Tim Lowe: York Chamber Music Festival director and cellist
THE closing concert of the York Chamber Music Festival 2026 programme by festival artists Charlotte Scott and Tim Crawford, violin, Simone van der Giessen and Lilli Maijala, viola, and Tim Lowe, cello, opened with a rare outing for Beethoven’s impressive String Quintet in C Major, Op 29.
Although there was much to admire, the ensemble seemed out of sorts. To be sure, the extra viola gave the middle register added warmth and the tempo was well judged, but they didn’t seem to be quite in the zone.
This was occasionally apparent in the technically demanding outer reaches of Beethoven’s writing, where intonation was less secure, particularly in the first and third movements. The players took a short tuning break after the opening Allegro moderato, and the Adagio molto espressivo which followed was much more assured.
Here, the playing had warmth, and indeed, depth. The phrasing was clean and the two violas gave the timbre a rich, velvety quality. The third-movement Scherzo: Allegro had rhythmic bite and the sudden dynamic contrasts were convincing. I enjoyed the closing Presto.
The players clearly relished the fast passages, the central five-part fugato was clearly articulated, and the call-and-response episode was beautifully played.
Brahms’s String Quintet in F major, Op. 88 was an altogether more rewarding experience. The Allegro non troppo ma con brio was notable for the expressive opening first-violin theme: fine playing by Charlotte Scott, the resonant viola solos by the impressive Lilli Maijala and the energy and clarity of the often dense contrapuntal texture. The ending was just lovely.
Contrapuntal clarity and rhythmic drive were the memorable takeaways of the Allegro energico – Presto final movement. The performers were on fire as they responded to Brahms’s accelerating contrapuntal energy. Thrilling.
However, it was their performance of the central Grave ed appassionato that provided the concert highlight. The movement itself combined and integrated elements of both the slow movement and the scherzo. The opening Grave was very dark, a timbre created by the exploitation of the two violas and cello. It really is a unique sound.
Their delivery of the lighter, dancing Allegretto vivace was spot on: crisp articulation, pizzicato exchanges and even – dare I say it – evidence that Brahms actually had a sense of fun. The return of the weighty Grave was very well judged – the changes of colour very striking.
Despite some performance uncertainties, cellist Tim Lowe not only anchored the playing but also, in doing so, provided a reassuring sense of security. His contribution was vital throughout the programme.
SATURDAY’S programme opened with Beethoven’s early Octet in Eb, Op. 103 scored for pairs of oboes, clarinets, horns and bassoons.
This proved to be an inspired choice as the players – with no place to hide – delivered an utterly assured performance of a showcase Beethoven work.
The first movement was notable for the excellent solo playing of the principal oboist, Alexandra Nightingale. Importantly, this being very much genuine chamber music, the interest derives from integration with the rest of the ensemble.
This resulted in delightful exchanges between the bassoon, clarinet and oboe. Even the horns had the chance to join the fun towards the end of the movement.
The following Andante came across as a touching duet between the oboe and bassoon (Isabel Dowell). Their intimate exchanges were beautifully delivered, and the rest of the ensemble had the good grace not to intrude. The balance and phrasing were spot on.
The Menuetto e Trio was full of energy and wit – the contrasting Trio delivering the change of mood and colour with the clarinet more prominent. In the Finale: Presto Beethoven gives everybody the chance to show off, and they did.
Here the clarinet takes the leading role from the earlier oboe – Lesley Schatzberger being on fine form and so too the horns. The writing here is particularly demanding and the horn players – Mark Sykes and Tim Pocock – were very good indeed.
What struck me when listening to the work was how democratic Beethoven’s writing was. The hierarchy of the ensemble constantly changed: from principal oboe to oboe and bassoon duet, then ensemble equality to clarinet and horn prominence in the finale.
The second half was given over to Haydn’s radical Symphony No.104 in D major, London. This really is a remarkable work, and I thoroughly enjoyed the Academy’s confident performance. The fortissimo opening – bare fifths (D and A) – delivered that monumental quality, reminiscent of Beethoven’s Ninth.
The atmosphere generated was tonally unsettling; there is a strings-plus-first-bassoon response before the Adagio settles in D minor. The quiet Allegro saw the strings in confident mood, providing a strong performance platform for the woodwind to join in. Indeed, the recapitulation was sung by the flute and oboe. Fascinating listening.
There was much to admire in the following Andante – the simplicity of the opening G major theme; Becky Jobling’s solo flute with delicate woodwind support; the shocking fortissimo orchestral cut-through with syncopated rhythms and agitated strings; the short flute cadenza and the gentle horn fanfare near the end of the movement.
But what really drew me in was the infectious playing which, at times, was so, so seductive. Those gorgeous lilting cadence passages were delightful.
Similarly, it was the joyous sound of the rustic third-movement Menuetto which drew you in. There were fine oboe and bassoon contributions in the contrasting, gentler, chamber-like Trio.
With its drone bass and rustic, folk-like violin theme, the finale once again seems to anticipate Beethoven and here the pastoral language of his Symphony No. 6. Again, the playing was so instinctively infectious that I saw many audience heads nodding to the beat of the music.
The success of the performance not only depended on the quality of the playing, which was pretty impressive throughout, but also on the pacing, the integration of the orchestral grandeur and chamber-music intimacy. For this, Director Alan George deserves much credit.
This leads me nicely into the central work in the programme, Mozart’s Sinfonia Concertante in Eb, K. 364, where he swapped his baton for the viola to duel with Jacob George on violin.
As if to contradict this, the two players emerged out of a substantial opening orchestral introduction as partners, complementing each other rather than competing. Indeed, the subsequent exchanges follow a pattern of call and response, of imitation; they even finish each other’s sentences and act as one with passages in octaves and thirds.
They are genuine equals with distinct voices – the violin’s bright sound contrasting with the darker timbre of the viola. The extended duet cadenza was superbly judged.
I really enjoyed the fast, buoyant exchanges in the Presto conclusion. The back-and-forth exchanges between the two soloists were a bit like musical tennis. What worked here was the spontaneity of engagement.
But it was the second movement Andante, the emotional core of the work, which impacted most. Here we had – sorry to say it, gents – a love duet between the two. Exchanging long, considered phrases, so beautifully embellished. Their closing duet cadenza was one of intimacy rather than one of theatre.
Academy of St Olave’s, 19/9/2026: Alan George, director; Claire Jowett, leader; Jacob George, violin; Alan George, viola.
Ulysses Deriding Polyphemus – Homer’s Odyssey, by J.M.W. Turner, 1829, on loan from National Gallery, London, for Turner, Wedgwood & Beyond: Inspired by Flaxman at York Art Gallery. Copyright: National Gallery, London
GHOSTLY sculptures in gardens, the best in class in brass bands, Mikron Theatre’s mobile library tribute and 60 years of Gilbert O’Sullivan are among Charles Hutchinson’s cultural highlights.
Exhibition opening of the week: Turner, Wedgwood & Beyond: Inspired by Flaxman, York Art Gallery, on show until running until January 17 2027
J.M.W. Turner’s masterpiece Ulysses deriding Polyphemus – Homer’s Odyssey, generously lent by the National Gallery, is making an epic journey north to go on display at York Art Gallery in the wake of the Odyssey’s comeback into popular culture in Christopher Nolan’s film.
