Everwitch Theatre marks 80th anniversary with Bomb Happy D-Day 80 film premiere and performance at Helsmsley Arts Centre

George Stagnell, playing D-Day veteran Dennis “Hank” Haydock, in a scene from In The Footsteps Of Hank Haydock: A Walk In The Park, filmed in Duncombe Park woods

TO commemorate the 80th anniversary of D-Day this year, Bomb Happy playwright Helena Fox has created two poignant, lyrical new works telling the stories of two Yorkshire Normandy veterans from conversations and interviews she held with them in 2016.

One a film, the other a combination of word and song, they will be premiered by Everwitch Theatre at Helmsley Arts Centre on Saturday night (1/6/2024).

York actor George Stagnell, part of Everwitch Theatre’s original Bomb Happy touring cast in 2017, stars in the short film In The Footsteps Of Hank Haydock: A Walk In The Park.

Shot by York company InkBlot Films on location in the woodland of Duncombe Park, near Helmsley, the 30-minute film recounts Coldstream Guardsman Dennis “Hank” Haydock’s experiences in his own words, both his training in the Second World War tank encampment in those woods and on the frontline.

In Sleep/Re-live/Wake/Repeat: Smudger’s Story, writer Helena Fox and vocalist Natasha Jones bring to life the first-hand accounts of D-Day veteran Private Ken “Smudger” Smith, from Armley, Leeds,  and the lifelong impact of PTSD (Post-Traumatic Stress Disorder) and sleep trauma through verbatim spoken word and haunting a cappella vocals.

Word and song will be complemented by the first showing of black-and-white images from Ken Smith’s personal photo collection that follow his journey during an equally traumatic time in the Middle East after victory in Europe.

Playwright Helena Fox, left, and singer Natasha Jones: Presenting Sleep/Re-Live/Wake/Repeat: Smudger’s Story at Helmsley Arts Centre tomorrow

“Both the film and live performance use first-hand testimonies of two Second World War veterans, ordinary Yorkshire lads who find themselves in extraordinary circumstances, following their unique journeys from civilian to soldier and back to civilian,” says Helena.

“At times humorous, at times harrowing, both film and spoken-word performance allow a close-up insight into life on the frontline and give a rare glimpse into life for someone beset by memories of war.”

George Stagnell, who will be heading up from his new London home to attend Saturday’s premiere, played Private Ken “Cookey” Cooke, from York, in Fox’s play Bomb Happy.

For In the Footsteps of Hank Haydock: A Walk In The Park, he switched to Guardsman Dennis “Hank” Haydock, conscripted at 18 from Sheffield to serve as a Sherman tank gunner in the 2nd Battalion of the Coldstream Guards.

“The chance to play Hank Haydock first came about in 2021 when Helena got in touch to ask if I’d be interested in doing this performance piece around Duncombe Park, where he had trained,” says George.

“We performed it in June, with social distancing [under Covid restrictions), doing a walk around the remains of the Nissen huts and tank maintenance pits in the woodland.

George Stagnell as Ken ‘Cookey’ Cooke, second from right, with Joe Sample as Ken “Smudger” Smith, left, Carl Wylie as George “Merry” Meredith, Thomas Lillywhite as Albert “Bert” Barritt and Adam Bruce as Dennis ‘Hank’ Haydock in Everwitch Theatre’s Bomb Happy in 2017. Picture: Michael J Oakes

“I stepped in for another actor who couldn’t do it, ending up learning 13 pages of script in two weeks, and it was a really good challenge, having not been able to do any acting during Covid. I thought ‘I’m going to be rusty’, but each day I worked on it, I became ingrained in it.”

Helena invited Jay Sillence and Mike Leigh Cooper, from InkBlot Films, to attend one of the hour-long performances. “Straightaway they said they really wanted to turn it into a short film, but the whole thing then ended up being postponed till summer-autumn 2022 because we all had other commitments, rather than September 2021 as first planned.”

Lines restored to his head, George took on the unfamiliar task of being filmed in 2022. “It was tricky because, truth be told, I don’t have a huge amount of film experience, though I’m keen to do more,” he says. “I had a chat with Helena where she said, ‘it’s still story telling’.

“Bomb Happy was a physical play, creating scenes behind boxes or having to crouch down. With the filming, it’s all about the words, trusting in Hank’s memoir, and it helps that’s his own words, which makes it so poignant and gut-wrenching.

“We made a few cuts as we didn’t want it to be the full-hour but more concentrated, with lots of close-up head shots.”

Ken “Smudger” Smith, Duke of Cornwall’s Light Infantry veteran, standing in the corn at Hill 112, where he fought in July 1944. Picture: Paul Reed

Bomb Happy had spread the focus between five D-Day veterans, “Hank” Haydock, Ken “Smudger” Smith, Ken “Cookey” Cooke, Albert “Bert” Barritt and George “Merry” Meredith, but first the Duncombe Park walk and now the film have “gone a lot deeper” into Hank’s character. “A lot of it has come from Hank’s wartime diaries and memoirs that Helena was allowed to use, whereas the other accounts were verbatim from her interviews,” says George.

His filming was done largely in one continuous take in July, on the hottest day of the year, re-taking only a few lines “if we felt the need”. “That was part of the excitement, doing it only one go, so it was like theatre in that sense,” he says. “You allow Hank’s words to do the work for you.

“Sadly I never got to meet him, but one of the things I’d been told was that he was reserved and a deep thinker, and I strongly connected with that. Like all the veterans in Bomb Happy, he was still able to find positive things in his reflections, like funny memories of his training camp days, or reminiscing about the start of a relationship,  still feeling beauty in such horrific circumstances alongside remembering the more difficult experiences.”

*In addition to the film and live performance, Saturday’s programme will feature a new short story of an act of reconciliation for the 80th anniversary of D-Day: Our Mum, Our Dad, And A Door Handle, written and performed by Dorothy Bilton, daughter of Bomb Happy D-Day veteran Bert Barritt.

Everwitch Theatre, Bomb Happy D-Day 80, In The Footsteps Of Hank Haydock (film premiere) and Sleep/Re-live/Wake/Repeat: Smudger’s Story  (live performance), Helmsley Arts Centre, June 1, 7.30pm. Box office:  01439 771700 or helmsleyarts.co.uk.

