Seth Lakeman makes his mark at The Crescent tonight while celebrating 15 years of award-winning Freedom Fields

Seth Lakeman: Themes of love and death, the environment and self-belief are to the fore on new album Make Your Mark. Picture: Tom Griffiths

WEST Country folk singer, songwriter and multi-instrumentalist Seth Lakeman plays The Crescent, in York, tonight when both old and new will be to the fore.

Performing an intimate set in a duo with Plymouth vocalist Alex Hart to a seated audience, Lakeman’s focus will fall on both his new album, Make Your Mark, and on the 15th anniversary of the gold-selling Freedom Fields.

Newly reissued in a deluxe edition on CD and double vinyl in coloured and black limited editions, Freedom Fields comes with exclusive bonus content, such as unreleased tracks and rare demos and with a signed art print from selected stores.

“This is my debut at The Crescent,” says Devonian Seth. “I’ve previously played the NCEM and Fibbers, and I love playing York as there’s a great music scene in the city.

“It’ll be me playing with Alex Hart, and Joe Francis, from Winter Mountain, who’s from Cornwall – over the border – will be supporting. I’ve worked with him a few times before and he’ll probably join us on harmonium.”

Reflecting on playing in this format, Seth says: “I’ll be honest, all the creative industries are struggling with the need to control costs at this time, so you use less of your ‘cast’, but you still get out there and there’s a magic in the duo format.

“It allows you to play different songs and you can move things around in the set list more than you can with a five-piece – and it’s nice to go out and concentrate on the voices.”

Seth is overjoyed to be playing with fellow musicians to live audiences once more on a 14-date tour that began on November 2. “I always think it’s important if you can get people into a room to perform music together,” he says. “Connecting through technology can work but playing in a room is the best way of connecting.”

Make Your Mark, released on Seth’s label Honour Oak Records on CD and digital formats on November 18 and on vinyl on December 10, was written during his Covid-enforced 18 months off the road.

Seth Lakeman’s album artwork for Make Your Mark

Fourteen songs were recorded at Middle Farm Studios in Devon earlier this year as restrictions eased, with Seth producing his 11th studio album himself.

“The pandemic gave me a real determination to come out musically stronger and I really dug deep into myself,” he says. “Being able to record and play with the band again was really quite spiritual.”

Joining Seth on the recording sessions were long-time bassist Ben Nicholls, who has toured the world with Seth since his early days; Benji Kirkpatrick, from Bellowhead and Faustus, on bouzouki, banjo and mandolin; Alex Hart on backing vocals and Toby Kearney, principal percussionist at the Birmingham Conservatoire, on drums.

Reflecting on how his song-writing has progressed since landmark indie-folk album Freedom Fields brought him the Folk Singer of the Year and Album Of The Year awards at the 2007 BBC Radio 2 Folk Awards, Seth says: “I’ve branched out more [from violin] onto guitars and banjos that I now see as a tool for writing songs.

“I’ve always been interested in lyrics and the process of putting together a song, and maybe as you get to middle-aged life [Seth is 44], you feel more in tune with who you are and what you feel – and that comes with wisdom.

“I’m now looking at a more personal journey in song-writing. When I made Freedom Fields, it was more a case of writing in the tradition but with a modern context to it. I was in the depths of that as a writer for a good few years as I loved intertwining the old and the new.”

Themes on Make Your Mark range from the environment to love, self-belief to death. “They are songs about the bigger things: life and death, but also they’re celebrating lives lived, and I can see  why that is challenging, because such subjects are heart-breaking, but that’s why sea shanties are so popular now because they’re so powerful in their emotional impact,” says Seth.

Living amid the beauty of Devon, he has felt the need to express his thoughts on the environment. “Around the coast, it’s getting swallowed up by second-home owners, but the argument goes that without the tourism industry there wouldn’t be the building industry, and you need to keep them both going.

“Here on Dartmoor, a lot of land is being sold off and it becomes a constant thing for us to moan about, when green land is getting sold. I certainly touch on it with my farmer mates, and it is a concern.

The 15th anniversary edition of Seth Lakeman’s award-winning Freedom Fields album

“I have three children – twins aged eight and a five year old – and climate change is right there as the biggest thing to be worrying about for their future.”

Writing about love, the most commonplace theme of all since song-writing began, Seth notes a change in his focus: “In your 40s, you start thinking about your parents and those things you have maybe taken for granted and really should cherish,” he says.

“Then, at this age, thinking about death, it’s about understanding your mortality and coming to terms with it, like losing my best friend suddenly. There’s a lot of his presence and personality on this album.

“I found it like therapy, expressing myself in song, paying some sort of homage to him. I felt his presence as I recorded it.”

Self-belief may seem an unexpected subject for Seth, but he says: “I’ve always had a problem with self-belief and security and confidence, being the third child, with my two brothers [fellow musicians Sean and Sam] being the flag-bearers and me being the black sheep.

“That feeling still exists and it’s probably part of the fuel that keeps me going. Regardless of money, that’s probably at the root of who I am and why I keep doing it. There’s not a lot of money in this line of work. I should have been a chef or a comedian!”

Self-belief, says Seth, is something he returns to time and time again. “I’m never happy with an album, never completely content, because contentment is a dangerous thing. You can be proud of what you’ve done, but you must keep your feet on the ground and keep pushing yourself,” he concludes.

Seth Lakeman plays The Crescent, York, tonight, supported by Joe Francis, at 7.30pm. Tickets cost £20 from seetickets.com/tour/seth-lakeman; more on the door. Please note, seating is unreserved.

The track listing for Make Your Mark is:

Hollow; The Giant; Love Will Still Remain; Bound To Someone; Make Your Mark; Coming For You Soon; the first single, Higher We Aspire; The Lark; Side By Side; Fallen Friend; Shoals To Turn; Underground; Change and Constantly.