Turner, Wedgwood Beyond: Inspired by Flaxman features an ‘Odyssey wall’ in an exhibition that reflects on the life and legacy of York-born sculptor, illustrator and designer John Flaxman (1755 –1826). Opening hours: Wednesday to Sunday, 10am to 5pm. Tickets: yorkartgallery.org.uk.
One of 70 ghosts in the Ghosts In The Gardens trail through York this autumn. Picture: Amy D’Agorne
Trail of the week: Ghosts In The Gardens, York, September 19 to November 1
GHOSTS In The Gardens is back for its sixth haunting season and this time the ghosts are bringing even more friends as 70 ghostly sculptures appear in gardens, on balconies, along the city walls and in unexpected corners of York city centre.
Ten new ghosts join familiar faces from York’s past, each sculpture offering a snapshot of history, bringing fascinating York people, creatures or stories back to life. Some ghosts will return to old haunts, others will be found somewhere new. Admission is free.
John Bramwell: Heading for Selby Town Hall
Humble agenda of the week: John Bramwell, Selby Town Hall, September 19, 7.30pm
AS the singer in I Am Kloot from 1999 to 2014, John Bramwell achieved a Mercury Prize nomination for 2010’s The Sky At Night, a top ten chart position for 2013’s Let It All In, numerous UK and European tours and a triumphant orchestral farewell at the Queen Elizabeth Hall.
Now, as a solo artist, Bramwell travels a very different path, a path that criss-crosses the length and breadth of the UK with a humble agenda of taking his heartwarming songs to the stage for his devoted fans. Box office: 01757 708449 or selbytownhall.co.uk.
York Railway Institute Band: Taking part in National Brass Band Championships of Great Britain at York Barbican. Picture: Keith Meadley Photography
Brass clashes of the week:National Brass Band Championships of Great Britain 2026, York Barbican, September 19 and 20 from 9am and 3pm each day
THE National Brass Band Championships bring more than 70 of the country’s finest brass bands to York for the Sections 1 to 4 national finals. Among the Yorkshire bands competing will be York Railway Institute Band, Wetherby Silver Band and Swinton & District Excelsior Band, all having qualified to compete for National honours. Tickets: Only available to buy in-person on the day. No advance tickets.
Piff the Magic Dragon and Penn Jillette inPiff & Pop’s Magic Shoppe at Grand Opera House, York
Magical show of the week: Piff & Pop’s Magic Shoppe, Grand Opera House, York, September 19, 7.30pm
LEGENDARY magician Penn Jillette, of Penn & Teller fame, is touring the UK for the first time without his 50-year companion Teller, teaming up instead with London-born, Las Vegas-based comedy-magician phenomenon Piff the Magic Dragon (alias John van der Put), from America’s Got Talent.
Act One feature a solo act from both Pop (Penn) and Piff along with Mr Piffles, the world’s only magic-performing Chihuahua.. In Act Two, they blend into a one-of-a-kind double act. Box office: atgtickets.com/york.
Georgina Liley, left, Robert Took, Catherine Warnock and James McLean in Mikron Theatre’s Top Of The World, on tour at Clements Hall, York. Picture: Robling Photography
Touring theatre show of the week: Mikron Theatre in Top Of The World, Clements Hall, York, September 20, 2pm
MARSDEN’S travelling troupe Mikron Theatre makes its second visit of 2026 to York, this time with Maeve Larkin’s celebration of the importance of mobile libraries as sanctuaries, beacons of hope, public services that connect people and communities in a digital age where human connection is more important than ever.
Top Of The Wold invites audiences to hop aboard the charmingly quirky mobile library for a heart-warming journey via Bempton, Bridlington, Hornsea and Howden in an exploration of a region barely noticed by the nation it feeds, celebrating the forgotten, the resilient and the wonderfully eccentric. Tickets: available from Pextons, Bishopthorpe Road, York; Clements Hall, 01904 466086; by email to [email protected] or 07974 867301.
Tim Key: Serving up Loganberry comical whimsy at York Theatre Royal
Unpredictable comedy gig of the week: Tim Key, Loganberry, York Theatre Royal, September 20, 8pm
TIM Key, from The Ballad Of Wallis Island and Tim Key’s Late Night Poetry Programme, pops his suit on again to plod about in new show Loganberry. In Key’s own words, “Bit gutted he’s old. Guzzling continental lager. Magnetic LOL. Decent reviews for previous shows. Played a pigeon in Bong Joon Ho’s latest movie. Been on Richard Herring’s podcast. Book out: “L.A. Baby!”. Met Steffi Graf in 1998/9. This show has poems in, and he’ll stamp and howl.” Who knows what else may lie in wait on Sunday! Box office: 01904 623568 or yorktheatreroyal.co.uk.
Mark Thomas: “Taster menu of government and personal mayhem, jokes, rants and a state of the nation broadcast”
Comedy landmark of the week: Mark Thomas, 40 In Stand-Up Years, Leeds City Varieties Music Hall, September 20, 8pm
WHAT?! Mark Thomas has been “standing up” for 40 years? Impossible! But how old does that make you…? Alas it is true: one of our oldest-surviving alternative comics celebrates 40 years at the mic as he takes his new show on the road this autumn.
Expect a taster menu of government and personal mayhem, jokes, rants and a state of the nation broadcast as Thomas tries to turn ‘what the **** is going on?’ into a cogent night of stand-up.Box office: leedsheritagetheatres.com/whats-on/mark-thomas-2026/.
Gilbert O’Sullivan: Songs old and new at the Grand Opera House, York
Seventies’ chart topper of the week: Gilbert O’Sullivan, Celebrating 60 Years Of Music, Grand Opera House, York, September 22, 7.30pm
GILBERT O’Sullivan will celebrate 60 years of making music, revisiting his UK chart toppers, 1972’s Clair and 1973’s Get Down, as well as such O’Sullivan favourites as No Matter How I Try, We Will, Matrimony, Ooh-Wakka-Doo-Wakka-Day, Why, Oh Why, Oh Why and What’s In A Kiss?, his last of 16 Top 40 entries from August 1980. Then add further selections from his 21 studio albums, the latest, On The Record, being previewed ahead of its November 6 release. Box office: atgtickets.com/york.
Nish Kumar’s tour poster for Angry Humour From A Really Nice Guy
Political disquiet of the week: Nish Kumar, Angry Humour From A Really Nice Guy, Grand Opera House, York, September 23, Leeds Playhouse, October 3, Hull Truck Theatre, October 9 and Scarborough Spa Theatre, November 14
“THE world is in chaos,” laments political comedian Nish Kumar. “Inequality is widening, autocracy is rising and political parties are collapsing. In these divided times, what this country desperately needs is Angry Humour From a Really Nice Guy. (In many ways it’s actually the last thing this country needs, but it’s what it’s getting, so tough luck).”
Pod Save The UK podcast co-host and former host of axed BBC Two show The Mash Report and Late Night Mash, Kumar has entered his 40s. His mind is breaking, his body is worse, “but audiences can still expect existential angst and political disquiet from comedy’s cheekiest boy”. Box office: atgtickets.com/york.
