ELECTRONIC new wave trailblazers Orchestral Manoeuvres In The Dark are the first headliners to be confirmed for Futuresound’s third summer of Live At York Museum Gardens concerts.
The Wirral synth-pop duo of Andy McCluskey and Paul Humphreys will be joined on OMD’s Summer Of Hits bill on July 9 bill by two fellow Eighties’ synth-pop luminaries, Sheffield’s Heaven 17 and Kirkby’s China Crisis.
Rising Newcastle-upon-Tyne singer-songwriter Andrew Cushin will open the show, on the back of supporting such acts as Noel Gallagher and Louis Tomlinson.
The York exclusive postcode presale (for postcode prefixes starting with YO1, YO10, YO19, YO23, YO24, YO26, YO30, YO31 and YO32) will go on sale from 10am tomorrow (29/10/2025). General sales will open at 10am on Friday (31/10/2025).
Formed in Meols, Merseyside in 1978 by McCluskey (vocals, bass guitar) and Humphreys (keyboards, vocals), Orchestra Manoeuvres in The Dark (aka OMD) combined chart success with electronic experimentation on albums such as February 1980 debut Orchestral Manoeuvres In The Dark, October 1980’s Organisation, 1981’s Architecture & Morality, 1983’s Dazzle Ships and 1984’s Junk Culture.
China Crisis in concert at The Crescent, York, in 2024
OMD have since released 1985’s Crush; 1986’s The Pacific Age; 1991’s Sugar Tax; 1993’s Liberator; 1996’s Universal; 2010’s History Of Modern; 2013’s English Electronic; 2017’s The Punishment Of Luxury and 2023’s Bauhaus Staircase.
Pioneering 1979 singles Electricity and Red Frame/White Light paved the way for 1980 chart breakthrough Messages, triggering a flow of synth-pop hits with Enola Gay; Souvenir; Joan Of Arc; Maid Of Orleans (The Waltz Of Joan Of Arc); Genetic Engineering; Locomotion; Talking Loud And Clear; Tesla Girls; So In Love; (Forever) Live And Die; Sailing On The Seven Seas; Pandora’s Box; Stand Above Me and Walking On The Milky Way, their last Top 20 entry in 1996.
In 1986, OMD conquered the United States when If You Leave led off the soundtrack to the hit rom-com film Pretty In Pink.
Orchestral Manoeuvres In The Dark last played York on October 27 2019 at York Barbican on their extended 40th anniversary world tour. That anniversary was marked by the reissue of their first four albums on 180g vinyl, housed in their original sleeve designs by Peter Saville.
Summing up five decades of OMD, McCluskey says: “Electronic music is our language. It’s how we talk.”
Story Craft Theatre’s Cassie Vallance, left, and Jane Bruce in Bat, Cackle And Pop!
WINIFRED the Witch thinks everyone has forgotten her birthday. Not so. There is, in fact, going to be one 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 50-minute 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.
“This show always puts a smile on our face. We’ve had such amazing responses from both younger audiences, as well as their accompanying adults. It’s fun and engaging and reminds us that Halloween can be silly for everyone.” Suitable for ages three to eight. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Spooky!Cassie Vallance in Bat, Cackle And Pop!
Look at that birthday cake! Jane Bruce in Bat, Cackle And Pop!
The poster for Becky Hill’s Summer Music Saturday concert at York Racecourse next summer
BECKY Hill will perform at York Racecourse on Summer Music Saturday, June 27, in the second musical signing for the 2026 racing season. Tickets go on sale from today at www.yorkracecourse.co.uk.
The two-time BRIT Award winner for Best Dance Act, from Bewdley in the Severn Valley, rose to fame after reaching the semi-finals in the first series of The Voice UK in 2012.
Singer and songwriter Hill, 31, topped the UK charts with debut single Gecko (Overdrive, with Oliver Heldens) and has since posted Top 20 hits with Back & Forth (with MK and Jonas Blue); Wish You Well (with Sigala); Lose Control (with Meduza and Goodboys); Better Off Without You (featuring Shift K3Y); Heaven On My Mind (with Sigala).
The hits continued with Remember (with David Guetta); My Heart Goes (La Di Da, featuring Topic); Run (with Galantis); Crazy What Love Can Do (with David Guetta and Ella Henderson); History (with Joe Corry) and Disconnect (featuring Chase & Status).
Hill has released two studio albums, 2021’s Only Honest On The Weekend (peaking at number seven) and 2024’s Believe Me Now? (reaching number three), preceded by her 2019 compilation Get To Know.
Racegoers can expect a high-energy performance on the “Glastonbury-style stage”, after seven races earlier in the afternoon, as part of Hill’s busy tour schedule for 2026.
James Brennan, head of marketing and sponsorship, says: “It is great news that Becky Hill is debuting on the Knavesmire: a performer who knows how to entertain. It will herald a month for music and racing fans to remember.”
Racing and music fans can take advantage of a price freeze on adult general admission on the racecourse website, meaning that entrance to the main Grandstand and Paddock enclosure starts at £40 per person for a group of six. As well as free car parking, no booking fees apply on this route to purchase.
The racing action will feature seven thoroughbred contests with combined prize money approaching £300,000. The Group Three feature race over seven furlongs will be the Al Basti Equiworld Dubai Criterion Stakes.
Tom Grennan is confirmed already for the York Racecourse Music Showcase Saturday on July 25, performing after that Saturday’s race card. Tickets are on sale.
For the announcement of July 24’s Music Showcase act, keep checking the racecourse website and CharlesHutchPress.
