The art beat of YORKshire
AFTER 26 years of “previous”, stalwart Scottish contrarians Belle & Sebastian release A Bit Of Previous. What’s their way ahead, judging by their latest album, recorded back home in Glasgow?
Two Big Egos In A Small Car culture podcasters Graham Chalmers (their fellow Scot) and Charles Hutchinson mull it over in Episode 91.
Plus: Predicting cinema’s dark future and all hail to New York art-rock pioneers The Velvet Underground. To listen, head to: https://www.buzzsprout.com/1187561/10651348
AFTER ceramics, jewellery, paintings, collage, films and textiles, now the artists at PICA Studios are branching out into one-off postcards for one weekend only.
More than 20 creatives share the workshop space, in Grape Lane, York, that is rarely open to the public, except for the annual York Open Studios.
However, on Saturday and Sunday, from 10am to 4pm, PICA Studios will play host to a special Postcard Show and Sale of original artworks made by studio members.
PICA artist Lesley Birch says: “I successfully launched a postcard project during lockdown and so we’ve decided to follow that format this weekend. A postcard is small, affordable and original, and as we only have a small space to display them, we felt this would work well for our first collaborative show in the foyer outside of York Open Studios.”
Each postcard will sell for £25 to raise funds towards improving the studio space and to create a gallery in the foyer at PICA, where the studios opened in February 2017.
For jewellery designer Evie Leach, the postcard project has helped push her creative practice. “It’s taken me in other directions to make a series of artworks on paper inspired by my jewellery designs. This is what a studio is all about: inspiring and innovating members to go beyond their comfort zone.”
Fellow founding member Emily Stubbs says: “This is the first time we have collaborated with so many of us producing work just for the studio. It’s a bonding experience and we’re looking forward to it very much.”
Joining Lesley, Evie and Emily in the postcard show will be Katrina Mansfield, Ealish Wilson, Sarah Jackson, Ric Liptrot, Jo Edmonds, Lisa Power, Amy Stubbs, Mick Leach, Rae George, Lesley Shaw Lu Mason and Kitty Pennybacker, with more still to come.
The £25 postcards can bought in person at PICA or online through Instagram, where “you can spot the one you want” at instagram@picastudios.
One final thought: in an age when a postcard dropping through the door is increasingly rare, how does such an occurrence make Lesley Birch feel? “Receiving a postcard is absolutely lovely,” she says. “All the smudges from the postmark, the date and the handwriting make it a piece of history. It’s the good old days of snail mail.”
Now comes a repurposing of a postcard with the stamp of art to each one.
ALED Jones and Russell Watson are to reunite for Christmas 2022 with a new album and tour, taking in York Barbican on December 6.
Performing together again after a three-year hiatus, the classical singers will embark on a November and December itinerary to coincide with the November 4 release of Christmas With Aled And Russell.
Available to pre-order now, the album features new recordings of traditional carols such as O Holy Night, O Little Town Of Bethlehem and In The Bleak Midwinter, alongside festive favourites White Christmas, It’s Beginning To Look A Lot Like Christmas, Little Drummer Boy and Mistletoe And Wine.
In addition, Jones and Watson are recording a duo rendition of Walking In The Air – first sung by boy soprano Aled in 1982 for the animated film The Snowman – specially for the new record.
Bangor-born tenor Jones, 51, says: “After a crazy couple of years for us all, I can’t wait to be reunited with my mate Russell again for our third album together! I’ll always be associated with Christmas, so it’s an honour to be working with him.
“We always have a blast on tour, so getting to sing our favourite Christmas songs together in so many stunning venues later this year will be a real treat! You never know, ‘Traffic Cone’ might even make an appearance…and hopefully Chicago has given Russ the chance to brush up on his dancing skills!”
Salford tenor Watson, 55, who has been playing slick lawyer Billy Flynn in the 2022 tour of Chicago, says: “Aled and I had a great time recording our first two albums, so I’m immensely excited to be back in the studio together working on our third. We had a really tough time choosing from so many magnificent Christmas songs, but we’ve whittled it down to a fabulous selection of tracks which truly mean something to us both.
“And to get to share a stage again during our UK tour later this year will be such a special experience after three years apart. I hope Christmas With Aled And Russell is on all of your Christmas lists, and I can’t wait to see you all on tour throughout November and December!”
