Poet Ian Parks with his new collection The Sons Of Darkness And The Sons Of Light
YORK arts collective Navigators Art plays host to An Evening With Ian Parks and Friends on November 21 at The Basement, City Screen Picturehouse, York.
“This is one for lovers of poetry and folk music,” says organiser Richard Kitchen. “Ian is a widely published and much admired poet from Mexborough, described as ‘the finest love poet of his generation’, although his work vigorously addresses the political as well as the personal.”
Parks will be reading from his new collection, The Sons Of Darkness And The Sons Of Light. Joining him will be York novelist and poet Janet Dean, critic and poet Matthew Paul and singer-songwriter Jane Stockdale, from York alt-folk trio White Sail.
In addition, Parks will be in conversation with publisher Tim Fellows, of Crooked Spire Press. Tickets for this 7.30pm event cost £5 in advance at bit.ly/nav-events or £8 on the door from 7pm. “We hope to adjourn for a chat after the show with anyone who’d like to join us,” says Richard.
The poster for Navigators Art’s November 21 bill at The Basement, City Screen Picturehouse, York
David Walliams: Frank chat at York Barbican. Picture: Charlie Clift
CANDID conversation, outrageous anecdotes, storytelling and surprises combine in An Evening With David Walliams, actor, writer, sketch comedian and talent show judge, at York Barbican on November 4.
Everything, from his breakthrough with Matt Lucas on Little Britain, Come Fly With Me and judging duty on Britain’s Got Talent to his prolific book writing for young readers, will be on the table, opening in Little Britain attire and topped off with the chance to put questions to “one of Britain’s most beloved entertainers” in the second-half Q&A.
“I was last in York for a book signing about a year ago. I love the city,” he says. “Went to the Minster, bought some old-fashioned sweets. I like cities and towns where you can walk around, not too big. That’s why I like Edinburgh, Bath and York.
“I love the National Railway Museum too. I’ve been there a few times. I went there as a kid, when the Mallard was my favourite. I had a Horny train set too. I like a train journey, so I’ve always wanted to write a book based around trains but I haven’t had the right idea yet.”
When does he know that moment has arrived? “I think it’s when…I make a lot of notes…and it’s normally when you have a number of ideas coming out of you at once. What will make it different from other books?” says David, whose books have been translated into 55 languages.
“I read a brilliant book by Stephen King about writing where he said, ‘a good book has to have two ideas’, and it just stuck with me. With kids’ books, you write in a world halfway between imagination and reality, Like, if there was an empty house on my street as a child, I would say it was haunted.
“With each book now, it’s very much a case of having to top the last book, having started by drawing on my childhood experiences, like The Boy In The Dress, writing stories very much grounded in our world, even though fantastical things might be happening.
“But as I went on, I had to invent more, or I would have written the same book again, and indeed I’ve had to let my imagination run riot. What is popular with kids is writing a series of books, like The World’s Worst Children, but most of the time with my books I have to start with a new character, maybe a new setting.”
Writing a book can be a slog, but that slog is worthwhile. “It’s not something I can speed up. It’s not something you can dash off,” says David, who puts plenty of planning into his writing. “Some things get cancelled because they’re just not working.”
Has the prolific David Walliams ever experienced writer’s block? “Sometimes I don’t know what to write, but I then just get up and do something else. There is always tomorrow,” he says. “Sometimes maybe you need to go for a walk, or weirdly, when you’re not thinking about it, your brain goes into problem-solving mode and comes up with the solution.
“I’m constantly alive to ideas, wherever they come from, like reading an article in the newspaper and thinking, ‘this is a great story’. The other day I was reading about an archaeologist and then flipped it on its head for an [Egyptian] mummy to travel to the modern world.
“It’s stuff like that which makes you constantly open to new ideas – and I’ve had many more ideas than I’ve used. Just like with Little Britain, where we had so many characters that never saw the light of day, maybe two thirds of the things we came up with.”
The three series of Walliams & Lucas’s satirical sketch show Little Britain aired from 2003 and 2005 and, such is the nature of comedy, they were very much of their time whereas books tend to transcend time – or so I suggested to David.
“My son is 12 and we watch comedy movies together, and he’s drawn to the ones from 20 years ago, like Borat [from 2006] and the Austin Powers films [from 1997 to 2002]. You might think, ‘you couldn’t do that now’, but I think, ‘what’s the point of this debate?’. They’re still really funny. Sometimes it’s context.
“If you don’t like Borat, which I think is the funniest film ever made, what are you going to do to complain about it?”
David continues: “Interestingly, people are still finding Little Britain funny and teenagers are sharing it on social media, which is pleasing because it means they’re enjoying it. You can remember bad reviews and negative voices, which are always loud. People can always turn off the TV if they don’t like it.
“You have to remember that there’s a spread of opinions, and just because there are negative opinions, it doesn’t mean they are more important.
