow, the sky, faces, water, sleep, hair, talking, time and crowds, Auton turns the spotlight on himself, exploring the memories and feelings that create his life on a daily basis. Box office: York, thecrescentyork.seetickets.com; Hull, hulltheatres.co.uk; Leeds, brudenellsocialclub.seetickets.com.

More Things To Do in York and beyond as arts take to the bike & beach. Hutch’s List No. 8 for 2024, from The Press, York

Pilot Theatre’s cast for A Song For Ella Grey at York Theatre Royal. Picture: Topher McGrillis

BEACH encounters with Orpheus, tandem cyclists divided by Brexit,  a joyful mess in art, an Eighties rom-com revisited, Ukrainian opera and big summer concerts brighten Charles Hutchinson’s days ahead.

York play of the week: Pilot Theatre in A Song For Ella Grey, York Theatre Royal, February 20 to 24, 7pm plus 1pm, Thursday and 2pm, Saturday; Hull Truck Theatre, March 5 to 9, 7.30pm plus 2pm, Wednesday and Saturday

IN Zoe Cooper’s stage adaptation of David Almond’s novel for York company Pilot Theatre and Newcastle’s Northern Stage, Claire and her best friend, Ella Grey, are ordinary kids from ordinary families in an ordinary world as modern teenagers meet ancient forces.

They and their friends fall in and out of love, play music and dance, stare at the stars, yearn for excitement, and have parties on Northumbrian beaches. One day, a stranger, a musician called Orpheus, appears on the beach and entrances them all, especially Ella. Where has Orpheus come from and what path will Ella follow in this contemporary re-telling of the ancient Greek myth. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Hull, 01482 323638 or hulltruck.co.uk.

Displayful artists Luke Beech, Wendy Galloway, Kate Fox and Liberty Hodes, exhibiting at Scarborough Art Gallery. Picture: Tony Bartholomew

Coastal exhibition of the season: Displayful, Scarborough Art Gallery until May 7

DISPLAYFUL celebrates happy accidents and joyful mess, aiming to brighten the winter months by inviting visitors to enjoy uplifting contemporary artistic responses to objects from the collections of Scarborough Museums and Galleries.

The show combines new work by five regional artists, Luke Beech, Kate Fox, Wendy Galloway, Liberty Hodes and Angela Knipe, alongside historical artefacts and asks audiences to consider new possibilities for the lives of objects.

Amber Davies’s Vivian and Oliver Savile’s Edward, centre, in a scene from Pretty Woman The Musical, on tour at the Grand Opera House, York, next week

Musical of the week: Pretty Woman The Musical, Grand Opera House, York, February 20 to 24, 7.30pm, plus 2.30pm Wednesday and Saturday matinees

BILLED as Hollywood’s ultimate rom-com, live on stage, Pretty Woman: The Musical is set once upon a time in the late 1980s, when Hollywood Boulevard hooker Vivian meets entrepreneur Edward Lewis and her life changes forever.

Amber Davies plays Vivian opposite Oliver Savile’s Edward; 2016 Strictly Come Dancing champion Ore Oduba, last seen at this theatre in fishnets in March 2022 as Brad Majors in The Rocky Horror Show, has two roles as hotel manager Barnard Thompson/Happy Man, and Natalie Paris will be Vivian’s wisecracking roommate Kit De Luca. Box office: atgtickets.com/york.

The poster artwork for Dnipro Opera’s Madama Butterfly at York Barbican

Opera of the week: Dnipro Opera in Madama Butterfly, York Barbican, February 20, 7pm

DNIPRO Opera, the Ukrainian National Opera, returns to British shores after last year’s visit to perform Puccini’s favourite work, Madama Butterfly, sung in Italian with English surtitles (CORRECT).

Set in Japan in 1904, this torrid tale of innocent love crushed between two contrasting cultures charts the affair between an American naval officer and his young Japanese bride, whose self-sacrifice and defiance of her family leads to tragedy. Box office: yorkbarbican.co.uk.

Carly Bednar in rehearsal for her role as Leila Arden in Griffonage Theatre’s Rope at Theatre@41, Monkgate

Thriller of the week: Griffonage Theatre in Rope, Theatre@41, Monkgate, York, February 21 to 24, 7.30pm

HALFWAY through her MA in theatre studies, Katie Leckey directs York company Griffonage Theatre in their Theatre@41 debut in Patrick Hamilton’s thriller Rope, with its invitation to a dinner party like no other.

Set in 1929 against the backdrop of Britain’s flirtation with fascism, this whodunit states exactly who did it, but the mystery is will they be caught? Cue a soiree full of eccentric characters, ticking clocks and hushed arguments. Box office: tickets.41monkgate.co.uk.

An Eiffel and an earful: Don (John Lister) and Carol (Kate Caute) share a cycle but not political views in Paris in 1812 Theatre Company’s Scary Bikers

Ryedale play of the week: 1812 Theatre Company in Scary Bikers, Helmsley Arts Centre, February 21 to 24, 7.30pm

HELMSLEY’S 1812 Theatre Company stage their first John Godber comedy next week, his 2018 two hander Scary Bikers. Outwardly, redundant miner Don (John Lister) and former private school teacher Carol (Kate Caute) have little in common, but beneath the surface their former spouses are buried next to each other. Soon widowed Don and Carol bump into each other.

An innocent coffee leads to a bike ride through the Yorkshire Dales, then a bike tour across Europe to Florence. All looks promising for a budding romance, but their departure date is June 23 2016 and Don and Carol are on the opposite sides of the Brexit fence. Box office: helmsleyarts.co.uk or in person from the arts centre.

S Club: Post-racing party songs at York Racecourse on July 27

Bring it all back: S Club, York Racecourse Music Showcase Weekend, July 27

JULY 27 will be S Club Party time after the Saturday afternoon race card on the Knavesmire track. Once S Club 7, now the five-piece S Club comprises Jo O’Meara, Rachel Stevens, Jon Lee, Tina Barrett and Bradley McIntosh, following last April’s death of Paul Cattermole from heart complications at 46 and Hannah Spearritt not featuring in 2023’s 25th anniversary tour.