Christmas With Aled And Russell will be looking to match the success of 2018’s In Harmony and 2019’s Back In Harmony, after both recordings topped the UK Classical Album Chart and made the top ten of the UK Official Album Chart.
Classical crossover singer Jones has released more than 40 albums and achieved more than 40 silver, gold and platinum discs since his chorister days when Walking In The Air brought him fame at 12.
In November 2020, he released Blessings, a multi-faith album featuring songs from different religions, and in February 2022, he reached the semi-finals of ITV’s The Masked Singer in the guise of Traffic Cone.
He has pursued a career as a television and radio presenter too, at present hosting a weekly show on Classic FM and BBC One’s Sunday staple, Songs Of Praise.
Watson’s debut album, 2000’s The Voice, topped both the British and USA classical charts, making him the first British male artist to attain a simultaneous transatlantic number one.
Watson has performed for HM The Queen, the late Pope John Paul II and former USA Presidents Bill Clinton, George W Bush and Barack Obama.
He last played York Barbican in a Sunday matinee in November 2021 on his 20th Anniversary Of The Voice tour.
Tickets for December 6’s 8pm performance of Christmas With Aled & Russell are on sale at yorkbarbican.co.uk.
JAMES’S Grandad is at death’s door, but he has one last mission: to find a tree. Many trees in fact, scattered around the country in memory of his Second World War comrades.
So begins Yorkshire Kernel, written and performed by Danny Mellor for Green Hammerton’s Badapple Theatre Company, on tour at Theatre@41, Monkgate, York, on Friday at 7.30pm and Saturday at 2.30pm and 7.30pm.
Divided between being haunted by his plain-speaking grandfather, his mother rekindling her romance with an old flame, and James’s pregnant partner, Rosie, thinking he is cheating on her, Mellor’s “bonkers” solo show undertakes a journey of Yorkshire wit and grit through one man’s determination to leave a long-lasting legacy.
Newly commissioned by Badapple for their No Hall Too Small scheme, this poignant and humorous world premiere is directed by artistic director Kate Bramley.
Mellor previously wrote Undermined for Leeds company Red Ladder and wrote and performed in Badapple’s garden tour of Suffer Fools Gladly, presented under socially distanced restrictions in September 2020.
Yorkshire Kernel is suitable for age ten upwards. Tickets are on sale at tickets.41monkgate.co.uk.
Jess Dandy/Martin Roscoe & Robin Tritschler/Christopher Glynn, Howard Assembly Room, Leeds, April 29
THOSE of us who had not encountered Jess Dandy before, your correspondent included, cannot have avoided reading that she had been likened to Kathleen Ferrier in a national newspaper.
It is an unfortunate comparison and should be dropped before it becomes burdensome. She is indeed that endangered species, a true contralto, which alone entitles her to our attention. She may in time become the one and only Jess Dandy – but she is not Ferrier.
I confess that what initially drew my attention was her accompanist: Martin Roscoe is a supreme musician and a very busy one. Anyone who claims his time deserves our respect, especially since he is most often found as a solo performer.
With that rant out of the way, we may concentrate on Dandy’s lunchtime programme, which opened with Amy Beach and Lili Boulanger before moving onto more familiar territory with Falla, Wolf and Tchaikovsky, each of her five groups therefore in a different language.
Oddly enough, her diction in Beach’s three Robert Browning songs was almost consonant-free, but her tone was richly textured which excited anticipation.
In four unrelated songs by Boulanger, three from her teenage years, she penetrated the surface better. In two Maeterlinck poems, her high ending to ‘Reflets’, finding consolation in the moon, was beautifully controlled and the illusory ‘Attente’ (Waiting) was properly bleak. The prospect of Ulysses’s return to Ithaca brought compensatory joy to her tone.
Falla’s settings of seven traditional Spanish folksongs generally needed a lighter touch to match Roscoe’s impeccable staccatos. These works look easier on paper than they really are.
It was only when Dandy came to Wolf’s Mörike settings (1888) that her diction really began to shine. ‘Er ist’s’ (Spring Is Here) was wonderfully ecstatic, rounded off by the piano’s peerless postlude. She had a real feel for the bitter-sweet ‘Verborgenheit’ (Seclusion) and danced nimbly as the water-sprite Reedfoot alongside the piano’s curlicues. Both performers revelled in the dramatic possibilities of ‘Der Feuerreiter’ (The Fire-rider), while ending peacefully.
