Cassa Pancho’s Ballet Black in A Shadow Work, choreographed by Chanel DaSilva. Dancers: Acaoã de Castro & Taraja Hudson. Picture by ASH
NOW in its 24th year, Cassa Pancho’s Ballet Black returns to York Theatre Royal with a thrilling new double bill, featuring Pancho’s darkly comic adaptation of Oyinkan Braithwaite’s international bestselling novel, My Sister, The Serial Killer.
When Korede receives a distress call from her sister Ayoola, she knows what to do: bleach, rubber gloves, nerves of steel and a strong stomach. This is the third boyfriend Ayoola has killed in “self-defence,” and the third mess Korede has to clean up.
She should probably go to the police, but family comes first. Things take a turn, however, when Ayoola begins dating the doctor Korede secretly loves, forcing Korede to choose between saving him and betraying her sister.
The double bill is completed by Brooklyn-born, award-winning choreographer Chanel DaSilva, making her British choreographic debut with A Shadow Work.
Renowned for using the arts to inspire meaningful change, DaSilva has been commissioned by prestigious companies such as The Washington Ballet, Parsons Dance Company and Dallas Black Dance Theatre, and made history as the first Black woman to choreograph for The Joffrey Ballet.
In her debut for Ballet Black, DaSilva delves into the profound practice of shadow work, exploring its power to reveal our true selves. Her work is celebrated for its deep exploration of humanity and its potential to inspire transformation both within the dance world and beyond.
Ballet Black has transformed the landscape of British ballet, creating a prominent platform for dancers and artists of Black and Asian descent, as well as establishing a new canon of ballet repertoire that resonates with audiences around the world.
Discover more tonight. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Party six pack: David Barrott’s Toby Hancock, left, Adam Marsdin’s David Hinson, Heather Patterson’s Jennifer Hinson, Catherine Edge’s on-edge party hostess Rosa Smethurst, Xandra Logan’s Sandy Lloyd-Meredeth and Helen Wilson’s party pooper Mrs Hinson in Settlement Players’ Party Piece. All pictures: John Saunders
RICHARD Harris’s fractious farces have been the staple of amateur productions country-wide, from stalwart city companies to village hall societies.
The chances are you may well have encountered Outside Edge or Stepping Out, but maybe not Party Piece, the choice of American director, writer, producer, historian, author and stuntman Martin T Brooks for his York Settlement Community Players debut.
This is the 1992 one where control-freak doctor Michael Smethurst (James Wood) and his eager-to-please wife Roma (Catherine Edge) are preparing for their fancy-dress housewarming party, an event of military precision.
On the open-plan, somewhat rudimentary set design of two houses, their back doors and gardens, dischuffed, ornery Mrs Hinson (Helen Wilson) is looking through the peep hole in the (imaginary) wall, less than enthusiastic about her posh neighbours and their gentrification of her working-class street.
Old-fashioned washing on the line, Zimmer frame always at hand, and her late husband’s shed out of bounds, she is resolutely determined to stay put and hasn’t a good word for anyone – except her son David’s ex-wife, Rosemary.
David Barrott’s Toby Hancock, dressed in the guise of Alec Guinness in The Man In The White Suit, plus a fez for no particular reason, introduces his party outfit to fancy-dress party hosts Michael Smethurst (James Wood) and his wife Rosa (Catherine Edge), attired in role reversal as Ginger Rogers and Fred Astaire
Mrs Hinson is the bane of North Yorkshire fruit- and-veg mini-empire boss David’s life, and even more so of sourpuss second wife Jennifer (Heather Patterson), who will never be good enough to replace Rosemary.
The party to end all parties turns out to be anything but as a series of disasters befalls the increasingly vexed Michael and Rosa, when the phonecall excuses for non-attendance pile up; the barbecue misbehaves in comedy tradition, and the Zimmer frame is lobbed over the wall.
The two guests who do turn up only add to the headache: step forward David Barrott’s Toby Hancock, an anaesthetist so dull he could send himself to sleep, and Xandra Logan’s coquettish Sandy Lloyd-Meredeth, who does something in property and has just split earlier that day from Gareth (who may or may not arrive). She is in need of a drink and company, any company, even dullard Toby.
One by one, David (Adam Marsdin), Mrs Hinson and Jennifer all pop round to the party, while Michael and Rosa make their exasperated way to the end of their tether.
All the ingredients are in place for the kind of English farce that Mischief’s mischief-makers have sent up so gloriously in The Comedy That Goes Wrong. What cannot be predicted is that Settlement’s play starts mirroring that show, misbehaving door panel et al (putting it out of use late on).
Mother and son vie for family top dog in Party Piece: Helen Wilson’s wily widow, Mrs Hinson and Adam Marsdin’s “big-in-fruit-and-veg” David Hinson
The normally reliable Helen Wilson has moments of struggling with Mrs Hinson’s lines, prompting Marsdin to whisper her cues loudly to her on a couple of occasions.
This has the effect of destabilising Settlement’s comedic rhythm, so important to farce, where confidence and timing are all. What a great shame as Helen’s grouchy dragon characterisation is spot on.
In keeping with David’s character, Marsdin takes charge, while also having fun with the practical joker in David, who tells his mother that the neighbours are called Jerry and Margo Leadbetter (Paul Eddington and Penelope Keith’s snobbish, conventional couple In The Good Life). He puts the cat further among the pigeons by informing Michael about the buried treasure in his garden.
Marsdin’s partnership with Patterson carries rather more conviction than the somewhat awkward physicality of Wood and Edge, but Harris’s wit and way with a funny line still break through the unease that took over Wednesday’s performance. Barrott and Logan gamely plough their own furrows, Logan in particular continuing her scene-stealing streak on the York stage.