Bomb Happy definition

“BOMB Happy is a slang phrase we use for being under fire for many days at a time,” said D-Day veteran Ken “Smudger” Smith. “It does describe the condition you become.”  

Dani Harmer to wave fairy wand of change over Grand Opera House panto. Who’s joining her in Beauty And The Beast?

“I adore playing the loveable and slightly bonkers Fairy Bon Bon, so cannot wait to put on my wings once more,” says Grand Opera House-bound Dani Harmer

OUT with the old, in with the new, for the Grand Opera House pantomime in York, following the exit of Berwick Kaler and co after three years.

In come BAFTA award-winning Dani Harmer, Phil Reid, Leon Craig, Phil Atkinson and David Alcock to star in Beauty And The Beast, UK Productions’ third panto at the Cumberland Street theatre, from December 7 to January 5. Further star-studded casting for Belle and the Beast will be announced shortly.

Best known for playing the title role in the CBBC series Tracy Beaker and its sequel Tracy Beaker Returns, from the age of 13, and later My Mum Tracy Beaker in 2021, Harmer will wave her wand as Fairy Bon Bon.

“I can’t think of a better place to be spending the Christmas period,” says Dani Harmer of her return to York

Bracknell-born Harmer, now 35, has appeared in numerous pantomimes and West End musical theatre shows, including playing the title role in York Barbican’s 2012 panto, Cinderella, when she had to miss two performances that clashed with her commitments competing in BBC One’s Strictly Come Dancing that season.

In the “craziest fortnight of my life”, she had to combine rehearsing each morning at the Barbican and spending each afternoon and evening at the University of York, practising routines with partner Vincent Simone, first for the semi-final, then three for the final: a tango, jive and show dance (Bohemian Rhapsody). “It’s been the best thing I have ever done,” she said at the time.

Earlier that year at York Barbican too, she appeared as Dorothy in The Wizard Of Oz, returning there in March 2015 for two performances as Beauty in the Easter pantomime Beauty And The Beast. In between, she played not-so-innocent Janet in The Rocky Horror Show at Leeds Grand Theatre in June 2013 

Dani Harmer in the role of Beauty in Beauty And The Beast at York Barbican in March 2015

Now she will star in Beauty And The Beast in York for a second time, switching from Beauty to Fairy Bon Bon. “I’m super excited to be back in my favourite panto of all time, Beauty And The Beast,” says Dani.

“For those that don’t know, I have always been completely obsessed with this story, so it is a real joy for me to be bringing it to life on stage. And I adore playing the loveable and slightly bonkers Fairy Bon Bon, so cannot wait to put on my wings once more.

“And even more exciting to be coming to the gorgeous city of York! I can’t think of a better place to be spending the Christmas period. So, bring on the Yorkshire puddings and I really hope you enjoy our magical beauty of a show.”

Phil Reid’s Louis la Plonk

Joining Dani will be award-winning comedian Phil Reid as Louis la Plonk and panto dame extraordinaire and musical theatre star Leon Craig as his larger-than-life mum, Polly la Plonk, after West End appearances in Everybody’s Talking About Jamie and Disney’s Aladdin.

Musical theatre star Phil Atkinson, from The Bodyguard, Joseph And The Amazing Technicolor Dreamcoat and Little Shop Of Horrors, will play the dastardly Hugo Pompidou, with David Alcock, from The Mousetrap and the BBC’s SAS: Rogue Heroes, as his assistant in villainy, Clement.

Producers UK Productions will be “pulling out all of the stops to bring their award-winning version of this timeless tale to York”. Managing director and producer Martin Dodd says: “We are delighted to be returning to the beautiful Grand Opera House and even more so that we can bring one of our favourite productions for the Christmas season.

Phil Atkinson’s dastardly Hugo Pompidou

“The show is filled with comedy, show-stopping tunes, a cast of top musical performers, magic and an award-winning script by Jon Monie [prize winner for Best Script in the 2019 Great British Pantomime Awards]. It’s a fantastic show for young and old and one that is sure to make your Christmas complete.”

Grand Opera House theatre director Laura McMillan says: “This year our Christmas is set to be a cross between a hilarious pantomime and a spectacular West End musical, really something for everyone.

“The audience are in for a festive treat, with a show packed full of award-winning talent and stars from the West End. There’s no doubt Beauty And The Beast will be a huge hit with something for all the family.”

Expect “larger-than-life characters, an unmissable transformation moment, slide-splitting comedy and stunning sets and costumes”, promises the panto press release.

Tickets are on sale at atgtickets.com/york

Leon Craig’s dame, Polly la Plonk, in Beauty And The Beast

York Light to stage off-Broadway comedy Nunsense: The Mega-Musical with expanded cast and new characters

And then there were nuns: York Light Opera Company’s flyer for Nunsense: The Mega-Musical

THE Little Sisters of Hoboken will be bigger than ever in Nunsense: The Mega-Musical, York Light Opera Company’s summer show at Theatre@41, Monkgate, York.

Running from June 26 to July 6, the divine delights of Dan Goggin’s musical are being directed by Neil Wood with musical direction by Martin Lay.

“Get ready for a heavenly dose of laughter as we present a side-splitting extravaganza brimming with witty humour, toe-tapping tunes and heavenly hilarity,” says Neil.

In the wake of the unfortunate passing of four beloved sisters – now “chilling out in the freezer” after a “culinary catastrophe” involving soup – the remaining Little Sisters of Hoboken find themselves in a sticky situation. To raise funds for a proper burial – and perhaps a new cook! – the nuns take centre stage for a riotous revue like no other.

For the uninitiated, Dan Goggin’s 1985 off-Broadway musical promises a night of unforgettable entertainment, featuring:

● An all-singing, all tap-dancing cast of the Little Sisters of Hoboken, each with their own delightful personality.

● A script packed with jokes and side-splitting situations.

● Show-stopping song-and-dance numbers.

● A heart-warming message of community, perseverance and finding humour even, in the face of adversity.

Building on the success of last June’s “riotous, rude and relevant” I Love You, You’re Perfect, Now Change, York Light will stage a “mega-sized version” of Goggin’s show with an expanded cast, new characters and even more musical mayhem.

“It’s an absolute pleasure to return to York Light Opera Company to direct their summer show for the second year running,” says Neil. “Nunsense: The Mega-Musical is an exciting, hysterical and entertaining show and I’ve been lucky enough to cast 12 exceptionally talented actresses who encapsulate their various characters to perfection. It’s a wonderful show, which I’m sure audiences will adore.”