Dandy was equally well-suited to four Tchaikovsky songs. Voice and piano neatly intertwined in a Tolstoy poem about spring. There was a wonderfully pained melisma at the end of ‘I was a little blade of grass’ (the girl had been married off against her will). Even if the final climax of ‘Can it be day?’ was not quite full enough, we knew she had these songs in her bloodstream; Roscoe’s postlude was another little masterpiece.
This young lady certainly has talent. She can now afford to be less concerned about delivering perfect tone and concentrate more on acting with her voice.
The second evening supplied my fourth recital of the festival. But it was the first in which the singer used no music. Thirty years ago, this would not have been a cause for comment. But times have changed and musicians are no longer routinely learning their scores by heart. One might have thought that during the ‘downtime’ provided by the pandemic, this might have changed. But no.
The hero in question was tenor Robin Tritschler, whose first half – ‘Illuminated Music’ – was English, Britten’s own works framing his realisations of Croft and Purcell. After half-time, we had ‘Illuminating Songs’ from further afield, eight composers stretching from Schubert to Henry Mancini. His admirable partner was Christopher Glynn.
Coloratura flowed easily in ‘Let The Florid Music Praise’ (On This Island) and Croft’s A Hymn To Divine Musick turned the temperature up further. All his Purcell set was characterised by a focus and intensity that was communicated all the more directly by the absence of a music-stand between audience and singer.
‘Music For A While’ enjoyed crispness in both voice and piano, which spilled over strongly into the finish of ‘Sweeter Than Roses’. The darting sections and crazy swings of ‘Mad Bess’ were finely wrought, with Glynn injecting just the right level of fire without dominating.
Britten’s Canticle I: My Beloved Is Mine was hugely convincing, a tenderly felt duet that did full justice to Quarles’s spiritual paraphrase from the Song Of Solomon. Glynn’s flowing piano alongside Tritchler’s vocal freedom came to a close of the utmost serenity.
Moonlight suffused virtually all the second half. The atmosphere was movingly set by Schubert’s incomparable setting of Leitner’s ‘Der Winterabend’: the piano’s seamless line matched the tenor’s legato.
Fauré’s ‘Clair de Lune’ conjured intimacy while Hahn’s ‘L’heure Exquise’ delivered perfumed scents. Mancini’s nostalgic ‘Moon River’, with its Beethovenian opening was nicely balanced by Howells’s setting of De la Mare’s ‘Full Moon’, which disappeared into a niente finish.
Tritschler really opened out in the climactic moments of Liza Lehmann’s ‘Ah, Moon Of My Delight’ (In A Persian Garden), after which Coleridge-Taylor’s ‘Big Lady Moon’ made the perfect encore. This was a particularly satisfying occasion, with both musicians on excellent form.
Review by Martin Dreyer
Dorothea Röschmann and Joseph Middleton; Wallis Giunta, Sean Shibe and Adam Walker, Howard Assembly Room, Leeds, April 28
LEEDS Lieder was back in its usual springtime slot and all the better for that. More to the point, the line-up was as star-studded as ever.
On the first evening of this 11th festival, German soprano Dorothea Röschmann made her north of England debut in tandem with festival supremo Joseph Middleton as her piano-partner in a programme of Schumann, Mahler, Wolf and Wagner.
There is something reassuring about hearing native Germans in lieder: whatever else, they have this repertory in their bloodstream.
Schumann’s settings of five letters and poems attributed to Mary, Queen of Scots delve into the heart of Mary’s isolation after imprisonment by her sister, Queen Elizabeth I.
They are an unusual starter for a programme, but Röschmann handled them with considerable refinement, capturing the happy reminiscences of France – Schumann’s major-minor alternations – and prayerful after the birth of Mary’s son.
There was no escaping Mary’s desolation at 19 years’ imprisonment and her final prayer before death was poignant indeed in Roschmann’s account.
Six of Mahler’s settings from Des Knaben Wunderhorn made a welcome contrast, none more so than the opening ‘Rheinlegendchen’ (Little Rhine Legend), which was turned into a cutesy dance, full of sparkle.