York Settlement Community Players in Party Piece, Theatre@41, Monkgate, York, until November 1, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
Martin T Brooks: Directing York Settlement Community Players for the first time
More theatre, vicar? Nicki Clay playing Geraldine Grainger in The Vicar Of Dibley for the second time in 2025. Picture: Matt Pattison
NICKI Clay is going doubly Dibley for MARMiTE Theatre in the new York company’s debut production of The Vicar Of Dibley at Theatre@41, Monkgate, York, from November 11 to 15.
“I’ve just played the role of Geraldine Grainger for the Escrick Monday Players in May,” she says. “I’ve been in well over 50 plays but I’ve never done the same part twice – until now!
“I was very laissez-faire when Martyn [Hunter, the director] contacted me because I’d ended on a high note. So I was kind of not anxious over the audition because I felt I had nothing to lose. A week later I got a call from Martyn, and that’s when there was a flip in my tummy, and I thought ‘, ‘yup, I’ve got to do this again’ – and it’s been brilliant.
“It’s a different experience, and I’m loving it just as much because I don’t have the extra responsibility as I do with chairing the Monday Players. I can focus entirely on doing the role and I’m enjoying being around different people as well. It’s been hilarious in rehearsals
“We did it with the same script in Escrick, when Martyn’s wife, Jeanette, and assistant director Chris Higgins came to see it and were pretty blown away by the show. It’s the mix of the script and the characters that make it work.”
The poster for The Monday Players’ production of The Vicar Of Dibley, starring Nicki Clay’s Geraldine Grainger, in Escrick, near York, in May 2025
Adapted by Ian Gower and Paul Carpenter from Richard Curtis and Paul Mayhew-Archer’s beloved television series, The Vicar Of Dibley brings together all the favourite characters, the eccentric residents of Dibley, as the arrival of the new vicar shakes up the parish council of the sleepy English village.
Re-meet Jim “No, No, No” Trott, Letitia Cropley, the not-so-gifted Bake Off queen, Owen Newitt, with his infamous ailments, Frank Pickle, the minute-taking bore, Hugo Horton and his cantankerous father David and the delightfully dim Alice Tinker, but is Dibley and its inhabitants ready for the wind of change that is Geraldine Grainger?
“It’s just wonderful to get another chance to play Geraldine,” says Nicki. “I love the play. I love the role, and I’m loving playing opposite new people’s different interpretations of such iconic roles, so it doesn’t feel like going through motions – and I’m doing new things and not just doing the same things I did before.
“Geraldine is enthusiastic, she’s energetic and she’s extremely empathetic, which you have to mix into your performance, and I think you have to be a Dawn French fan as well. I saw her doing her Dear Fatty show [Dawn French In 30 Million Minutes] at York Barbican [in July 2014), and she was wonderful. Dawn has even ‘liked’ one of her Instagram posts for this show.”
How has she approached following in Dawn French’s shoes as Geraldine. “Usually, when you play a role, either you’ve seen the film or the show before, and you then interpret it yourself, but with Geraldine you have to be very faithful to Dawn’s character,” says Vicki. “She definitely has a rhythm how she says things.
Mark Simmonds’s Owen Newitt, left, Vicki Clay’s Geraldine Grainger, Neil Foster’s Hugo Horton, and Glynn Mills’s David Horton in rehearsal at St Nicholas Church Hall, Back Lane, Wigginton. Picture: Matt Pattison
“The first time, I studied the sitcoms, as it’s good to have something to work with, but now, because I’ve done it before, I’ve not revisited the TV shows as you don’t want to overdo it or you start second guessing yourself.”
After he directed the Rowntree Players in Glorious! at the Joseph Rowntree Theatre in March, The Vicar Of Dibley marks the birth of MARMiTE Theatre under the direction of York amateur stage stalwart Martyn Hunter.
“I’ve been fortunate enough to play many diverse roles over the years and to work with so many talented directors, who have taught me everything I know about amateur theatre. Now feels like the right time to put that experience into practice.
“With The Vicar Of Dibley, we’re setting the tone for MARMiTE Theatre: easy-going, feel-good comedy that lets audiences relax, laugh and leave their worries at the door. We want you to love us or… LOVE US!”
Ah yes, that MARMiTE company title. “I thought it was because of ‘Mar’ in Martyn’s name,” says Nicki. “I don’t think I’ll be able to get away with it forever,” says Martyn. “It came about because, with everything that you want to do, you have to have a company name to apply for the performance rights for a play. I thought about various names and then thought MARMiTE might work by changing it to a lower case ‘i’!”
Love it or hate it, like it or lump it, this is MARMiTE Theatre’s logo!
What if the makers of Marmite hate it, rather than love it, Martyn? “Worse case scenario, we can say ‘marmite’ is a French casserole dish,” he says.
Two years ago, Martyn was asked to audition for 1812 Theatre Company’s production of The Vicar of Dibley in Helmsley. “But I read the script and was a little disappointed that I didn’t think it was as good as I was expecting, but it piqued my interest and then I discovered there were various different versions of a play script,” he recalls.
“So I contacted Tiger Aspect, who said that was the case and I could do one of those or I could adapt my own version. There’s no licence fee to do it, just the set donation you are obliged to make to Comic Relief.
“Ian Gower, who lives in the beautiful fishing village of Mousehole in Cornwall, sent me the script, and I laid on the bed on a Sunday reading it and constantly laughing out loud. ‘What are you laughing at?’ said Jeanette [Martyn’s wife}. She read it and started laughing as well!”
And so MARMiTE Theatre’s debut production was born, delayed by changes from the original cast but now ready for the November run after Martyn spread his net wider, retaining the original nucleus, now supplemented by two additions.
Martyn Hunter: Director of MARMiTE Theatre’s debut production, The Vicar Of Dibley
What guidance has Martyn given his cast on playing such familiar characters? “From day one, I told them that everyone had to bring their best impersonation of their character to the auditions,” he says.
“This does bring its own problems, as you don’t have to look for the character when everyone knows the character. That can be difficult to put your own stamp on it, but it has to become the stage version, rather than having a camera in your face.”