Amit Mistry: Funny Fridays’ headline act for November 14
FUNNY Fridays will return to Patch@Bonding Warehouse, Terry Avenue, York, on November 14.
Headlining the 7.30pm to 9.30pm comedy bill will be Amit Mistry, joined by Lulu Simons, Gareth Harrison, Liam Alexander, Dominique McMillan, hosted by promoter Kaie Lingo.
Looking back to October’s show featuring Alex Mitchell, Pheebs Stephenson, Jacob Kohn, Lorna Green and Jimmy Johnson, held on World Mental Health Day, Katie says: “We’re thrilled to announce we raised £677.19 for the York branch of Samaritans, thanks to ticket sales, bucket donations and raffle prizes generously donated by York businesses.
“It costs £125 per day to run the York branch, so this will be a massive help for the team.”
The poster for Funny Fridays’ November bill at Patch@Bonding Warehouse
York Stage’s poster to announce next October’s production of Everybody’s Talking About Jamie at the Grand Opera House, York
YORK Stage will present a “bold and gritty” new production of Sheffield-forged musical Everybody’s Talking About Jamie at the Grand Opera House, York, from October 16 to 24 2026.
Hold on. Didn’t York Stage perform Dan Gillespie Sells and Tom MacRae’s award-winning show at Theatre@41, Monkgate, York, in June 2023? Yes indeed, but that was the York premiere of the Teen Version, starring Ryan Addyman, from Knaresborough, in the title role in his York Stage debut.
Now, director Nik Briggs has decided to re-imagine the award-winning musical with a “raw, authentic edge, capturing the electricity, humour and heart that has made Jamie a modern British classic”. How? By diving deeper into Jamie’s world.
Ryan Addyman as Jamie New in York Stage’s June 2023 York premiere of Everybody’s Talking About Jamie, Teen Edition. Picture: Matthew Kitchen
Inspired by the Firecracker documentary Jamie: Drag Queen At 16, composer Dan Gillespie Sells (from Horsham’s finest pop practitioners The Feeling) and writer/lyricist Tom MacRae worked their magic from an original idea by director and co-writer Jonathan Butterell for the 2017 Sheffield Crucible Theatre premiere.
Inspired by a true story, Everybody’s Talking About Jamie follows 16-year-old Jamie New, who doesn’t quite fit in. Supported by his loving mum and his friends, Jamie overcomes prejudice, beats the bullies and steps into the spotlight to become the star he was born to be.
York Stage’s 2026 production promises a fresh take on the hit West End show, blending Gillespie Sells’s infectious pop score and MacRae’s fearless, humorous book with York Stage’s trademark theatrical grit and emotional honesty.
Nik Briggs: Directing York Stage’s 2026 production of Everybody’s Talking About Jamie
“This is a story about identity, courage and the power of self-expression,” says Nik. “Our new production will dive deeper into Jamie’s world – its highs, its heartache and its hope – and celebrate the beautiful mess of growing up different in a northern city. We can’t wait to share this version with York audiences.”
Next October’s full-scale production will feature a vibrant cast and professional creative team, marking another landmark moment for York Stage at the Grand Opera House. Tickets will go on sale soon at atgtickets.com/york.
Did you know?
EVERYBODY’S Talking About Jamie was last staged in York by Pick Me Up Theatre at the Joseph Rowntree Theatre in July 2025, when 15-year-old York schoolboy Harvey Stevens took the lead role of Jamie New.
Principal dancers, dance captains and siblings Anna Mai Fitzpatrick and Fergus Fitzpatrick in Riverdance’s 30th anniversary show, The New Generation
LEFT-FIELD Halloween entertainment, garden art and light installations, Normal comedy and a splurge gun musical spark Charles Hutchinson’s interest.
Dance show of the week: Riverdance, 30th Anniversary Tour, York Barbican, today and tomorrow, 2.30pm and 7.30pm
VISITING 30 UK venues – one for each year of its history – from August to December 2025, the Irish dance extravaganza Riverdance rejuvenates the much-loved original show with new innovative choreography and costumes, plus state-of-the-art lighting, projection and motion graphics, in this 30th anniversary celebration.
For the first time, John McColgan directs “the New Generation” of Riverdance performers, none of them born when the show began. Box office: yorkbarbican.co.uk.
Blair Bitch Project: Playing on Navigators Art’s bill at YO Underworld 6 at The Basement
Live, left-field, local new music, comedy and words for Halloween: Navigators Art presents YO Underworld 6, The Basement, City Screen Picturehouse, York, tonight, 7.30pm
IN this special Halloween edition, York arts collective Navigators Art plays host to riot grrrl punk and grunge-inspired York quartet Blair Bitch Project and improvising cellist and sound artist Gaia Blandina, performing collaborative, open-form pieces with Ish, featuring Iris Casling, double bass, Des Clarke, oboe, and Nika Ticciati, voice.
Joshua Arnold & Therine: Welcoming the coming of Samhainat YO Underworld 6
Taking part too are dark hurdy-gurdy and vocal-led trad and experimental drone folk combo Joshua Arnold & Therine, welcoming the coming of Samhain; Kane Bruce, delivering his outrageously dark yet cheeky take on “taboo” topics, and Hull poet Melissa Shode, who explores identity in the socio-political climate and writes for release, justice and the voiceless. Box office: ticketsource.co.uk/navigators-art-performance or on the door.