Tony Burgess to top Wednesday’s Barbican bill for Laugh Out Loud Comedy Club

Headliner: Tony Burgess

LAUGH Out Loud Comedy Club hosts its final comedy night of 2021 at York Barbican on Wednesday, presenting Tony Burgess, Mike Newall and Sam Serrano, hosted by Damion Larkin.

Burgess has a starring role in BBC3 cult-comedy Ideal and pens jokes for fellow comedians Steve Coogan, Johnny Vegas and John Bishop.

He co-wrote the Sony Award-winning BBC Radio 4 comedy The Nightclass and featured among the writers for Wallace & Gromit: The Curse Of The Were-Rabbit.

“The real Magic Mike”: comedian Mike Newall

Mike Newall’s Nineties’ Britpop haircut gained him the nickname “the Real Magic Mike”, and when he appeared on Britain’s Got Talent, he impressed the judges so much that Simon Cowell said, “It was like an Oasis concert where the music ran out and Liam decides to tell a few jokes”.

Gender-fluid, dyspraxic comic Sam Serrano has been taking the comedy circuit by storm, not least in five shows at the online Hot Water Comedy Club. In 2018, Sam finished second in the Great Yorkshire Fringe Comedian of the Year Competition in York.

Host-promoter Damion Larkin likes to improvise his performance. Doors open at 7pm for the 8pm start in the Fishergate Bar. Tickets are on sale at yorkbarbican.co.uk.

Sam Serrano: First caught the eye in York at the 2018 Great Yorkshire Fringe

Dame Berwick Kaler returns to York stage after three years as Dick Turpin Rides Again opens today at Grand Opera House

Leaping to it: Berwick Kaler is raring to pick up the pantomime reins from today in Dick Turpin Rides Again. All pictures: David Harrison.

AFTER two dress rehearsals in one day, York’s comeback dame, Berwick Kaler, plays to an opening pantomime crowd today for the first time since December 13 2018.

Much water has passed under York’s bridges since Berwick’s farewell 40th anniversary show, The Grande Old Dame Of York.

He exited the York Theatre Royal stage for the last time in trademark boots, unruly wig and walkdown frock on February 2 2019, that night saying he would “return like a shot” if he were asked to do so.

That return, delayed by a year by Covid’s theatre shutdown, goes ahead today at Berwick’s new pantomime home after a crosstown transfer, the Grand Opera House, as he resumes panto business with vainglorious villain David Leonard, bouncy comic stooge Martin Barrass, golden gal Suzy Cooper and “luverly Brummie” A J Powell in Dick Turpin Rides Again.

“I’ve always thought the Grand Opera House is a proper theatre, absolutely right for pantomime,” says Berwick, who has appeared on the Cumberland Street stage only once before, when he played the flamboyant Captain Terri Dennis in Peter Nichols’ musical comedy Privates On Parade.

“Dick Turpin is one of the most original pantomimes ever, and I’m so excited by it,” says Berwick Kaler

“It’s no good asking me anymore when it was; it was a long time ago. I used to have the poster hanging in my loo, the one with me saluting.”

Should you or Berwick be wondering, the year was 1996, and now, 25 years on, he is back there, retirement plans cancelled. “You’re not going to believe this, but when I retired, I’d retired, and I’ve not earned a penny on stage since then, so I was retired,” he says.

“But we got this offer from Qdos Entertainment [now taken over by Crossroads Live], the biggest pantomime producer in the business, and the thing is I knew I had to be in it this time, not just write it and direct it, which I did for Sleeping Beauty [in 2019-2020 at the Theatre Royal].

“I took up the invitation to return for Martyn, David, Suzy and A J because they’re great exponents of the art of panto, who should be on stage in York.”

Recalling his experience of working on Sleeping Beauty, Berwick says: “At that time, I had no yearning to go back on stage,” he says. “It was a little too soon to start missing playing the dame. Even when I went in for rehearsals, I didn’t want to get up and do it.”

The dame and the daft lad: Berwick Kaler and Martin Barrass reunite for Dick Turpin Rides Again

Later, he would say he regretted the decision to exit stage left. “But when we got the offer to return, at first, I wasn’t sure, but now, at this stage, having said yes, I believe I’m writing better than ever. I’ve got my brain back in gear.”

Panto villain David Leonard has noted how Berwick becomes a “different animal” once he pulls on the dame’s wig and frocks, his voice taking on its stage power too. At 75, four years on from heart bypass surgery, he says, “The thing is, we have to be careful because we can’t do the full-scale slapstick like before, but there can still be slapstick, and Dick Turpin is one of the most original pantomimes ever, and I’m so excited by it.

“It was a one-off when we did it before, as my 30th Theatre Royal pantomime, and it was one of these shows that forced you to really use your imagination. It’s been great to bring it back and work on creating a new version all over again.”

“The legend returns!”, declares the show poster: a reference as much to Berwick Kaler as Dick Turpin as 49 performances lie ahead, starting at 2pm today.

Crossroads Live presents Berwick Kaler in Dick Turpin Rides Again, Grand Opera House, York, today until January 9. Box office: 0844 871 7615 or at atgtickets.com/York.

More Things To Do in York and beyond as Plan B doesn’t stop the Christmas buzz. List No. 60, courtesy of The Press, York

CHRISTMAS shows, Christmas concerts, Christmas plays, ‘tis the season for Charles Hutchinson’s diary to be jolly full.  

Jason Manford: “Exercising the old chuckle muscle”

Busy week for comedy: Jason Manford: Like Me, York Barbican, Thursday and Friday, 7.30pm.

SALFORD’S Jason Manford revives his funny-bloke-next-door schtick for Like Me, his follow-up to “the fun we had on my last tour”, Muddle Class, a show about turning from working class to middle class that played York Barbican in February and October 2018.

“In these trying times, it’s always important to be able to get away for a couple of hours and exercise the old chuckle muscle,” reckons Manford, 40, who has tickets available for both nights at yorkbarbican.co.uk.