One cast hitch has required a novel solution, Neil reveals: “As with producing any show, you come across little hiccups, and our Father Virgil [Matt Tapp] being sent to the Highlands a month before opening night is possibly the most extreme hiccup I’ve had to deal with as a director.

“So, what’s the solution?  Do you find one actor who can cover all ten shows at late notice? No! Instead, we’ve found ten actors who can do one night each with limited rehearsal! Keep your eyes on social media to find out who.”

Inspiration came from comedy national treasures Eric and Ernie. “I got the idea having seen the guest actors in The Play What I Wrote, which is a show based on the life of Morecambe and Wise, and it’s worked exceptionally well!” says Neil.

“We had such a good response from the gentlemen of York Light Opera Company and within days had managed to cast all ten performances. However, that’s just one little treat for the audience…

“…Throw in tap dancing, tightrope walking and ventriloquism and you know you are in for a night you will never forget.”

York Light Opera Company in Nunsense: The Mega-Musical; Theatre@41, Monkgate, York, June 26 to July 6, 7.30pm (except June 30, July 1 and July 6); 3pm, June 29 and 30, July 6.  Box office: tickets.41monkgate.co.uk.

Who’s who in the cast?

Reverend Mother Mary Regina: Joy Warner; Sister Mary Hubert: Clare Meadley (except July 5 and 6), Alison Davies , July 5 and 6; Sister Robert Anne: Emily Rockliff; Sister Mary Amnesia:  Annabel van Griethuysen; Sister Mary Leo: Emma Craggs-Swainston; Sister Julia, Child of God: Kathryn Addison, replacing Pascha Turnbull, with only five days of rehearsals to go; Sister Mary Brendan:  Sarah Foster; Sister Mary Luke: Chloë Chapman; Sister Mary Wilhelm: Madeleine Hicks; Father Virgil: as explained above; Brother Timothy: Ben Wood; Sister Mary John: Alison Davies (except July 5 and 6); Sister Mary Matthew: Amy Greene; Sister Mary Mark: Sophie Cunningham.

Whale alert! Simple8 take to the sea in Sebastian Armesto’s staging of Moby Dick at York Theatre Royal from June 6 to 8

Simple8’s Moby Dick scriptwriter, Sebastian Armesto

OCTOBER 1839. The Pequot is soon to sail out of Nantucket and her skipper, one Captain Ahab, needs a crew in Simple8’s production of Moby Dick, on tour at York Theatre Royal from June 6 to 8.

Seeking fortune and adventure, a humble schoolmaster named Ishmael ships aboard, joining a company charged with one task: to wreak revenge in the hunt for the white whale that took Ahab’s leg – the infamous Moby Dick.

Combining theatrical flair and invention, Sebastian Armesto’s adaptation captures the spirit of Herman Melville’s novel – romantic, ambiguous and rich with allegory – for the award-winning Simple 8, specialists in creating worlds out of nothing in bold new plays that tackle big ideas with large casts.

Complete with sea shanties played live on stage, planks of wood, tattered sheets and a battered assortment of musical instruments, the ensemble of actors and actor-musicians brings Moby Dick ingeniously to life.

Guy Rhys plays Captain Ahab, joined by Mark Arends (Ishmael), Jonathan Charles (ensemble), Hannah Emanuel (Starbuck), Syreeta Kumar (Manx), Hazel Monaghan (ensemble), James Newton (Flask), William Pennington (Stubb) and Tom Swale (Queequeg).

“It is a great pleasure to bring together this supremely talented ensemble of performers,” says director Jesse Jones. “Together, as a company we will conjure the world of the play using their musical ability, dynamic physicality and powerhouse performances to breathe life into this poignant yet playful production.”

Simple8, in association with Royal & Derngate, Northampton, present Moby Dick, York Theatre Royal, June 6 to 8, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk.

In focus: Guy Rhys on playing Captain Ahab

Guy Rhys’s Captain Ahab, centre, leading his crew in Simple8’s Moby Dick. Picture: Manuel Harlan

SOMETIMES, as he makes his first appearance on stage in Moby Dick, Guy Rhys becomes aware that heads are turning in the front row as audience members wonder, “Is it real?”

The ‘it’ is Captain Ahab’s peg leg, a legacy of the seaman’s brush with a mighty whale – the Moby Dick of the title – that the vengeful Ahab is determined to hunt down and kill.

The answer is that the leg is fashioned from one of Guy’s old prosthetics to resemble Captain Ahab’s whalebone peg leg. The leg previously made an appearance, wrapped in leather, when the actor played a one-legged pirate.

Guy, who was born with a leg deformity that led to amputation when he was eight, does not consider himself a disabled actor and has only shown his prosthetic leg in four shows.

Those roles included Hercules . “I’d just got this brand-new blade and thought I’d show it off. I thought it would make Hercules look cool,” he says.

“The lack of a leg hasn’t been an issue as an actor. I only show the prosthetic when it’s suitable for the show. It’s got to be right. If you’re playing a pirate in Peter Pan, why not use the prosthetic? And obviously if you’re playing Captain Ahab, you’ve got to use it.

“One of my prosthetics has been redesigned as a peg leg. It looks great and the noise that my right leg and left peg leg make on the wooden boards has been put into the music. The musical director, Jonathan Charles, has mimicked the sound I make walking as Ahab and turned it into a sound bite.”

Simple8’s production of Moby Dick is very physical, and consequently the peg leg can become uncomfortable. Guy makes what he calls ‘pit stops’, when he leaves the stage to pull off the prosthetic for a few seconds to stop his leg swelling up. “I wouldn’t spend a day on that peg leg,” he says.

He does not know if the producers were looking specifically for an amputee for the part of Ahab but sees such casting as being in the spirit of a show that does not hide anything. There is no trickery. Everything is real, everything is done on stage with no hiding as Ahab and his crew hunt the whale that cost him his leg. Sea shanties are sung live; Ahab’s boat, the Pequot, is built before the audience’s eyes.

Guy was already well acquainted with Melville’s story because John Huston’s 1956 film version is one of his favourite films. “I’m an amputee so Captain Ahab is a bit of a legend to me,” he says.