This month finds S Club in the USA playing Boston, New York, Chicago and Los Angeles. Roll on summertime to enjoy chart toppers Bring It All Back, Never Had A Dream Come True, Don’t Stop Movin’ and Have You Ever, plus You’re My Number One, Reach, Two In A Million, S Club Party et al in York. Tickets: yorkracecourse.co.uk.

James: Returning to Scarborough Open Air Theatre in July. Picture: Paul Dixon

Yorkshire gig announcement of the week: James, supported by Reverend & The Makers and Girlband!, Scarborough Open Air Theatre, July 26

MANCHESTER band James play Scarborough Open Air Theatre for the fourth time on July 26, the night when Leeds lads Kaiser Chiefs finish off the evening card at York Races.

“If you haven’t been there before, then make sure you come,” says James bassist and founder member Jim Glennie. “It’s a cracking venue and you can even have a paddle in the sea before the show!” New album Yummy arrives on April 12. Box office: James, ticketmaster.co.uk from 9am on Friday; Kaiser Chiefs, yorkracecourse.co.uk.

Orpheus in the underworld moves to Ella Grey’s teenage world on the beach in Pilot Theatre premiere at York Theatre Royal

Grace Long as Ella Grey, left, and Olivia Onyehara as Claire in A Song For Ella Grey. Picture: Topher McGrillis

THE first book Esther Richardson read after being appointed Pilot Theatre’s artistic director was A Song For Ella Grey.

Eight years later, she is directing the York company’s co-production of Zoe Cooper’s stage adaptation of David Almond’s Northumbrian novel. Next stop for a play full of music, sound and storytelling will be York Theatre Royal, from Tuesday to Saturday.

“It’s my favourite of David’s books,” says native north easterner Esther, who is directing a work deeply connected to her own story and upbringing for the first time. “I got totally swept up in his translation of the timeless myth of Orpheus and Eurydice to the locations in which I grew up.

“I lived in Teesside until I was 11, then we moved to Durham, to be nearer to my dad’s family, and my aunts were all in Newcastle. If you grow up in Durham, you go out in Newcastle, so that was a big part of my youth.

“My uncle used to take us up to the beach at Bamburgh Castle, and that’s where I camped when I did the Duke of Edinburgh awards.”

Monday morning was Esther’s first official working day back in York since she began rehearsals on January 2 at production partner Northern Stage’s rehearsal studios in Byker, ahead of its February 1 opening in Newcastle, where “it’s gone really well”.

Esther has wanted to stage A Song For Ella Grey ever since reading it. “Landscape is very important to the story and that landscape was very much part of my growing up,” she says. “That entry to Newcastle on the train, with all those bridges across the Tyne is so mythic; it’s majestic, so is the coast. Doing this play is a love letter to them both.

Pilot Theatre artistic director Esther Richardson

“When I read the book, it spoke to my heart, as I recognise the kids; the running away to Edinburgh; hanging out in very specific places in Newcastle; traipsing around the shops there. It’s that whole rendering of what it’s like to be a teenager in Newcastle.”

Published in 2014, Almond’s novel for young people relocates the Orpheus and Eurydice myth and its story of enduring love and loss to the north east in a lyrical retelling set among a group of teenage friends – “ordinary kids from ordinary families in an ordinary world” – that fall in and out of love, play music and dance, stare at the stars, yearn for excitement, and have parties on Northumberland’s beaches.

“So often working-class stories are told through a male lens, but this one is told from the perspective of a survivor, of a young queer woman,” says Esther. “It takes place in the liminal space between childhood and adulthood when you become aware you can never go back. You can never be a kid again.”

The focus falls on the bond between Claire and her friend Ella Grey, one that is as close as it could be until one day they encounter a stranger, Orpheus, a lyre-playing, Dr Martens-wearing young man, on Bamburgh Beach. He entrances them all, especially Ella, but what path will she follow in this tale of modern teenagers and ancient forces?

Cooper’s stage adaptation is written from Claire and Ella’s perspective as they re-tell their story to one another and the audience. “The idea is that they are making what happened to them into a myth,” reasons the playwright.

“The myth of Orpheus is so powerful,” says Esther. “Is he a man or a god? He’s a man-god, who goes into the underworld and is told, ‘you can bring someone back from the underworld, but only if you don’t look back at her before you re-enter the world above.

“But of course, there’s an inevitability that he will look back. Our humanity is our mortality, and we know you can’t bring someone back from the dead.”

Incoming message: Grace Long’s Ella Grey. Picture: Topher McGrillis

Esther continues: “It’s also about creativity and art, and that thing of something being out of reach when you’ve woken and it first seemed so clear. What that’s doing is chasing a fever dream, and that’s the most powerful part of being human.

“How we want to over-reach, to be immortal, to turn back the clock. Modern art can do that, like a photograph freezing a moment in time. So there’s a really spiritual dimension to the story that connects with us really deeply, and it was a beautiful, tantalising prospect to put it on stage.”

She commissioned Zoe to write the adaptation on account of the lyricism she shared with Almond. “I wanted someone who wouldn’t be afraid of that lyricism. I didn’t want it to be domestic; I wanted it to be epic,” she says.

“With Orpheus, David has created this elusive figure; you have a character who is a spirit, who is music, who’s in the landscape; sometimes he’s there and he’s real; sometimes he’s not real and can’t be found as he disappears into the night – which is really difficult to stage.

“The first thing that Zoe and I talked about was how do we adapt that for the stage, and we decided we should not make the slippery Orpheus a single human form because that would have killed the lyricism.

“What Zoe has done is create a text where Orpheus has the potential to appear in many different forms, sometimes human, but mainly an elusive being in the world.”