Meanwhile, Jack Dee’s Off The Telly gig, moved from April 25 2020 to tomorrow night, has sold out. So too have Alan Carr’s Regional Trinket shows on December 18 and 19.

Filey Brigg, seascape, by Rosie Dean at Village Gallery, York

Exhibition of the week: Rosie Dean, Seascapes, Village Gallery, Castlegate, York, until January 22, open 10am to 4pm, Tuesday to Saturday.

SEASCAPE artist Rosie Dean has taken part in York Open Studios for the past ten years. Now she is exhibiting at Simon Main’s Village Gallery through the winter months.

“I feel total peace breathing the ozone, staring out to sea and focusing on the horizon line, sensing all around me and feeling the elements around me, the sights and sounds, the salt in the air. Pure contentment,” says Rosie.

Levellers: Part of York Barbican’s busy week for concerts. Picture: Steve Gullick

Curiosity concert of the week: The Magical Music Of Harry Potter Live In Concert With The Weasleys, York Barbican, Monday 8pm.

POTTY about Potter? Then exit those Shambles shops and head to York Barbican for a night of music from Harry’s films and the West End musical, performed by the London Symphonic & Philharmonic Film Orchestra with the Weasley brothers in tow.

Original actors, magic, star soloists, a choir and the orchestra combine in the debut European tour’s programme of John Williams, Patrick Doyle, Nicolas Hooper and Alexander Desplat’s soundtrack magical moments, plus selections from the Harry Potter And The Cursed Child score. 

More music in York Barbican’s crammed pre-Christmas diary comes from Levellers, Brighton’s folk-rock stalwarts, tonight and Steve Steinman’s tribute show, Anything For Love: The Meat Loaf Story, on Wednesday, both at 7.30pm. Box office: yorkbarbican.co.uk.

Steve Mason: Solo gig at Stockton on the Forest Village Hall

If you seek out one gig, make it: Steve Mason, Stockton on the Forest Village Hall, near York, Tuesday, doors, 8pm; start, 8.30pm.

STEVE Mason was the frontman of The Beta Band, cult Scottish exponents of folktronica, a blend of folk, psychedelia, electronica, experimental rock and trip hop.

He first dipped his toe into solo work on Black Gold, his mournful 2006 album under the guise of the short-lived King Biscuit Time and has since released Boys Outside in 2010, Ghosts Outside with Dennis Bovell in 2011, Monkey Minds In The Devil’s Time in 2013, Meet The Humans in 2016 and About The Light in 2019.

Presented by All Off The Beaten Track, Mason will play solo on Tuesday. Box office: seetickets.com/event/steve-mason/stockton-on-the-forest-village-hall.

The poster for The Arts Barge Christmas Party! at The Crescent, York

Christmas jamboree of the week: The Arts Barge Christmas Party!, The Crescent, York, Tuesday, 7.30pm.

THREE York community musical groups, Bargestra, The Stonegate Singers and The Blind Tiger Dance Band, unite for the Arts Barge Christmas bash.

Bargestra, the 20-piece Arts Barge band skippered by Christian Topman, play jazz, swing, Beatles, ska and more. The Stonegate Singers, a community choir open to anyone, is directed by Jon Hughes, who teaches the music by ear, one part at a time, so that anyone can do it.

The Blind Tiger Dance Band, Arts Barge’s 16-piece Lindy Hop swing band with Rinkadon Dukeboy up front, brings together seasoned professionals and rising young instrumentalists. All three groups will join together to make a 50-piece ensemble for the festive finale.

Recommended but alas sold out already at The Crescent are Christmas shows by Mostly Autumn on Sunday and fellow York band The Howl & The Hum on Wednesday, both at 7.30pm.

Chapter House Choir at the double: Carols by Candlelight, York Minster, Wednesday; Festival of Carols, St Michael-le-Belfrey, York, December 18, both at 7.30pm.

THE Chapter House Choir’s Carols by Candlelight at York Minster has sold out, but a second chance to hear the York choir and its bell ringers comes at St Michael-le-Belfrey.

Tickets for a Festival of Carols are available via Eventbrite,  but do hurry because they are limited in number and selling fast.

Danny Mellor and Meg Matthews in Badapple Theatre Company’s The Snow Dancer. Picture: Karl Andre Photography

Global warming alert of the week: Badapple Theatre Company in The Snow Dancer, Joseph Rowntree Theatre, York, Thursday, 7pm; Green Hammerton Village Hall, December 20, 2pm

GREEN Hammerton’s Badapple Theatre Company has revived artistic director Kate Bramley’s magical eco-fable, The Snow Dancer, for its latest rural tour.

Bramley’s original story blends festive family entertainment with an important eco-message and an original score by Jez Lowe, as actors Meg Matthews and Danny Mellor tell the story of the animals of The Great Wood, who are desperate for a long sleep, but find it too warm because something is awry.

The intrepid heroes in this fairy tale with a furry tail must search for the mysterious Snow Dancer to make it snow if they are ever to sleep. Box office: York, 01904 501935 or at josephrowntreetheatre.co.uk; Green Hammerton, 01423 339168.

York Mystery Plays Supporters Trust’s artwork for A Nativity For York…Out Of The Darkness

Christmas plays of the week: York Mystery Plays Supporters Trust in A Nativity For York…Out Of The Darkness, Spurriergate Centre, Spurriergate, York, December 17, 7pm; December 18, 2pm, 4pm, 6.30pm. A Christmas Carol, Mansion House, York, December 17 to 19, 7pm.

TERRY Ram directs the second York Mystery Plays Supporters Trust community production for Christmas, drawn from the York Cycle of Mystery Plays in the old church atmosphere of the Spurriergate Centre. Box office: ticketsource.co.uk/york-mystery-plays-supporters-trust.