Ceramics by Emily Stubbs and paintings by Di Gomery at Tinker Gallery
Last chance to view: Di Gomery & Emily Stubbs, Fracture and Flow: Conversations in Paint and Clay, Tinker Gallery, Church Street, Ilkley, until September 26
THIS exhibition by York artists Di Gomery (paintings) and Emily Stubbs (ceramics) is into its final week. Gallery owner and artist Joanne Tinker has refreshed the show since much of the work sold. Opening hours: Thursday to Saturday, 10am to 4pm; other times by appointment.
The poster for the Pigeon Paint Off at City Screen Picturehouse, York, On Saturday
A COMPETIVE Pigeon Paint Off, the biggest of book fairs, top-drawer chamber music and Wright&Grainger’s new material are among Charles Hutchinson’s recommendations for a particularly intriguing week ahead.
Bird show of the week: Dead Toe Society presents Pigeon Paint Off, City Screen Picturehouse, York, Saturday, 12 noon to 5.30pm
THE inaugural Pigeon Paint Off creative fundraising event in support of Columba Sanctuary and Advocacy for Pigeons features a live art competition with 11 artists and resulting picture auction, complemented by a Pigeon Social and Pigeon-themed Pub Quiz from 6pm, with the quiz starting at 7pm. Look out too for bird-themed arts and crafts on sale and a raffle with “some snazzy prizes”.
“Watch talented artists bring original works to life, each one inspired by our feathered friends, in two rounds of one-hour paint-offs with audience votes deciding the champion,” says organiser Sam Crick. “You’ll also be able to learn more about why pigeons are suffering, the issues they are facing, why they need our support and how you can help advocate for their wellbeing.” Tickets:https://www.tickettailor.com/events/deadtoesociety/2373410.
Book event of the week: York National Book Fair, Knavesmire Suite, York Racecourse, Knavesmire, Saturday, 10am to 5pm
AT Britain’s largest antiquarian book fair, 186 ‘bookshops’ are set up under one roof with prices ranging from only a few pounds to tens of thousands for more than 100,000 books. All subjects, all dates, from medieval to ultra-modern, are on sale, along with ephemera, manuscripts, prints, photographs and posters, while trade stands are selling marbled papers and binding materials.
York Racecourse offers unlimited free parking and a free shuttle bus is running from the Memorial Gardens on Railway Street to Knavesmire every 30 minutes. Tickets on the door cost £2. Alternatively, head to https://yorkbookfair.com/one-day-complimentary-ticket-2/ to book a complimentary ticket. Children aged under 16 are admitted for free
Classical festival of the week: York Chamber Music Festival, Saturday and Sunday
THIS year’s festival has invited six of the best string players in Europe – Charlotte Scott and Tim Crawford, violins, Simone van der Giessen and Lilli Maijala, violas, and Adrian Brendel and festival artistic director Tim Lowe, cellos, to participate, along with regular festival artist Katya Apekisheva, the British-based Russian pianist.
On Saturdayy, at 1pm, at St Saviourgate Unitarian Chapel, Brendel plays Imogen Holst’s The Fall Of The Leaf and J. S. Bach’s Cello Suite No 2 in D Minor; at 7.30pm, at the Sir Jack Lyons Concert Hall, University of York, all seven perform Mendelssohn’s Piano Trio No 1 in D minor Op 49, Mahler’s Piano Quartet (movement) in A minor – Nicht zu schnell and Brahms’s Piano Quartet in C minor Op 60. All but Apekisheva return for Beethoven’s String Quintet in C Major Op. 29 and Brahms’s String Quintet in F major, Op. 88, on Sunday at 3pm at St Olave’s Church, Marygate. Box office: ycmf.co.uk or 01904 658338.
Artist trail of the week: Staithes Festival of Arts and Heritage, Staithes, near Whitby, Saturday and Sunday, 10am to 5pm
DISCOVER 113 artists exhibiting across 67 venues through Staithes. Explore galleries, cottages, studios and hidden spaces transformed into exhibition venues across the fishing village. Find out who is taking part at https://www.staithesfestival.com/festival/artists.php.
Enjoy live music, buskers, creative workshops, demonstrations, outdoor cinema, family activities and festival extras too. For the full event programme, go to: https://www.staithesfestival.com/festival/events.php.
Americana gig of the week: James Felice & William Lawrence, Pocklington Arts Centre, Saturday, 8pm
JAMES Felice and drummer William Lawrence, two members of New York State’s Felice Brothers, are taking to the road to perform songs from their respective solo works in a dreamy and quiet evening of Americana music and storytelling. James and William last appeared at Pocklington Arts Centre alongside Ian Felice and Jesske Hume in the Felice Brothers gig in June 2021. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Songs old and new of the week: Michael Ball, Glow UK Tour, York Barbican, Saturday, doors 7pm
MUSICAL star and radio and TV presenter Michael Ball promotes his 23rd solo album, Glow, on his 25-date tour.
“There’s probably only one thing I enjoy more than being in the studio – writing, producing and singing songs with people I love – and that’s taking it all out on the road and performing those songs, as well as all the old favourites to the audiences I love,” he says. Liss Jones supports. Box office: yorkbarbican.co.uk.
Comedy gig of the week: Urzila Carlson, Fatty On A Yacht, York Barbican, Sunday, 8pm
SOUTH African-New Zealander Urzila Carlson returns to the UK with her understated punchlines and signature deadpan delivery in Fatty On A Yacht. Ever felt like you don’t belong? Like everyone else got the memo – and you turned up in the wrong outfit, on the wrong day, on the wrong yacht? Carlson’s new show is for anyone who has ever tried to squeeze into a space, physical or social, and thought “This can’t be right”. “It’s about not fitting in, standing out and laughing about it anyway,” she says. Box office: yorkbarbican.co.uk.
Country gig of the week: Ward Thomas, Celebrating 10 Years Of Cartwheels Tour, York Barbican, September 14, 7.30pm
HAMPSHIRE twin sisters Catherine and Lizzy Ward Thomas perform their second album in its entirety, revisiting the record – written at home and in Nashville – that made history as the first by a British country act to top the UK Albums Chart in 2016.
“We had to plan a celebration for its ten-year anniversary,” says Lizzy. “We’ll be bringing our full band, doing a type of show we haven’t done in a long time.” The Wandering Hearts support. Box office: yorkbarbican.co.uk.
New music, words and stories of the week: Wright& Grainger, Scratch An Itch, Theatre@41, Monkgate, York, September 18, 7.30pm
IN a rare little moment of public-facing recklessness, Easingwold duo Wright&Grainger have some brand new stuff they wish try out in front of, and with, some other people. “It’ll defo involve a piano,” say Alex and Phil. “It’ll defo have music and words and story.
“There’s some tasty clues to follow, some sweet ideas to develop, some scary instincts to trust. And now there’s this big and warm open invite to you, to come join. So please do. We’d love that. Fingers crossed it’ll be good.” Box office: tickets.41monkgate.co.uk.
The cover artwork for Robert Harris’s Agrippa, published byHutchinson Heinemann
“I CAN’T stand it when novelists read from their own books,” deadpans Robert Harris before reading to a full house in the lecture theatre at Tempest Anderson Hall, Yorkshire Museum, York Museum Gardens.
The author, who isone of the most successful and popular novelists of our time, was in town to promote his latest page-turner, Agrippa, at an event organised by Waterstones, York.