There was a relentless piano momentum in the tale of the starving child, ‘Das Irdische Leben’ (Life On Earth), representing the mill-stream. She cleverly juxtaposed two duets featuring young girls disappointed in love, the one flirting in vain, the other – touchingly here – discovering that her soldier sweetheart is just a mirage: he is already dead.
Wolf’s four Mignon songs, sung by the teenager abducted from Italy by Goethe’s Wilhelm Meister, are the epitome of yearning, as she longs to return home. I
n the opening one, Kennst du as Land? – which she actually sang last – there was a lovely moment where she switched mid-phrase from a fortissimo at the plunging torrent to pose the title question much more quietly, rounding off the song with a delightful portamento in the final phrase. It was typical of her attention to detail. Middleton shadowed her closely throughout.
Written in the run-up to Tristan und Isolde, Wagner’s five settings of poems by Mathilde Wesendonck, the wife of a well-heeled silk merchant (and patron of the composer), developed out of his infatuation for her.
They are essentially love-songs, whose voluptuous harmonies – twice directly prefiguring Tristan – were mirrored in Roschmann’s lush treatment. Her gear-changing into chest tone was not always entirely smooth, but she and Middleton captured their heady atmosphere to a tee, notably in the “stop the world, I want to get off” implications of ‘Stehe Still!’ (Stand Still). This was a most satisfying opening recital, if not quite a memorable one.
Mezzo-soprano Wallis Giunta’s late-night recital, given with guitarist Sean Shibe and flautist Adam Walker, was a mixed bag. She is an engaging personality, whose prowess as an actress she has already proved here, and there was no doubting the skills of her two partners – especially Shibe, in a wide variety of styles – but their protest songs from the Americas were too diffuse to make a coherent whole.
Taking their title from one of the songs, ‘The Revolution Smells Of Jasmine’, they encompassed racism, revolution, female emancipation and “patriarchal oppression”: art as politics, in other words, but this scattergun approach missed too many targets.
Nevertheless, the programme had its moments. Four songs by the Argentinian composer Ariel Ramirez had the unmistakeable tang of Portuguese fado about them, as if their essence had spilled over from neighbouring Brazil: Alfonsina’s heartache was palpable and Gringa Chaqueña evoked a smoky underworld. Juana Azurduy, the song which included the evening’s title, was more upbeat, even triumphal.
No South American set would have been complete without Astor Piazzolla. Sure enough, the instruments dipped into L’Histoire du Tango, before Giunta conjured a vivid ‘Café’ and a frisky ‘Bordel 1900’, where the syncopation was succulent.
North America was not forgotten. Giunta gave her fellow Canadian Joni Mitchell’s ‘Woodstock’ and a couple of Joan Baez numbers. All were cleanly done in good folk-style, but lacked a certain earthiness.
The most harrowing moment came in Abel Meeropol’s ‘Strange Fruit’, written in 1937 and made famous in song by Billie Holiday two years later: the ‘fruit’ was the bodies of black victims of lynching, swinging in the breeze. Not at all comfortable.
At her best, Giunta has a witty, wacky side that she kept under wraps here, in the name of protest of course, although almost as if she were under some restraint. But she is a total professional and had also chosen her accompanists wisely. They responded with lively duets as well as unfailing support.
Review by Martin Dreyer
ADAM Possener and Christopher Churcher have won the 2022 National Centre for Early Music Composers Awards.
Possener was victorious in the age 19 to 25 category with his composition 52°N 20.5° E; Churcher, the 18-and-under age group with Arborescent.
The final of the 15th annual competition, presented in partnership with BBC Radio 3, was live-streamed last Thursday (19/5/2022) from the NCEM, at St Margaret’s Church, Walmgate, York.
Compositions by the eight finalists were played for the first time by former BBC Radio 3 New Generation artists Consone Quartet, who specialise in performances with period instruments using gut strings. Their concert programme also included Franz Josef Haydn’s String Quartet in D, Opus 71 No. 2.
The event followed a day-long workshop with the young composers at the NCEM, led by Dr Christopher Fox, Emeritus Professor of Music at Brunel University, and Consone Quartet, where the finalists – all based in the UK – were invited to enter into the musical sound world of one of the quartet’s favourite composers, Fanny Mendelssohn.
The 2022 panel of judges were: BBC Radio 3 producer Les Pratt, NCEM director Dr Delma Tomlin and Consone Quartet.