“This stage version is like the film – action-packed. The 850 pages of the book are down to 63 pages in this version by Sebastian Armesto. It has really interesting spectacle and is really quite punchy.”

Moby Dick marks Guy’s first visit to York Theatre Royal in a career taking in roles in everything from Macbeth to Grimm Tales, from Much Ado About Nothing to Mother Courage. Yet acting was not always a goal. He was washing dishes for a living when theatre first entered his life and he “needed something to do on a Monday night”.

This turned out to be a theatre group that more or less took over his life. “I ended up virtually living in the theatre, going to Russia and meeting Peter Brook,” he says, referring to the great director.

Then Guy decided to go to drama school but lacked the necessary finance. His path instead took him to managing a Blockbuster Video shop.

“I watched films, read plays, went to art galleries and finally applied to the Drama Centre in 1997,” he says. “They offered me a place on the spot and I got three scholarships. The past has been a rollercoaster ride which is like every theatre career.”

An Officer And A Gentleman…and a Yorkshireman as Zack Mayo. Meet Luke Baker at Grand Opera House, York

On duty: Georgia Lennon as Paula Pofriki and Luke Baker as Zack Mayo in An Officer And A Gentleman The Musical

YORKSHIREMAN Luke Baker, set to play the title role in An Officer And A Gentleman The Music in York next week, remembers early career advice from his father.

“Born in Leeds and brought up in Wakefield, when I was 15, I started doing shows at the Wakefield Theatre Royal summer school with director Louise Denison, who must be solely responsible for half of the West End now,” he recalls.

“I grew up playing rugby, at scrum half for Sandal, and played football and did gymnastics too. I used to go down to Thorne Park to play, and had played for various football clubs when I decided to start concentrating on acting.

“When I told my father, he said, ‘to be honest, you’ve got more chance of singing at Wembley than playing there’!”

Two years at Leeds College of Music – now Leeds Conservatoire – from 2005 to 2007 were followed by a BTech in musical theatre at ArtsEd, in London, graduating in 2100. “You can train anywhere and you will get similar training, and your ability will speak for itself, but it’s about the impact of the contacts you can make when training in London: the directors, casting directors, choreographers and agents.

“They would come and do Q&As with us, as well as work with us, and then the agents would come to the full-scale musicals that we’d do to end the year. The next day you’d be called to the head’s office and you’d be given a Post-it with the name of an agent on it.”

Luke met no fewer than ten agents. “You have to suss out if they want to work with you, if you want to work with them, and it then boils to if you think you can work with them,” he says.

He duly signed up with Belfield & Ward. “I’ve been with them ever since, so I made the right choice. People tend to change agents after five years, but I’m loyal – and maybe that’s a Yorkshire thing.”

Now 36, he is working with a fellow Yorkshireman for An Officer And A Gentleman: director Nikolai Foster, who grew up in North Yorkshire before training at the Drama Centre, London, and The Crucible, Sheffield.

Foster is artistic director of the Curve, Leicester, the producers of the February 23 to November 16 2024 tour of the musical adaptation of Taylor Hackford’s 1982 all-American film starring Richard Gere and Debra Winger.

“I’ve worked with Nikolai quite a few times,” says Luke. “I first came across him when I was graduating from ArtsEd, and he would have been among the directors who came to see one of our shows.

Off duty: Yorkshire actor Luke Baker

“I did the second UK tour with him of All The Fun Of The Fair, when we visited the Bradford Alhambra and Sheffield Lyceum, and last year I played Tony, Billy’s brother, for him in Billy Elliot in Leicester.

“It was always a dream to play that role. So many people had said to me, ‘you’ve got to play Tony, if you get the chance’ – but I was always doing something else when the role came up in the West End. It was a dream opportunity to do it with Nikolai at Leicester, one to tick off on the wish list.”

Foster has reassembled much of his Billy Elliot production team for An Officer And A Gentleman, including musical director Christopher Duffy and choreographer Joanna Goodwin (assistant director for Billy Elliot), so they were familiar with Luke’s pedigree too.

His audition process began in the customary modern fashion of submitting a tape. “I sang Bon Jovi’s Blaze Of Glory, my first song in the show, and then they call you for an in-person audition at Pineapple Dance Studios, where I did the songs and the scenes. One tape, one live audition, and I got the part,” he says.

“For some shows I’ve done ten rounds of auditions over three and a half months, and then you might not get it, but some things go like that. It’s all part of it.

“It’s different needs for different shows. Like I did ten rounds to play Frankie Valli in Jersey Boys, and by then everyone left could do the role, but that show is a product that has to be signed off by the American producers and everyone has to fit with everyone in the cast in a specific way.

“I think it suits me better to be creative in a role, either creating a new part or doing a part where I can do my character background work and think ‘what can I do with this role?’.”

That applies to his casting as fearless young officer candidate Zack Mayo opposite Georgia Lennon’s fiery-spirited Paula Pofriki in Douglas Day Stewart & Sharleen Cooper Cohen’s story of love, courage and redemption.

“I’ve been lucky to be able to be creative in the role, and Nikolai is the kind of director who wants it to be your version. It’s the same show as it was when first done six years ago, but it’s never final; it’s forever growing and changing, like using different choreography.”

What can next week’s York audiences expect, aside from George Dyer’s musical arrangements of Eighties’ pop bangers by Bon Jovi, Madonna, Cyndi Lauper and the film’s signature song, (Love Lift Us) Up Where We Belong. “Like the film, it’s a love story, but it’s darker than people remember. It’s not like Top Gun!” says Luke.

An Officer And A Gentleman The Musical, Grand Opera House, York, June 4 to 9, 8pm, Tuesday, 7.30pm, Wednesday to Saturday, 2.30pm, Wednesday and Saturday matinees. Box office: atgtickets.com/york

Paul Hawkyard returns to dark side to play Abanazar in York Theatre Royal’s Aladdin

Villain’s return: Paul Hawkyard’s Abanazar

HE’S bad and he’s back. Paul Hawkyard will return to the villain’s role in the 2024-2025 York Theatre Royal & Evolution Productions pantomime after a year’s hiatus.

The towering Leeds-born actor and wildlife artist will play Abanazar in creative director Juliet Forster’s production of Aladdin, written by Evolution director Paul Hendy in a new York adaptation of the script he premiered at The Marlowe, Canterbury, last winter with Strictly Come Dancing alumnus Kevin Clifton as the baddie.