Pilot Theatre’s cast for A Song For Ella Grey. Picure: Topher McGrillis

Teenage audiences have “really hooked into” Cooper and Richardson’s production in the Newcastle run. “At first we thought, ‘are we being too oblique?’, but you have to commit to imagination, and if you create a really good structure and architecture for the story, audiences will go with it,” says Esther.

“We trusted our audience, having tested a scene at a school in Cramlington, which gave us the confidence that we were doing the right thing.

“As theatremakers, we try to stay in touch with childhood, and with our shows, whether Noughts & Crosses or A Song For Ella Grey, quite often teenagers get what’s happening ahead of adultds, with teens explaining things to perplexed adults!”

From the very start, Esther knew music would be important in A Song For Ella. “There was a clue in the title!” she says. “You think, ‘well, what is the ‘song’?”

She duly commissioned composer Emily Levy – noted for her use of folk traditions and song – to work with Pilot for the first time. “I love music and I love working with composers,” she says. “I had Emily at the edge of my thinking, as I’d heard her work with Streetwise Opera, who work with homeless people, and I knew she was passionate about using the voice as an instrument and that she could do amazing choral scores.

“A happy accident was that David [Almond] was a huge fan of Emily’s music, which I didn’t know in advance – and I trust him as being so creative, with amazing insights. So I met Emily, Zoe thought she was terrific too, and everything span off from there.”

Beth Crame as Angeline in A Song For Ella Grey. Picture: Topher McGrillis

The music in Pilot’s production is “incredible,” says Esther, “But it can’t offer all the solutions. That’s when I got the designer, Verity Quinn, involved to bring Orpheus into the play in a different way.

“Making theatre on the mid-scale, looking into that rectangle, you have to deliver something epic: that starts with the words but you disregard the visual at your peril.

“In the end, my work is very stripped back, not just because of Pilot’s level of resources, but because we all respond to colour emotionally, and the visual is rocket fuel to how you create meaning and how you connect to the human heart and mind in the audience. By stripping back you encourage the use of imagination.

“Theatre offers a reflective space, and in that moment, you use your imagination and your humanity comes to the fore. You are aware of who you are. It’s so difficult to find a space where you can just be present, listening to a story, being part of a story, and kids need that more than anyone else.”

In that last sentence, Esther sums up the essence of Pilot Theatre and why the pioneering York company continues to be at the forefront of theatre with a young voice.

 Pilot Theatre, Northern Stage and York Theatre Royal present A Song For Ella Grey, York Theatre Royal, February 20 to 24, 7pm plus 1pm, Thursday and 2pm, Saturday; Hull Truck Theatre, March 5 to 9, 7.30pm plus 2pm, Wednesday and Saturday. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Hull, 01482 323638 or hulltruck.co.uk.

Author David Almond on A Song For Ella Grey

Pilot Theatre artistic director Esther Richardson, left, with novelist David Almond and playwright Zoe Cooper. Picture: Mark Savage

Why revisit the myth of Orpheus and Eurydice?

“People have been telling this story forever,” he says. It’s one of the oldest stories ever told. There are endless versions of it, in cinema, on stage, in books and poetry and songs. I knew, at some point, I was going to write my version of it.”

Why Newcastle and Bamburgh beach?

“It made sense to set it among a group of normal Tyneside teenagers,” says Almond, whose daughter was a teenager at the time he wrote the book, giving him the awareness of “being young and falling in love, experiencing the possibility of loss, the possibility of bliss. Plus, I like the idea of Hades being under Newcastle.”

What does his lyrical writing celebrate?

“The beauty of northern rhythms, of the beats of northern language, to find something that is distinctively regional which can reach out to the rest of the world.”

From page to stage…

“There’s nothing like live theatre,” says Almond. “It’s our oldest form of art. It’s a very ancient way of telling a story. It’s how we told each other stories when we were still in caves 1000s and 1000s of years ago.”

“There’s nothing like live theatre,” says Almond. “It’s our oldest form of art. It’s a very ancient way of telling a story. It’s how we told each other stories when we were still in caves 1000s and 1000s of years ago.”

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REVIEW: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, making waves until Saturday ****

Pascha Turnbull’s Ursula, James Dickinson’s Flotsam and Adam Gill’s Jetsam in York Light Opera Company’s Disney’s The Little Mermaid. All pictures: Matthew Kitchen Photography

THREE matinees this week are testament to the family appeal of Disney’s aquatic adventure The Little Mermaid, a show ideal for half-term week.

Across the city from February 16 to 18 at York Barbican, a Tylosaurus, the largest predatory marine reptile to ever grace our oceans and now the largest marine puppet ever made, will be making a big splash in a purpose-built tank in Jurassic Live. “If you sit near the front, you will get wet,” comes the safety alert.

No such warning is necessary at the Theatre Royal, but in the absence of water, everything else is thrown at director/choreographer Martyn Knight’s hi-tech production: an LED screen by AV Matrix; flying by Blue Chilli Flying; images and animations by Broadway Media Distribution and additional scenic elements by Scenic Projects, Lowestoft, and Curtain Call Productions, Crewe.

Bon appetit: Zander Fick’s Chef Louis

The tentacle costume for 6ft tall Pascha Turnbull’s evil sea witch, the giant squid Ursula, has been made specially by Caroline Guy, to go with a spectacular array of sea-world costumes by Spotlight Costume Hire and additional costumes created by York Light.

Wardrobe coordinator Carly Price has overseen a sewing team of ten, complemented by 21 dressers at the theatre; ten people in Ellie Ryder’s wig, hair and make-up team; ten more in the stage crew, all serving a cast of 43. Set building took 14 people; Paul Laidlaw conducts an excellent nine-strong orchestra, three of them on keyboards.

Those numbers tell you this is a big, expensive show to mount, taking on the challenge of staging a musical produced originally by Disney Theatrical Productions, based on Hans Christian Andersen’s fairytale and John Musker and Ron Clements’s animated 1989 film for Disney.