Martyn continues: “I’ve no illusions of being some great director. I know that all theatre is subjective, so what I think is good, someone next to me might think is terrible. I’ve purposely stayed away from the TV series, other than having memories of the characters, staying away from everything else, to put my own slant on it.
“We’ve also kept the 1990s’ setting, being as faithful as possible to the characters. Ironically, The Vicar Of Dibley is a bit like Marmite: there are those who say ‘they can’t stand Dawn French’, but the majority of the country are fans!”
Last question, Vicki and Martyn. Marmite. Do you love it or hate it? “Hate it,” says Vicki. “I tried it only once. It’s good for disguising the dog’s medicine in, but that’s about it – but we do love this MARMiTE!.” Martyn? “I think somewhere in the dark and distant past I tried it. I do know I tried tripe once and that was that.”
MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, November 11 to 15, 7.30pm and 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk. Supporting Comic Relief.
Mark Simmonds’s Owen Newitt, left, Jeanette Hunter’s Letitia Cropley and Adam Sowter’s Jim Trott in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Matt Pattison
Who’s in MARMiTE Theatre’s cast for The Vicar Of Dibley?
Nicki Clay as Geraldine Grainger
Florence Poskitt as Alice Tinker
Glynn Mills as David Horton
Neil Foster as Hugo Horton
Adam Sowter as Jim Trott
Mike Hickman as Frank Pickle
Mark Simmonds as Owen Newitt
Jeanette Hunter as Letitia Cropley
Helen “Bells” Spencer as Woman
Did you know?
NICKI Clay will be stage-managing the Escrick Monday Players’ production of Tim Firth’s Neville’s Island at Escrick & Deighton Village Hall from October 30 to November 1.
Did you know too?
WHEN Martyn Hunter operated the giant plant Audrey II in the late Clive Hailstone’s production of The Little Shop Of Horrors, who should be the off-stage voice of Audrey II but Nicki Clay’s father, Adrian Clay.
FOOTNOTE: Looking ahead, MARMiTE Theatre has its sights set on further productions in a similar vein, including additional The Vicar Of Dibley scripts, ’Allo ’Allo!, The Good Life, Ladies’ Day and Last Tango In Whitby.
Nicki Clay’s Geraldine Grainger, Neil Foster’s Hugo Horton, centre, and Glynn Mills’s David Horton rehearsing for MARMiTE Theatre’s The Vicar Of Dibley. Picture: Matt Pattison
Nell Baker’s Eddy, left, Jo Patmore’s Alice and Tom Gallagher’s Connor in the John Godber Company’s premiere of Elizabeth Godber’s Wolf Country at East Riding Theatre
FOR Halloween, the John Godber Company unleashes Elizabeth Godber’s country music-dusted werewolf comedy-drama Wolf Country at the East Riding Theatre, Beverley.
Country music mega-fan Alice (played by Jo Patmore) and no-nonsense nurse Eddy (Nell Baker) are best friends who would be happy for things to stay exactly as they are. Unfortunately, a potential werewolf is running rampant around Beverley, and so nothing looks like it will stay the same for long.
Eddy cares not a jot for all the rumours and conspiracies, but Alice is straight down the rabbit hole, especially after meeting self-proclaimed werewolf expert Connor (Tom Gallagher).
As the hot breath of Halloween looms ever closer, the full moon is out and matters are starting to spiral. Surely they know East Yorkshire is Wolf Country – and don’t you?
From the co-writer of the UK Theatre Award-nominated Stephen Joseph Theatre hit The Comedy of Errors (More Or Less) and writer of the ERT premiere of The Remarkable Tale Of Dorothy Mackaill comes a lupine comedy of friendship, ambition andwhat drives our fears amid the wildness that lurks beneath the surface of modern life in East Yorkshire – all underscored by a Country Western soundtrack.
Nell Baker, left, Jo Patmore and Tom Gallagher in an uplifting scene in Elizabeth Godber’s play about anxiety, East Yorkshire and werewolf folklore
“I first came across the legend of ‘Old Stinker’, Beverley’s very own werewolf, while looking into local folklore and history when studying at the University of Hull,” says Elizabeth.
“I’ve always loved anything a bit whimsical and magical, and the idea really stuck with me. Werewolf legends are very rare in the UK; most come out of Germany, Eastern Europe or the USA, so the concept of a werewolf on Beverley Lock was just too good an idea to put to one side.
“Especially as East Yorkshire was the last place in the UK to have wild wolves, who were said to have died out in the 18th century, so it’s all just a brilliant story that almost wrote itself.”
When Elizabeth looked further into the legend, she was excited to learn there had been a flurry of sightings of the beast in 2015 and 2016. “Even the rock musician Alice Cooper had got involved, posting on social media about it,” she says. “This is where I really started to link the wolf to music and Americana, and I’ve always been a massive country music fan, so including that all made sense to me.”
A real hunt for the beast was conducted by the werewolf hunters of East Yorkshire in 2016. “In researching for this play, I was excited to be able to talk to some of the people who went on it, although they didn’t find anything,” says Elizabeth.
Cue her tale of werewolves, anxiety and growing up in Beverley, accompanied by a country music sound track, whose flavour can be savoured on the East Riding Theatre website with a link to Spotify. Dolly Parton, Tim McGraw, Garth Brooks, Johnny Cash, Shania Twain et al, y’all.
Wolf Country playwright Elizabeth Godber
“From all those East Riding folklores came the idea of this play – though it’s not really about werewolves,” says Elizabeth. “It’s about three friends in their late 20s, living in Beverley, finding themselves at that time in life when they’re discussing adulthood and the move away from being a teenager to that person with a job.
“There’s also romance going on, but all this is happening when there’s a werewolf on the loose in Beverley, creating fear and paranoia, which is reflected in their own lives.