Clifton, by the way, is among The Marlowe’s record-breaking eight nominations for the UK Pantomime Association’s 2024 Pantomime Awards for Best Newcomer to Pantomime for his debut as Ivan Tochachacha, in essence Abanazar re-booted with a dancing moniker.

Writer Hendy was nominated too for Best Script, alongside Best Pantomime (over 900 seats), Best Dame, Best Lead, Best Magical Being, Best Supporting Artist and Best Contribution to Music.

Leeds-born actor Paul Hawkyard

The winners will be announced in an awards ceremony at G Live, Guildford, on June 18, when York Theatre Royal will be represented by Jack And The Beanstalk cast members Mia Overfield and Anna Soden.

Overfield is nominated in the Best Early Career Newcomer category for her role as Jack in her panto debut, a year after completing her musical theatre studies at Arden School of Theatre, Manchester.

In her home-city panto, Soden played Dave the talking cow, a very different kind of pantomime cow, in a scene-stealing turn that has led to her nomination in the Best Supporting Artist category. 

Meanwhile, back to Aladdin in York, where Hawkyard will be renewing his fruitful, feisty pantomime partnership with regular dame Robin Simpson, returning for his fifth successive Theatre Royal panto.

Rev-olution: Robin Simpson and Paul Hawkyard roar onto stage in their irreverent Ugly Sister double act Manky & Mardy in York Theatre Royal’s Cinderella

Hawkyard and Simpson received a UK Pantomime Awards nomination for their Ugly Sister double act Manky & Mardy in 2021-2022’s Cinderella, then bonded in baddie badinage over the next winter as Captain Hook and Mrs Smee respectively in All New Adventures Of Peter Pan.

Hawkyard and Simpson first worked together in the Shakespeare’s Rose Theatre company at the Eye of York, sharing a dressing room from the day they started. In 2022, they reunited for Harrogate Theatre’s HT Rep season of three plays in three weeks, Simpson appearing in all three, Abigail’s Party, Gaslight and Men Of The World; Hawkyard in the first and last.

They will be joined in Aladdin by CBeebies and CBBC presenter Evie Pickerill as the Spirit of the Ring. Further casting will be announced shortly.

Tickets for Aladdin’s run from December 3 to January 5 2025 are on sale on 01904 623568 or yorktheatreroyal.co.uk.

70 Objeks & Tings to go on show at York Castle Museum in celebration of Caribbean culture and the Windrush Generation

70 Objeks & Tings: 75 years of Caribbean culture on show at York Castle Museum

70 OBJEKS & Tings, a celebration of 75 years of Caribbean culture, will showcase 70 items that connect us to the Windrush Generation at York Castle Museum from June 19 to November 1.

Billed as an “extraordinary exhibition of the ordinary”, it will feature objects that combine familiarity and practicality and have been passed down the generations.

The “small but powerful” show is being brought to York by Museumand, the National Caribbean Heritage Museum, founded by mother-and-daughter team Catherine Ross and Lynda Burrell.

Lynda Burrell, left, and Catherine Ross, founders of Museumand

These inspiring women have created this unique travelling exhibition as a fun and informative way to share more about the Windrush Generation and their descendants.

70 Objeks & Tings will be a chance to explore their experiences and lives through cooking and household goods, food packaging and beauty supplies, funeral items, music, games, books, newspapers and more.

The exhibition will be accompanied by a hardback book by Catherine and Lynda, available in the York Castle Museum shop, and a podcast too.

“Objeks and tings” from the Museumand exhibition, going on show at York Castle Mueum from June 19

Catherine Ross, Museumand’s founder director, says: “We are so elated to bring 70 Objeks & Tings to York. As aspects of Caribbean culture are so entwined with British culture and Yorkshire’s cultural traditions especially, this leg of our tour across the UK is particularly exciting for us.

“We hope to eke out more stories from people of the Caribbean diaspora and others that know about the islands and their peoples. Together, with York Museums Trust, we hope from our time in York, we will be able to add new stories and information from people of the Caribbean diaspora in York and the surrounding areas to the growing archive of the Caribbean presence and contribution to British life.”

Philip Newton, community participation manager at York Museums Trust, says: “What an insight into the lives of this generation this exhibition gives us. Little pieces of the Caribbean, which arrived on the landing of SS Empire Windrush at Tilbury Docks on June 22 1948, carrying passengers from the Caribbean who had been invited by Britain to help with post-war construction.

York Castle Museum’s exterior

“These items continued to play a part in the new lives that this generation embarked upon, passing them down to their children and incorporating into British identity too. The title, and interpretation, has a nod to patois, a traditional form of language for many Caribbeans, with ‘objeks and tings’ referring to the things that Caribbeans, especially those of the Windrush Generation, hold dear and are important to them.

“We are really proud to collaborate with Museumand and delighted to bring this gem of an exhibition to York Castle Museum, where its ethos and inspiration fits well within our displays.”

70 Objeks & Tings will run at York Castle Museum, Eye of York, York, from June 19 to November 4. Opening hours: Monday, 11am to 5pm; Tuesday to Sunday, 10am to 5pm. Tickets: yorkcastlemuseum.org.uk

REVIEW: Paul Rhodes’s verdict on Yes, The Classic Tales of Yes Tour, York Barbican, May 28

Yes, here seen playing live in 2023, returned to York Barbican last night, having toured there in 2022. Picture: Gottlieb Bros

YES know how to play the long game. In the second half of their fifth decade as a band, this incarnation is led ostensibly by Steve Howe, who first signed on in 1970.

It is Howe’s skilfully selected setlist that lifts this concert, and gives it an appeal beyond the die-hards. Chosen with the same care Howe puts into his guitar playing, over two hours, two sets and 12 songs, they charted many of the interesting points on the Yes musical map.

With any longstanding group, there are line-up changes, and while there have been some negative reviews of their most recent album, May 2023’s Mirror To The Sky, it was clear they remain a potent musical proposition. Cut From The Stars, the sole ‘new’ track in the show, was there by merit, driven by some exuberant bass.

Yes’s long-form music is a byword for difficult, and as Howe observed late in the second set, “Yes members have to put the work in”. It was akin to watching an orchestra where everyone was the soloist – holding the entire set in their heads while playing for and with one another.