Steve Gunn: Showcasing his two 2025 albums at The Band Room, Low Mill, tonight. Picture: Paul Rhodes
Moorland gig of the week: Steve Gunn, The Band Room, Low Mill, Farndale, North York Moors, tonight, 7.30pm
STEVE Gunn, the ambient psychedelic American singer-songwriter based in Brooklyn, New York, made his name as a guitarist in Kurt Vile’s backing band, The Violators. His myriad magical influences include Michael Chapman, Michael Hurley and John Fahey.
This weekend he will be showcasing his second album of 2025, Daylight Daylight, out on November 7 on No Quarter, as well as his first fully instrumental album, August’s Music For Writers. Box office: 01751 432900 or thebandroom.co.uk.
Hands and Voices: York choir singing at Laughs, Lyrics & You! at the Gateway Centre on Sunday
Inclusive open mic event of the week: Accessible Arts & Media presents Laughs, Lyrics & You!, Gateway Centre, York, Sunday, 2.30pm to 5pm
WHAT is Laughs, Lyrics & You!? “The idea is to have an open mic-type event, in a relaxed and friendly environment that’s accessible and fun, with tea and cake too,” says Accessible Arts & Media (AAM) chief executive officer Chris Farrell. “Our projects, IMPs, Movers and Shakers and Hands and Voices, will start the show with their wonderful music, dances and stories.
“Then it’s over to whoever would like to perform. Any talent is welcome, a duet, a solo instrument, a poetry reading, a recording of some original music, jokes…whatever you can think of would be great!” To take part, performers must contact projects@aamedia.org.uk or ring Hannah on 07762 428818. Admission is free; donations welcome.
Artist Ric Liptrot: Taking part in That Acomb Arty Thing
Art event of the week: That Acomb Arty Thing, Art Trail, until November 2; Open Studios, November 1 and 2
DISCOVER York artists’ work in venues around Acomb on the autumn Art Trail featuring Carla Ballantine, Linda Braham, Ric Liptrot, Jelena Lunge, Rae Merriman, Isaac Savage, Ginette Speed, Donna Taylor and Dianne Turner.
North Yorkshire Open Studios participants are hosting open studios next Saturday and Sunday: Paul Mathieson & Peter Mathieson, 49 Jute Road, 10am to 4pm; Peijun Cao, 60 Jute Road, 10.30am to 5pm; Fran Brammer, 81 Jute Road, 10am to 4pm; Charlotte Lister & Charley Hellier, 7 Chestnut Grove, 10am to 2pm; Robin Grover-Jacques, 35 Chestnut Grove, 11am to 4pm, and Mo Nisbet, 116 Acomb Road, 11am to 4pm.
Blue sigh thinking? Henry Normal reflects on himself, his mistakes, his Z celebrity status, in The Slideshow
Normal service resumed: Henry Normal, The Slideshow, Helmsley Arts Centre, Sunday, 8pm
THE Slideshow, as poet, film and TV producer/writer Henry Normal explains, is a multi-MEdia spectacular with the emphasis on the “me” in his celebration of his “meteoric rise to Z celebrity status”, followed by his joyous and inevitable slide into physical and mental decline.
Expect poetry, photos, jokes, music, dance, song, circus skills, costume changes, props and stories, exploring where Normal went wrong in life, plus lessons you can learn from his mistakes, in this memoir with cautionary verse. Box office: helmsleyarts.co.uk.
David Barrott, left, 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, October 28 to November 1, 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. Mrs Hinson, not the biggest fan of her upper-class new neighbours, is keeping 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, October 29 to 31, 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.
Rory Stewart: Discussing his new book, Middleland, at York Barbican
Book event of the week: Toppings presents Rory Stewart, Middleland, York Barbican, October 30, 7pm
NOW Professor of the Practice of Grand Strategy at Yale University’s Jackson School of Global Affairs and Alastair Campbell’s co-podcaster on The Rest Is Politics, Rory Stewart spent nearly a decade as Conservative MP of Britain’s most rural constituency, Penrith and the Border.
Living in the Eden Valley, he found inspiration in the beauty of Cumbrian landscape, its rugged history as a frontierland, and the spirit of its people, prompting him to write Middleland: Dispatches From The Borders, a portrait of rural Britain today: a place caught in tensions between farming and the natural world, between the need to preserve and to grow, between local and national politics. Over to you, Rory. Tickets: toppingbooks.co.uk/events/york/rory-stewart-middleland/.
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 movie 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.
In Focus: Tom Grennan, York Racecourse Music Showcase Weekend, July 25 2026
BEDFORD singer-songwriter Tom Grennan is the first act to be confirmed for the Music Showcase Weekend at the 2026 York Racecourse flat racing season.
Grennan, 30, has achieved three UK number one albums, 2021’s Evering Road, 2023’s What Ifs & Maybes and 2025’s Everywhere I Went Led Me To Where I Didn’t Want To Be, preceded by his top five-charting 2018 debut Lighting Matches.
He has chalked up hit singles too with Little Bit Of Love, Let’s Go Home Together (with Ella Henderson), Remind Me, Lionheart (Fearless, with Joel Corry), Here, How Does It Feel, It Can’t Be Christmas, By Your Side (Calvin Harris, featuring Tom Grennan) and Not Over Yet (KSI, featuring Tom Grennan).
Next summer’s Knavesmire gig will form part of a busy touring schedule for Grennan, who also co-hosts the You About? podcast with TV and radio presenter Roman Kemp.