“At the end of the day, there were moments of satire, but it was silly as well, and entertaining people, if you’re successful, is a fantastic feeling, because it can be life-changing when people say ‘I was going through difficult times and thank you for helping me to get through that’.”
Humour, by its nature, will either be found funny or not, and that may change with changing tastes too. “Come Fly With Me, which came out in 2011 [first episode, December 25 2010], the kids are really into it now, partly because it’s edgy,” says David. “We’re watching things thinking ‘you couldn’t make that now’, but Mitchell & Webb have just done a new sketch show [Mitchell And Webb Are Not Helping, Channel 4] that I loved.
“It’s just that people are much more able to articulate their response now. You can be on your phone at the same time [as you are watching], saying you find something offensive, whereas before you had to call the BBC and wait in a queue, when 100 complaints would be a big deal.”
Was he tempted to call his tour show ‘A Night With’ rather than ‘An Evening With’? “No. I think if you said ‘Night’, you would think you’d be up all night on a crawl of kebab shops!” he reasons. “I was first asked to go to Australia and New Zealand with ‘An Evening With’ and had a brilliant time there as they’re very aware of what shows I’ve done.
“We put together this show with all my funny stories and favourite characters, talking about my career and where ideas came from, showing clips of the best bits, then inviting audience questions.”
What is the most unusual question he has been asked? “In Australia, an 11-year-old girl said her mum had given her her ticket because she wasn’t well…‘My question is, who are you?’! The audience love it when they put you down.”
He is enjoying the format, with more shows planned for next year after this autumn’s dates in York, Hull and Derby. “It’s like a stand-up show with a stool for me to sit on,” says David. “I’m at that age [54] where you make noises when you get up!”
An Evening With David Walliams, York Barbican, November 4, 7.30pm. Box office: yorkbarbican.co.uk.Also Hull Connexin Live, November 5, 7.30pm. Box office: https://connexinlivehull.com/
Film critic Mark Kermode: Book talk and gig with his band Dodge Brothers at York Theatre Royal in the Beyond the Frame strand of Aesthetica Short Film Festival 2025. Picture: Julie Edwards Visuals
THE 15th Aesthetica Short Film Festival tops the bill in a week when Sir Gareth Southgate and David Walliams are keen to talk too, as Charles Hutchinson highlights.
Festival of the week: Aesthetica Short Film Festival, all over York, November 5 to 9
NOT so much a film festival as a “screen and media event”, in its 15th year, York’s Aesthetica Short Film Festival is bigger and broader than ever. Not only more than 300 shorts, features, documentaries, animations and experimental films, but also the VR & Games Lab; masterclasses and panels; workshops and roundtables; networking and pitching; Listening Pitch premieres; the inaugural New Music Stage and Aesthetica Fringe shows; Beyond the Frame events at York Theatre Royal; the UNESCO City of Media Arts EXPO and the Podcasting strand. For the full programme and tickets, go to: asff.co.uk.
Joseph Egan’s club boss Fat Sam from the Team Bugsy cast for Pick Me Up Theatre’s Bugsy Malone
Young swells of the week: Pick Me Up Theatre in Bugsy Malone, Grand Opera House, York, until 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 more than 40 young performers in Alan Parker and Paul Williams’s Jazz Age 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 Slam and Bugsy 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.
Mark Steel: Addressing the leopard in his house at York Theatre Royal tonight
“Leftie, working-class, BBC Radio 4 favourite” comedy gig of the week: Mark Steel: The Leopard In My House, York Theatre Royal, tonight, 7.30pm
COMEDIAN, nation-travelling radio presenter and writer Mark Steel has not so much an elephant in the room as The Leopard In My House. Under discussion is his battle with throat cancer, one that he is winning (thankfully) and that has spawned his new comedy tour show. Cancer, by the way, has done nothing to dull the edge of Steel’s trademark acute political and cultural observations.
“This show is the story of my year, of wonderful characters and often tricky but bafflingly positive experiences,” says Steel. “Doing the show doesn’t quite make me glad that it happened, but it definitely makes up for it quite a bit”. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Magpies: Launching new EP at the NCEM
Folk gig of the week: The Magpies, National Centre for Early Music, York, tonight, 7.30pm
THE Magpies, the folk trio that hosts The Magpies Festival at Sutton House, near York, every summer, combine rich harmonies with fiddle-led fire and lyrical storytelling, wherein Bella Gaffney (banjo, vocals), Holly Brandon (fiddle, vocals) and Ellie Gowers (guitar, vocals) meld Anglo and American traditions.
Tonight’s intimate gig marks the launch of this autumn’s EP, The One Thing That I Know. Lead single Painted Pony is a stirring tribute to the St John and St Lawrence rivers of Canada: a song that flows with memory, movement and the quiet majesty of nature’s imprint. Box office for returns only: 01904 658338 or ncem.co.uk.
George Stagnell in the short film Bomb Happy, part of an Everwitch Theatre double bill
Theatre and film 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.