Churcher’s Arborescent and Possener’s 52°N 20.5° E will be premiered by Consone Quartet at Stour Music Festival on June 24, when it will be recorded for broadcast later in the year on BBC Radio 3’s Early Music Show, the weekly programme that airs every Sunday from 2pm to 3pm and on BBC Sounds.
Delma Tomlin says: “Once again, we enjoyed an array of outstanding music at the NCEM, and I’d like to congratulate all our composers for their outstanding work. It was an absolute joy to welcome them to our home at St Margaret’s Church for an incredible day of exploring the world of composition.
“I’d also like to say a massive thank-you to my fellow judges and to BBC Radio 3; their continued support is invaluable and enables us to continue to stage this major annual award.”
Alan Davey says: “Music will only exist as long as young people keep putting their minds and spirits to it and feel compelled to keep creating it – breathing new life into the art form and bringing their own personal insights and approaches.
“That’s why supporting young composers is one of Radio 3’s main missions, and we can’t wait to share these wonderful new compositions with our listeners on the Early Music Show and on BBC Sounds.”
The live streamed performance is available on Facebook.com/yorkearlymusic @yorkearlymusic.
TODAY’S forecast for York is cloudy, with a moderate breeze, and a temperature of 17 degrees centigrade.
A grey day, but come rain or shine, Marsden’s Mikron Theatre Company would be performing Lindsay Rodden’s Red Sky At Night in the open air this afternoon at Scarcroft Allotments in their regular summer visit.
One of two plays taking to the roads and canals to mark Mikron’s 50th anniversary of “touring theatre anywhere for anyone”, Rodden’s premiere will spotlight the everyday topic we all talk about: the weather.
“Through an incredible half-a-century, whatever the weather, Mikron have travelled the country, chronicling our histories, our struggles, our passions and our lives,” says Lindsay, whose own journey has taken her from Scotland, to growing up in Merseyside, then County Donegal, and now living in North Shields.
“I am over the moon to write just one of these stories, and say Happy Birthday Mikron, fighting fit and fifty years young!”
Three years ago, Lindsay was among writers invited to Marsden, the West Yorkshire village near Huddersfield, for writing sessions. “I’d seen Mikron’s work before and absolutely loved it, wherever I saw them, up by the Scottish border, north Cumbria and by the Wirral, and I’m so excited that the time spent at Marsden has led to this play.”
The pandemic, rather than rain, stopped play when Red Sky At Night should have been premiered last year. “It may have been shoved back by a year, but it’s been worth it for the extra time to work on it,” says Lindsay.
Picking a topic for a play, weather ticks all the boxes, given how, through the chronicles of history, people have gazed up and marvelled at the mysteries of the weather. Generations have tried to master the elements and understand the magic of the skies.
“My family is from Donegal, in Ireland, where it’s not unusual to have four seasons in one day: Factor 50 at the height of the day, thermals at night,” says Lindsay.
“For the play, I did quite a lot of historical research and meteorological research, and I’m not an expert in either, but I did know about how the weather can change our emotional state.
“I hit on the idea of having a central character who hides from the weather, finding it dangerous and unpleasant when you can stay at home and have a cup of tea instead.”
In Red Sky At Night, Hayley’s sunny, beloved dad was the nation’s favourite weatherman. She is now following in his footsteps, to join the ranks of the forecasting fraternity. Or at least, local shoestring teatime telly.
When the pressure drops and dark clouds gather, Hayley melts faster than a lonely snowflake. She may be seen as the future’s forecast, but will anyone listen?
“We all have weather inside us: sunny days, grey days, rainy days, emotional storms, but that means we need to get out there to experience something bigger.
“The weather can have that effect on you, but you’re also aware how it’s capricious, where there’s this giant, theatrical sky above us and we ignore its majesty at our peril.”
Explaining Hayley’s behaviour, Lindsay says: “I think, to a degree, we all want to rebel against our parents while at the same time following the patterns they set.
“I do feel that way, but without giving too much away, something happened to Hayley’s dad that made her retreat from the outside world, holing herself up at home, only occasionally looking out of the window.”
Climate change has its impact on the play too. “I always knew the climate crisis would be important to it, but once you start to study weather and meteorology, you realise all life is dependent on it, when we interrupt the balance of life at our peril , when all the conditions should have been right for a perfect world – but you’ve still got to be hopeful that it’s not too late,” says Lindsay.