Racing and music fans can take advantage of a price freeze on adult general admission on the track’s website, meaning entrance to the main Grandstand and Paddock enclosure, starts at just £40 per person for a group of six. As well as free car parking, no booking fees apply on this route to purchase. To book, visit www.yorkracecourse.co.uk.
On the racecourse, the racing action will see seven thoroughbred contests with combined prize money of £380,000. The Group Two feature race will be the Sky Bet York Stakes.
The Summer Music Saturday meeting will be held on June 27; the Friday evening Music Showcase Weekend meeting on July 24. Music acts for both those days are yet to be confirmed; keep checking www.yorkracecourse.co.uk for further announcements, expected soon.
James Brennan, head of marketing and sponsorship says: “It is great news that Tom Grennan is joining the artists to have performed on the Knavesmire; a performer who has gone from strength to strength. It will herald a month for music and racing fans to remember.”
In Focus too: Luxmuralis presents Echoes Of Yorkshire, York Museum Gardens, until November 2, 6pm to 8.20pm
Luxmuralis’s Echoes Of Yorkshire transforming the St Mary’s Abbey ruins in 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 the internationally acclaimed Luxmuralis, who bring alive the culturally rich story of the Yorkshire Museum and York Museum Gardens.
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 sculptor and 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 weaves together the contemporary and the ancient.
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 60 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.
“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.”
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.
Like mother, like son? Susie Blake’s Shirley and Jason Durr’s gangland boss Jonny ‘The Cyclops’ Drinkwater in Torben Betts’s murky comedy thriller Murder At Midnight
TORBEN Betts, once an Alan Ayckbourn protégé at the Stephen Joseph Theatre, is now carving out a niche in savagely dark comic thrillers with “Murder” at play in the title and on stage for touring company Original Theatre.
After the leaden ghost story of Murder In The Dark, set on the Yorkshire Moors, in September 2023, Betts returns to York Theatre Royal – he attended a Q&A on Wednesday – with what director director Philip Franks says is “a difficult play to describe”. “Feydeau, rewritten by Tarantino perhaps,” he settles on in his programme note. Or maybe Joe Orton refracted though Guy Ritchie’s The Gentlemen?
Describing Murder At Midnight as a companion piece to the first part of what is rumoured to be a trilogy, Franks reckons the new play is many things. Murder mystery. Farce. Gangster thriller in the vein of Jez Butterworth or Philip Ridley. Revenge drama. Darkly funny dissection of family life. All true, but frustratingly it ends up is less than the sum of these promising but clunky parts.
What separates Murder At Midnight more from the Miss Marples and Poirot world of crime dramas is the undertow of family drama tugging away beneath the increasingly absurdist violence. As Franks puts it, Murder At Midnight brings together a group of “lost and desperate people looking for love and willing to risk everything for it, even if the search ends in death” (spoiler alert).
Welcome to the swish, all-mod-cons home of southern drug baron and pig farmer Jonny ‘The Cyclops’ Drinkwater (Jason Durr), where Betts gives designer Colin Falconer the challenge of creating five locations in an open-plan design that facilitates quick scene changes in the tradition of farce (but without the usual profusion of doors).
Murder At Midnight director Philip Franks
At Paradise Farm, we see a sitting room, kitchen area, exterior passageway, master bedroom with a giant flamingo print, and Jonny’s man cave, where the back wall is dominated by an homage to his favourite pop star, Robbie Williams.
Cristina (Ukrainian actress Iryna Poplavska in her UK theatrical debut as a Rumanian home help) is in a flap on her phone with petty crook Mister Fish (Callum Balmforth, later to enter dressed as Coco the Clown, later still to reveal his name is Russell). She is trying to put Jonny’s mum, Shirley (Susie Blake) to bed, but Shirley is seeing things (devils mainly) and she may or may not be suffering from dementia.
Cristina’s phone, unlike everyone else’s mobile, only works in the passageway, one of the ways that Betts employs for engineering entrances and exits. He also applies another farce trope, whereby two sets of people are in the spacious house at the same time but unaware of the other.
Unbeknown to The Only Way Is Essex-style girlfriend Lisa (Katie McGlynn), Jonny has arrived home early from a trip and is in the man cave with his henchman, Trainwreck Spencer (Peter Moreton), a “man of unimpeachable character”, he insists, but beholden to a coke habit.
Lisa, meanwhile, has snuck back from a party. A fancy-dress party, which explains why she is dressed as a nun, and heading to the bedroom with her is the “vicar”, Paul (Max Bowden), her bit on the side, who also unbeknown to her, is an undercover cop investigating the murder of Jonny’s first wife, Alex (fed to the pigs apparently). Truly, she was for the chop, you could say.
At your service: Max Bowden’s “vicar” Paul and Katie McGlynne’s “nun” Lisa in Murder At Midnight
Scenes are conducted in parallel, out of sight and hearing of each other, but not for us of course. All the while, Blake’s Shirley has a habit of turning up unannounced and seeing everything. Keep an eye on her; she turns out to be a suffocating mother in the vein of Greek tragedies as Blake gives the most rounded performance.
Betts weaves so many styles and strands into his comedy thriller, even cultural social comment (such as putdowns of Coldplay and class distinction), but without uniting them satisfyingly to find his own voice, and for all seasoned director Philip Franks’ own panache as a comedic actor, the timing is too often off in Act One. Everything has to work just that little bit too hard.
Act Two is slicker, wilder, more violent too, but frankly sillier as it descends into a modern-day Jacobean tragedy with the obligatory pile-up of bodies. There is a nagging feeling throughout that it could and should be so much better. Only Falconer’s set is top notch.