Leading light Mad Alice: Welcoming passengers to her Ghost Train on the North Yorkshire Moors Railway
Train ride of the week: Mad Alice’s Ghost Train, North Yorkshire Moors Railway, Pickering Station, Sunday, 6.15pm and 8pm
JOIN York ghost walk hostess Mad Alice as she takes a spine-tingling ghost-train ride through the haunted heart of the North York Moors from Pickering to Levisham and back again in an hour-long eerie adventure. “I’ll be joined by Jonny Holbek, from York Light Opera Company, and professional actor Joe Standerline to help me tell stories in the carriage,” says Mad Alice. “Plus a few extra ‘ghosts’, who are actually either NYMR volunteers or York Light members – and even my own niece!”
All on board to learn of the mysterious ghosts that still haunt the carriages and stations; hear of supernatural tales and folklore of the land, and enjoy a special retelling of Charles Dickens’s ghost story, The Signal Man, all while sipping Mini Mad Alice’s Bloody Orange Gin & Tonic from York Gin (age 18 upwards). Box office for waiting list only: nymr.co.uk/Event/ghosttrain.
Sir Gareth Southgate: Discussing his new book Dear England at York Barbican…and the subject of James Graham’s play of that title at Leeds Grand Theatre
Ex-England manager at the double: In Conversation with Gareth Southgate, Lessons In Leadership, York Barbican, November 3, 7.30pm; National Theatre in Dear England, Leeds Grand Theatre, November 4 to 8, kick-off at 7.30pm plus 2pm Wednesday, Thursday and Saturday matinees
SIR Gareth Southgate, of Swinsty Hall, Fewston, Harrogate, makes the comparatively short trip to York Barbican to discuss his eight years of leading England’s footballers on the world stage with a revolutionary management style that combined calm empathy with mental resilience, courageous integrity with strong accountability.
David Sturzaker’s Gareth Southgate, in trademark waistcoat, in James Graham’s play Dear England, on tour at Leeds Grand Theatre. Picture: Mark Brenner
He will discuss his new book Dear England: Lessons In Leadership, a title shared with James Graham’s Olivier Award-winning play (and forthcoming television drama) that takes its name from Southgate’s open letter during the Covid-19 pandemic.
David Sturzaker plays Southgate, Samantha Womack, team psychologist Pippa Grange, in this “inspiring, at times heart-breaking and ultimately uplifting story” of England, penalties, lost finals and a new-found national identity. Box office: York, yorkbarbican.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
David Walliams: An evening of frank chat and outrageous anecdotes at York Barbican. Picture: Charlie Clift
Candid comedic conversation of the week: An Evening With David Walliams, York Barbican, November 4, 7.30pm
SKETCH comedian, prolific author, talent show judge and English Channel swimmer David Walliams presents an evening of laughter, storytelling and surprises, discussing his Little Britain breakthrough, Come Fly With Me and his days on Britain’s Got Talent.
Expect the stories behind legendary TV sketches and reflections on his myriad books and the highs and lows of a career. Prepare for candid conversation and outrageous anecdotes, topped off with the chance to put questions to Walliams in the Q&A. Box office: yorkbarbican.co.uk.
Ben Rosenfield and Laura McKeller in The Wetwang Hauntings – Live. Picture: Emma Warley
Halloween horrors and jump scares of the week: Neon Crypt & The Deathly Dark Tours present The Wetwang Hauntings – Live!, Theatre@41, Monkgate, York, November 4 to 8, 7.30pm plus 2.30pm Saturday matinee
BETWEEN 1986 and 1993, a series of often violent hauntings rocked the small Yorkshire town of Wetwang. The cases went cold and all the records were lost…until now! Join York ghost walk guide Dr Dorian Deathly as the Neon Crypt and The Deathly Dark Tours team digs into the history and horrors of these cases. “This show is not for the faint of heart,” he forewarns. Suitable for age 13 upwards. Box office: tickets.41monkgate.co.uk.
Nik Briggs: York Stage director back on stage to play a contestant in The Great British Bake Off Musical
York musical premiere of the week: York Stage in The Great British Bake Off Musical, Joseph Rowntree Theatre, York, November 5 to 8, 7.30pm plus 2.30pm Saturday matinee
BAKING battles, singing sponges and a sprinkling of hilarity is the recipe for York Stage’s York premiere of The Great British Bake Off Musical, rising to the occasion under the direction of Nik Briggs, who also makes a rare stage appearance as one of the Bake Off contestants.