“Learning about the werewolf hunts in 2015 and 2015, I liked the idea of writing about our paranoia that there is something out there in the dark playing on our phobias.”
At 30, “for sure I felt I was ready to write something of my own experience of being a young person growing up in a more rural place,” says Elizabeth. “I live in Beverley, and I see a lot of plays set in London and Manchester, but there are a lot of people like me who grew up and live in the countryside, and I want to tell that story.
“It was really important to me too to have a local cast. Jo Patmore, from The Highwayman last year, and Nell Baker are both from Beverley and Tom Gallagher is from Hull. I wanted to have that authenticity of growing up in East Yorkshire. That’s important when you’re premiering plays to an East Yorkshire audience, who will tell you exactly what they think!”
Mental wellbeing plays its part in Elizabeth’s play. “The lead character that Jo plays, Alice, is overtaken by anxiety about the werewolf legend, to the extent that the hunt takes her over, so it’s also a play about mental health,” she says.
Wolf/Alice: Jo Patmore’s Alice experiences anxiety over the East Yorkshire werewolf stories in Elizabeth Godber’s Wolf Country
“There’s a balance between ‘oh my god, what’s going on?’ and all the laughter, which is reflective of life, so it’s uplifting and positive overall, but there will be highs and lows on the way.
“I hope that the story is both interesting and funny as well – being my father, John Godber’s daughter, I write plays that are comedic too.”
As for the inclusion of country music, “Alice has an obsession with country music. That’s how she deals with her anxiety,” says Elizabeth. “I’ve always been drawn to folklore element of country music, with all that ‘ruralness’ to it, which I wanted to bring from America to East Yorkshire, but also because it has an ‘otherness’ to it that I wanted to bring to the story.”
One final thought from Elizabeth: “Be careful on your travels on your way home as you never know what might be out there!” she says, in the finale to her programme note.
Elizabeth Godber’s Wolf Country, East Riding Theatre, Beverley, until November 1, 7.30pm plus 2.30pm Thursday and Saturday matinees. Age recommendation: 16 plus for strong language and sexual references. Box office: eastridingtheatre.co.uk/wolf-country/
The John Godber Company’s poster for the Halloween premiere of Wolf Country
Paddy Lennox: Topping bill at Laugh Out Loud Comedy Clubon Saturday
THIS Saturday offers a rare chance to see Irish comedian Paddy Lennox outside his national tour, headlining the Laugh Out Loud Comedy Club bill at The Basement, City Screen Picturehouse, York.
Promoter Damion Larkin says: “Paddy has that rare Irish quality of being instantly likeable in every respect. He’s the kind of comedian you could take home to meet your parents or your kids, or down the pub to meet your mates – and he’d have everyone smiling within minutes.
“Both riotously funny and a complete gentleman, this is a comedian who’s universally well loved and not to be missed. An engaging performer with a mischievous streak, Paddy’s charm lies in his effortless ability to turn the everyday into something delightfully absurd.”
Performing since 2001, Lennox’s career has taken him beyond the comedy circuit to theatre, television and radio, making appearances on Holby City, Doctors, CBeebies, BBC Radio 4, TalkSport and Sky Living.
He has supported such major names as Micky Flanagan and played gigs in Dubai, Singapore, Romania and Croatia as well as in the UK.
Joining Lennox on the 8pm bill will be Liverpudlian-in-exile Silky, Benny Shakes and master of ceremonies Kieran Lawless.
Liverpudlian-in-exile Silky
In only his fourth gig, Silky competed in the 1995 BBC New Comedy Awards final against Lee Mack (Mock The Week, Not Going Out) and Leeds comedian Julian Barratt (The Mighty Boosh).
As well as making TV appearances on The Stand-Up Show (BBC), The World Stands Up (Paramount) and the Comics Lounge (AUS), Silky has performed in China, the Philippines, the Gulf, Singapore, the USA, all over Europe and at the Melbourne Comedy Festival and Glastonbury Festival.
He headlined the inaugural Frampton Mansell Comedy Festival (the world’s smallest) and does warm-up work for BBC1’s Strictly Come Dancing.
Benny Shakes’s jokes take in his daily struggles of living with a disability and observations on red-neck life. Host Kieran Lawless, an Irish comedian based in Manchester, has worked in comedy clubs across Ireland and the UK, including supporting Patrick Kielty in Dublin’s Olympia Theatre.
Tickets are on sale at https://lolcomedyclubs.co.uk or on the door from 7.30pm. Further Laugh Out Loud Comedy Club gigs will follow on December 6, New Year’s Eve and January 3 2026.
Luxmuralis’s Echoes Of Yorkshire installation on the St Mary’s Abbey ruins in the York Museum Gardens. Picture: Duncan Savage, Ravage Productions, for York Museums Trust
LET light, colour and music surround you at the Echoes Of Yorkshire light and sound installation conjured by Luxmuralis, who bring alive the culturally rich story of the Yorkshire Museum and York Museum Gardens from 1,000 images.
Visitors are invited to “immerse yourself in the story of the historic site with contemporary light and music showcasing its age-defining artefacts and extraordinary exhibits. Join us to celebrate all that the museum and its gardens bring to our city and the wider north of England”.
In the 30-year collaboration of Staffordshire bronze sculptor, fine artist and immersive installation artist Peter Walker and composer David Harper, Luxmuralis travels the world to create stories in light and sound for audiences at locations ranging from the Tower of London and St Paul’s Cathedral, London, to city-wide open-air projections in places such as Oxford and Limburg in the Netherlands.
Through combining fine art, light and sound, Luxmuralis reflects closely on the history and heritage of places by weaving together the contemporary and the ancient.
The Viking Helmet on the Yorkshire Museum frontage in Luxmuralis’s Echoes Of Yorkshire. Picture: Duncan Savage, Ravage Productions, for York Museums Trust
Now, for the first time, Luxmuralis is transforming the walls of York in Echoes Of Yorkshire in York Museum Gardens for ten evenings filled with six looping art installations and landscape lighting by Steve Rainsford.