The Penny Magpie Theatre Company, from York, have sold out all three Mansion House performances of director Samantha Hindman’s adaptation of Dickens’s A Christmas Carol, a version seen through the eyes of modern-day schoolboy Jon, who is gradually welcomed into Scrooge’s redemptive tale. Carols, mince pies, mulled wine and a house tour complete the festive experience.

Freedom is…Johannes Radebe’s debut tour show at at the Grand Opera House, York, next spring

Leaping into 2022: Johannes Radebe, Freedom, Grand Opera House, York, April 12, 7.30pm.

MAKING swish waves with baker John Whaite in Strictly Come Dancing’s first all-male coupling, South African dancer Johannes Radebe has announced his debut tour, Freedom.

Radebe will lead a company of dancers in classic Ballroom and Latin arrangements, scorching South African rhythms and huge party anthems, as he takes you on his journey from growing up in Zamdela, to travelling the world, winning competitions and becoming a Strictly professional.

Leave your inhibitions at the door and get ready for a night of energy, passion and freedom,” he says. Box office: 0844 871 7615 or at atgtickets.com/York.

New home, familiar faces, as Berwick, David and co return in Dick Turpin Rides Again

Ride on time: AJ Powell, left, Suzy Cooper, Berwick Kaler, David Leonard and Martin Barrass return in Dick Turpin Rides Again. Picture: David Harrison

GRAND dame Berwick Kaler reunites with David Leonard, Martin Barrass, Suzy Cooper and AJ Powell from today at their new pantomime home of the Grand Opera House, York.

The Kaler comeback was delayed by Covid’s dark shroud, putting Dick Turpin Rides Again back in the stable for a year, during which panto producers Qdos Entertainment have been acquired by global entertainment company Crossroads Live.

Even more so now, this is a new beginning for the familiar team and their faithful followers. “What we want to do is get people back into the theatre, gathering together to have a jolly good laugh,” says villain David Leonard.

“Earlier this year, I did A Little Night Music at the Buxton Festival, and it was just lovely to see people having a pre-show drink, laughing and full of expectation of going to the theatre once more and being entertained. There was such a lovely buzz.

“That will be the case at the Grand Opera House, where we know it will be a family show because generation after generation have come to our pantomimes, and we’ve had such a response on social media, with people saying, ‘we’ve got our tickets, we can’t wait’.”

Leonard, Barrass, Cooper and Powell last performed together in Sleeping Beauty in the winter of 2018-2019, their Theatre Royal finale in a show written and co-directed by Kaler.

“Pantomime is a bit like a drug,” says David. “I miss it when I’m not doing it, like last year and when I was doing Matilda in the West End, though I’ve missed theatre in general too.

“Pantomime is a bit like a drug,” says David Leonard. “I miss it when I’m not doing it.” Picture: David Harrison.

“As [theatre director] Peter Brook said, people feel better after a show, and more so than ever this year, after the pandemic lockdowns, when people want to be together, being entertained by a live show, rather than sitting at home binge-watching Netflix.”

The “famous in York five” are delighted to be working together again. “It’s a good feeling,” says David. “When we did the launch, we hadn’t seen each other for over a year. There was Berwick, in his street clothes, chatting with the photographer, then I chatted to him, gave him a hug, and it was time to do the photoshoot.

“In those six minutes, as he put his ‘dress’ on, he becomes a different animal, the lord of misrule. I remember thinking, when he stopped after 40 years, ‘why are you retiring? You always played an old dame, even in your 30s’. Now you are the dame.’

“Berwick is witty, he’s a great ad-libber, and we revolve around his planet. He provides the energy; the drive; he has this natural performer gene, with his voice going up a notch as soon as he’s on stage.

“You can only sit at home for so long reading Dickens before wanting to get back on that stage. He’s still got that desire; he still wants to do it, even after three years of not performing. It’s natural to him, like breathing.”

Looking back at Sleeping Beauty, the pantomime with the Berwick-sized hole in the middle, David says: “Being a team, without him, it was, maybe not rudderless, but it was a different experience.

“Now Berwick’s back with his joshing, and Martin is so happy about that. As the villain, I have my own agenda, I don’t care who’s playing the dame!” You should note, at this point, his tongue is pushing deep into his cheek.

“Berwick is just himself up there, a bloke in a frock, and very few actors can do that,” says David Leonard. Picture: David Harrison

The production run for Dick Turpin Rides Again is much shorter than for the team’s long, long stretches at the Theatre Royal, and the rehearsal period is leaner too. “This time we have two and a half weeks of rehearsals, but I always felt we were twiddling our thumbs before, thinking, ‘we could probably get this on in a week because we know each other so well’; we have that shorthand,” says David.

Once praised by fellow dame Roy Hudd for “being the best dame because you play the dame as a man in a frock with no make-up”, Berwick has resumed the full reins at 75 as writer, director and grand dame.

“He sets the pace, and when you’re on stage with him, you have to be very disciplined, very solid, so that he can have some air around him to allow him to ad-lib, and Suzy and Martin know that better than anyone,” says David.

“Berwick is just himself up there, a bloke in a frock, and very few actors can do that. I can’t, Martin can’t, because we’re character actors, but he’s not afraid to be himself. He’s very honest about himself, who he is, and he’s not scared of showing that to the audience.

“That’s what people love about him; they really connect with him because he’s warm and genuine; he feels it inside, and you need that in the central character.”

Kaler and co first staged Dick Turpin in 2008. “Berwick said, ‘well, he’s a bit dark’, but I said, ‘make him a hero, good versus evil’,” recalls David. “I think it ended up being our most popular show, and yet it’s a completely original panto, like Berwick’s Millennium panto, Old Mother Millie, and Robinson Crusoe. I’m really glad he’s doing this one for his comeback.”