Expect a sweet and savoury symphony of British wit and oven mitts, propelled by a menu of jazz hands and jubilant original songs that capture the essence of the Bake Off tent, from nerve-wracking technical challenges to triumphant showstoppers. Be prepared for an emotional rollercoaster ride, where cakes crumble, friendships form and dreams become fruitful reality. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Katie Leckey: Directing Griffonage Theatre’s three nights of Kafka’ strangest short stories in the House of Trembling Madness cellar in Lendal
Deliciously disturbing stories of the week: Griffonage Theatre, Kafka By Candlelight, The House Of Trembling Madness, Lendal, York, November 5 to 7. 6.30pm and 8.30pm
“NO rest for the week,” say Griffonage Theatre, York’s purveyors of the madcap and the macabre, who are performing Kafka By Candlelight in the cavernous belly of the House Of Trembling Madness cellar as part of Aesthetica Short Film Festival’s debut Aesthetica Fringe, featuring 25 shows across the city.
This one showcases five of Franz Kafka’s strangest short stories, told disturbingly in the darkness with the audience in masks (optional). “Dare to join us?” they tease. Box office: eventbrite.com/e/kafka-by-candlelight-tickets-1815618316259.
York actor, writer and director Constance Peel: Presenting Service Please at Aesthetica Fringe 2025
In Focus: Introducing Constance Peel, Service Please, Aesthetica Fringe, Rise@Bluebird Bakery, Acomb Road, Acomb, York, November 4 and 7, 8.30pm; Micklegate Social, Micklegate, York, November 9, 2pm and 8pm
CONSTANCE (Connie) Peel, York-born director, producer, writer and performer, will present her debut one-woman show Service Please as part of the inaugural Aesthetica Fringe.
“I’ve been working as an assistant director and performer in theatre professionally for the past two years, since graduating from the University of York,” says Connie, 24. “This show explores the reality of working in hospitality, including the harassment and sexism you can face as a young woman.”
Service Please is billed as “a relatable and comedic monologue that follows Lara, a creative writing graduate, who hopes to write the next best-selling fantasy romance novel. There’s only one thing standing in her way, her casual waitressing job that keeps the money coming in.”
“We’ve all been there, but Lara wasn’t ready for the stressful and chaotic reality of working in the service industry,” says Connie, introducing her monodrama. “Can Lara keep her sanity and get her big writing break or will she crumble under the pressure of understaffed shifts, creepy comments and customers who say their only food allergies are ‘women’?”
Hospitality is the fastest-growing economic sector, worth £93 billion to the UK economy. “But it’s under severe pressure with more than 100,000 job losses predicted by the time of this month’s Budget, due to National Insurance rises (according to UK Hospitality),” says Connie.
“It’s evident working in the sector that to continue profits and keep up with the cost of living, food prices and discounts both need to increase while labour hours decrease. Being a server has never been more stressful and unpredictable and this experience (as other working-class experiences) is so often overlooked by theatre.”
Sexual harassment is an epidemic in the hospitality industry too, says Connie. “As many as 47 per cent of workers having experienced it – and 69 per cent witnessed it in 2021 (Culture Shift).
“These statistics, though informative, mask the personal cost to the individuals harassed and abused. My play presents interpretations of my own personal experiences, including those with harassment, and they’re an unfortunate part of the job when working as a waitress.
“They shouldn’t be, and awareness of this experience even in Fringe-scale theatre is always beneficial to the cause.”
Lastly, says Connie, Service Please tells the story of an artist with no clear way into her industry. “This is the most personally accurate part of my script. I wrote and performed the 50-minute monologue while producing and marketing it alone for its six-day debut run at the world-famous Edinburgh Fringe, where it won plaudits from critics and top reviews.
“Though this is hopeful for creatives, both in the execution of the play and my own story behind it, I wanted to show the emotional toll of struggling as an artist, especially as in the past five years there has been one third fewer art jobs (directly impacting my career).
“It was important that I brought this show back to where my career started, in York where I graduated from the University of York and where I’ve been working for the past three years between York and Leeds. I hope this production and my story makes people see the importance of a small-scale play like this in today’s society.”
Aesthetica Short Film Festival director Cherie Federico
THE 15th Aesthetica Short Film Festival, York’s festival of storytelling, creativity and culture, will run from November 5 to 9 in a celebration of film, art and innovation.
The festival has become a transformative force for the creative industries in York, the UNESCO City of Media Arts. Over its 15-year history, the festival has grown from a niche celebration of short films into an internationally recognised event that drives economic, cultural and social impact across York, the North and the UK.
“Beyond screenings, Aesthetica shows us what we can achieve as a city and region, opening doors and creating opportunities for emerging and established creatives alike,” says festival founder and artistic director Cherie Federico. “It brings fresh perspectives, proving that world-class creative innovation does not have to be London-centric.
“By attracting filmmakers, musicians, media artists and industry professionals from around the globe, the festival creates a platform for collaboration, professional development and experimentation.
“It positions York as a hub for cutting-edge media arts, immersive experiences and industry-leading conversations, while championing the UK’s creative industries and nurturing bold new voices.”
Reflecting on 15 years of Aesthetica Short Film Festival, Cherie says: “The festival started 15 years ago as an idea to screen amazing talent in a city that had never had a film festival before. It was an incredible opportunity to break new ground.