Is Torben Betts getting away with murder, on the evidence of two disappointing plays? Thursday’s matinee was packed, so the answer would appear to be yes. Hopefully, Murder instalment number three will be a killer, however.
Original Theatre in Murder At Midnight, York Theatre Royal, today at 7.30pm, tomorrow, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
York Settlement Community Players cast members Heather Patterson, Adam Marsdin and Helen Wilson in rehearsal for Richard Harris’s Party Piece
AMERICAN stuntman, director, writer and producer Martin T Brooks is directing York Settlement Community Players for the first time in Richard Harris’s calamitous comedy Party Piece at Theatre@41, Monkgate, York, from October 28 to November 1.
“Last November, a friend of mine suggested I apply to direct a show for the York Settlement Community Players, but not having much notable experience directing theatre, I didn’t think I had much of a chance,” he says.
“Luckily for me, and many others, YSCP’s mission is to give aspiring directors the chance to direct. So, I did my research, got my ducks all in a row and made my pitch to the committee. Must have done something right because here I am. Directing Party Piece.”
Here Martin discusses his YSCP debut with CharlesHutchPress.
What happens in Party Piece?
“Michael and Roma are meticulously preparing for their fancy-dress housewarming party. Roma is treating the event like the coronation of the newest monarch, with Michael thinking he is planning the Normandy landing, as well as manning the barbeque with five-star determination and the personality of Gordon Ramsay.
“Mrs Hinson – who is not the biggest fan of her upper-class new neighbours – keeps a watchful and criticising eye on the attendees with the evening looking to be the social event of the neighbourhood.
“That is until a series of disasters strike, including an embarrassing lack of guests, a burning barbeque, a marauding Zimmer frame and a corpse showing up at the front door, turning the party into a hilarious misadventure.”
What attracted you to directing Party Piece? What are the play’s strengths, and why put it on in 2025?
“I selected Party Piece for several reasons. One being that with everything going on these days, I think we could all use a good laugh – and this show as them in abundance. I can remember, back in the day, my dad was playing a recording of an old radio broadcast of Steptoe And Son.
James Wood’s Michael Smethurst, left, Darron Barrott’s Toby Hancock and Catherine Edge’s Roma Smethurst rehearsing a scene from Party Piece
“Being only six or so, I didn’t really understand the jokes, but my dad sure thought they were funny. And dad didn’t laugh much. I guess this is when I first realised there was something special about old-time British comedies.
“Party Piece reminded me a lot of the classic British sitcoms I used to watch when I lived in the States, such as Fawlty Towers, Are You Being Served, Chief (remember that one?) and my favourite, The Good Life – which Party Piece has a lot in common with.
“The show also includes special effects, such as a smoking barbecue and wig, exploding fairy lights and a collapsing chair. As a former professional stuntman, I always like to create such effects, especially for the theatre.”
What is the history of Party Piece? When and where was it first performed?
“According to Theatricalia.com, the play, written by award-winning British playwright Richard Harris, was first performed at the Thorndike Theatre on September 15 1987. Although its official publication date is 1992.”
Have you seen a previous production of Party Piece?
“I have not seen the production live and could only find a few photos of previous production by Am Dram groups.”
Have you brought new faces to the Settlement ranks or gone with settled Settlement faces?
“The auditions were open to anyone and brought in the usual suspects of veteran actors from the North Yorkshire area. We do have one newcomer in Heather Patterson, who will be making her stage debut with YSCP. I consider myself very lucky that I was able to find experienced actors who fit the characters they are portraying so perfectly.”
Darren Barrott, left, Catherine Edge and Adam Marsdin in rehearsal for Martin T Brooks’s production
What will be the set design for the show?
“I created the overall design and based it on the description in the script and what a typical English back garden would look like in the early 2000s. The set is being constructed by Richard Hampton.”
Will there be music for the party?
“One of the funniest running gags in the play is Michael’s many failed attempts to get the music planned for the party to play properly. I’ve selected a few appropriate party pieces of music like Whitney Huston’s I Wanna Dance With Somebody and Wham’s Wake Me Up Before You Go-Go, which play well alongside the comic action taking place on stage.”
What makes a good party?
“The people, the food and the music.”
What makes a bad party?
“Music that is way too loud.”
Do you have your own party piece that you can reel out at a gathering?
“Like most blokes, after a few pints, I think I’m a pretty good stand-up comedian and can tell a few good ex-wife jokes and what it’s like being an American living in the UK.”
York Settlement Community Players in Party Piece, Theatre@41, Monkgate, York, October 28 to November 1, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk
Martin T Brooks: back story
American director, writer, producer, historian and author Martin T Brooks
1974: Auditioned for his first community theatre production, Oliver!. “I was severely bitten by the theatre bug,” says Martin. “I’ve been involved in the theatre, TV and film industries since that time, and I can’t imagine a world without myself being involved in these creative art forms.”
1985 to 1987: Writer/producer/director for local TV station (KABL-52 in Minnesota, USA), responsible for directing and broadcasting a variety of live and in studio productions. “During this time, I was recognised for my contributions to the local community and was awarded the Community Access Merit award,” says Martin.
1985 to 1995: In his ten years as a stuntman, Martin appeared (uncredited) in the film Drop Dead Fred, as well as a few pilot TV shows filmed in Phoenix, Arizona. “Most of my work was on live stunt shows like Thrill Show 2000, which you can find on my YouTube channel,” he says.