The first half showcased Howe, who played between six and seven guitars during the set (I lost count). With the air of a wizened professor at 77, his dexterity was amazing, switching styles without batting an eye. Like Yes, this is music that is hard for a newcomer to love. It takes effort, and Howe’s guitar work is the same, not people pleasing, but always coming at a composition from an expected angle.

The opening Machine Messiah showed off the heavier side to the band, starting with crunching chords before taking off around the ten-minute mark with some wonderfully propulsive ensemble playing.

Arguably the most memorable moments were when Howe’s guitar tech wheeled on a second guitar on a stand. Still with one instrument around his neck, Howe then produced the most lyrical sounds of the evening, and in this way he closed out Turn Of The Century to finish the first set.

The love the band and the audience have for the music is a powerful force, best experienced in person – and from his skips and hops, Howe looked totally absorbed in delivering a great performance.

The poster for The Classic Tales Of Yes Tour 2024. York Barbican was their only Yorkshire location

Jon Davison was game on vocals, taking on Jon Anderson’s lyrics in choral style. He is a wonderful singer, but the lyrics were generally pretty woeful. Don’t Kill The Whale being a good, if well intentioned, example.

Given the imaginative musical leaps in motion around him, the singer often had to sing the same things over and over – but never quite run into the ground.

There were some affecting moments with just Howe and Davison – and there is obvious rapport and affection between the men on stage. Talking of choir boys, it transpires that keyboard player Geoff Downes began his musical apprenticeship at York Minster. He had his hands full too, with eight keyboards to man, plus pedals.

There was too much intricacy to keep up with, but there was no room for noodling or drum solos mercifully. Stage lighting was also deliberately simple.

The second half was perhaps the better of the two, despite starting with the weakest number of the night (South Side Of The Sky). It shone a light on the incredible bass shapes produced by Billy Sherwood, very much a lead instrument.

It’s unlikely Yes get many plaudits for their sonic voyages on Tales From Topographic Oceans. This 1973 album marks an outer limit, even in the expanded prog universe, and now serves more as a warning to others not to take themselves so seriously. It was striking, therefore, that their 20-minute distillation of this 80-minute work was a real highlight (Howe having told CharlesHutchPress this was “a mini-representation…visiting each of the sides” in his interview.)

Not listening too closely to the words, but feeling the emotion, the interplay between the players, and the thoughtful way the sections had been stitched together, was a veritable masterclass.

The audience were on their feet for the rousing encore Roundabout, and by Starship Trooper we were as one in our appreciation of this vibrant, iconic musical institution that is Yes.

Review by Paul Rhodes

What’s On in Ryedale, York and beyond when artists open studios. Here’s Hutch’s List No 18, from Gazette & Herald

Into the woods: George Stagnell as Dennis “Hank” Haydock in In The Footsteps of Hank Haydock, premiered at Helmsley Arts Centre on Saturday

WARTIME memoirs and Catholic women trailblazers, open studios and open-air Status Quo lead off Charles Hutchinson’s recommendations.

Double bill of the week: Everwitch Theatre, Bomb Happy D-Day 80, In The Footsteps Of Hank Haydock (film premiere) and Sleep/Re-live/Wake/Repeat (theatre), Helmsley Arts Centre, June 1, 7.30pm

TO commemorate the 80th anniversary of D-Day, Bomb Happy playwright Helena Fox has created two poignant, lyrical new works telling the stories of two Yorkshire Normandy veterans from conversations and interviews she held with them in 2016.

Featuring York actor George Stagnell, the short film In the Footsteps of Hank Haydock: A Walk In The Park was shot on location in the Duncombe Park woodland with its lyrical account of Coldstream Guardsman Dennis “Hank” Haydock’s experiences in his own words. In Sleep/Re-Live/Wake/Repeat, playwright Helena Fox and vocalist Natasha Jones bring to life the first-hand experiences of D-Day veteran Ken “Smudger” Smith and the lifelong impact of PTSD and sleep trauma through spoken word and a cappella vocals. Box office: 01439 771700 or helmsleyarts.co.uk.

Mary Ward (Augsberg portrait): Foundress of the Bar Convent, as featured in the Trailblazers audio trail

York exhibition of the week; Trailblazers of the Bar Convent, Bar Convent Living Heritage Centre, Blossom Street, York, until September 30, 10am to 5pm; last entry 4pm

AS part of the citywide York Trailblazers sculpture trail, the Trailblazers of the Bar Convent audio trail uncovers tories behind key characters down the years at the oldest surviving Catholic convent in Great Britain.

Using QR codes, visitors will discover more about the trailblazing women whose bravery and determination made history locally, nationally and around the world. Among them are foundress Mary Ward, who believed that girls deserved an equal education to boys; Mother Superior Ann Aspinal, who determined to build a secret chapel totally hidden from the outside world, and Sister Gregory Kirkus, who set up the convent’s first ever museum. Tickets: barconvent.co.uk.

Kathyrn Williams & Withered Hand: Heading to Selby Town Hall tonight

Duo of the week: Kathryn Williams & Withered Hand, Selby Town Hall, tonight, 8pm

KATHRYN Williams is the Liverpool-born, Newcastle-based, Mercury Music Prize-nominated singer-songwriter with 16 albums to her name. Withered Hand is singer-songwriter Dan Willson (CORRECT), from the Scottish underground scene.

They first met in 2019 in an Edinburgh Book Festival spiegeltent, prompting Williams to tweet Willson: “What kind of songs would we write together and what would they sound like?” The results can be heard on the album Willson Williams, released on One Little Independent Records, and in concert in Selby. Box office: selbytownhall.co.uk.

The poster for the three-day Drawsome! 2024 festival in York

York festival of the week: Drawsome! 2024, Young Thugs Studio, May 31; The Crescent, June 1; Arts Barge, Foss Basin, York, June 2

DRAWSOME! combines exhibitions and workshops with live music each evening. Things Found and Made is exhibiting at The Golden Ball, Cromwell Road, from May 31 and Greek-Australian graphic novel artist Con Chrisoulis for one night only at Young Thugs Studio, Ovington Terrace, on May 31 from 7pm, when Ichigo Evil, Plantfood, Mickey Nomimono and Drooligan will be performing.