“Over the years, it has grown into a globally recognised platform, attracting submissions from more than 80 countries and programming across film, animation, VR, games, podcasts and media arts.
“York itself has grown alongside the festival, evolving into an internationally visible hub for creativity. The festival now bridges traditional cinema with innovative storytelling, offering audiences and industry professionals alike a space to discover, collaborate and experiment.”
Picking the festival’s greatest achievement, Cherie says: “We’ve proved that something of this scale and ambition can thrive outside London. From York, a city traditionally celebrated for its heritage, rather than contemporary creative industries, Aesthetica has built a platform with real global reach.
“For 22 years, it has published and supported independent art and film through the Aesthetica Art Prize, curated programmes and festival screenings, connecting creators from around the world with audiences, industry and media.
“It opens doors to new perspectives and possibilities, showing the city – and the wider UK – what can be achieved with ambition, creativity and vision.”
Mark Kermode: Participating in Aesthetica Short Film Festival 2025 with a talk and a concert by his band Dodge Brothers. Picture: Julie Edwards Visuals
Cherie continues: “Launching initiatives such as the UK Film Production Summit, immersive media labs and national education strands demonstrates how Aesthetica embraces York as a place of innovation, bringing the world to the city, rather than expecting everyone to come to traditional hubs.
“The festival consistently champions bold, original voices, elevates independent arts and merges cultural, social, and economic impact, while showing that excellence in creative industries is not limited to London.”
Beyond being a film festival, the annual event continues to evolve its identity. “The festival has grown beyond a traditional film festival to celebrate all forms of screen and media arts,” highlights Cherie.
“With strands covering VR [virtual reality], gaming, podcasts, music and interactive media, the festival reflects the evolving landscape of storytelling. While a name change could emphasise this broader remit, the festival’s established brand carries heritage, international recognition and prestige. The programming itself now embodies the expansion, giving audiences a rich, multidisciplinary experience.”
Among the initiatives for 2025 is the Beyond The Frame strand of wider programming. “Our Fringe programme’s expansion into Beyond The Frame reflects the festival’s commitment to experimental, cross-disciplinary and interactive media,” says Cherie.
“Partnering with York Theatre Royal, it offers audiences immersive live experiences, combining performance, film and storytelling in innovative ways. Highlights include comedy from Sophie Duker, screenings from Silent Cinema, and special industry talks with Mark Kermode, among others.”
“Beyond The Frame demonstrates the festival’s ambition to push creative boundaries, attract diverse audiences, and provide a platform for both emerging talent and established international artists. It shows York what is possible creatively, blending heritage venues with cutting-edge programming and reinforcing the festival’s role in opening doors and offering new perspectives beyond London.”
This festival may have an international reach but it celebrates York’s identity too, being as much a festival for York and about York as it is a magnet for overseas talent and visitors.
“While the Aesthetica Film Festival has grown into a truly international platform – attracting submissions and participants from more than 60 countries – it remains deeply rooted in York,” says Cherie.
“Local schools, creative hubs and venues are central to the festival experience, ensuring it celebrates the city’s culture alongside global talent. Aesthetica shows York what it can achieve, opening doors to new opportunities and perspectives that are not London-centric.
“By connecting York-based creatives with international filmmakers, musicians, media artists and industry professionals, it provides exposure, networks, and inspiration that would otherwise be less accessible outside traditional industry hubs.”
Cherie continues: “Our initiatives such as Filmmaking in Schools, the New Music Stage, VR and Games Lab and the UNESCO City of Media Arts EXPO at the Guildhall ensure that local talent benefits from international engagement.
Aesthetica Short Film Festival: A hub of creative activity in York for five days each November. Picture: Jim Poyner Photography
“This dual identity strengthens community engagement, supports careers and demonstrates that world-class creative innovation can flourish anywhere in the UK, not just in London.”
Launching the UK Film Production Summit positions the festival at the heart of the British screen industry, says Cherie. “More than 100 production companies, commissioners and development executives – including BBC Films, Film4, Working Title, Warp Films, Paramount, Scott Free, and BFI – converge to tackle pressing industry questions, from AI and virtual production to the rise of streaming platforms.
Mark Herbert, CEO of Warp Films, will headline the summit, bringing with him the weight of critically acclaimed productions such as This Is England, Four Lions, and Adolescence.
“Landmark sessions such as The Future of Production: Scripted, Unscripted, Film, TV & Streaming demonstrate the festival’s strategic influence,” says Cherie. “Hosting the summit in York shows that the festival is no longer just a showcase for films. It’s a national platform shaping the future of UK production.”
Looking forward to Aesthetica 2025, Cherie says: “What I’m most excited to see is the seamless integration of new and traditional media across the programme, which reflects the festival’s forward-thinking approach to storytelling.