Ticketed entry time slots are given every 20 minutes, but once in the gardens visitors can journey through the experience at their own pace with a recommended walking time of one hour. Refreshments will be available to buy on the night, including from Thor’s tipi.
Echoes Of Yorkshire is suitable for all ages. Audiences will experience the gardens’ history from the Roman period to its time as an abbey (St Mary’s Abbey) in tandem with Luxmuralis’s showcase of the Yorkshire Museum’s collections that span 200 million years from the Jurassic and the Mesolithic, through to the Romans, Viking, Anglo Saxon and Medieval.
Welcoming Luxmuralis to York Museum Gardens, Siona Mackelworth, head of audience and programme for York Museums Trust, says: “We are delighted that Luxmuralis agreed to produce a very special and bespoke show for us here in York.
Luxmuralis’s arch installation in York Museum Gardens. Picture: Duncan Savage, Ravage Productions, for York Museums Trust
“This is a celebration of all that the Yorkshire Museum brings to the city, its history and the location as the repository of great discoveries and stories. With this amount of content, the Luxmuralis light and sound show looks amazing.”
Luxmuralis artistic director Peter Walker says: “We’re thrilled to be collaborating with the team at Yorkshire Museum to deliver a truly distinctive experience set within the stunning and historically rich Museum Gardens.
“By drawing inspiration from the museum’s collections, this light installation re-imagines the architecture and landscape in an entirely new and transformative way.”
Peter drew on myriad resources in the York Museum Trust’s collection: the Roman occupation; the Vikings; the Medieval; geology; paleontology; fine art et al. “My job was then to create a ‘portrait’ of the city of York from that collection,” he says.
St Mary’s Abbey ruins bathed in the art and light of Luxmuralis’s Echoes Of Yorkshire. Picture: Duncan Savage, Ravage Productions, for York Museums Trust
“Where we are quite different from illumination shows is that my fine art background means we use projection in a different way. It can be done in many ways, but we’re unique in that it’s not the projection that drives what we do but the other way round; the art drives it.
“To me, as a fine artist, the excitement lies in the gardens and what you bring into the public realm: the excitement of the audience seeing the installations and taking what they want from them, because it’s not prescriptive.
“In fact we tell our audiences to forget the technology because it’s the least important part. We use it as a medium to celebrate moments, so the technology is like a canvas to paint pictures.”
As part of his research, Peter visited the Museum Gardens several times. “Just by walking through them, it allows you to understand the gardens’ character and the visitor experience, and these gardens are such a fitting place to be doing Echoes Of Yorkshire. The audience can really enjoy the experiential moments we have created.”
The writing is on the wall for Luxmuralis’s Echoes Of Yorkshire in the York Museum Gardens. Picture: Created by Luxmuralis
Tickets cost £13.50 per adult; £9.50 for children aged five to 16; free admission for under-fives. Box office: yorkshiremuseum.org.uk. Echoes Of Yorkshire is on a constant loop from 6pm to 8.20pm each night. Please note, only assistance dogs will be allowed into the gardens during the event.
Luxmuralis: back story
LUXMURALIS is the name given to the artistic collaboration of sculptor and fine artist Peter Walker and composer David Harper, who specialise in immersive fine art, light and sound installations around the UK and abroad, creating works across multiple media and presentation formats.
Core to their work is the exploration and development of the fine art tradition through new media, placing contemporary fine art, light and sound production in an art historical context.
Luxmuralis takes art onto the streets and provides access to visual artworks in public as well as unexpected places.
Luxmuralis’s Echoes Of Yorkshire: Art, light and sound in harmony in York Museum Gardens. Picture: Duncan Savage, Ravage Productions, for York Museums Trust
GARDEN art & light installations, wartime memories and Dracula and Cinderella retellings spark Charles Hutchinson’s interest.
Installation of the week: Echoes Of Yorkshire, York Museum Gardens, until Sunday, 6pm to 8.20pm
LET light, colour and music surround you at Luxmuralis’s light and sound installation as artist Peter Walker, composer David Harper and lighting designer Steve Rainsford bring the story alive of the Yorkshire Museum and York Museum Gardens from 1,000 images.
Immerse yourself in the story of the historic site with contemporary light and music showcasing York Museum Trust’s age-defining artefacts and extraordinary exhibits. Tickets: yorkshiremuseum.org.uk.
David Barrott, Catherine Edge and Adam Marsdin in rehearsal for Settlement Players’ production of Party Piece
Calamitous comedy misadventure of the week: York Settlement Community Players in Party Piece, Theatre@41, Monkgate, York, until Saturday, 7.30pm and 2.30pm Saturday matinee
AMERICAN director, writer, producer, historian and stuntman Martin T Brooks directs Settlement Players for the first time in Richard Harris’s calamitous 1992 comedy Party Piece.
Michael and Roma Smethurst are preparing meticulously for their fancy-dress housewarming party as Mrs Hinson, not the biggest fan of her upper-class new neighbours, keeps a criticising eye on the attendees. Then disasters strike: an embarrassing lack of guests, a burning barbeque, a marauding Zimmer frame and a corpse showing up at the front door. Cue chaos. Box office: tickets.41monkgate.co.uk.
Cassie Vallance, left, and Jane Bruce in Story Craft Theatre’s Bat, Cackle And Pop! at York Theatre Royal
Children’s Halloween show of the week: Story Craft Theatre in Bat, Cackle And Pop!, York Theatre Royal Studio, today until Friday, 10.30am and 1pm
WINIFRED the Witch thinks everyone has forgotten her birthday. Not so. There will be a big surprise party, but first, a special birthday cake must be made.