Monica Frost’s Ariel in mermaid mode in Disney’s The Little Mermaid

Built on a book by Doug Wright, music by Alan Menken and lyrics by Howard Ashman & Glenn Slater, this is every inch a Disney show, in style, content and philosophy, but Knight’s cast still brings a York Light air to it too.

This is helped by the experienced presence of not only Turnbull’s terrific villain, Ursula, but also Neil Wood’s mandarin Grimsby, Martin Lay’s bird-brained Scuttle and in particular Rory Mulvihill’s stern King Triton, ruler of the underworld.

Turnbull’s Ursula and her henchmen with the flashing footwear, James Dickinson’s Flotsam and Adam Gill’s Jetsam, savour the dark side with more than a hint of pantomime villainy, and Turnbull’s rendition of Poor Unfortunate Souls is a formidable finale to Act One.

Neil Wood’s Grimsby and James Horsman’s Prince Eric

Jonny Holbek’s Caribbean crustacean, Sebastian the crab, carries the heaviest comedy load, and although painting a face red to deliver a calypso caricature in Under The Sea might not be on a par with a white actor blacking up as Othello in 2024, the Jamaican jive could sit awkwardly for those who cringed at Jar Jar Binks in Star Wars: The Phantom Menace.

Nevertheless, Holbek is such a personable presence on stage – witness his Dewey Finn lead turn in School Of Rock last November – that his Sebastian goes down well, breaking down theatre’s fourth wall in the style of a panto daft lad.

Under The Sea, by the way, is as big and bright and fun as the big ensemble number should be, while Monica Frost’s Ariel, the mermaid who makes a deal with Ursula to take on human form (at the cost of her voice), relishes her spotlight in Part Of Your World in a resolute lead performance.

Rory Mulvihill’s King Triton

Lay’s Scuttle and the Seagulls could not be more positive in Positoovity, danced to tap choreography by Rachel Whitehead, and if you want an actor to maximise a cameo with comic flair and French drama, step forward Zander Fick’s Chef Louis  in Les Poissons in the palace kitchen.

Roller-skating is all the rage under the sea for Triton’s daughters (Frost’s Ariel, Annabel Van Griethuysen’s Aquata, Helen Miller’s Andrina, Madeleine Hicks’s Arista, Chloe Chapman’s Atina, Sophie Cunningham’s Adella and Sarah Craggs’s Allana), who swish hither and thither and sing siren-style.

James Horsman’s Prince Eric, the royal who would prefer to be a sailor, is played as straight as a ruler, fitting the Disney tropes of dark hair, slim frame and mono-focus on his one – find his bride – task in hand.

Jonny Holbek’s Sebastian the crab and Ryan Addyman’s Flounder performing Under The Sea

Ryan Addyman, who had everyone talking about his Jamie New in York Stage’s  Everybody’s Talking About Jamie Teen Edition last June, was promptly head-hunted to play Flounder, and he anything but flounders as Ariel’s fabulous fish sidekick here. One to watch, definitely.

Dial M for Mermaid if you enjoy Disney with a York Light touch, colours galore, fairytale fantasy, Turnbull terrors and Mulvihill regal authority

Performances:  7.30pm nightly, plus 2.30pm, Wednesday, Thursday and Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Martin Lay’s Scuttle, front, and the Gulls dancing Positoovity in York Light’s tap number in Disney’s The Little Mermaid

More Things To Do in York and beyond as the Vikings take over. Hutch’s List No. 7 for February 10 onwards, from The Press

In with a shout: Jorvik Viking Festival returns to York

INVASION? Installation? Theatre innovation? Half-term challenges? Giants and dinosaurs? Yes, yes, yes. Charles Hutchinson signposts what to catch in the days and weeks ahead.

Festival of the week: Jorvik Viking Festival 2024, invading York from February 12 to 18

NOW in its 39th year, Europe’s largest annual Viking festival will be attracting up to 45,000 visitors of all ages over the week ahead. “We’d always advise booking in for some of the activities – including a visit to Jorvik Viking Centre and the Festival Finale – but many have booking slots available on the day too,” advises event manager Abigail Judge.

Family activities include Monday’s smelly, squelchy Poo Day! at DIG, St Saviourgate, from 11am to 3pm; daily Berserker Camp, family crafting and saga story-telling Arena! shows, and a new event, the Best Dressed Viking, Best Beast and Best Beard competitions, on February 18 at 12.30pm in St Sampson’s Square. For tickets and the full programme, visit: jorvikvikingfestival.co.uk

Georgia-Mae Myers and Nedum Okonyia in rehearsal for the Imitating The Dog and Leeds Playhouse co-production of Frankenstein. Picture: Ed Waring

Yorkshire theatre premiere of the week: Frankenstein, Leeds Playhouse Courtyard Theatre, February 15 to 24

PIONEERING Leeds company Imitating The Dog teams up with Leeds Playhouse for a “visually captivating and psychologically thrilling” multi-media exploration of Mary Shelley’s Gothic tale of fear and anxiety, posing the question “what is it to be human?”.

Georgia-Mae Myers and Nedum Okonyia play all the roles across parallel narratives, threading together the late-18th century’ story of Frankenstein with a contemporary conversation between a pregnant young couple, fearful of what it means to bring life into the world. Box office: 0113 213 7700 or  leedsplayhouse.org.uk.

Ironing 1924 style at Nunnington Hall over half-term. Picture: Arnhel de Serra

Half-term family activity of the week: Nunnington Hall, Nunnington, near Helmsley, February 10 to 18, 10.30am to 4pm, last entry at 3.15pm.

TRAVEL back to 1924 this half-term when families can enjoy being tasked with carrying out activities performed by household servants 100 years ago, from ironing to dusting bannisters, cross stitch to flower arranging.  

The National Trust property has created a fun, interactive trail around the manor house in the form of a CV that guides visitors through the various servant skills. Children can find out if they meet the requirements necessary to fulfil the responsibilities of the desired positions, and then decide which roles, if any, they would choose to accept. Tickets: nationaltrust.org.uk/nunnington-hall.