“The VR and Games Lab pushes the boundaries of immersive and interactive experiences, while the Podcasting strand embraces innovative audio narratives, and the New Music Stage highlights emerging talent and the crossover between sound, performance and media arts.
“Meanwhile, the expansion of Filmmaking in Schools demonstrates the festival’s ongoing commitment to nurturing the next generation, equipping young people with the skills, confidence and opportunities to shape the future of creative industries.
“The UK Film Production Summit is another standout moment. Bringing together the country’s leading producers, commissioners and creative decision-makers in York is both inspiring and transformative.
“These conversations don’t just define what gets made; they influence how stories are told, who gets to tell them, and where creative opportunities can flourish.”
Summing up the ever-growing impact of the Aesthetica Film Festival, Cherie concludes: “The festival offers a dynamic, multi-dimensional experience that celebrates innovation, champions new voices and showcases the full scale, ambition and influence of Aesthetica, positioning York as a hub for creativity and a centre for the future of storytelling in the UK.”
The poster for Aesthetica Short Film Festival 2025
More questions for Cherie
What will happen on the New Music Stage?
“DUBBED by many as the UK’s version of SXSW (South By Southwest in Austin, Texas), the New Music Stage is a major innovation for the Aesthetica Film Festival, celebrating emerging musical talent while driving economic, cultural, and social impact for York, the North,and the UK,” says Cherie.
“The stage brings together acts championed by major tastemakers such as BBC Radio 1, BBC 6 Music, RTÉ Radio 1, MOJO and Rolling Stone, offering national and international exposure to artists across genres.
Highlights include Irish singer-songwriter BLÁNID, who has graced RTÉ 1’s The Late Late Show and surpassed one million Spotify streams; Crazy James, celebrated by BBC Introducing; Daisy Gill, who followed her The Voice UK exposure with performances at Glastonbury and the Royal Albert Hall; Dilettante, praised by MOJO and featured at SXSW and The Great Escape, and Ewan Sim, showcased at SXSW London and featured on Spotify Fresh Finds.
Taking part too are Isabel Maria, BBC Introducing One-to-Watch and North East Culture Award winner; Jemma Johnson, whose alt-pop has featured on BBC Radio 1 and Radio X; Kengo, who has earned BBC Introducing support for her introspective hip-hop; Scarborough’s Pleasure Centre, celebrated for their immersive art-rock sound; and Tarian, praised by BBC Radio Wales with millions of listeners.
“By combining live performance with media innovation, the New Music Stage exemplifies the festival’s commitment to championing new voices, supporting creative industries, and positioning York as a vibrant hub for contemporary culture,” says Cherie.
The VR Lab: very much a reality at Aesthetica Short Film Festival
Why has the VR & Games Lab become so integral to ASFF’s expansion?
“Aesthetica is the only festival in the UK to include gaming as part of its public programme, making us a pioneer in showcasing interactive and immersive storytelling to general audiences,” says Cherie.
“As early adopters of VR technology, the festival has championed virtual reality and gaming as vital mediums for the future of storytelling, long before they became mainstream.”
In 2025, the Lab features more than 50 stations for immersive experiences, giving audiences hands-on opportunities to explore narrative innovation, interactive gameplay, and experimental media.
“It provides a space for collaboration, experimentation and learning, enabling developers, artists and audiences to engage directly with cutting-edge technology,” says Cherie.
“This strand reinforces the festival’s reputation as a thought-leader in creative innovation, demonstrating how film, VR and games intersect to push storytelling into bold new territories while engaging the public with emerging media in an accessible and inspiring way.”
Why has Aesthetica introduced the Podcasting strand for the 2025 festival?
“THE introduction of a Podcasting strand reflects the festival’s commitment to embracing different ways of telling stories, responding to the evolving landscape of narrative and media,” says Cherie.
“Aesthetica was the first UK film festival to include this dedicated strand, recognising that podcasts have become a major platform for storytelling, investigative journalism, audio drama and experimental sound art.
“By incorporating this medium, the festival supports creators in developing, showcasing and networking around audio storytelling, providing practical insight into production, distribution and audience engagement.
“This strand not only expands the festival’s creative scope beyond visual media but also celebrates the diversity of contemporary narrative forms, encouraging innovation and experimentation while offering audiences a rich, multi-sensory experience.”
You champion York’s status as a UNESCO City of Media Arts at every opportunity, hence its prominent involvement in the 2025 festival with the UNESCO City of Media Arts EXPO. Discuss…
“Running at the Guildhall from November 6 to 8, it brings together more than 40 creative businesses from film, TV, gaming, VR, design, publishing and interactive media, the EXPO showcases York and North Yorkshire’s role at the forefront of the UK’s creative industries.
“It highlights the economic, cultural, and social impact of the sector, while providing meaningful opportunities for young people and emerging talent.”