Dick Turpin Rides Again, Grand Opera House, York, December 11 to January 9 2022. Box office: 0844 871 7615 or at atgtickets.com/York

Copyright of The Press, York

REVIEW: The Secret Diary Of Adrian Mole Aged 13¾ The Musical, Pick Me Up Theatre, Theatre@41, Monkgate, York ****

Toni Feetenby as Pauline Mole and Jack Hambleton as Adrian Mole in Pick Me Up Theatre’s The Secret Diary Of Adrian Mole Aged 13¾. All pictures: Matthew Kitchen Photography

LEICESTER council estate housewife Sue Townsend’s spotty teenage diarist has gone through many lives since the early 1980s.

Original stage monologue, when the central, older, character was called Nigel. Novel. More novels. Television series. Musical, with a script by Townsend and music and lyrics by Ken Howard and Alan Blakley. Play and junior play. Musical, with book and lyrics by Jake Brunger and music and lyrics by Pippa Cleary.

Robert Readman’s York company, Pick Me Up Theatre, are presenting the British amateur premiere of the Brunger & Cleary version on an open-plan traverse stage that evokes both 1980s’ Leicester school rooms and house interiors.

The traverse design, with the audience to either side and on the mezzanine level above, cranks up the sense of combat and swimming against the tide, in this case the story of an awkward 13¾-year-old intellectual’s battles.

Pick Me Up Theatre’s cast members: back row, Toni Feetenby, left, Alan Park, Ian Giles, Andrew Isherwood and Emily Halstead. Middle row: Adam Sowter, left, Flynn Coultous, Jack Hambleton, Florence Poskitt, Freddie Adams, Guy Wilson and Alexandra Mather. Front row: Sandy Nicholson, left, Flynn Baistow, Benedict Wood and Dotty Davies

This is Adrian (Jack Hambleton) against the world, whether having to contend with playground bully Barry Kent (Guy Wilson); endless spots; disciplinarian, narrow-minded headmaster Mr Scruton (Adam Sowter), or Nigel (Flynn Coultous), his rival for school crush Pandora (Emily Halstead).

Or Bert Baxter (Ian Giles), the 89-year-old curmudgeon that Adrian has to deal with on his Good Samaritans visits; or teacher Miss Elf (Florence Poskitt), never marking his work as highly as he thinks he deserves, or his struggles in the family home, where mother Pauline (Toni Feetenby) is being distracted by smarmy, hands-on neighbour Mr Lucas (Andrew Isherwood), and his father, George (Alan Park) is at a low ebb. At least Grandma (Sandy Nicholson) is there to comfort him (and squeeze his spots).

Polymath Readman is as much a set designer as director and choreographer, and his playful set with doors to either side allows for the speedy addition and removal of chairs, and for heads to jut through drape-covered window spaces to join in ensemble numbers, reminiscent of sudden interjections in The Muppets.

Florence Poskitt’s teacher Miss Elf and Jack Hambleton’s Adrian Mole

Amid the constraints imposed by performing in pandemic times, Readman decided to keep his cast size trim, by having adults play children as well as the adults, aside from the four teenage protagonists, performed by the already name-checked Team Townsend on press night, alternating through the run with Team Sue (Flynn Baistow’s Adrian, Benedict Wood’s Nigel, Dotty Davies’s Pandora and Freddie Adams’s Barry).

This was an inspired decision, with extra fun to be had in seeing faces so familiar on the York stage revert to teenage tropes (much like in the casting for John Godber’s classroom comedy, Teechers), especially in the ensemble numbers.

Readman’s decision also enhances your appreciation of the young performers, Hambleton’s beleaguered Adrian narrating with a hangdog expression; Halstead’s posh but socially aware Pandora being every inch the head girl in waiting; Coultous’s Nigel staying both perky and pesky throughout, and Wilson’s Barry casting his black-clothed shadow with a panto villain’s glee.

Brunger and Cleary’s songbook is savvy and witty in its lyrics, if more workmanlike in its tunes, but keyboard player Tim Selman’s band (with Jonathan Sage on woodwind, Rosie Morris on bass and Clark Howard on drums) gives it plenty of oomph. So much so, the sound balance on Wednesday sometimes made it hard to hear Hambleton clearly when narrating to music.

Andrew Isherwood’s hands-on Mr Lucas and Toni Feetenby’s change-seeking Pauline Mole

Readman has picked a tremendous cast all round, both for his young leading lights, and everywhere you look among the experienced ranks; be it the face-pulling comic turns of Poskitt and Sowter; the sliminess of Isherwood; the squashed-face grumpiness of Giles; or the return to the fore of the recently lesser-spotted, top-notch Feetenby and Park as the troubled parents,

Nicholson’s Grandma warms you like a cup of tea. Oh, and look out for opera singer Alexandra Mather as you will never have seen her before, vamping it up as naughty neighbour Doreen Slater.

Technically not a Christmas show, nevertheless the diary’s timespan from early-Eighties’ New Year’s Eve to New Year’s Eve means it sits well in the winter season. Diary note to yourself: book a ticket NOW.

Pick Me Up Theatre present Sue Townsend’s The Secret Diary Of Adrian Mole Aged 13¾, The Musical, John Cooper Studio, Theatre@41, Monkgate, York, until December 18, 7.30pm, except December 11 and 12; 2.30pm matinees, December 11, 12 and 18. Box office: tickets.41monkgate.co.uk.

Flynn Baistow’s Adrian Mole, from Team Sue, and Sandy Nicholson’s Grandma

REVIEW: Martin Dreyer’s verdict on Pocket Sinfonia, NCEM, York, December 9

Pocket Sinfonia

York Early Music Christmas Festival: Pocket Sinfonia, National Centre for Early Music, York, December 9

THIS was a delightful late-afternoon entertainment, made all the more so by being unexpected (there was a further performance later in the evening, as is happening with most of the concerts in the festival).

Only four years old, Pocket Sinfonia is a quartet built around Emil Duncumb’s fortepiano. The other players cover flute, violin and cello. They specialise in 19th century transcriptions of classical music for larger forces and here included a Mozart piano concerto and a Haydn symphony.