On June 1, Bonneville, Lou Terry, Captain Starlet and Leafcutter John play at The Crescent community venue, where workshops run from 1 to 4pm, featuring Bits and Bots Recycled Robot, with Tom Brader, and Creative Visible Mending, with Anna Pownall, complemented by Zine Stalls hosted by Things Found and Made, Adam Keay and Teresa Stenson. 

On June 2, the Arts Barge presents Dana Gavanski, Kindelan, Moongate and We Are Hannah, after three 11am to 2pm workshops: Poem Fishing with Becca Drake and Jessie Summerhayes, Adana Letterpress and lino printing, and Screenprinting with Kai West. 

Sarah Sharpe: Opening her studio at Viriditas Nook, Mill Beck House, 2 Pinewood, Norton, Malton, for North Yorkshire Open Studios

North Yorkshire Open Studios 2024, June 1 and 2, 8 and 9, 10am to 5pm

STRETCHING from the coast to the moors, dales and beyond, 169 artists and makers from North Yorkshire’s artistic community invite you to look inside their studios over the next two weekends.

The event is organised by the artist-run collective North Yorkshire Open Studios, which supports painters, sculptors, printmakers, jewellers, ceramicists and photographers. Taking part in the Malton area will be Angela Cole (Westow), Catriona Stewart (Norton), Sandra Oakins (Norton), Jo Naden (Scagglethorpe), Sarah Sharpe (Norton) and Jonathan Moss (Malton). For full details, go to: nyos.org.uk. A full brochure is available.

Status Quo: Francis Rossi, left, leads his legendary band at Scarborough Open Air Theatre

Coastal gig of the week: Status Quo, Scarborough Open Air Theatre, June 2, gates 6pm

DENIM rock legends Status Quo open the 2024 season at Scarborough Open Air Theatre, where they played previously in 2013, 2014 and 2016. Led as ever by founder Francis Rossi, who turns 75 today, they must pick their set from 64 British hit singles, more than an any other band. The support act will be The Alarm. Box office: scarboroughopenairtheatre.com/statusquo.

Georgia Lennon as Paula Pokrifki and Luke Baker as Zack Mayo in An Officer And A Gentleman The Musical. Picture: Marc Brenner

Musical of the week: An Officer And A Gentleman The Musical, Grand Opera House, York, June 4 to 8, 8pm, Tuesday, 7.30pm, Wednesday to Saturday, plus 2.30pm Wednesday and Saturday matinees

NORTH Yorkshireman Nikolai Foster directs Leeds-born actor Luke Baker as fearless young officer candidate Zack Mayor in the Curve, Leicester touring production of An Officer And A Gentleman.

Once an award-winning 1982 Taylor Hackford film, now Douglas Day Stewart’s story of love, courage and redemption comes re-booted with George Dyer’s musical theatre arrangements and orchestrations of pop bangers by Bon Jovi, Madonna, Cyndi Lauper, Blondie and the signature song (Love Lift Us) Up Where We Belong. Box office: atgtickets.com/york.

Graffiti Classics!: “Making classical music wickedly funny and fantastically exhilarating” at Milton Rooms, Malton

Breaking boundaries: Graffiti Classics!, Milton Rooms, Malton, June 14, 8pm

GRAFFITI Classics! is not only a classical concert but also a gypsy-folk romp, an opera, a stand-up comedy set and dance show rolled into one uplifting, virtuosic experience.

Bursting the “elitist boundaries of the traditional string quartet”, Graffiti Classics! embraces Beethoven to bluegrass, baroque to pop, Mozart to Elvis, Strauss to Saturday Night Fever, as 16 strings, eight dancing feet and four voices combine with one aim: “to make classical music wickedly funny and fantastically exhilarating for everyone, young and old”. Box office: 01653 696240 or themiltonrooms.com.

‘What kind of songs would we write together and what would they sound like?’ Find out when Kathryn Williams and Withered Hand play Selby and Otley

Kathryn Williams and Withered Hand’s Dan Willson: Playing Selby Town hall tonight and Otley Courthouse tomorrow

KATHRYN Williams is a prolific solo singer-songwriter but she loves a creative partnership too.

Her latest collaboration, with Scottish indie folk troubadour Dan Willson, alias Withered Hand, brings the duo to Selby Town Hall tonight and Otley Courthouse on Thursday to showcase their album Willson Williams, released on One Little Independent Records on April 26.

Already, Liverpool-born, Newcastle-based Kathryn has recorded 2008 album Two with Neil MacColl; teamed up with Anna Spencer, from the punk band Delicate Vomit, for The Crayonettes’ 2010 children’s record Playing Out: Songs For Children & Robots and made the 2012 album Pond with Fairground Attraction’s Simon Edwards and singer-songwriter Ginny Clee.

Add to that list her 2016 release Resonator, a set of jazz standards crafted over six years with jazz musician and vibraphone player Anthony Kerr; 2017’s Songs From The Novel Greatest Hits, to complement Laura Barnett’s novel about a fictional singer-songwriter, Greatest Hits, and her 2021 Christmas album, Midnight Chorus, recorded remotely in Zoom sessions with playwright and former Poet Laureate Dame Carol Ann Duffy.

“I’m a serial collaborator! Overall, it’s been 25 years of putting out albums, and I want to be someone who’s always learning, always happy sharing a creative process, always travelling on different roads,” says Kathryn, who turned 50 in February.

The partnership with Willson has its roots in a chance meeting in a spiegeltent at the 2019 Edinburgh International Book Festival, curated by Hollie McNish and Michael Pedersen.

“I thought we’d first met at Fence Collective festival in Fife, but Dan doesn’t remember that, so we say it was the spiegeltent,” says Kathryn. “It’s strange; we have loads of the same friends in the music business, like James Yorkston, Rachel Sermanni and Kathryn Joseph, so when he came up to say hello, I gave him a big hug because I felt I knew him already!

“I’d read that he hadn’t written or released anything for a while, so I got in touch afterwards, tweeting him: ‘What kind of songs would we write together and what would they sound like?’.”

Dan thought she must have sent it to the wrong person. Not so. Whereupon Kathryn travelled up to his Edinburgh house, with curiosity to find an answer to her questions but with no plans to write an album together.

“I just thought we could do a song for his new album or for someone else, but slowly we built this friendship over our writing, and then last year Dan put out his first record for nine years, How To Love [his first since News Gods in 2014]. It was our writing that got Dan back into doing his own album,” she says.