The EXPO features such innovative companies as York’s Viridian FX (visual effects for House Of The Dragon), Revolution Games (Broken Sword series), Orillo Productions (Netflix and Amazon Prime collaborations) and Beckview Studios (state-of-the-art recording studio).
Complementing the EXPO are Media Arts exhibitions at York Art Gallery and a vibrant Festival Fringe, turning the city into a living showcase of creativity and innovation.
How important is the Filmmaking in Schools strand?
“The Filmmaking in Schools programme has expanded significantly in 2025, offering workshops, mentorship and screenings for students across York and the wider region,” says Cherie.
“It introduces young people to technical skills, creative storytelling and professional pathways in film and media. This strand demonstrates the festival’s broader commitment to the next generation, ensuring that York’s designation as a UNESCO City of Media Arts is meaningful in practice, not just in title.
“By providing hands-on learning, professional mentorship and exposure to international standards, the programme helps students develop real-world skills, creative confidence and industry awareness.
“It opens doors to future careers in the creative industries, fostering the talent pipeline that underpins the UK’s cultural and economic growth. Through this initiative, Aesthetica not only inspires young people but also showcases how a city can leverage its creative credentials to deliver demonstrable opportunities, nurturing the next generation of filmmakers, media artists and storytellers.”
York Theatre Royal audience on day three of the Aesthetica Short Film Festival 2024
CELEBRATING its 15th anniversary, the Aesthetica Short Film Festival (ASFF) transforms York each November into a vibrant hub of culture and creativity next week.
Over five days, from November 5 to 9, and in a digital extension, from November 5 to 30, the city becomes a global meeting point for filmmakers, musicians, technologists and audiences.
Presenting more than 300 films screening across the city, including many Oscar and BAFTA-qualifying titles, the festival champions bold storytelling and new voices from around the world.
Yet Aesthetica’s reach extends far beyond cinema. Its VR & Games Lab, Podcasting Lounge, Aesthetica Fringe and Beyond the Frame events merge film, music, art, comedy and digital culture into one seamless celebration of creativity.
This year, audiences can expect Sophie Duker’s comedy night, film critic Mark Kermode in conversation, a silent cinema live-score performance and the debut of the New Music Stage: a full music festival within the festival, spotlighting ten breakthrough UK artists in partnership with Universal Music and Caffè Nero.
For York and the wider UK, Aesthetica is a cultural catalyst, connecting York venues, supporting artists, boosting tourism and shining a global light on Yorkshire’s thriving creative economy. Driven by the Aesthetica motto that “it’s only an idea away”, ASFF is proof of what culture and creativity do, opening doors, building communities and expanding how we see the world.
Dodge Brothers, featuring film critic Mark Kermode, second from right: Playing at Aesthetica Short Film Festival
Top Ten Things To Do
1. Film screenings
EXPERIENCE more than 300 shorts, features, documentaries, animations and experimental films from across the globe. Many of these titles are Oscar and BAFTA-qualifying, giving audiences a first look at the filmmakers of the future.
Attend the Makers’ Forum to hear from directors and producers, discover new cinematic voices and celebrate bold, thought-provoking storytelling that pushes boundaries and challenges perspectives.
2. VR & Games Lab
STEP into the future of storytelling. The VR & Games Lab invites audiences to explore cutting-edge works in virtual, augmented and mixed reality, plus innovative indie games. Engage with immersive environments, interactive narratives and demonstrations from the frontier of creative technology. Learn how artists are merging code, design and emotion to reinvent what it means to experience a story.
3. Masterclasses & Panels
AESTHETICA’S industry sessions feature icons and innovators from Ridley Scott Associates, Aardman, BBC, Film4 and Framestore. Gain insight into the craft and business of filmmaking, from production design and cinematography to pitching, funding and post-production.
Highlights include Behind the Scenes of Gladiator, Napoleon and Alien and Film4’s From Shorts to Features. Ideal for anyone serious about their creative career.
4. Workshops & Roundtables
GET hands-on with practical sessions designed for filmmakers, producers and writers. From screenwriting labs and pitching clinics to discussions on funding, diversity and distribution, these workshops provide actionable advice from professionals. The roundtable format encourages open dialogue and peer learning: the right space to test ideas, ask questions and gain valuable mentorship.
The Games Lab at the Aesthetica Short Film Festival 2025
5. Networking & Pitching
MEET producers, commissioners and collaborators at Aesthetica’s networking events and UK Film Production Summit, featuring more than 150 companies. Speed-pitching sessions and informal meet-ups give you a chance to share your ideas, find partners and make connections that could propel your next project forward. This is where creative relationships and future deals are born.
6. Parties & Socials
WHEN the lights go down, the city comes alive. Aesthetica’s parties are legendary: relaxed, welcoming spaces where creatives from film, music, gaming and art collide.
Whether you are winding down after a screening or celebrating a new collaboration, the festival’s social scene is where friendships form, ideas spark and stories continue long into the night.