“We just need the last three rather spooky ingredients,” say York company Story Craft Theatre’s Cassie Vallance and Jane Bruce. “Our show is bubbling with all sorts of ghosts and ghouls – more silly than scary – and there’s plenty of opportunities to dabble in some spell making, as well as flying with luxury BAT Airways.” Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jimmy Regal & The Royals: Playing Ryedale Blues Club at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents Jimmy Regal & The Royals, Milton Rooms, Malton, tomorrow, 8pm
JIMMY Regal & The Royals are a tough and howlin’ harmonica-led three piece from South London, brandishing a sound from Mississippi to New Orleans, Mali to Canvey Island. Signed to Lunaria Records, they are touring to promote latest album Well Boss, a live set recorded at the Temperance in Leamington Spa. Box office: 01653 696240 or themiltonrooms.com.
Stage Hammer: Revamping Bram Stoker’s Dracula
High stakes of the week: Stage Hammer in Bram Stoker’s Dracula, Joseph Rowntree Theatre, York, tomorrow and Friday, 7.30pm; Kirk Theatre, Pickering, Saturday, 7.30pm
WOLVES howl in the forests of Transylvania. Waves crash violently against the cliffs below Whitby Abbey. The infection is spreading. Count Dracula (Stuart Sellens) walks among us. Yorkshire solicitor Jonathan Harker (Callum Mathers) travels to a castle in the Carpathian Mountains to finalise the sale of property for a reclusive nobleman.
When he seemingly vanishes, fiancée Mina (Jennifer Jones) and her closest friend Lucy (Kathryn Lay) fall into the grip of a sinister force. Their only hope for survival is the mysterious vampire slayer Professor Van Helsing (Christopher C Corbett) in East Yorkshire troupe Stage Hammer’s new account of Bram Stoker’s vampire story, adapted by Corbett and directed by Lydia Baldwin. Box office: York, 01904 658338 or josephrowntreetheatre.co.uk; Pickering, 01751 474833 or kirktheatre.co.uk.
Fizzy with the singers in Pick Me Up Theatre’s Bugsy Malone: Theo Rae, Isla Lightfoot, Olivia Swales and Beau Lettin
Musical of the week: Pick Me Up Theatre in Bugsy Malone, Grand Opera House, York, October 31 to November 8, 7.30pm, except Sunday and Monday; 2.30pm, both Saturdays and Sunday
LESLEY Hill directs and choreographs York company Pick Me Up Theatre’s cast of 40 young performers in Alan Parker and Paul Williams’s musical, replete with the film songs You Give A Little Love, My Name Is Tallulah, So You Wanna Be A Boxer?, Fat Sam’s Grand SlamandBugsy Malone.
In Prohibition-era New York, rival gangsters Fat Sam and Dandy Dan are at loggerheads. As custard pies fly and Dan’s splurge guns wreak havoc, penniless ex-boxer and all-round nice guy Bugsy Malone falls for aspiring singer Blousey Brown. Can Bugsy resist seductive songstress Tallulah, Fat Sam’s moll and Bugsy’s old flame, and stay out of trouble while helping Fat Sam to defend his business? Box office: atgtickets.com/york.
Little Seeds Music: Refreshing the fairytale world in Cinderella Ice Cream Seller
Fairytale retelling of the week: Little Seeds Music in Cinderella Ice Cream Seller, Helmsley Arts Centre, Saturday, 2.30pm
OVER the past four decades, Cinderella’s has become the kingdom’s most beloved ice cream company, with a parlour on every street corner, but how did this humble maker become a multimillionaire business woman with her own empire?
Prepare your dessert spoons for a tale of perseverance, princes, palace balls, glass slippers and, yes, ice cream in writer-composer David Gibb’s hour-long family musical, wherein loyal Cinderella’s employees Talvi and Caldwell share her rags-to-riches tale and confront their own desires, hopes and the magic that lies within each scoop. Suitable for age five upwards. Box office: 01439 771700 or helmsleyarts.co.uk.
Bomb Happy: Film and live performance double bill for VE Day at Milton Rooms, Malton
Theatre memorial of the week: Everwitch Theatre in Bomb Happy VE Day double bill, Milton Rooms, Malton, Sunday, 3pm
PRESENTED in the lead-up to Remembrance Sunday, whose focus this year falls on 80th anniversary of VE Day, Bomb Happy has been created by writer-performer Helena Fox and actor-vocalist Natasha Jones, of Everwitch Theatre.
From D-Day to VE Day, this powerful one-hour double bill of live performance (30 minutes) and short film (30 minutes) brings to life the verbatim accounts of two working-class Yorkshire Normandy veterans, highlighting the lifelong impact of post-traumatic stress disorder and sleep trauma, not only on war veterans but on their families too. Box office: 01653 696240 or themiltonrooms.com.
Chris Smither: Playing All Saints Church, Pocklington tonight
In Focus: Chris Smither, All Saints Church, Pocklington, tonight, 7.30pm
CHRIS Smither, truly an American original, returns to the UK to perform songs from his vast catalogue on his 2025 UK and Irish tour as he approaches his 81st birthday on November 11.
Honing his synthesis of folk and blues for more than 50 years, this profound songwriter and captivating performer, from Miamai, Florida, melds the styles of his two major influences, Lightnin’ Hopkins and Mississippi John Hurt, into his own signature guitar sound.
His music draws deeply from the blues, American folk music, modern poets and humanist philosophers. His songs have featured in films and TV shows and been covered by John Mayall, Emmylou Harris, Bonnie Raitt and Diana Krall, among others.
Smither continues to tour festivals, music clubs and concerts halls all over the world. Now he showcases his 20th studio album, 2024’s All About The Bones, produced by long-time friend and producer David Goodrich, which complements eight new compositions with Smither’s renditions of Eliza Gilkyson’s Calm Before The Storm and Tom Petty’s Time To Move On.
The recording sessions took place at Sonelab Studios in Easthampton, Massachusetts, where Smither was joined by Goodrich, Zak Trojano, BettySoo and Chris Cheek.