The comment extracted laughter from the audience, who were mostly white, middle-class and over 50. Harris is a likeable presence. An ex-journalist, he has a pithy and appealing way of communicating. He can get to the point and has a winning way with stories.
His books have been translated into 40 languages and converted to numerous films and television adaptations. But he’s also enviably committed. He writes seven days a week, turning out a focused 800 words a day, and has an enormous capacity for memory and research. His writing study is filled with hundreds of books.
Harris’ 17 historical novels have roamed from ancient Rome to Nazi Germany. Typically, they focus on a moment of crisis: Precipice dealt with the start of the First World War. Pompeii focused on the eruption of Mount Vesuvius in AD79.
They also tend to dwell in the corridors of influence, whether it is Whitehall or Rome’s Senate. “Power fascinates me,” says Harris.
The stories invariably are the preserve of men. In Conclave, the Papacy struggled to pick its next leader. In Act Of Oblivion, men hunt other men who signed the death warrant of King Charles I.
Some of Harris’s heroes share several similarities with their author: introverted, disciplined, methodical and with a strong moral backbone. In Agrippa, however, he writes in the voice of somebody less given to compromise. The man of the book’s title was one of Rome’s thugs, an enforcer for Octavius. Together, they overcame numerous obstacles.
The key to the novel, Harris feels, was getting the voice right. “Agrippa must have been a tough son of a bitch…he looks like a nightclub bouncer,” he says. (Anyone interested can soon find the bust of Agrippa’s face from 25BC on the web. He does, indeed, look like an uncompromising character.)
The Roman general could be ruthless, explains Harris: “He put down a rebellion in Spain with particular severity.” Yet Harris also notes his subject’s more sophisticated side. Agrippa was the man behind some of Rome’s aquaducts, including the one in the bay of Naples.
“Agrippa was a man of destruction and warfare, but then there’s all this creation,” says Harris. Unlike Cicero, whose speeches were recorded, there are hardly any surviving documents relating to Agrippa, just lots of dates and secondary sources.
This, Harris says, was great news. “For a historical novelist, this is fantastic…an empty slate to write on.”
Octavius was only 18 when he partnered with Agrippa, who was one year older. “Nobody would have given them a chance…they became rulers of the world,” says Harris, who retains objectivity about his characters. “Octavius was not a pleasant person. He is said to have gouged out the eyes of people. He was also a hypocrite. He had a lot of affairs with wives of his soldiers, at the same time he brought in strict moral laws about adultery.”
Harris has entered this world before. His highly successful Cicero trilogy explored the world of Ancient Rome with a focus on the machinations of power. The leaders were power-mad thugs. The books were not that far away from The Sopranos. Both have an Italian influence, if not the same weapons. Caesar, who appears in the new novel, was, says Harris “sinister and glamorous at the same time”.
Harris mentions powerful women and there’s a brief allusion to Sarah Netanyahu and the “demonic energy behind the scenes”. He seems to regret this comment. Naturally, I scribble it down.
The new book comes at a time when strong-arm politics are in force. Might is right. Agrippa,like Donald Trump, does what he wants, knowing he can rely on strongman tactics. Harris speaks about this, laughing a little at Trump’s recent enjoyment of gladiators on the White House lawn.
The novelist can sometimes be lacerating. When David Cameron’s autobiography came out in September 2019, Harris wrote a scathing review in The Sunday Times, lamenting Cameron’s arrogance and the tragedy-farce of Brexit. “It would be better,” he wrote, ‘if Cameron hadn’t been born.”
From the safety of his home in the Home Counties, Harris conjurs up whole worlds. In York, he spoke with relish about writing battle scenes. “When the blood is being spilled and you’re at a desk in Berkshire, it’s the best place to be.” His humour is enjoyable – the audience laughs several times.
Robert Harris did not come from grand origins. Born in 1957, he grew up on a council estate in Nottingham. It seems he was precocious. At the age of six wrote an essay entitled “Why me and my Dad don’t like Sir Alec Douglas-Home”. (Harris’s father was very engaged in politics, heckling Douglas-Home when the politician visited Nottingham market square.)
At school Harris wrote plays, getting his friends to act in performances, and edited the school magazine. He later went to Cambridge, the first person of his family to attend university, and was elected president of the Cambridge Union. His time there lent him confidence; he became the editor ofVarsity, the Cambridge student newspaper.
After Cambridge, he worked in journalism, contributing to Panorama, Newsnight, The Sunday Times and Observer between 1978 and 1992. His television work led to a close friendship with Jeremy Paxman. He wrote several non-fiction books, including Good And Faithful Servant, a profile of Margaret Thatcher’s press secretary, Bernard Ingham. Selling Hitler was about the fake Hitler diaries that caused a sensation in the early 1980s.
When he sat down in 1989 to write the opening lines of Fatherland, his first novel, he found the moment exhilarating. “I had to go and lie down,” he tells the York audience, who chuckle with amusement.
The contrast between non-fiction and fiction was intoxicating. “It was the difference between riding a bicycle and flying a helicopter,” he says. Fatherland imagined a world in which Germany triumphed in the Second World War. The novel was so appealing to publishers that a bidding war ensued. The advance was sizeable and led to Harris acquiring anice place in Berkshire that has sometimes been called sometimes been called “The House That Hitler Built”. The house is very grand and, according to one interviewer “…triggers little stabs of envy in the hearts of all the journalists who go and interview Harris”.
Some of his books emerge after a long time. Precipice, about the relationship between Prime Minister Asquith and Venetia, was published in 2024, four decades after Harris first read a book about their clandestine correspondence. The Ghost took 15 years to come to fruition. With Agrippa, there was also a sense of waiting. “I wanted to write about Agrippa for a long time,”says the author.
At the end of the reading and Q and A, he poses for photographs with fans. One senses he is a remarkable person, totally committed to his craft as a writer who entertains. I’ve read 11 of his books. They are always enjoyable, even if one or two had a dip in quality (The Second Sleep was not so hot, even if the idea was interesting). But that laser-like focus: 800 words a day. That’s really something.
Agrippa by Robert Harris is out now, published by Hutchinson Heinemann.
MILES Salter is a writer and musician based in York. He writes regularly for York Calling. His book about The Pretenders, A Dangerous Band, will be published on November 1. He fronts the band Miles and The Chain Gang.
An artwork by Ian Burke, one of 113 artists participating in Staithes Festival of Art and Heritage at 67 locations in the fishing village
THIS weekend’s festival celebrates art, creativity, music and heritage throughout the historic fishing village of Staithes, near Whitby, North Yorkshire.
Enjoy a packed programme of live music, headline concerts, creative workshops, demonstrations, outdoor cinema, family activities and festival extras.
DISCOVER 113 artists exhibiting across 67 venues throughout Staithes, including 15 students from Northern School of Art (Middlesbrough campus) taking part in a group exhibition. Full-time students Sophieand Harry will exhibit independently at St Peter’s Centre and 1 Webster Steps.
Explore galleries, cottages, studios and hidden spaces transformed into exhibition venues across the village. Explore the artists at https://www.staithesfestival.com/festival/artists.php.