Going Wilde in the country: Tiny & Tall Productions and Soap Soup Theatre’s touring production of The Selfish Giant visits Helmsley

Children’s show of the week: Tiny & Tall Productions and Soap Soup Theatre in The Selfish Giant, Helmsley Arts Centre, February 11, 2.30pm

BRISTOL family theatre companies Tiny & Tall Productions and Soap Soup Theatre head north with their collaborative exploration of Oscar Wilde’s children’s story of an unusual friendship, The Selfish Giant.

In this version, the giant Grinter lives happily alone in her huge icy house, shutting out the world that long ago shut her out. Outside, very little greenery is left. One spring day, the children, tired of playing on hard roads and grey rooftops, climb through a chink in her garden walls, changing the course of their lives forever and Grinter’s too. Box office: 01439 771700 or helmsleyartscentre.co.uk.

Jonathan Pie: Hero or villain? Time for a rant at York Barbican

York comedy gig(s) of the week: Jonathan Pie: Hero Or Villain?, York Barbican, February 14 and 15, 7.30pm

FOR the record, ranting political correspondent Jonathan Pie is a fictional character portrayed by British comedian Tom Walker, scripted by Walker and Irish comedian Andrew Doyle. In his latest slice of Pie, he hopes to answer the question: hero or villain?

Join him, on a St Valentine’s Day date or the night after, as he “celebrates the UK’s greatest heroes (nurses/Gary Lineker/24-hour off licence proprietors), takes a verbal blowtorch to its villains (the Tories/cyclists), kicks in the Establishment’s back doors and rifles through its kitchen cupboards”. Box office: yorkbarbican.co.uk.

Jurassic Live: Dinosaur adventures on a musical journey at York Barbican

Swimming dinosaur alert: Jurassic Live, York Barbican, February 16, 5pm; February 17, 11am, 3pm; February 18, 1pm

NEW for 2024 in this interactive theatrical dinosaur show is the Tylosaurus, a genus of Mosasaur: the largest predatory marine reptile to ever grace our oceans and now the largest marine puppet ever made as it swims in its gigantic purpose-built Jurassic tank on stage. Be warned: if you sit near the front, you will get wet!

Family show Jurassic Live undertakes a musical journey as little Amber, Ranger Joe and Ranger Nora strive to save the day from an evil man determined to close the Jurassic facility. Box office: yorkbarbican.co.uk.

Barrie and the Bard: Barrie Rutter discusses Shakespeare’s Royals at the SJT, Scarborough, Salts Mill, York Theatre Royal and Ripon Theatre Festival

Regal tour of the north: Barrie Rutter: Shakespeare’s Royals, Stephen Joseph Theatre, Scarborough, March 1, 7.30pm; Arrival Of Spring Gallery, Salts Mill, Saltaire, April 13, 7.30pm; York Theatre Royal Studio, April 26, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm

BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.

After being told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, took the revolutionary step of creating his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. As he says on X: “Lover of language. Awobopaloobopalopbamboom – everything else is Shakespeare”. Box office: Scarborough, 01723 370541 or sjt.uk.com; Salt’s Mill, https://bit.ly/RutterAtSalts;  York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.

In Focus: Art installation Colour & Light, York Art Gallery, going full frontal until February 25

Colour & Light: Art from the York Art Gallery collection spreads over the gallery facade in Double Take Projections’ installation. Picture: York BID/Double Take Projections

YORK BID links up with York Museums Trust for the return of Colour & Light: an innovative project designed to warm up York Art Gallery’s facade in the cold winter with an art-filled light installation by David McConnachie’s Edinburgh company Double Take Projections.

This “high impact and large-scale visual arts project” uses 3D projection mapping to bring York’s iconic buildings to life, first York Minster last year, now York Art Gallery, where the projection will play every ten minutes from 6pm to 9pm daily in a non-ticketed free event. 

Highlighting York’s UNESCO Media Arts status, this outdoor projection is the work of Double Take Projections, who architecturally scanned the gallery facade to generate a 3D model.

This model served as the template for content application. From there, they used multiple projections to create one seamless image by projecting from different angles and wrapping content on the irregularly shaped frontage.

Viewers can notice something new at each viewing, such as York’s skyline being hidden in different mediums or artistic elements of the gallery’s façade that they may not have spotted previously.

The William Etty statue in front of the gallery, in Exhibition Square, has been brought to life too. Born in Feasegate and buried just around the corner from the gallery in Marygate, Etty is York’s most iconic artist.

Considered the first significant British painter of nudes and still lifes, Etty’s 19th century paintings were somewhat controversial at the time, but he also played a role in the conservation of the city walls.  His work Preparing For AFancy Dress Ball features in the Colour & Light display.

Not only York Art Gallery’s paintings are highlighted. Spot the reference to the extensive Centre of Ceramic Arts (CoCA) and the two tiled panels on the side of the building, Leonardo Expiring In The Arms Of Francis I and Michelangelo Showing His Moses

Viewers can pick up exclusive Colour & Light merchandise from the Sketch Box for £2 or less while watching the show, as well as churros, soft serve and hot drinks.

Carl Alsop, York BID’s operations manager, says: “This event is all about making world-class culture more accessible, and it’s been brilliant watching the show from Exhibition Square, traditionally a quiet and reserved space, with children playing, dancing and laughing, and people from all backgrounds enjoying the show together.

“It’s also been great to see people discovering some of the less obvious aspects of the projection on a second viewing. Audiences have enjoyed various buildings from York’s skyline reimagined in different mediums, as well as seeing elements of York Art Gallery, like the mosaics on each side of the building, brought to life.”

Richard Saward, York Museums Trust’s head of visitor experience and commercial, says: “We are thrilled to be involved with York BID’s Colour & Light show. This event kicks off a fantastic season at York Art Gallery, including The Aesthetica Art Prize 2024 exhibition and Claude Monet’s painting The Waterlily-Pond, which will be on display in York from May 10 to celebrate the 200th birthday of the National Gallery.” 