7. Listening Pitch premieres
NOW in its fifth year, the Listening Pitch shines a spotlight on the future of audio documentary. Aesthetica has commissioned ten original documentaries through this pioneering programme, and this year marks the premiere of three new projects.
Previous commissions have gone on to screen at SXSW and Sundance and been acquired by The Guardian. This is the place to discover bold new documentary talent, with live presentations, audience Q&As and an atmosphere that celebrates the art of sound and story.
Comedian Sophie Duker: Celebrating female voices in the festival’s Beyond the Frame strand at York Theatre Royal
8. New Music Stage
FEATURING a line-up of some of the UK and Ireland’s most exciting emerging artists, the New Music Stage blends film and sound in thrilling ways. This year’s acts include BLÁNID, Crazy James, Daisy Gill, Dilettante, Ewan Sim, Isabel Maria, Jemma Johnson, Kengo, Pleasure Centre and Tarian: artists championed by BBC Radio 1, BBC 6 Music, RTÉ Radio 1, MOJO and Rolling Stone.
With performances spanning Glastonbury, The Late Late Show, SXSW and The Great Escape, this new stage celebrates the shared rhythm of cinema and song.
9. Beyond the Frame
STEP beyond the screen and into live performance. Highlights include Sophie Duker & Friends, a comedy night celebrating female voices; Mark Kermode in conversation with Jenny Nelson on film music, and a Silent Cinema & Live Score by The Dodge Brothers with Neil Brand and Mark Kermode. These events blur the lines between film, performance and criticism – cinematic storytelling at its most alive.
10. Aesthetica Fringe
RUNNING city-wide, the Fringe transforms York into an open-air gallery. Expect art installations, theatre, DJ sets, exhibitions and surprise pop-ups across independent venues. The Fringe brings York and international artists together, inviting audiences to see the city through a creative lens in a celebration of community, experimentation and the energy that fuels York’s cultural heartbeat.
Aesthetica Short Film Festival invites you to “be part of the story”. “Whether you’re a filmmaker, musician, gamer or culture-lover, our 2025 festival is your invitation to experience creativity without limits,” says festival director Cherie Federico. “Join us in York and be part of a global conversation about the future of storytelling.”
For the full festival programme and tickets, go to: www.asff.co.uk.
The poster for York supernatural thriller author C.M. Vassie’s book launch of SCRAVIR III – Possession at the Whitby Shop this evening
THE third book in York author C.M. Vassie’s SCRAVIR trilogy of Whitby supernatural thrillers will be launched at a 5pm to 7pm signing session this evening at the Whitby Shop, on Church Street, amid the buzz of Whitby Goth Weekend.
Further book signings for SCRAVIR III – Possession will follow at the same shop tomorrow at 2pm to 4pm and Whitby Bookshop, on Church Street, on Sunday from 12 noon to 2pm.
Then, as part of the first Whitby Literature Festival Fringe, Vassie will hold a book signing/meet & greet session at Holman’s bookshop, on Skinner Street, on November 8 from 2pm to 4pm.
He is not only an author but also the City of York councillor for Wheldrake with a long back story as a music composer for the BBC too.
“While the SCRAVIR books are dark and nasty, they are nowhere as dark or as nasty as local politics,” says Liberal Democrats Councillor Christian Vassie/author C.M. Vassie.
York author C.M. Vassie in 1820s’ attire at the Whitby launch of his time-travelling book The Whitby Trap. Now comes his third SCRAVIR thriller, Possession
SCRAVIR is a contemporary gothic horror story that serves up a thriller and a police detective story too. Set in Whitby and Romania, its protagonists are a London youth and a Whitby lass who works in a fish-and-chip shop. The nemesis is a Goth music star and the action takes place over Whitby Goth Weekend when emaciated bodies appear on streets in the old town.
The original book, SCRAVIR – While Whitby Sleeps appeared in the summer of 2021; the second, SCRAVIR II – Lacklight, published in 2023, continued the gothic horror story.
Vassie also wrote the time-travelling adventure The Whitby Trap. SCRAVIR III – Possession will retail at £10.99.
The book cover to C.M. Vassie’s SCRAVIR III – Possession
Did you know?
HOLMAN’S bookshop is celebrating its 105th anniversary over Whitby Goth Weekend, an occasion marked by the launch of owner Angela O’Connor’s commemorative book, Holman’s, Whitby’s Time Travelling Bookshop, charting the bookshop’s history.
“Angela spent a great deal of time researching at the Whitby Museum, talking with relatives and other shop keepers along the street,” says C.M. Vassie.
“Having spent days in the Whitby Museum researching for my time-travelling story The Whitby Trap, I know how difficult it can be extracting stuff from the archives!
“Interestingly, three members of staff have covered the entire 105 years of Holman’s existence, the last lady retiring earlier this year after nearly half a century at the shop.”
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 Granger 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 Granger 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 Granger, 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 Granger, 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 Granger
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 Granger, 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