Eliza Carthy: Performing at Staithes Memorial Village Hall tonight at 7.30pm with a new punk-spirited albumto promote. Recorded with The Restitution, Frenemies is set for release on October 26, addressing themes of motherhood, the state of the modern world, forgiveness and personal resilience as Eliza turned 50. Guest contributors to the recording include Jools Holland, Robyn Hitchcock, actors Miranda Richardson and Tim McInnerny, and Queen Of Harps
Live Music
ENJOY ticketed headline concerts by folk fiddler and singer Eliza Carthy, of Robin Hood’s Bay, at Staithes Memorial Village Hall from 7.30pm to 9.30pm tonight and Saltburn-by-the-Sea shanty group Saltburn Smugglers, same venue, same show time, tomorrow.
Taking part will be Dire Staithes and Wall Of Noise tonight; Saltburn Ukulele Band, Men Of Staithes, Becky Foord, Nick Rooke Band and Andy Blackford’s WYSIWYG tomorrow; Irish Coalminers Fylingdales Folk Choir, Michael Nagasaka and Ben Beattie and Men Of Staithes on Sunday. Look out for buskers and pop-up performances around Staithes throughout Saturday and Sunday.
Heritage
DISCOVER the stories, history and landscape of Staithes through heritage talks, guided walks, geology, fossils and events celebrating the village’s artistic and maritime past.Some heritage events are free, while others require payment or advance booking at https://www.tickettailor.com/events/staithesfestivalofartsandheritage.
South Bank Studios seascape acrylic artist Carolyn Coles: Taking part in Staithes Festival of Arts and Heritage at Kindly Light, Wesleyan Chapel, Chapel Yard, Staithes
Further highlights
Outdoor Cinema at Kippers Corner
Friday and Saturday, 9pm
Venue: Kippers Corner, High Street Cost: Free Presented by: Staithes Cinema Club
As the sun sets, join the gathering on the High Street opposite Kippers Corner. Bring your deckchairs and blankets for a screening of films about Staithes’ past and present, telling the story of thisremarkable village.
As dusk settles over Staithes, visitors can look forward to the festival’s lighting show, adding colour, atmosphere and a little extra magic to the village after dark.
Explore the Jurassic world on a guided rock-platform walk between Staithes Harbour and Old Nab.
The people behind the Yorkshire Fossil Festival bring together a family programme of fossils, science and creativity, with walks, talks, craft workshops and hands-on activities exploring the deep-time heritage of Staithes and the surrounding area.
Suitable for beginners and enthusiasts.
More information: Earth Science Outreach UK
Yorkshire Marine Nature Partnership
Saturday, 10am to 4pm
Venue: Cowbar Staith Cost: Free
Explore examples of Concrete Coast enhancements designed to blur the boundary between land and sea, helping coastal defences work for both people and nature.
Be inspired by coastal textures and your own relationship with the sea, then contribute to a collaborative community print tapestry.
Booking: No booking required—drop in throughout the day
GO hands-on with creative activities led by creative scientists.
Part of the Staithes Rocks programme, this drop-in workshop brings together fossils, science and creativity while exploring the deep-time heritage of Staithes and the surrounding area.
Discover what happens when engineering and science become kinetic art.
Watch colour, movement and physics come together as swinging pendulums create constantly changing patterns in this family-friendly display.
Booking: No booking required
Heritage & Local History
Rod Jewell’s Staithes Experience: Heritage Exhibition
Saturday and Sunday, 10am to5pm
Venue: Granary Yard Garage Studio Cost: Free
Roll up, roll up for a continuous and rare silent film showing the arrival of the motorised Staithes lifeboat in 1924, along with reels from Rod’s treasured Victorian magic-lantern collection of unpublished slides featuring bygone Staithes in the 1890s, the Staithes Group of Artists and fisherfolk.
Immerse yourself in collector Rod’s Staithes Experience. Photographs, antiques, ephemera and bric-a-brac will be on display and available to buy.
Rod is the author of the photographic village history Staithes: Between Two Nabs.
Booking: No booking required
An artwork by York digital photomontage and mixed media artist Adele Karmazyn. Find her work rooted in a fascination with antiquities, weathered textures and forgotten spaces at High House, Cinder Path, Staithes
Bill Hinchley’s Guided History Walk
Saturday and Sunday, 11am to1pm
Meeting point: Bank Top viewpoint, Staithes Lane Cost: Donations in aid of the Great North Air Ambulance Booking: Advance booking required
Join lifelong Staithes resident and historian Bill Hinchley for a captivating heritage walk through the village.
Equipped with coastal humour, personal memories and rich storytelling, Bill brings the historic fishing village vividly to life.
Venue: Poplar House, High Street Cost: £5 per lot consigned, payable on the day
Find out more about your family heirlooms, prized possessions or boot-sale bargains with Bargain Hunt’s Caroline Hawley and her auctioneer husband, John.
Hawleys Auctioneers will be on hand to value and share information about jewellery, watches, coins, silver, paintings and objets d’art.
Venue: Singing Waters Yard, High Street Cost: £5, payable on the day
Spin your own masterpiece with Ed and Al in Singing Waters Yard – fun for the young and not so young. Create a piece of art to take home as a memento of your visit to Staithes Festival.
Booking: No booking required—pay on the day
Painting Demonstrations with Lynton Parmar-Hemsley
Saturday and Sunday, 10.30am to 4pm
Venue: Staithes Gallery, High Street Cost: Free
Visit Staithes Gallery during the festival weekend to see painting demonstrations by artist Lynton Parmar-Hemsley throughout Saturday and Sunday.
Venue: Sunday School beneath the Wesleyan Chapel, Chapel Yard With: Artist Ian Burke Cost: £15 Booking: Advance booking advised
Explore the dramatic effect of light falling across one side of the face using simple relief-linocut techniques. No drawing experience is required.
Ian will provide expressive black-and-white portrait images inspired by woodcuts, which participants will transfer onto lino and carve as the first printing block. A second lino block will then be created to print the light and bring out the features through contrast and tone.
During the session, you will create your own striking chiaroscuro portrait print and explore how light can define form and expression.
Preening, Staithes, by Yorkshire wildlife artist Tracey Waddington, whose work will be at Harbour Cottage, High Street, Staithes
Recycled Copper Ring-Making
Saturday and Sunday, 1pm to 5pm
Venue: Chapel Garth, High Street With: Bean Creative Cost: £7 per person, payable on the day Session length: Approximately 20 minutes
Try something a little different by making your own unique copper-pipe ring using old plumbing parts. Become creative with files and hammers to produce a beautiful ring: the perfect piece of recycled festival jewellery.
Join artist Sue Nichol for a free drop-in painting demonstration. She will show how she creates her bold and colourful paintings inspired by the Yorkshire coast and its famous sailing cobles.
View the artwork created by the talented winners of the children’s seaside art competition and have a go at winning raffle prizes.All funds raised will help support the festival.
Booking: No booking required More information: Co-op
Poetry & Performance
The Stand-Up Tragedy Show
Sunday, 10.15am to 11.45am
Venue: The Lifeboat Shed Cost: Free With: Andy Blackford, Carmen Marcus and Bob Beagrie
The Stand-Up Tragedy Show features Andy Blackford—voted 1970’s Man Least Likely To Make 30—and his more talented friends, the poets Carmen Marcus and Bob Beagrie.