Squid’s in! Pascha Turnbull can’t wait for the sea-witching hour as underwaterworld villain Ursula in Disney’s The Little Mermaid

Pashca Turnbull in full regalia as Ursula, the sea witch, in York Light Opera Company’s production of Disney’s The Little Mermaid. Picture: Matthew Kitchen

WHY is the seaweed always greener in someone else’s lake? Find out in Disney’s The Little Mermaid, the spectacular finale to York Light Opera Company’s 70th celebrations that opens tonight (7/2/2024) at York Theatre Royal to coincide with half-term week.

Director Martyn Knight and musical director Paul Laidlaw are at the wheel for this underwater adventure with music by Alan Menken, lyrics by Howard Ashman & Glenn Slater and book by Doug Wright, based on Hans Christian Andersen’s 1837 fairytale and John Musker & Ron Clements’s 1989 animated film.

York Light bring LED projection, dazzling costumes and choreography by Rachel Whitehead to the timeless enchanting tale of Ariel, a mermaid who dreams of trading her tail for legs to explore the human world. Aided by mischievous sidekick Flounder and the cunning Ursula, Ariel strikes a bargain that will change her life forever, but all is not what it seems.

Ariel will be portrayed by Monica Frost, Flounder by Ryan Addyman, Sebastian the crab by Jonny Holbek, Prince Eric by James Horsman and King Triton by the York stage stalwart Rory Mulvihill.

Billed as “the now renowned witch performer”, Pascha Turnbull will play sea witch Ursula, the greedy squid with powers of dark magic that, spoiler alert, will lead to her banishment.

“I haven’t seen the live action re-make [Rob Marshall’s 2023 film] – on purpose! Melissa McCarthy plays Ursula in that version. No pressure there then!” says Pascha.

How would she describe Ursula? “I think she’s more than cunning. She’s sly, devious, manipulative…she’s just awesome! Some little girls dream of being princesses, but some dream of playing villains – like me! Baddies absolutely have more fun – and you don’t have to kiss anybody!

“The big powerful woman, the larger-than-life character, is just something I’ve always enjoyed. On top of that, my natural singing voice is alto –they tend to play villains – and I’m 6ft tall.”

Pascha Turnbull being made up for the role of evil squid Ursula in Disney’s The Little Mermaid. Picture: Matthew Kitchen

Armed with “lots of tentacles I have to co-ordinate”, Pascha forms a new York Light team with James Dickinson’s Flotsam and Adam Gill’s Jetsam. “We’re Team Evil, as we call ourselves. James and Adam are even taller than me, so we’re a formidable team when we’re on stage together!” she says.

“I’ve seen James and Adam in other shows, like Joseph And The Mazing Technicolor Dreamcoat, and James happens to work in the print industry, like me.”

Should you be wondering, Pascha and her brother Nick – even taller at 6ft 5ins – run Inc Dot Design & Print, in Seafire Close, York, a print and graphic design company set up by their father, John Turnbull, in 1980.

“I’ve always said it’s great to be tall because you always get served at the bar,” says Pascha, who will be part of a cast of 40 in York Light’s show, performing a suitably big solo number, Poor Unfortunate Souls, to boot. “That song sums up her manipulative nature. She’ll help people to live out their dreams, but there’s always a payment required!”

Looking forward to playing the York Theatre Royal stage, Pascha says: “York Light have always done their February shows there. It’s a heck of a feeling performing in such an iconic theatre building, and just having that professional experience around you is fantastic. Being back in that theatre makes you feel giddy,

“The fact that we’re doing this show over half-term means so many more people can see it, especially with all the matinees, and anything that encourages people into the theatre is a good thing. I’m very excited!”

York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, tonight 7/2/2024) until February 17, except February 12. Box office: 01904 623568 or yorktheatreroyal.co.uk.

York Light Opera Company’s cast for Disney’s The Little Mermaid

Monica Frost’s Ariel

Ariel: Monica Frost
Ursula: Pascha Turnbull
Mersister Aquata: Annabel Van Griethuysen
Mersister Andrina: Helen Miller
Mersister Arista: Madeleine Hicks
Mersister Atina: Chloë Chapman
Mersister Adella: Sophie Cunningham
Mersister Allana: Sarah Craggs
Prince Eric: James Horsman

York Light debutant Ryan Adamson in the role of Flounder


Grimsby: Neil Wood
Flounder: Ryan Addyman
Sebastian: Jonny Holbek
Scuttle: Martin Lay
King Triton: Rory Mulvihill
Flotsam: James Dickinson
Jetsam: Adam Gill
Chef Louis: Zander Fick

Annabel van Griethuysen’s Mersister Aquata, “Ariel’s mean, ambitious and devious big sister”. Picture: Matthew Kitchen

More Things To Do in York & beyond, when skies are dark or lights are bright. Here’s Hutch’s List No. 6 for 2024, from The Press

Neil Vincent, left, Clare Halliday, Chris Pomfrett, Victoria Delaney and Mick Liversidge in rehearsal for York Actors Collective’s Beyond Caring

A GLUT of York theatre companies, a nocturnal sky festival, a Yorkshire musical and a colourful installation light up the dark nights of February for culture guide Charles Hutchinson.

Social drama of the week: York Actors Collective in Beyond Caring, Theatre@41, Monkgate, York, Tuesday to Friday, 7.30pm; Saturday, 2.30pm and 5.30pm

DEVISED by Alexander Zeldin and the original Yard Theatre cast in London, this 90-minute play highlighting the social damage inflicted by zero-hours contracts forms York Actors Collective’s second production, directed by founder Angie Millard.

Performed by Victoria Delaney, Clare Halliday, Mick Liversidge, Chris Pomfrett and Neil Vincent, Beyond Caring follows meat-packing factory cleaners Becky, Grace and Sam on the night shift as they confront the reality of low wage employment, never sure whether their ‘job’ will continue. Box office: tickets.41monkgate.co.uk.