The New York Times said of All About The Bones: “With a weary, well-travelled voice and a serenely intricate finger-picking style, Mr Smither turns the blues into songs that accept hard-won lessons and try to make peace with fate.”
Singer-songwriter BettySoo is Smither’s guest on the tour. Tickets for tonight cost £21.50 at www.smither.com.
Adrian Cook’s Peachum and Cathy Atkin’s Mrs Peachum in York Opera’s The Beggar’s Opera. All pictures: David Kessel
YORK Opera is back with a spring in its step. John Gay’s ballad opera of 1728, now nearing its 300th anniversary, was given lively and sometimes sparkling treatment by its director, Chris Charlton-Matthews, offering the company an opportunity to show its strength in depth.
The choice of venue, The Citadel in Gillygate, York was not an easy option. With the audience seated on three sides, mostly at tables in cabaret style, the performance was virtually in the round. This meant that much of the dialogue came and went, depending on where the performers were facing and, as so often with singers of all shades, words were clearer in song than in speech.
The production firmly reminded us of the wealth of our musical heritage, thanks to the composer Johann Pepusch – Berlin-born but London-based for more than 50 years – who gathered together its 69 songs mainly from British ballads, alongside several by living composers including Purcell.
This production gained immensely from its string quartet, oboe (Alex Nightingale) and harpsichord (Tim Tozer), conducted by John Atkin, who delivered a consistently vivid underlay.
Mark Simmonds’s Macheath: “Every inch the dashing womaniser” in York Opera’s The Beggar’s Opera
At the head of proceedings was Adrian Cook’s determined, ruthless Peachum, who was the undoubted mayor of this unruly parish, gamely supported by Cathy Atkin’s Mrs Peachum and Hamish Brown’s Filch.
Alexandra Mather as their faux-naive daughter Polly and Sophie Horrocks as the more streetwise Lucy Lockit – rivals for the love of highwayman Macheath – were well contrasted, while Mark Simmonds was every inch the dashing womaniser they pursued.
There was a notable contribution, too, from Anthony Gardner’s gaoler Lockit – a David Jason look-alike – whose dialogues with Peachum were outstanding. The chorus was full-throated rather than subtle, but cameos from chorus members added considerable colour and kept up momentum.
Alexandra Mather’s faux-naive Polly Peachum
Even so, the performance lasted three hours and would have been punchier with half an hour excised.
The props by Teresa Carr and Jane Carr – a bar for the tavern, a desk for Peachum’s ‘office’ and a high trellis for the bars of Newgate prison – were more than enough to set the scenes, and Jane Woolgar’s choreography was consistently appealing.
The decision to dress the cast in costumes of every era (by the ever-imaginative Maggie Soper), to illustrate the maxim that the poor are always with us, was understandable but confusing.
The jollity of the proceedings was anyway inevitably at odds with the poverty-riddled story. The prologue and epilogue by the Beggar himself, Ian Thomson Smith, ensured a firm start and a happy ending.
Gary Oldman (now Sir Gary Oldman) in Krapp’s Last Tape at York Theatre Royal this spring. Picture: Gisele Schmidt
SIR Gary Oldman is to revive his York Theatre Royal production of Samuel Beckett’s Krapp’s Last Tape as part of Royal Court Theatre’s 70th anniversary season in London.
Beckett’s melancholic monodrama received its British premiere as the aperitif in a double bill with the Irish playwright’s Endgame at the Royal Court, and today’s announcement falls on the 67th anniversary of the opening night on October 28 1958.
Krapp’s Last Tape will run at the London theatre from May 8 to 30 2026, following its sold-out run in York from April 14 to May 17 this spring, when Academy Award, BAFTA, SAG, BIFA and Golden Globe winner Gary Oldman made his return to the York Theatre Royal stage after a 45-year hiatus.
Knighted by Prince William at Windsor Castle in September 2025 for his services to drama, Sir Gary, 67, made his professional debut in the repertory ranks at York Theatre Royal in 1979 after winning a scholarship to Rose Bruford College of Speech and Drama, from where he graduated with a BA in acting that year.
That first season took in She Stoops To Conquer, Thark, Privates On Parade and Romeo And Juliet, topped off by playing the Cat in furry suit, mittens and nylon whiskers in Berwick Kaler’s third York pantomime, Dick Whittington And His Wonderful Cat, that Christmas.
This spring, at the height of the popularity of his Apple TV+ role as unkempt, flatulent, rude, caustic Jackson Lamb in misfit spy thriller Slow Horses, Sir Gary headed north to show support for regional theatre, directing himself in the 50-minute Krapp’s Last Tape in his first theatre appearance in 38 years, back in York for his “completion of a cycle”.
Gary Oldman (now Sir Gary Oldman) and York Theatre Royal chief executive officer Paul Crewes surveying the Theatre Royal auditorium. Picture: Gisele Schmidt
“After all, it is the where it all began,” he said in his programme note. “York, in a very real sense, for me, is coming home. I met with YTR’s chief executive, Paul Crewes, and the play, the how, and the when , were mapped out.”
Welcoming the transfer to London, York Theatre Royal chief executive Paul Crewe says: “Working with Gary on our production of Krapp’s Last Tape was remarkable and we are delighted that even more people will get the opportunity to see his extraordinary performance in this landmark play. It was first performed at the Royal Court 67 years ago and it’s so wonderfully fitting that it makes a return as part of their 70th anniversary celebrations.”
Krapp’s Last Tape will be performed by Sir Gary in the Royal Court’s Jerwood Theatre Downstairs, preceded every night by Godot’s To-Do List, a new Beckett-inspired short play by Jerwood New Playwright Leo Simpe-Asante, directed by Aneesha Srinivasan.
Winner of the 2025 inaugural Royal Court Young Playwrights Award, this curtain-raising comedy follows seven decades on from Krapp’s Last Tape’s own debut as a curtain-raiser on the Royal Court’s stage.