Please note, there is no festival visitor parking in the old village. Instead, festival parking will be available at Cowbar, with a free shuttle service for visitors who need assistance.
Check the latest parking, travel and accessibility information before setting off. For more information, go to: https://www.staithesfestival.com/plan-your-visit-to-staithes/parking.php.
THE titles – the festival’s own – give a rough indication of where we are in this year’s theme of Creation.
Dialogue is self-explanatory; the Dividing Line is that between earth and sky. Each of these recitals in churches on the northern edge of the North York Moors featured a world premiere, in a context of related works, old and new.
The afternoon in Danby involved only three violinists: Alena Baeva, Benjamin Baker and Charlotte Scott. Two pieces each by Bach and Berio framed two dances by Saariaho and the world premiere of Creation by Isabella Gellis, the only work in the programme involving all three players.
She describes it as a reimagining of an aria about a butterfly, sung by the Child in her 2024 opera The Devil’s Den, which was staged by Opera North last November. The role requires some daunting vocal pyrotechnics.
In the earlier part of its eight minutes, a glissando and close harmony set up a sense of lament. These recurred later, but the highest voice emerged gently at first and then with full-throated lyricism before lower, slower voices suggested the butterfly temporarily at rest.
It was not long before a series of high-note signposts, against tremolo accompaniment, grew ever more intense, keenly reflecting the original aria. Finally this dissipated into hovering harmony, in a pianissimo that stopped abruptly. Even without the visual reference, the piece stands alone most effectively.
Charlotte Scott despatched an immaculate if slightly deliberate account of Bach’s Second Partita for solo violin at the start, which was more than matched by Alena Baeva’s concluding no-holds-barred version of his taxing Chaconne, in which the three voices within the score emerged clearly.
Benjamin Baker teamed up with each of them in turn in five of Berio’s Duetti, bringing out the more lyrical sides of the composer’s human portraits. All three players warmed up for the Gellis with a suitably balletic approach to Saariaho’s two Danses des Flocons.
There were no less than a baker’s dozen of players on hand two afternoons later in Egton Bridge. The first half of the programme culminated in the world premiere of Charlotte Bray’s That Which You Wove Of Lightest Thread, I Wear To Honour Stone, for horn and string quartet.
Its title is taken from Paul Celan’s poem Totenhemd (‘death shirt’). What made this unusual was its close affiliation with a woven installation by the artist Caroline Burraway, which was on display in the nave. It consisted of a number of largely dessicated leaves woven together with human hair. It was deliberately designed to fall apart over time.
Bray’s music had a similar feel. Most of the action was in the solo horn, now in brief fanfares or calls to action, now less affirmative, more faltering. Its lines were brief rather than lyrical. Underneath the
string quartet wavered uncertainly, as if quaking at the horn’s decisiveness and fearful of its dominance. It was as if the horn was a tyrant, the strings his cowering people. This was musical impressionism in modern guise.
It had been preceded without a break by Thea Musgrave’s evocative Dawn, for oboe solo (Nicholas Daniel), followed by Kurtag’s Ligatura (from The Answered Unanswered Question), in the version for two violins, two cellos and celeste, and Ives’s The Unanswered Question, with Ben Goldscheider’s horn standing in for the trumpet and the wind quartet ‘chorus’ playing from behind the audience, attempting to answer the question of the title. The three works made an effective sequence and a useful prologue to the Bray.
Schubert’s String Quintet after the interval got off to a less than persuasive start, where slightly stronger accents might been more effective. The second movement hovered as it should and there was a welcome injection of light-heartedness in the Scherzo.
The finale came together with some force, the instruments now seeming more settled with each other. Much of the ensemble’s energy seemed to radiate not so much from the first violin, Alena Baeva, but from the centrally positioned viola, Sascha Bota, whose glances in all directions acted as a focus for his colleagues. It was a solidly competent rather a memorable account.
Oboe player Nicholas Daniel
Highlights from the Second Week, North York Moors Chamber Music Festival, August 17 to 22, at Welburn Manor Marquee unless otherwise stated
IN retrospect, the first half of ‘From the Silence’ (August 17) was relatively unexciting. The sudden rhythmic interjections in Thomas Adès’s piano work Traced Overhead, played by Joseph Havlat, and the largely slow-paced and thoroughly thought-laden And Other Things by Isabella Gellis, for clarinet, cello and piano, threatened to outstay their welcomes.
Dream, by Huw Watkins, for clarinet, violin and piano, was much more incident-packed, belying its title. From a quiet start, it exploded into fire. The piano calmed things down, but the other instruments lost patience with this and erupted again. Stimulating. Adès’s Four Berceuses were surely ironically titled: definitely not recommended for lulling a child to sleep.
After the interval, reverting to Mozart and Beethoven, we might have expected classical normality. We were wrong. In Mozart’s Oboe Quartet in F, the typical approach is for oboe to dominate and the supporting strings to fill in where needed. This was quite different. All four players were totally engaged, the strings not to be outdone by the soloist and making their presence felt at every opportunity, weaving in and out of the texture with deft inflexions all round.
The slow movement was utterly soulful, rivetingly so up to and including its final cadence. In the finale, with all four going hell for leather, ensemble remained taut. This was the most exciting account of the work one could ever expect to hear, sensational in its daring and impact, certainly not what one might anticipate in a work that can easily sound bland. This was anything but. The deft oboist was Nicholas Daniel, with violinist Benjamin Baker, viola player Simone van der Giessen and cellist Tim Posner in close attendance.
By the time we reached Beethoven’s ‘Ghost’ Trio, Op 70 No 1, rain lashing the canvas made life difficult for players and audience alike. It had its compensations, however. The first movement was exceptionally fiery – a matter of self-defence – yet with some exceptionally subtle phrasing in its development section.
The Largo took on an extra layer of creepiness in this weather. The finale took time to outweigh the demons conjured in the Largo, but eventually – with the rain now letting up – moved into sunnier, pastoral climes. It was a brave and ultimately satisfying account.
* * * * *
THE next afternoon in a packed St Mary’s, Lastingham (August 18), ‘The Architect’s Hand’ offered Mozart’s Clarinet Quintet, partnered by the world premiere of an oboe quartet by Huw Watkins, whose String Trio made such a profound effect in this venue last year.
The Mozart was marked by clarinettist Matthew Hunt’s clear attempt to blend as smoothly as possible with the strings, made possible only by his extraordinary breath control. His duetting with first violinist Charlotte Scott in the slow movement, for example, was ideally balanced, all strings being muted here.
The strings made a shapely impact in the first of the Scherzo’s trios (where clarinet is silent). But it was in the six variations of the finale that Hunt really came into his own. Skipping between octaves in the first variation, bubbling in chalumeau register in the second, he was particularly effervescent in the fourth. In the more chromatic final two variations, the ensemble delivered some teasing pauses and tempo-changes.
Oboist-in-residence Nicholas Daniel returned to the front line in Watkins’s exciting new work. He was partnered by violinist Benjamin Baker, viola player Simone van der Giessen and cellist Jamie Walton, very much an ‘A’ Team. Into some fierce opening string chords, the oboe crept gingerly before building furiously as its tessitura rose, against highly syncopated strings. This movement faded dreamily at its close.