If that sounds unexciting, think again. We have perhaps been too prissy, even purist, about scaled-down versions of larger pieces. Covid has hastened a revision of that idea. Smaller groups have had to tackle bigger works, if only to ensure social distancing. Results have been gently reassuring.

But enough of the mechanics. Essentially what we had was a piano quartet, with flute and violin taking turns to play the top part. It made for an intimate sound, made more so by the relatively introverted fortepiano (as opposed to the modern pianoforte) and the use of a wooden flute, which is less incisive than its modern counterpart and thus more mellow in a small ensemble.

Mozart’s Piano Concerto in C minor, K.491, in Hummel’s transcription, took a short time to adjust to. For a start, the fortepiano joined the opening tutti, which would not normally have involved the soloist. But the intimate sound worked its magic and compelled attention. Where we would have expected bold dialogue, we had soloist and supporting trio sharing confidences. In short, it was akin to hearing a new piece.

Duncumb was exceptionally nimble-fingered. It was part of the style in the 19th century to decorate solo lines more than happens today, partly to counteract the quicker ‘decay’ – dying away of sound – of the fortepiano. The extra ornamentation in the slow movement especially seemed quite natural rather than grafted on for display. The finale’s set of variations grew in impatience and weight, and the closing accelerando was exciting indeed.

Now we had a lull with a transcription by the group’s violinist, Eleanor Corr, of a Mozart dance, Der Schlittenfahrt (The Sleigh Ride), complete with occasional bells (which might have been a touch more jingly). But it was just the kind of setting you might have heard at a Viennese court ball (or even coffee-house) in his own day, a tasty bonbon.

The third last of Haydn’s London symphonies, No 102 in B flat (mysteriously described in the programme as ‘The Miracle’, although that is actually No 96) was given in Clementi’s superb arrangement. We missed only the timpani in a development section of thrilling power.

Alex Rolton’s reliable cello came to the fore briefly in the slow movement – adapted by Haydn from a piano trio – and Rosie Bowker’s flute took an eloquent lead in the closing rondo. The group mined Haydn’s witty gaps here to the full.

Early music has come a long way since it dealt solely with mediaeval and baroque music and forced audiences to endure anaemic noises and excruciating intonation in the name of ‘authenticity’ (I exaggerate). Just how far was proved by Pocket Sinfonia’s skill and sensitivity. I hope they will make an early return to York.

Review by Martin Dreyer

REVIEW: Martin Dreyer’s verdict on The Heath Quartet, British Music Society of York

The Heath Quartet, now led by violinist Marije Johnston, second from right

The Heath Quartet, British Music Society of York (BMS), Sir Jack Lyons Concert Hall, University of York, December 3

THE Heath Quartet last appeared in York exactly ten years ago. At that time, they were led by their founder, Oliver Heath. Then he decided to seek pastures new and Marije Johnston took his place.

What you would never guess from this performance is that that exchange took place a mere four months ago. Johnston’s pedigree as a chamber musician allowed her to slot seamlessly into place. Bear that in mind as you read on.

At first sight, the pairing of late Janáček and late Beethoven string quartets – played in that order – looks quirky, even fanciful. The works were written almost exactly 100 years apart, each within a year of the composer’s death. They formed the Heath Quartet’s sparkling, I dare even say memorable, programme for the BMS of York.

Janacek’s Second Quartet – known as ‘Intimate Letters’ and encapsulating the turbulent emotions of his more than 700 letters to Kamila Stösslová, his much younger muse in his final decade – has four movements but with constantly changing tempos in each.

The seven movements of Beethoven’s Op 131 in C sharp minor run into one another, making the work equally restless, if not more so. Near death they may have been, but each man was writing in the white heat of unbridled inspiration. The parallels are uncanny.

So the Janáček turned out to be a perfect intro into the Beethoven: they were men on the same kind of mission. The Heaths tuned into that immediately.

Apart from the cellist, who sat on a small plinth, the others stood to play, which allowed them freedom of movement. Johnston, playing second fiddle here, and viola player Gary Pomeroy took full advantage, swaying and bending ceaselessly. Sara Wolstenholme, leading, remained much calmer. But none of this affected their ensemble; they breathed, and played, as one.

The key player in the Janáček is the viola, who represents Kamila. Pomeroy did not disappoint. The work veers, sometimes wildly, between tension and lyricism and he skilfully spearheaded the latter.

Janáček’s yearnings welled up regularly, almost physically so in the slow second movement with palpitations and a devilish Ländler-style dance. The ebbs and flows of the third movement seemed to disintegrate into disillusionment in its adagio section, while the Dumka finale with its spine-tingling tremolos juxtaposed slow-moving melancholy with much livelier excitement. This was vivid musical autobiography, tellingly told.

In the Beethoven, the violinists changed places, so that Johnston now led. This symbolised just how closely all four players are integrated with one another. The piece marks a virtual renaissance of the 18th century divertimento, so diffuse is its layout.

The duos of the opening fugue were quietly menacing, but the succeeding Allegro was both playful and intimate; once again the Heaths were alive to sudden mood-changes. The central variations were delicately drawn.

The Presto, taken at a good clip, was treated like a scherzo, full of good humour and a lightness of touch we might expect in Mendelssohn. The finale’s two themes were beautifully contrasted, culminating in a ferociously determined final burst. Here, more than ever, we had the sense of theatre that infused the whole evening. This always was – and still is – a quartet worth travelling a long way to hear.

Review by Martin Dreyer

How Hayley Del Harrison brought the dance to CBeebies’ Christmas show and York Theatre Royal’s pantomime, Cinderella

Cinderella choreographer Hayley Del Harrison, front, with the York Theatre Royal pantomime ensemble: middle row, dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row, Christian Mortimer, Amy Hammond and Luke Lucas

YORK freelance choreographer and movement director Hayley Del Harrison’s creativity can be seen at the double this festive season.