2007 to 2011: Deputy Manager and lighting technician for Watersmeet Theatre in Rickmansworth, Hertfordshire. “This provided me with many opportunities to be part of the technical/production staff, as well as stage manage numerous professional and amateur productions,” says Martin.
2011: “While working for St Michael’s Catholic High School in Garston, Hertfordshire, I was asked to direct the Year 9 & 10 production of Romeo And Juliet, as well as other shows put on by the senior performing arts students.
2017: Wrote and directed a series of “living history” plays based on real-life characters researched by Martin while writing the book Acts Of Caring And Other Heroics, Stories from the Leavesden Asylum/Hospital (1870 to1995).
“These plays were performed on an open-air stage during various history/Heritage Day events sponsored by the local district council, or in many primary schools as part of their local history/heritage studies,” he says.
2022 to 2024: Appeared in leading roles in 11 student/independent films and received Best Actor award from 2023 Alternative Film Festival, Toronto, Canada for portrayal of Charles in the short film The Beggers Story, produced by students at University of York’s TV/film programme.
2024: Wrote, produced and directed a short film, again based on real-life characters researched while writing Acts Of Caring And Other Stories. His film Going Home can be viewed at https://vimeo.com/986560818.
2025: Directing York Settlement Community Players for the first time in Richard Harris’s Party Piece.
Who’s in the Settlement Players’ cast for Party Piece?
JAMES Wood as Michael Smethurst; Catherine Edge as Roma Smethurst; Helen Wilson as Mrs Hinson; Adam Marsdin as David Hinson; Heather Patterson as Jennifer Hinson; Xandra Logan as Sandy Lloyd-Meredeth, and Darren Barrott as Toby Hancock.
Harry Summers’ Hieronimo: “The Hamlet of the piece” in Thomas Kyd’s The Spanish Tragedy. All pictures: John Saunders
BACK in the Elizabethan day, Thomas Kyd’s The Spanish Tragedy outsold Hamlet.
Truth be told, he was pretty much a one-hit wonder, (even “the one and only” Chesney Hawkes had a minor second hit, I’m A Man Not A Boy in 1991), and Kyd has been long dead and buried, like most of his players in what is now viewed as the groundbreaking template for revenge tragedies.
York Shakespeare Project’s decision to expand the focus beyond the Bard in its 25-year second cycle of the First Folio facilitates the revival of rival works of Ben Jonson, the ill-fated Christopher “Kit” Marlowe and, yes, one Thomas Kyd (1558-1594), the tragic trailblazer.
After the Pop Art explosion and drag and cancel culture of director-designer Tom Straszewski’s take on Marlowe’s Edward II in October 2023, Paul Toy returns to the YSP director’s chair after a 14-year hiatus to steer his fourth YSP production.
Toy had first read The Spanish Tragedy as part of his university Renaissance Theatre course, playing the insouciant wrong’un Pedringano to boot. He was struck by how so many of its ideas – “a ghost seeking revenge, feigned or real madness, a play within a play” – would be echoed in Hamlet by Shakespeare, the alchemist of playwrights. Better lines, better characters, better gags.
The Spanish Tragedy, however, turns out to have been well worth digging up out of its neglected grave. Yes, it is no match for Hamlet, but this is a meaty work, full of myriad theatre styles, as Toy notes, from dumb shows to execution as street theatre, tragedy as classical as Greek dramas, and not least a Last Judgement scene redolent of the York Mystery Plays. And, boy, does Kyd enjoy piling up the bodies till the last man standing.
The price of love: Emma Scott’s Bel-imperia and Yousef Ismail’s Horatioin York Shakespeare Project’s The Spanish Tragedy
Working in tandem with set designer and choreographer Viv Wilson and mask maker Tempest Wisdom, plus a rotating team of trainee make-up artists from York College (Grace Gilboy, Beth Shearstone, Keira Hosker, Abigail Horton and Ethan Thorpe), Toy gives The Spanish Tragedy the look of the Day of the Dead, with a nod in Wednesday’s make-up to Heath Ledger’s Joker in The Dark Knight.
Relocated to York from Seattle, Wilson is a sound engineer at Theatre@41, has contributed YSP sets for The Taming Of The Shrew and Two Gentlemen Of Verona, and once toured the world in a dance group and performed burlesque acts on three continents.
From that portfolio, you see how all life is here in YSP, as it should be in a long-running project, and now Wilson makes her debut in “legitimate theatre” as Revenge, resplendent in red and black, her face skeletal and ghostly white, her voice like a 60-fags-a-day midnight hag. Her mood is intemperate, her mission on a par with the Grim Reaper, but with better putdowns.
Wilson’s Revenge takes her seat to one side of the mezzanine level, reached by a staircase with a platform above for executions and such like. To the other is the “ghost seeking revenge”, YSP debutant David Lee’s Ghost of Andrea, drained of all colour by way of contrast with Wilson’s crimson Revenge. They will watch on, like the Chorus in Greek dramas, but with an impact more akin to Macbeth’s witches.
At the heart of The Spanish Tragedy is Harry Summers’ Hieronimo, Marshal of Spain, the vengeful Hamlet of the piece, with almost as many lines, but older, enervated. Summers already had his winter of discontent as Richard III and more woe as Coriolanus, and his ninth YSP role is best yet, delivering on “the power of rhetoric” that struck Toy above all else.
The theme of the failure of justice resonates with the rotting modern world, as Toy turns his audience into judge and jury, for Summers’ Hieronimo and Emma Scott’s equally impressive Bel-imperia in particular to make their case. Not for the first time in YSP colours, Scott’s diction is a delight; likewise her emotional range.