In a largely slow movement, Baker’s violin was much the most agitated participant, its decorative roulades contrasting with the largely calm, pastoral mood of the oboe and lower strings. The oboe’s legato line was a delight. Virtuoso runs in the oboe dominated the finale, where all four players were kept busy.
It was if the oboe were challenging the others to follow him. This they did after the opening triplet motif made a reappearance, whereupon all four took flight, the oboe rising ever higher towards an extremelyeffective, hushed ending.
* * * * *
‘NIGHTFALL’ (August 20) opened with the pianist Katya Apekisheva playing another three of Schumann’s Fantasiestucke Op 12, which have been featured throughout the festival. Aptly, her phrasing was particularly lovely in Des Abends (‘In the evening’).
It was the prelude to the UK premiere of Tom Coult’s Two Nocturnes And A Maze, for horn, violin and piano, which was written for performance in a hillside church in the Swiss Alps.
As one might expect, there were echoes of Alpine horn in Nocturne I, to which piano responded chordally and violin in jerky fashion. Nocturne II was much closer to Bartok’s night-music, with a repeated-note motif batted between horn and violin, as the horn became gradually higher and more sustained. It finished sparsely, with single notes from each player.
In between, Maze, with horn now muted at first, the texture was lighter and airier, with pizzicato violin and staccato piano. The relationship between the three parts was vague but the combinations were engaging.
Daniel Lebhardt followed the opening movement of Beethoven’s ‘Moonlight’ Sonata, with the slow movement of Schubert’s Piano Sonata in B flat, D.960. He was splendidly grand in its bold central section.
Apekisheva returned, with violinist Benjamin Baker and cellist Jamie Walton, the festival director, for an affecting account of Schubert’s single-movement Trio D.897 (nicknamed – not by Schubert – ‘Notturno’). Its opening is curiously marked pianissimo and appassionato. We certainly sensed the passion here.
* * * * *
THE closing afternoon concert (August 22), ‘…In The End’, juxtaposed Mozart’s First Piano Quartet, K.478 with Schumann’s Piano Quintet, a lusciously attractive combination. In the Mozart, Lebhardt was the pianist, supporting Alessandro Ruisi (violin), Emma Wernig (viola) and Bartholomew LaFollette (cello). It took the repeat of the exposition for it to be clearly defined, after which the ensemble mined the rich seam of drama in the development section.
The slow movement was as tender as could be imagined. In the rondo finale, Lebhardt turned the various returns to the theme into fascinating mini-cadenzas, but the four players were a little tentative in their interactions.
A more familiar combination of players turned out for the Schumann. Baker’s fellow-violinist was Oliver Heath, alongside Simone van der Giessen (viola) and Jamie Walton (cello), underpinned by Apekisheva’s piano. Oddly enough, this is the first work in the repertoire for this particular combination of instruments.
The second theme in the first movement, shared between cello and viola, was delightfully lyrical, straight from the heart of the Romantic era. The slow movement, more or less a funeral march, ebbed and flowed tellingly, before an ending delivered without vibrato.
In the whirlwind Scherzo, the passage-work from the strings was especially crisp, leading into a finale that reminded us just how expert Apekisheva can be in a supporting role: she sustained an immaculate balance with the strings rather than turning it into a mini-piano concerto, particularly in the concluding fugato. The thunderous applause was appropriate, as much for the work itself as for the ending of another highly successful festival.
Tim Lowe: York Chamber Music Festival founder, artistic director and cellist
SINCE its founding by cellist Tim Lowe in 2013, York Chamber Music Festival has gone from strength to strength.
This year the festival has invited six of the best string players in Europe – Charlotte Scott and Tim Crawford, violins, Simone van der Giessen and Lilli Maijala, violas, and Adrian Brendel and Lowe, cellos, to participate, along with regular festival artist Katya Apekisheva, the British-based Russian pianist.
This week’s event at the National Centre for Early Music (NCEM), Walmgate, Union Chapel, St Saviourgate, Sir Jack Lyons Concert Hall, University of York, and St Olave’s Church, Marygate Lane, celebrates the brilliance of the chamber music repertoire, focused on the radiant, melody-rich string quintets of Mendelssohn and Brahms.
Pianist Katya Apekisheva
Across the weekend, festival-goers can experience music in all imaginable instrumental combinations, from the profound intimacy of Brendel’s solo cello recital featuring Bach’s Suite No. 2, to a dynamic duo performance by Lowe and Apekisheva and expansive works for quartet and quintet.
Headline highlights include Mendelssohn’s Piano Trio in D minor — hailed by Schumann as “the master trio of our age” — and Chopin’s lyrical Cello Sonata, his undisputed chamber masterpiece.
“We are also thrilled to present Beethoven’s rare and sublime C Major String Quintet, an 1801 gem that features a slow movement of breathtaking warmth and beauty that bridges his early classical style with the vast ‘inner world’ slow movements he became famous for later in life,” says artistic director Lowe.
Violinist Charlotte Scott
Violinist Tim Crawford. Picture: Andrej Grilc
After last year’s festival, Lowe was gratified to receive this message among the audience feedback: “What spontaneity, what passion, what delight in collective music-making, what beauty! They listen and respond to each other, play for, and to, and with their friends (as they so obviously are), sharing their pleasure with us – and we are privileged to overhear that love for and engagement with the music, true chamber-music playing.”
The full programme can be found at the festival website: https://www.ycmf.co.uk/2026-programme. Tickets are available from the NCEM box office, at St Margaret’s Church, Walmgate, York. Alternatively, book at ycmf.co.uk or phone 01904 658338 in office hours. A Festival Saver ticket offers extra value for those wanting to attend multiple concerts. Those aged 18 and under can enjoy free admission to all events.
Cellist Adrian Brendel. Picture: Peter Adamik
Festival programme in brief:
Today, 1pm to 2pm, Unitarian Chapel, cello recital, Tim Lowe and Katya Apekisheva play Mendelssohn’s Variations Concertantes, Chopin’s Cello Sonata and Martinů’s Rossini Variations.
Today, 7.30pm,NCEM, Charlotte Scott, Tim Crawford, Simone van der Giessen, Lilli Maijala, Tim Lowe and Adrian Brendel play Joseph Haydn’s String Quartet in D major, Op. 20, No. 4, Sergei Rachmaninoff’s ‘Romance’ from String Quartet No. 1 (Andante espressivo) and Felix Mendelssohn’s String Quintet No. 2 in B flat major, Op.87.
Nordic viola player Lilli Maijala
Tomorrow, 1pm to 2pm,Unitarian Chapel, cello recital, Adrian Brendel plays Imogen Holst’s The Fall Of The Leaf and J. S. Bach’s Cello Suite No 2 in D Minor.
Tomorrow, 7.30pm,Sir Jack Lyons Concert Hall, Charlotte Scott,Tim Crawford, Simone van der Giessen, Lilli Maijala, Tim Lowe, Adrian Brendel and Katya Apekisheva play Felix Mendelssohn’s Piano Trio No 1 in D minor Op 49, Gustav Mahler’s Piano Quartet (movement) in A minor – Nicht zu schnell (not too fast) and Johannes Brahms’s Piano Quartet in C minor Op 60.