Robert Rice: Recital at Unitarian Chapel, St Saviourgate tonight


Late Music at the double: Steve Bingham, violin and electronics, 1pm today; Robert Rice, baritone, and William Vann, piano, 7.30pm tonight, Unitarian Chapel, St Saviourgate, York

PET Shop Boys’ It’s A Sin chills with Bach’s Allemande in D minor, while a tango from Piazzolla is thrown in for good measure, as Steve Bingham explores four centuries of solo violin music this afternoon. World premieres of David Power’s Miniatures, Wayne Siegel’s Salamander (violin and electronics) and Rowan Alfred’s Cuckoo Phase will be performed too.

York composer David Power has curated Robert Rice and William Vann’s evening recital, featuring the first complete performance of Power’s Three Char Songs (1985 and 2016). Works by Gerald Finzi, Cecil Armstrong Gibbs, Herbert Howells, Robert Walker, William Rhys Meek, Charlotte Marlow, Liz Dilnot Johnson, David Lancaster, Hannah Garton, Ruth Lee, Hayley Jenkins and Phillip Cooke. Power gives a pre-concert talk at 6.45pm with a complimentary glass of wine or juice. Tickets: latemusic.org or on the door.

Jonny Holbek as Sebastian in York Light Opera Company’s production of Disney’s The Little Mermaid. Picture: Matthew Kitchen

Nautical adventure of the week: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, February 7 to 17, except February 12

BASED on the classic 1989 Disney animated film, The Little Mermaid tells the enchanting story of Ariel, a mermaid who dreams of trading her tail for legs and exploring the human world. Aided by her mischievous sidekick, Flounder, and the cunning Ursula, Ariel strikes a bargain that will change her life forever.

Martyn Knight’s production for York Light features stunning projection, dazzling costumes, unforgettable musical numbers, such as Under The Sea and Kiss The Girl, and choreography by Rachael Whitehead. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The poster for Colour & Light, soon to illuminate the facade of York Art Gallery

Installation launch of the week: Colour & Light, York Art Gallery, February 7 to 25

YORK BID is linking up with York Museums Trust for the return of Colour & Light: an innovative project that will transform the facade of York Art Gallery to counter the cold winter with a vibrant light installation.

This “high impact and large-scale visual arts project” uses 3D projection mapping to bring York’s iconic buildings to life, first York Minster last year, now York Art Gallery, where the projection will play every ten minutes from 6pm to 9pm daily in a non-ticketed free event.

Watching the detective: Steven Jobson’s Lieutenant Frank Cioffi in Joseph Rowntree Theatre Company’s Curtains. Picture: Jennifer Jones

It’s Curtains for…Joseph Rowntree Theatre Company, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm and 2.30pm Saturday matinee

WHEN the leading lady of a new musical mysteriously dies on stage, a plucky local detective must solve this 1959 case at Boston’s Colonial Theatre, where the entire cast and crew are suspects in Kander & Ebb’s musical with a book by Rupert Holmes.

Cue delightful characters, a witty and charming script and glorious tunes in the Joseph Rowntree Theatre Company’s staging of Curtains. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Sunflower power: The Calendar Girls cast on tour at the Grand Opera House, York, from Tuesday to Saturday

Touring musical of the week: Calendar Girls The Musical, Grand Opera House, York, Tuesday to Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees

YOU know the story, the one where a husband’s death to leukaemia prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing, whereupon they set about creating a nude calendar to raise money for charity.

Premiered at Leeds Grand Theatre in 2015, Gary Barlow and Tim Firth’s musical is now touring with a cast of music, stage and television stars. Baring all will be Laurie Brett as Annie; Liz Carney as Marie; Helen Pearson as Celia; Samantha Seager as Chris; Maureen Nolan as Ruth; Lyn Paul as Jessie and Honeysuckle Weeks as Cora. Once more the tour supports Blood Cancer UK. Box office: atgtickets.com/york.

 Nicola Holliday (as Jean Tanner) and James Lee (as Charles Stratton) in rehearsal for Settlement Players’ Separate Tables. Picture: John Saunders

English manners of the week: York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees

AFTER directing four Russian plays by Chekhov, Helen Wilson turns her attention to Separate Tables, two very English Terence Rattigan tales of love and loss, set in a shabby Bournemouth hotel in the 1950s.

Guests, both permanent and transient, sit on separate tables, a formality that underlines the loneliness of these characters in a play about class, secrets and repressed emotions. Chris Meadley, Paul French, Molly Kay, Jess Murray, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher are among the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Festival of the month: North York Moors and Yorkshire Dales Dark Skies Festival, February 9 to 25

TEAMING up for the ninth time since 2016, the North York Moors and Yorkshire Dales National Park authorities celebrate the jewels of God’s Own Country’s night sky this month.

Discover nocturnal activities to heighten the senses such as the Dark Skies Experience (February 9 to 25) night navigation (February 16); trail run and yoga (February 17, sold out); canoeing; planet trail and constellation trail at Aysgarth Falls (February 9 to 25); astrophotography workshops at Castle Howard (February 22), stargazing safaris, children’s daytime trails, art workshops and mindful experiences. More details: darkskiesnationalparks.org.uk; yorkshiredales.org.uk/things-to-do/whats-on/shows/dark-skies-festival/.

Richard Ashcroft: Heading to the woods for Forest Live at Dalby Forest in June. Picture: Dean Chalkley

Outdoor gig announcement of the week: Richard Ashcroft, Forest Live, Dalby Forest, near Pickering, June 23

FORESTRY England completes its Forest Live return to Dalby Forest for the first time since 2019 with Richard Ashcroft, the two-time Ivor Novello Award-winning Wigan singer, songwriter and frontman of The Verve.

Canadian rocker Bryan Adams and disco icons Nile Rodgers & CHIC were confirmed already for June 21 and 22 respectively. New addition Ashcroft’s set list will draw on his five solo albums, along with The Verve’s anthems Bittersweet Symphony, The Drugs Don’t Work, Lucky Man and Sonnet. Leeds band Apollo Junction will be supporting. Box office: forestlive.com.