Quick refresher course, Krapp’s Last Tape is the one where Oldman’s disenchanted Krapp coughs and chomps his way through three bananas on his 69th birthday, as he sits alone in his cluttered attic and listens to the echoes of his younger self, spinning the spools of his reel-to-reel recorder before recording his latest birthday reflection.
“Perhaps my best years are gone,” bemoans Krapp. “When there was a chance of happiness. But I wouldn’t want them back. Not with the fire in me now.”
Meanwhile, Sir Gary can be seen in the on-going fifth series of Slow Horses, being released – frustratingly! – in weekly episodes on Apple TV+ from September 24.
Di Gomery in her South Bank Studios studio in York
YORK artist Di Gomery’s Floresce exhibition will be on show at Rise@Bluebird Bakery, Acomb Road, Acomb, York, until December18.
In the wake of Di’s springtime display of paintings at York Hospital, she has created a series of colourful and uplifting artworks informed by her sketchbook drawings.
“I really hope these paintings will once again be a wall of flowing, joyful energy that sits alongside viewers as they enjoy a Rise event or visit Bluebird Bakery,” she says.
“It’s a terrific venue to show large-scale paintings and it’s been a delight to work with bakery co-owner and poet Nicky Kippax and Bluebird’s creative curator and artist Jo Walton to bring together this display of predominantly new work.”
Di Gomery’s poster for her Floresce exhibition at Rise@Bluebird Bakery, Acomb
Co-owner Nicky says: “Our evening venue, Rise, has just celebrated its second birthday and art exhibitions are a really important element of what we offer there. It’s fantastic to work with York artists.
“The art they display is inspiring and stimulating for everyone: our customers, our team and the artists who take part.”
In recognition of the work undertaken by Médecins Sans Frontières, Di plans to donate 25 per cent of painting sales to the international organisation.
Di Gomery at the National Coal Mining Museum for England at Overtonin December 2024
Di Gomery: back story
STUDIED Art and Design at Manchester Polytechnic, followed by an MA at Birmingham Polytechnic. Gained her Doctorate from UCL Institute of Education, London.
She has taught at Bretton Hall College, Batley School of Art, Huddersfield University and Loughborough University.
Now lives in York, dedicating herself full time to oil painting in her South Bank Studios studio at Southlands Methodist Church, Bishopthorpe Road, York.
Last year, she took part in the Gomery & Braganza joint exhibition with ceramicist Loretta Braganza at Pyramid Gallery, York, from January 27 to March 10. She also exhibited at Hartlaw Solicitors, St James’s Street, Wetherby, from October 7 2024 to October 1 2025.
Last December, Di had her work chosen for display at the National Coal Mining Museum for England (NCMME) at Caphouse Colliery, Overton, Wakefield, West Yorkshire, until March 2025.
Naming The Creation, by Di Gomery, on show at the NationalCoal Mining Museum for England
While on a visit there earlier in 2024, she was reminded of the textile artwork she had created in 1988 while living in Edinburgh, when she researched ideas of female identity and received a Scottish Arts Council Award and an exhibition.
On seeing her work Naming the Creation, the NCMME invited Di to display the artwork there and to reflect on her upbringing in a Yorkshire pit village in the museum’s general exhibition during the 40th year since the Miners’ Strike of 1984.
To her surprise, coal once again inspired her, this time to write her first-ever poem. “My inspiration for this artwork was to express the changes taking place for women at that time (1980s) as their self-confidence grew and their empowerment expanded,” she says.
For Di, coal had to be included in the journey that she and many young women like her were taking. “Coal formed me into the person I am today and was central to my upbringing,” she says.
Di’s relationship with coal goes back to her birth in a National Coal Board house in South Kirkby. As a pit deputy, her father was entitled to a substantial delivery of coal that was proudly dropped at the top of their garden for her and her sister to “get in” by shovelling it first into the wheelbarrow, then down the garden path, and then shovel by shovel into the coal house at the back of the house.
Di Gomery pictured on March 26 2025 with two of her artworks on display in a York Hospital corridor
It was this fuel that provided warmth, hot water for washing and a source of heat to cook on a coal-burning stove. “Throughout my childhood coal was everything,” says Di. “It sustained us.
“While climate change may have altered our perception of coal, and coal is not often thought of as a thing of beauty, to me, those black, blue-back, dark green and purple, irregularly shape and dusty-to-the-touch lumps were ‘jewels of fuel’.”
From April to June 2025, she exhibited a series of paintings on a main corridor at York Hospital, including some of the largest paintings by a York artist ever to be displayed there.
While on a visit to the hospital in 2024 to determine the theme, scale and range of the paintings she would create specifically for this space, Di was reminded of how important it would be to bring a boost of energy to what is essentially a thoroughfare.
Di says: “It was a delight working with the Arts Team, supported by York & Scarborough Hospitals Charity, whose mission it is to improve the experience of their hospitals for patients, visitors and staff through a programme of music and art workshops, inspiring exhibitions and artwork within wards and departments.”
A montage of Di Gomery’s paintings on display at York Hospital earlier this year
The inspiration for these paintings was gleaned from Di’s sketchbooks, including one that was created daily between December 2024 and February 2025 to celebrate the life of a dear friend who had passed away.
“Hospital staff are very busy moving from one station to the next, and therefore I decided to employ the use of vibrant colour, create a sense of growth and renewal through the subject matter, and celebrate the gestures and mark-making that oil paint makes possible,” says Di.
“Hopefully those paintings were a wall of flowing, joyful energy that metaphorically walked alongside the viewer for a short while.”
Di opened her South Bank Studios studio for North Yorkshire Open Studios on June 7, 8, 14 and 15. She will do so again for the NYOS Winter show on November 1 and 2, 11am to 4pm.
You can view her paintings at www.digomery.com and @digomery.