Not only has she choreographed York Theatre Royal and Evolution Productions’ effervescent pantomime Cinderella, up and running until January 2, but also CBeebies Presents: The Night Before Christmas.

Already this CBeebies Christmas show has made its cinema debut on November 28, and the TV launch on the Beeb will come rather sooner than the night before Christmas: Saturday, December 11 to be precise.

This is her second CBeebies project of the year, having worked with York Theatre Royal creative director (and Cinderella director) Juliet Forster on CBeebies Presents: Romeo And Juliet, filmed at Leeds Playhouse.

More on the Theatre Royal pantomime later, but first, Hayley, 50, recalls working on the CBeebies Christmas show from late-September through to October 10 in Plymouth, working under pandemic constraints that meant the company had to be put up in a hotel in social bubbles.

“We had the whole of the Plymouth Theatre Royal building to ourselves and the TR2 rehearsal room too,” she says.

“No-one else was allowed into the space because we knew the risk was too great. We had only that short window to rehearse it, a short window to film it, and that’s why we were so strict.

“We did it all in two weeks; the first week in the rehearsal space, and then in the second week we moved into the theatre, we teched it, and did two shows to invited audiences of schoolchildren and one without one for the couple of days of filming.”

York choreographer and movement director Hayley Del Harrison

Hayley worked with director Chris Jarvis, a “CBeebies legend” with a theatre background, who had played Lord Montague in Forster’s CBeebies Presents: Romeo And Juliet and has 25 years’ experience of directing, producing, writing and performing in pantomimes. This winter he is playing the dame, Betty Bonbon, in Beauty And The Beast at Poole’s Lighthouse, in Dorset.

Again the creative process was influenced by Covid strictures. “I got the songs [by Banks and Wag] and script in advance, and with everyone being so far away, we had the readthrough online, chats online with Chris Banks and a long Zoom meeting with Chris Jarvis about where my input would be, and I remember at one point jumping to my feet and saying, ‘I’m thinking of doing this’!” says Hayley.

“As the show is for young children, a lot of the choreography is designed so that they can copy it. It’s big on storytelling and simple to replicate because, once the show is on BBC iPlayer, they can watch it over and over again. These CBeebies shows are big on participation.”

Hayley worked with a CBeebies cast of 16. “I’d worked with eight of them before on Romeo And Juliet. It’s different from a theatre pantomime because it’s not like you have an ensemble,” she says.

“Everyone has their role, their unique selling point and their chance to shine, but they’re also brilliant at what they do whether as presenters or actors.  it’s been nice to get to know them over the two projects, getting an understanding of how they work and then wrapping the show around their characters to present Clement Clarke Moore’s beautiful poem.

“You’re working with characters who are much loved, so, for example, the character playing the villain has to be silly, rather than frightening, because it’s a show for two to six year olds. It means you have to be very careful; everything is more gentle but really funny.”

Looking back on her two CBeebies’ shows in 2021, Hayley says: “I feel I’ve built up a really good relationship and would love to do more of this work. Fingers crossed. 

“It already feels like being part of a family, similar to working at the Theatre Royal. When it feels right, it feels really collaborative and there’s a mutual understanding. I know how they work and they know how I work.”

CBeebies’ Andy Day (Dandini) with the ensemble in a song-and-dance routine from York Theatre Royal’s Cinderella, choreographed by Hayley Del Harrison

York-born Hayley’s focus then switched to Cinderella, working once more for York Theatre Royal after last year’s Travelling Pantomime (directed by Forster) and such previous productions as The Storm Whale and A View From The Bridge in 2019, For The Fallen in 2018 and In Fog And Falling Snow at the National Railway Museum in 2015.

She received Paul Hendy’s script in October, when most of the music was signed off by musical supervisor James Harrison by the end of that month. “For this kind of show, the more information I have up front, the better I do my job,” says Hayley.

“I can start getting my head around it, though I do like creating in the room too. I’m up for being flexible, but I like to have a clear vision, and that’s what’s great about working with Juliet.

“Yes, she likes being creative in the rehearsal room but her vision is always clear, and because it’s clear, it gives me freedom. I understand where she’s coming from, and she trusts me.”

For Cinderella, Hayley has worked with the seven principals, a six-strong ensemble and two aerial artists, Connor and Tiffany of Duo Fusion, who take part in some of the dancing too.

“We did the auditions for the ensemble just before I went off to Plymouth, and I’ve been delighted to find such versatile performers,” she says.

“They have to do three separate dance styles: lyrical pieces; fun, comedic, highly technical jazz and tap, and work with the text.

“ I wanted everyone to bring something different to the table to ensure there were different characters within the ensemble, and we’re really happy with them. It’s not, ‘here come the dancers’; they’re very much part of the story.”

Cinderella runs at York Theatre Royal until January 2 2022. Box office: 01904 623568 or at yorktheatreroyal.co.uk. CBeebies Presents: The Night Before Christmas premieres on December 11 and will then be available on BBC iPlayer.

CBeebies Presents: The Night Before Christmas, choreographed by Hayley Del Harrison. Picture copyright : BBC

Theatre Royal’s fun-filled panto ensemble makes a song and dance of Cinderella

CBeebies’ Andy Day (Dandini), left, and the ensemble’s Christian Mortimer, Ella Guest, Luke Lucas, Amy Hammond and Thomas Yeomans in a song-and-dance routine in York Theatre Royal’s pantomime, Cinderella

YORK Theatre Royal pantomime choreographer Hayley Del Harrison was determined to employ dancers from the north when casting for Cinderella.

She succeeded in her aim: five of the six-strong team of dancers are from Yorkshire, two of them from York.

“There’s a lot of talk about supporting regional artists in theatres across the country but it’s rarely implemented,” says York-born Hayley, who danced professionally in the West End and Europe as well as teaching dance and choreographing for 30 years.