“You have to access the calm sunrise, rather than the raging storm, inside you.”
Mikron Theatre Company in Red Sky At Night, Scarcroft Allotments, York, 2pm today. No ticket required; Pay What You Feel after the performance. The tour runs until October 21; full itinerary at mikron.org.uk.
Weather tip of the day: If you can see the hills, it’s going to rain. If you can’t see the hills, it’s raining.
Mikron’s weather advice for the tour: Bring your anorak and your Factor 50. Well, you never know.
Did you know: Lindsay Rodden is working on a practice-based PhD on dramaturgy and political theatre with Leeds University and Red Ladder Theatre Company.
Mikron Theatre Company’s tour poster for this summer’s revival of their 2015 premiere, Maeve Larkin’s Raising Agents
MIKRON Theatre Company’s 50th anniversary tour will bring the Marsden travelling players to York for a second time this summer.
After the premiere of Lindsay Rodden’s Red Sky At Night at Scarcroft Allotments in May, here comes Rachel Gee’s revival of Maeve Larkin’s 2015 play about the Women’s Institute’s centenary, Raising Agents, at Clements Hall, Nunthorpe Road, on September 18 at 4pm.
Bunnington WI is somewhat down-at-heel, with memberships dwindling, meaning they can barely afford the hall, let alone a decent speaker. However, when a PR guru becomes a member, the women are glad of new blood, but the milk of WI kindness begins to sour after she re-brands them as the Bunnington Bunnies.
A battle ensues for the very soul of Bunnington, perhaps the WI itself, in a tale of hobbyists and lobbyists that asks how much we should know our past or how much we should let go of it.
Raising Agents features not only a cast of Hannah Bainbridge, Thomas Cotran, Alice McKenna and James McLean but also songs by folk duo O’Hooley & Tidow, Mikron’s Marsden neighbours of Gentleman Jack theme-tune fame.
Box office: email willyh@phonecoop.coop; ring 07974 867301 or 01904 466086; call in at Pextons, Bishopthorpe Road, York.
Over the past 50 years of touring Mikron Theatre Company have:
● Written 66 original shows;
● Composed and written 396 songs;
● Issued more than 240 actor-musician contracts;
● Travelled 34,000 boating hours on the inland waterways;
● Covered 545,000 road miles;
● Performed more than 5,200 times;
● Performed to more than 436,000 people.
Fact file: Marianne McNamara, artistic director
MARIANNE joined Mikron as an actor in 2003 and has never left.
2022 is Marianne’s 13th year as artistic director.
She directed Lindsay Rodden’s Red Sky At Night this year as her 13th show for Mikron.
Alongside directing, she books tours, develops plays, captains Mikron’s narrow boat, Tyseley, on tour.
POLITICS, the weather, monsters, Sixties and Eighties’ favourites, comedy songs and a north eastern tornado all are talking points for Charles Hutchinson for the week ahead.
Children’s show of the week: Tall Stories in The Gruffalo, Grand Opera House, York, today, 1pm and 3pm; tomorrow, 11am and 2pm
JOIN Mouse on a daring adventure through the deep, dark wood in Tall Stories’ magical, musical, monstrous adaptation of Julia Donaldson and Axel Scheffler’s picture book, suitable for children aged three upwards.
Searching for hazelnuts, Mouse meets cunning Fox, eccentric old Owl and high-spirited Snake. Will the story of the terrifying Gruffalo save Mouse from becoming dinner for these hungry woodland creatures? After all, there is no such thing as a Gruffalo – or is there? Box office: 0844 871 7615 or atgtickets.com/York.
Eighties’ nostalgia of the week: Tony Hadley, York Barbican, Sunday, 7.30pm
I KNOW this much is true: smooth London crooner Tony Hadley is celebrating 40 years in the music business with a 2022 tour that focuses on both his Spandau Ballet and solo years.
Once at the forefront of the New Romantic pop movement, Islington-born Hadley, 61, is the velvet voice of hits such as True, Gold, Chant No. 1, Instinction and Paint Me Down and solo numbers Lost In Your Love and Tonight Belongs To Us. Box office: yorkbarbican.co.uk.