In Focus: York Ice Trail, City of Dreams, York city centre, today and tomorrow, from 10am

York Ice Trail: City of Dreams this weekend

THE theme for York Ice Trail 2024 transforms York into the City of Dreams, inviting visitors to dream big.

The last York Ice Trail, in February 2023, drew 40,000 visitors to York to view 36 sculptures. Organised by Make It York, the 2024 event again sees the “coolest” sculptures line the streets of York, each conceived and sponsored by businesses and designed and created by ice specialist Icebox.

Sarah Loftus, Make It York managing director, says: “York Ice Trail is one of the most-loved events in the city for residents and visitors alike, and we’re excited to be bringing it back for another year in 2024. 

“It’s a huge celebration of our city and businesses, and the concept will inspire everyone’s inner child, encouraging people to let their imagination run wild.” 

Icebox managing director Greg Pittard says: “Returning to York for the 2024 Ice Trail is a true honour for us. The York Ice Trail holds a special place in our hearts, and we are thrilled to bring this year’s theme to life.

“Our talented team of ice carvers pour their passion into crafting magnificent ice sculptures that will transport visitors to a world of wonder and delight.”

The 2024 ice sculptures:

Our City Of Dreams, provided by Make It York, Parliament Street.

A Field Of Dreams, Murton Park, Parliament Street.

A Journey In ice, Grand Central, Parliament Street.

City Of Trees, Dalby Forest, Parliament Street.

Chasing Rainbows, in celebration of York band Shed Seven topping the UK official album chart in January, York Mix Radio, Parliament Street.

I’m Late, I’m Late! For A Very Important Date!, Ate O’Clock, High Ousegate.

Sewing Like A Dream, Gillies Fabrics, Peter Lane.

Mythical Beasts: The Yeti, York BID, Walmgate.

Hop On Your Bike, Spark:York, Piccadilly (Spark:York will be open from 12 noon).

Belle Of The Ball, York Castle Museum, Eye of York.

Brolly Walks, The Coppergate Centre.

Supporting Our Armed Forces, Crombie Wilkinson Solicitors, Clifford Street.

Mythical Beasts: The Kraken, York BID, Micklegate (moved from King’s Staith on account of high river levels).

The Slithering Serpent, The Potions Cauldron, Middletons, Skeldergate.

Oompa Loompas, York’s Chocolate Story, Middletons, Skeldergate.

Wonkavision, City Cruises, Middletons, Skeldergate.

The Golden Ticket, filled with Terry’s Chocolate Oranges, Middletons, at Middletons, Skeldergate.

Mythical Beasts: The Phoenix, York BID, Micklegate.

Throne Of Dreams, Storage King, Station Road.

York Principal, The Principal York, Principal Gardens.

A Hat Full Of Dreams, The Grand, York, Station Rise.

Judges And Dragons, The Judge’s Lodging, Lendal.

Your Key To The National Park, North York Moors National Park, Exhibition Square.

Mythical Beasts: The Unicorn, York BID, Gillygate.

Mythical Beasts, The Hydra, York BID, Goodramgate.

The Big Bad Wolf, York Minster, Minster Piazza.

Train Of Dreams, National Railway Museum, High Petergate.

Bradley’s Jewellers’ Christmas Robin Egg, Bradley’s Jewellers, Low Petergate.

Floating Dreams, Lucia Bar, Grape Lane.

Fly Into York With P&R, York Park & Ride, St Helen’s Square.

RMS Queen Mary, Betts, Davygate.

Dreaming Of Cut And Craft, Cut And Craft, St Sampson’s Square.

Live Carving, Make It York, St Sampson’s Square.

Tall Stories venture into the deep dark wood for ‘scary fun’ in The Gruffalo’s Child at York Theatre Royal from Thursday

Harriet Waters and Maxwell Tyler in illustrator Axel Scheffler’s “favourite moment” from Tall Stories’ stage adaptation of The Gruffalo’s Child. Picture: Charlie Flint

THE Gruffalo’s Child will be on an adventurous mission at York Theatre Royal from February 1 to 3 in in Tall Stories’ enchanting adaptation of Julia Donaldson and Axel Scheffler’s picture book.

One wild and windy night, the Gruffalo’s Child ignores her father’s warnings about the Big Bad Mouse and tiptoes out into the deep dark wood, where she will follow snowy tracks and encounter mysterious creatures.

But the Big Bad Mouse doesn’t really exist…or does he? “Let your imagination run wild with songs, laughs and scary fun for everyone aged 3 to 103,” reads the invitation from director Olivia Jacobs, co-founder of Islington company Tall Stories, whose cast comprises Harriet Waters, Maxwell Tyler, Samuel Tracy and understudy Pip Simpson.  

Harriet Waters and Samuel Tracy in a scene from Tall Stories’ The Gruffalo’s Child. Picture: Charlie Flint

After seeing her book brought to life on stage, writer Julia Donaldson said: “Tall Stories bring their own special magic to their stage productions based on my books. Children will love entering the atmosphere of the deep dark wood and enjoy the catchy songs. The Big Bad Mouse is worth waiting for.” Ah, too late for a spoiler alert!

Illustrator Axel Scheffler enjoyed the show, saying afterwards: “The snowy deep dark wood based on my illustrations is brought to life by Tall Stories and it almost becomes a character in its own right in their production. A favourite moment for me is when the Gruffalo’s Child sits on the Gruffalo’s lap and the book cover image is created on the stage. I think the young audience will enjoy it very much.”

Tall Stories in The Gruffalo’s Child, York Theatre Royal, February 1, 1.30pm and 4.30pm; February 2, 1pm (relaxed performance) and 4.30pm; February 3, 10.30am and 1.30pm. Running time: 60 minutes. Age guidance: 3+. Box office: 01904 623568 or yorktheatreroyal.co.uk.