“There was no way we were going to do a London audition before we put out a casting call in Yorkshire. Dancers from the north spend a fortune travelling to London for auditions, ironically and far too often, for jobs in the north.

Cinderella choreographer Hayley Del Harrison, front, with the York Theatre Royal pantomime ensemble: middle row, dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row, Christian Mortimer, Amy Hammond and Luke Lucas

“As it happened, we didn’t even need to do a London audition because we found exactly what we were looking for on home grown soil. And they’re absolutely fantastic.”

Hayley trained at the Northern Ballet School in Manchester,  where two of the ensemble, Tom Yeomans, from York, and Lauren Richardson, from Helmsley, also trained. Cinderella marks the professional debut of both performers.

Tom appeared in youth roles with amateur companies York Light Opera Company and York Stage  while taking lessons at the Patricia Veale School of Dancing, in Holgate.

At Northern Ballet School, he studied all forms of dance, not only ballet and although he wants a career in musical theatre, he was thankful for such a broad training “because I got such a strong classical technique, which means we’re versatile in everything we do”.

Faye Campbell (Cinderella) and Max Fulham (Buttons) in rehearsal with Thomas Yeomans, back left, Amy Hammond and Luke Lucas

“I’m loving doing pantomime,” says Tom. “It’s such a fun thing and good experience – and I get to stay at home with my family at Christmas too.”

Lauren is relishing the opportunity too, having graduated in July. “I’m fed up with Zoom and dancing in my own bedroom. That’s not the best but we had to do it,” she says.

As a youngster, she danced in pantomimes as an amateur. Cinderella marks her first professional contract. “I used to watch pantomime when I was a little girl and think, ‘I’d like to be one of those dancers’. My passion just grew and grew,” she said.

“I’m more musical theatre than ballet but I wouldn’t be the dancer I am without learning ballet technique. Ballet is amazing but I prefer the more glitzy, showbiz sort of dance.”

Front row: Dance captain Ella Guest, left, Thomas Yeomans and Lauren Richardson; back row: Christian Mortimer, left, Amy Hammond and Luke Lucas

Another making her professional bow is the second debutant from York, Ella Guest. She began dancing as a child, going on to study performing arts at CAPA College, Wakefield, and Bird College Conservatoire of Dance and Musical Theatre, London.

“I started when I was young and absolutely loved dancing and singing and acting,” she says. “Acting gives you a chance to express yourself and have fun,” she says.

Ella has seen pantomimes at both York Theatre Royal and the Grand Opera House, and she has even appeared in one: Cinderella at York Barbican a decade ago.

“It’s such a change of lifestyle after graduating, and Cinderella at the Theatre Royal fitted perfectly,” she says. “It’s really nice to have a job and to be at home to spend time with my family.”

Luke Lucas in the rehearsal room at the De Grey Rooms

Making her professional debut is Hull-born Amy Hammond, who grew up in Driffield. She graduated this year from SLP College, in Leeds, where her credits during training included the role of Nikki Wade in the Bad Girls musical and ensemble work in Thoroughly Modern Millie and Don’t Stop Me Now. She was also in dance shows featuring routines from big musicals such as Cats, 42nd Street and Fosse.

“My goal is to go into West End musicals, touring shows and things like that,” says Amy. “I’ve been dancing since I was very young and just love performing. “I saw pantos when I was younger and it’s really nice to see pantos move with the times, keeping up to date and adding modern touches as well as the more traditional things.”

Christian Mortimer is back in the city where he studied singing, acting and dancing for four years at York College – and back living at home with his parents in Harrogate.

Although he has been “singing all my life”, he does not know where the performing bug came from. “As I went into the sixth form, I didn’t really know what I wanted to do,” he says. “I was doing science, sport and music for A-levels. Then I came across a musical theatre course at York College. I saw shows like Les Miserables and Billy Elliot and thought, ‘I’d love to do that’. It seemed more thrilling than going into the music industry.”

Luke Lucas, left, Christian Mortimer and Thomas Yeomans reach for the sky during rehearsals for Cinderella

His first professional job was in the musical Chitty Chitty Bang Bang on the Isle of Man, while his further theatre credits include playing Issachar in Joseph and the Amazing Technicolor Dreamcoat.

The sixth – and only non-Yorkshire – member of the ensemble, Luke Lucas, trained at Liverpool Theatre School in his home city. York Theatre Royal is not his first panto as his credits include the ensemble for Cinderella at Norwich Theatre Royal.

“I love panto and used to go to see it with my family. It was something to look forward to all year. I have four older brothers so you can imagine trips to the panto with five boys and my poor mother,” he says.

“I come from a family of movie fanatics and wanted to be an actor until I fell in love with dance. Since graduating, Luke has worked as a professional dancer, including the European tour of The Andrew Lloyd Webber Gala, and on cruise ships in the Mediterranean and Caribbean., as well as playing Abram in Romeo & Juliet and Fairy in A Midsummer Night’s Dream at Liverpool Epstein Theatre.

Benjamin Lafayette’s Prince Charming with the ensemble in a scene from York Theatre Royal’s Cinderella

Choreographer Hayley spent loads of time with the dancers at the Cinderella auditions. “We ran quite a comprehensive casting process, exploring their skills by throwing an array of dance styles into the day, as well as their vocal abilities, acting experience, how they work with a script, how they interact as a group and their individual personalities,” she says.

“Auditions for dancers are often rushed and somewhat impersonal but it’s worth putting in the time to get the best out of people. We were absolutely spoilt for choice with so much talent in the room. They are really strong, playful performers, with a youthful energy and a fantastic work ethic.

“Plus they have funny bones, which is a joy and just up my street as I really don’t like to see a dance ensemble used as attractive decorations on the stage. They are an integral part of the show, establishing their characters, furthering the plot and intensifying the mood and style of the show.”

Cinderella runs at York Theatre Royal until January 2 2022. Box office 01904 623568 or at yorktheatreroyal.co.uk.

By Steve Pratt