Comedy songs of the week: Fladam & Friends, Let’s Do It Again!, Theatre@41, Monkgate, York, today at 2.30pm and 7.30pm
YORK musical comedy duo Fladam, alias Florence Poskitt and piano-playing partner Adam Sowter, vowed to return after last year’s Hootenanny, and return they will this weekend. But can they really “do it again?”, they ask. Is a sequel ever as good?
Mixing comic classics from Victoria Wood with fabulous Fladam originals, plus a sneak peak of this summer’s Edinburgh Fringe debut, this new show will “either be the Empire Strikes Back of musical comedy sequels or another case of Grease 2”. Tickets to find out which one: tickets.41monkgate.co.uk.
Whatever the weather, nothing stops Mikron Theatre Company in Red Sky At Night, Scarcroft Allotments, York, Sunday, 2pm
HAYLEY’S sunny, beloved dad was the nation’s favourite weatherman. Now, she is following in his footsteps, joining the ranks of the forecasting fraternity, or at least local shoestring teatime telly.
When the pressure drops and dark clouds gather, Hayley melts faster than a lonely snowflake. She may be the future’s forecast, but will anyone listen in Lindsay Rodden’s premiere, toured by Marsden company Mikron’s 50th anniversary troupe of James Mclean, Hannah Bainbridge, Alice McKenna and Thomas Cotran. No tickets are required; a Pay What You Feel collection will be taken after the show.
Sixties’ nostalgia of the week: The Hollies, 60th Anniversary Tour, York Barbican, Monday, 7.30pm
MOVED from September 2021, with tickets still valid, this 60th anniversary celebration of the Manchester band features a line-up of two original members, drummer Bobby Elliott and lead guitarist Tony Hicks, joined by lead singer Peter Howarth, bassist Ray Stiles, keyboardist Ian Parker and rhythm guitarist Steve Lauri.
Expect He Ain’t Heavy, He’s My Brother, I Can’t Let Go, Just One Look, Bus Stop, I’m Alive, Carrie Anne, On A Carousel, Jennifer Eccles, Sorry Suzanne, The Air That I Breathe and more besides. Box office: yorkbarbican.co.uk.
A bit of politics of the week: Northern Stage in Red Ellen, York Theatre Royal, Tuesday to Saturday, 7.30pm; 2pm, Thursday; 2.30pm, Saturday
CAROLINE Bird’s new play turns the overdue spotlight on “Mighty Atom” Ellen Wilkinson, the crusading Labour MP cast forever on the right side of history, but the wrong side of life.
Caught between revolutionary and parliamentary politics, Ellen fights with an unstoppable, reckless energy for a better world, whether battling to save Jewish refugees in Nazi Germany; leading 200 workers on the Jarrow Crusade; serving in Churchill’s war cabinet or becoming the first female Minister for Education. Yet somehow she still finds herself on the outside looking in. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Musical of the week: York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm; 2.30pm, Saturday matinee
BE immersed in the myth and mystery of London’s fog-bound streets where love, betrayal and murder lurk at every chilling twist and turn in Matthew Clare’s production of Frank Wildhorn and Leslie Bricusse’s musical adaptation of Robert Louis Stevenson’s epic struggle between good and evil.
Steven Jobson plays the dual role of Dr Henry Jekyll and Mr Edward Hyde in the evocative tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself– both women in love with the same man and both unaware of his dark secret. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Award winner of the week: Sam Fender, Scarborough Open Air Theatre, May 27, gates open at 6pm
WINNER earlier this week of the Ivor Novello Award for Best Song Musically and Lyrically for his Seventeen Going Under single, North Shields singer-songwriter Sam Fender opens the 2022 Scarborough Open Air Theatre summer season next Friday.
Already Fender, 28, has the 2022 Brit Award for Best British Alternative/Rock Act in his bag as he heads down the coast to perform his frank, intensely personal, high-octane songs from 2019’s Hypersonic Missiles and 2021’s Seventeen Going Under. Box office: scarboroughopenairtheatre.com.
IS the French snow leopard documentary La Panthere Des Neiges (The Velvet Queen) the moist pretentious nature film of all time?
Two Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson pass judgement in Episode 90.
What else is on their mind? Bono and The Edge go underground in Ukraine. What happens when critics change their mind on second acquaintance? Messums Gallery closes in Harrogate. Charm’s homecoming Karl Culley gig for the Harrogate Theatre restoration appeal.
To listen, head to: https://www.buzzsprout.com/1187561/10615841