Sunday, 3pm to 4.30pm, St Olave’s Church, Charlotte Scott,Tim Crawford, Simone van der Giessen, Lilli Maijala, Tim Lowe and Adrian Brendel play Ludwig van Beethoven’s String Quintet in C Major Op. 29 and Johannes Brahms’s String Quintet in F major, Op. 88.
Nicki Clay’s Shelley, left, and Gemma McDonald’s Linda in MARMiTE Theatre’s Ladies Day
AMANDA Whittington’s frisky-as-a-colt northern comedy-drama is on to a winner once more, this time trained by Martyn Hunter in the colours of MARMiTE Theatre.
Premiered by Hull Truck Theatre in 2005 to take advantage of Royal Ascot’s migration north to York Racecourse that summer, Ladies’ Day was last saddled up at Theatre@41, Monkgate, by Robert Readman’s Pick Me Up Theatre in 2019 with a cast led by the formidable female frontline of Rosy Rowley, Florence Poskett, Bromwyn Jennison and May Tether.
Lucy Beaumont, later to flourish as a none-more-Hull comedian, had made her professional debut as shy Linda in the Hull Truck show by the way.
Jeanette Hunter’s Pearl, left, Nicki Clay’s Shelley and Jackie Cox’s sozzled Jan in MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines
Martyn Hunter had no hesitation in picking his principal quartet without auditions for MARMiTE Theatre’s second production, following up last autumn’s sold-out debut account of The Vicar Of Dibley.
Jeanette Hunter’s Pearl is on the cusp of leaving the Hessle fish-filleting factory where she works with food-obsessed Jan (Jackie Cox), diffident Tony Christie fan Linda (Rowntree Players pantomime goofball Gemma McDonald) and brassy, brittle wannabe celebrity Shelley (Nicki Clay, so splendid as vicar Geraldine in The Vicar Of Dibley).
Readman had favoured two burgeoning talents in Poskitt and the now professional Tether, alongside Rowley and Jemmison, whereas Hunter banks on years and years of experience in his quartet, as Pearl heads off with the girls to Ladies’ Day at Royal Ascot on the Knavesmire track for her “non-retirement” party.
Jeanette Hunter’s Pearl, left, Nicki Clay’s Shelley, Jackie Cox’s Jan and Gemma McDonald’s Linda hoping for victory for Broken Dream in the sixth race in Ladies’ Day. Picture: Lucy Baines
Matched by Hunter’s design switching from white tiles and work surfaces to the pageantry of the racecourse, depicted in scenery artist Lucy Baines’s Knavesmire mural, they transform from peaked caps and white wellies to their Ascot glad rags and fascinators. Like Cinderella, all they need now is a ticket to have a ball, whereupon Linda chances across a mislaid handbag with four tickets inside.
“It’s stealing,” she says. “It’s fate,” says last-chance saloon dreamer Shelley, and in they go, placing a jackpot accumulator across the race card with each selection picked for its Tony Christie connection.
What ensues is a comedy whose breeding bears hallmarks of both Eliza Doolittle in My Fair Lady and John Godber’s stable of fast and furious, physical, happy-sad plays, where characters look to improve their circumstances as the ordinary briefly encounters the extraordinary.
Trevor Britain’s world-weary Irish jockey Patrick and Gemma McDonald’s Linda, Tony Christie’s number one fan, in Ladies’ Day. Picture: Lucy Baines
At work, the girls gossip, tease, spark and spar to counter the monotony, singing Tony Christie’s (Is This The Way To) Amarillo and Michael Jackson’s Ben, and dreaming beyond the Hessle hustle and bustle. On the course, they still gossip, tease, spark and spar, but Whittington’s broad, brash comedy is underscored by darkness, in part influenced by the prodigious intake of alcohol by all but Linda.
Each makes a startling revelation as the day at the races progresses and the accumulator wins pile up towards the climactic sixth race. If Broken Dream wins, they will take home £500,000. If not, their dreams are broken.
In Hull, York pantomime regular Martin Barrass had brought chameleon character acting skills and comic craft to playing all of Whittington’s roster of men, who each crave an injection of happiness in their daily routines.
Jackie Cox’s Jan listens to Jeanette Hunter’s Pearl as she reveals her secret in Ladies’ Day. Picture: Lucy Baines
Hunter makes the decision to spread the roles, being rewarded by colourful turns by Chris Gibson’s Joe, the Australia-bound factory foreman; Robbie Howe’s leery, jaundiced TV racing pundit Jim McCormack; Stuart Rae’s cynical ticket tout Fred and drunken betting addict Kevin and Trevor Britain’s exotically coiffured Tony Christie and wistful veteran Irish jockey Patrick.
Martyn Hunter makes a late cameo appearance as bookie Barry in the play’s most heart-rending scene with wife Jeanette’s Pearl, to the accompaniment of Westverse’s cover of Unchained Melody. Pearl, who has hidden a secret for seven years, brings out the full range of Jeanette’s acting, adding grit to the familiar sparkle.
Cox handles the tricky challenge of Jan’s drunk-as-a-skunk behaviour with aplomb; McDonald’s Linda, the quiet one with the troublesome mother, suddenly blossoms with new radiance; Clay’s Shelley is the tour-de-force standout, even more vulnerable than the rest behind the boldest of fronts.
Robbie Howe’s TV racing pundit Jim spins his yarn to Nicki Clay’s Shelley in Ladies’ Day. Picture: Lucy Baines
Hunter’s design uses York Races and Royal Ascot insignia, a railing and foliage to set the scene, while a television screen announces each scene change and the betting odds for each race. Look out for the MARMiTE name on the fish factory sign.
There is so much to love about MARMiTE Theatre’s version of a play long established as worthy of the winner’s enclosure. Should you see it? You bet!
MARMiTE Theatre presents Ladies’ Day, Theatre@41, Monkgate, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
York artist Mark Hearld’s poster illustration for the 2026 York National Book Fair
YORK National Book Fair, the largest antiquarian book fair in Great Britain, will be held in the Knavesmire Suite at York Racecourse, Knavesmire, York, on September 11 , from 12 noon to 7pm, and September 12, 10am to 5pm.
As many as 185 ‘bookshops’ will be set up under one roof with prices ranging from only a few pounds to tens of thousands. All subjects, all dates, from medieval to ultra-modern, will be on sale, along with ephemera, manuscripts, prints and photographs.
Two new exhibitors specialising in collectable posters will join this year’s line-up at a fair organised by Tony Fothergill, of Ken Spelman Books, Lucius Books, based in Micklegate, and Janette Ray, who runs a rare and and out-of-print bookshop, focusing on architecture, design, art, photography and landscape subjects, in Bootham, on behalf of the Provincial Booksellers Fairs Association.
A range of trade stands will sell marbled papers and binding materials, complemented by providers of services to the book trade, including software and packaging material suppliers,
From modest beginnings with only 20 exhibitors at the White Swan Inn in York in 1974, the York Book Fair has grown into the largest, and many say friendliest, rare, antiquarian and out-of–print book fair in the UK and Europe.
Anyone interested in books and reading is encouraged to attend a fair that is not only for dealers or traders but also is open to everyone young and old and is an ideal place to start collecting, with more than 100,000 books – some more than 500 years old – for sale.
York Raceourse offers unlimited free parking and a free shuttle bus will run from the Memorial Gardens on Railway Street, to Knavesmire, every 30 minutes.