Plotters and rotters: PJ Gregan’s Balthazar, left, and Thomas Jennings’s Lorenzoin The Spanish Tragedy
Courtly roles go to YSP stalwarts, Tony Froud’s King of Spain, Emily Hansen’s Duchess of Castile and Nick Jones’s Viceroy of Portugal , while Tim Holman’s makes his first YSP appearance since 2004’s Titus Andronicus in a brace of roles.
On the dark side are Yousef Ismail’s Horatio, YSP newcomer P J Gregan’s Balthazar and Thomas Jennings’ malevolent Lorenzo, breaking the fourth wall with scene-pinching elan, on trademark crop-haired hitman duty again.
Isabel Azar, Cassi Roberts, Martina Meyer and Ben Reeves Rowley fit the the plot-thickening brief to good effect and Sally Mitcham is the play’s moral conscience as Hieronimo’s troubled wife.
Toy directs as playfully as his name would suggest, even using exquisite choral music by the wife-and-her-lover-murdering Gesualdo pre-show and in the interval. When a hanging takes place, darkness descends on the moment of Alan Sharp’s deadpan Hangman administers the drop, whereupon a scroll of The Hanged Man falls into place. Intricate sword-dancing adds to the spectacle, as do all manner of masks.
By the live nature of theatre, anything can happen. What were the odds of a letter dropped from above by Scott’s Bel-imperia landing in the curtain, out of Summers’ Hieronimo’s sight, no matter where he looked. To the rescue rode the director, in the back row. “Top of the curtain,” he bellowed, bringing the house down. Just one of many good decisions he made in this fruitful resurrection of Kyd’s play of men – and women – behaving very badly.
York Shakespeare Project in The Spanish Tragedy, Theatre@41, Monkgate, York, until Saturday, 7.30pm and 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
The cold touch: PJ Gregan’s Balthazar and Emma Scott’s Bel-imperia in York Shakespeare Project’s The Spanish Tragedy
Principal dancers Fergus Fitzpatrick and Anna Mai Fitzpatrick with the New Generation dancers in Riverdance’s 30th anniversary show, on tour at York Barbican from tomorrow to Sunday
RIVERDANCE is celebrating its 30th anniversary with its New Generation of pounding Irish dancers, on the beat at York Barbican from tomorrow (24/10/2025) to Sunday.
Not one of them was born when Irish composer Bill Whelan originated Riverdance as an interval act at the 1994 Eurovision Song Contest in Dublin, featuring Irish dancing champions Michael Flatley and Jean Butler and the vocal ensemble Anúna.
Husband-and-wife production team John McColgan and Moya Doherty soon converted it into a stage show that opened in Dublin on February 9 1995.
Whelan, McColgan and Doherty remain at the helm for Riverdance: The New Generation as composer, director and producer respectively on the 30-venue UK tour – one for each year – that runs from August 12 to December 14.
The New Generation production of this Grammy award-winning show rejuvenates the format with innovative choreography and costumes and state-of-the art lighting, projection and motion graphics.
Riverdance principal dancer Anna Mai Fitzpatrick: Dancing since the age of four
Director John McColgan says: “It is both a privilege and a delight to celebrate 30 years of Riverdance and the unique journey it has taken us on. In those 30 years, the show has transformed from a spectacle into a global cultural phenomenon, continuously evolving yet remaining true to its Irish roots.
“On this tour we welcoming ‘the New Generation’ of artists while paying tribute to the talented performers, creators, dedicated crew, and the millions of fans who have made Riverdance a worldwide celebration of music and dance.”
Among the principal dancers in a show that blends the traditional and the contemporary in a showcase of dancers, singers and musicians will be brother-and-sister dance captains Fergus Fitzpatrick and Anna Mai Fitzpatrick.
“Fergus and I both joined the company about eight years ago,” says Anna Mai. “So we saw Riverdance through its 25th anniversary, just before Covid, when the score had been recomposed by Bill Whelan.”
“We started Irish dancing at a young age, at eight in my case, and Anna Mai was four,” says Fergus. “We started by going to after-school dance classes at the local primary school, at Navan in County Meath, and I first saw the Riverdance show a couple of years later on TV.
Fergus Fitzpatrick: World champion-turned-Riverdance principal dancer
“It looked like they were having so much fun with their friends on stage, and after that show, I remember trying to do the moves around the coffee table in the living toom!”
Anna Mai rejoins: “Yeah, it looked like they were having the best time of their lives on stage, and even at that age, I was up on my feet trying to replicate it.”
Both becoming dance champions, they caught the Riverdance bug and love being part of the New Generation show. “We train our whole life to be on stage, and we wouldn’t know what to do if we weren’t performers,” says Anna Mai. “Like anything, you have to put everything into it, all your willpower.”
Fergus says: “Once we’re on tour, we’re together for almost 24 hours a day: eating together, dancing together, staying together in the hotel – and there are plenty of siblings in the show, so it’s good to have that camaraderie off stage as well as on.”
Everyone is pulling in the same direction: the production team, the dancers, the singers, the musicians. “Absolutely,” says Fergus. “The team that you see are very like-minded, and the audience can feel it: they see the beautiful harmony between us and the team behind the scenes, making us look good. It’s a really talented team with a shared vision.
“Fergus and I are very lucky to have each other there on tour, and we can always reach out to each other,” says sister Anna Mai
“The New Generation brings a great energy to this version of the show. We’ve only known life in Riverdance, and we feel the responsibility of the legacy.”
Anna Mai is full of admiration for the work of Whelan and McColgan. “They always do such an incredible job of taking care of the show for now and for future generations as ambassadors for the culture of Ireland,” she says. “We are always so grateful to them for keeping the magic that we all know and love.”
Injuries are part and parcel of a dancer’s life, but Anna Mai says: “A lot of it goes back to preparation. The risk of injury goes with any sport or physical activity, but in those activities, there also can be ‘mental injury’, where you’re not in a good place.”
She, however, is very much in a good place. To keep in top condition, “we work with physiotherapists and massage therapists who travel with us on tour,” she says.
“As much as it’s a dream to be doing Riverdance, it’s also a job, and it’s up to us to be able to prepare to do our job. Fergus and I are very lucky to have each other there on tour, and we can always reach out to each other.”
“We approach a set of live dates in a scientific way now,” says Fergus
Fergus adds: “We approach a set of live dates in a scientific way now. We think about how many shows there will be, what we will need in the way of recovery, how we will sustain being at the top of our game for so many shows.
“And of course the team helps us; Riverdance knows that we need a masseur on the road with us, a company physio, that kind of thing, to keep our bodies conditioned”.
Anna Mai comments: “Because we and the show have been to many of these places and cities before, we have connections that we can tap into. And we love to use our time off and get to know an area even better, do some touristy things, catch up with old friends.
“With Riverdance, many things are constantly changing; you will never be on the road with exactly the same people, on exactly the same tour routing. There is always a new energy, a new buzz, and that’s really fun to feed off. We’re making memories together.”
Fergus is looking forward to this week’s performances at York Barbican. “We’ve performed in York before and we absolutely loved it. It’s such a beautiful city and the audiences are incredible,” he says.
Anna Mai Fitzpatrick dancing in Riverdance Perform at Jubilee Stage, Expo 2020 Dubai in November 2021. Picture: Steve Holland/Expo 2020 Dubai
“It was late 2021 when we last came, when the venues opened up again, and we can’t wait to get back there. There’s definitely an energy there. That magic. A feeling you get, that energy, that crescendo, the moments of emotion, when the audience jump to their feet. That’s a great feeling.”
Traditional Irish dancing may be done with “arms down by your side”, but Riverdance’s combination of the traditional and the contemporary, the Irish and the international, means that “in our professional dancing, we do use the arms more,” says Anna Mai.
“It’s really good fun to get to explore that in the shows. If you look back to the synchronicity of the dancing at the Eurovision show, it was all arms by the side, but we will hold hands at times in our show and support the lead dancer with our hands, and that’s an exciting development.”
Summing up the abiding popularity of Riverdance, Anna Mai concludes: “There is always something new in the way the show resonates. I have seen the show many times and it always hits me differently, on a certain night, one particular number might really affect you; there is so much to experience, the phenomenal music as well as the dancers, all the different styles.
“It is never the same. It’s hard to describe the magic of Riverdance to someone who hasn’t seen it. It’s the human emotion that keeps the fans coming back. They come for the feeling that they leave the show with.”
Riverdance, 30th Anniversary Tour, The New Generation, York Barbican, October 24 to 26, 7.30pm, Friday to Sunday, plus 2.30pm Saturday and Sunday matinees. Box office: yorkbarbican.co.uk.
Sibling synchronicity: Anna Mai Fitzpatrick and Fergus Fitzpatrick are principal dancers and dance captains in Riverdance’s 30th anniversary show
Fergus Fitzpatrick and Anna Mai Fitzpatrick: back story
FERGUS, from County Meath, Ireland, discovered his passion for dance at the age of eight. With his sister Anna Mai, he grew up competing internationally in Irish dancing competitions.
Under the tutelage of Holly and Kavanagh Academy of Irish Dance, Fergus achieved his dream of becoming a world champion in 2017.
Joined Riverdance, performing in Gaiety Theatre, Dublin. As principal dancer, he has performed in prestigious venues such as Radio City Music Hall, New York, and Hammersmith Apollo, London.
Other productions include Heartbeat Of Home at Piccadilly Theatre, London, and London Palladium.
“Only the best dancers will make it to Riverdance,” says Fergus. “It takes a lot of hard work for a lot of years, a lot of drive. In the back of our minds when we started dancing, the end goal was always Riverdance.
“However, before you get there, there is a whole competition scene. Now though, as principal dancer I also feel that I need to outwork the younger guys who are coming through! They are so good, and of course they want my job, so I need to work hard and work smart.”
“As principal dancer I feel that I need to outwork the younger guys who are coming through!” says Fergus
ANNA Mai began her dance journey at the age of four and danced competitively for 16 years alongside brother Fergus. From a young age, Irish Dance was her passion.
Won many major championships includingAll-Ireland Championships, Great Britain Championships and British Nationals.
Joined Riverdance in 2017, touring China with Fergus, then performed with Riverdance at Gaiety Theatre, Dublin, for two summer seasons.
Moved into principal role in 2020, touring with the show on UK national tour, at Expo Dubai in North American, Europe, and China, Australia and Japan tour.
Toured with Heartbeat O Home, making debut as principal dancer at Piccadilly Theatre in London’s West End.
“A love for the dancing and the show is crucial,” says Anna Mai. “That’s the dream I suppose, for any job, and we do wholeheartedly love what we do. That is what pushes me to be that one per cent better every day, keep the fire burning.
“The show takes a lot of work. When the audience sees the cast on stage, they see the glamorous end to what has been the work of an entire team helping each other to get to that point. We love the entire process.”