Kathryn and Dan continued travelling to each other’s homes for writing sessions, as he recalls. “We talk and spend time together, and then it’s almost like the next time we sit down to write, a synthesis of late-night kitchen conversations become distilled into the songs,” says Dan. “It’s hard to separate who’s done what and where the songs sprang from. The writing and the friendship with Kath rejuvenated my own songwriting process enough to be able to do this.”

Williams and Willson were boosted by receiving funding from Creative Scotland, enabling them to enlist prime Scottish musicians for the recording, made with producer Rod Jones – Idlewild’s guitarist – at Post Electric Studio, the site of a former brothel incidentally, in Leith.

Step forward Louis Abbott, from Admiral Fallow, Graeme Smillie, from Arab Strap and The Delgados, Kris Drever, from Lau, Chris ‘Beans’ Geddes, of Belle & Sebastian, Pete Harvey, of Modern Studies and Kenny Anderson, alias King Creosote.

“When we got the funding, we were like, ‘what is our dream team of Scottish musicians who could be on the record?’, so it was a beautiful thing to be able to do it with them all. We were just grinning from ear to ear,” says Kathryn, who gives an example of the participants’ enthusiasm.

“We were so lucky that Dan and I had just done a BBC 6Music live session for Marc Riley’s show with Louis Abbott, Admiral Fallow’s lead singer. He ended up playing drums on the album because he’s one of those people who can play everything.

“It was beautiful that everyone was really excited to be there, and we just couldn’t feel any happier.”

Kathryn and Dan share common ground in their creativity: “As we’ve got to know each other as friends, we’ve found we’ve had the same issues of imposter syndrome, not feeling we’re good enough or that people won’t like us,” she says.

The cover artwork for Kathryn Williams and Withered Hand’s album Willson Williams

“We call it the skeletal voice, and we get to voice those fears or worries to each other. We both understand it – and I’m actually a really big fan of his albums because he’s so witty and funny and open.”

One overarching theme emerged in their writing process, Kathryn and Dan being mutually in the grip of grief, mourning for loved ones. “The initial premise and starting point for us was discussions and open conversations on bereavement,” they recall. “We’d both lost friends who were also in the public eye, and we talked about the strange place between personal loss and the communal grieving of a public figure we knew.”

Kathryn elaborates: “Dan had lost his brother Karl and then his friend Scott Hutchison [frontman of Scottish band Frightened Rabbit], and I’d lost my dear friend Jeremy Hardy [the Aldershot-born stand-up comedian and BBC Radio 4 regular panellist],” she says.

“As we got to know each other as we were writing songs, the things we’d been going through came to the fore in the theme of grief. But when you say ‘it’s an album about grief or loss’, people would assume it would be morose, but I think it has a sunshine feel. It’s uplifting, inspiring, comforting, and the whole thing was a joy to create and then go into the studio with these amazing musicians to record.”

Typical of Kathryn’s assertion is Our Best, the first song that the duo wrote together. “Kath arrived in Edinburgh with a refrain that we worked up into the chorus of this song,” says Dan. “Together we built a delicate structure around it, tentatively letting our voices harmonise and support each other, embodying the idea of doing what we can do in the face of seemingly overwhelming odds and changes”.

Or, as Kathryn puts it, in the face of loss, “having to do our best without you…and remembering advice from those who have gone to ‘not waste your life’.”

The track Elvis takes its title from Costello, not Presley. “That was the last show we went to in Edinburgh before lockdown. My friend Steve Nieve [Costello’s regular keyboard player] was playing with him at Usher Hall and offered us tickets,” says Kathryn.

“The song was a reaction to that gig, and as with a lot of the songs, it came from our experiences together, talking about touring, being on the tour bus. After the gig, we chatted with them backstage, and when Dan and I came out by the stage door, elation quickly turned to deflation when the crowd realised it was only us!”

Kathryn and Dan are playing their 17-date May tour as a duo, combining acoustic and electric guitar and Kathryn’s mellotron. “It’s just me and Dan because, one, we couldn’t afford anyone else and, two, no-one else was available,” she says.

“We’re our own support act too. I’ll do a 20-minute solo set, so will Dan, then after a break, we’ll do the complete album. That’s three gigs for the price of one!”

Away from making and touring her music, Kathryn has hosted three series of her podcast Before The Light Goes Out, with a fourth “under wraps”. “It involves me interviewing artists, poets, novelists, musicians and songwriters about sleep, with me asking each of them the same questions,” she says.

Why ‘Sleep’? “The whole point of it is that I love going to sleep listening to podcasts, ones that keep the voice calm,” reasons Kathryn, whose guests have included Steve Nieve, Scottish writer Kirsty Logan, The Magic Numbers’ Romeo and Michele Stodart, Neil MacColl, Kate St John, Rachel Unthank, David Ford, Chris Difford, Marry Waterson, The Anchoress, mystery novelist Ann Cleeves, poet Clare Shaw and, yes, Withered Hand.”

Looking ahead, Kathryn’s next album will be a solo work. “It’s already written and recorded, and it’ll come out early next year,” she says. “I think it’ll be called Mystery Park. That’s the current title. It’s quite a personal album, quite minimal too, going back to my roots.”

Kathryn Williams & Withered Hand, Selby Town Hall, tonight, 8pm, and Otley Courthouse, Thursday, 8pm. Box office: Selby, 01757 708449 or selbytownhall.co.uk; Otley, 01943 467466 or otleycourthouse.org.uk.

Willson Williams track listing:

Arrow; Grace; R U 4 Real?; Our Best; Shelf; Wish; Sweetest Wine; Weekend; Sing Out; Elvis; Big Nothing.

All songs written by Kathryn Williams and Dan Willson except Sing Out, written by Cat Stevens.

Musicians on the album:

Kathryn Williams, vocals, guitar and mellotron; Dan Willson,vocals and guitar; Louis Abbott, drums, percussion and backing vocals; Graeme Smillie, bass; Chris ‘Beans’ Geddes, pianos, organ, mellotron and synth; Kris Drever, guitar; Pete Harvey, cello; King Creosote (Kenny Anderson), accordion and backing vocals; Jacqueline Irvine, backing vocals and mellotron; Rod Jones, producer and engineer at Post Electric Studios, Leith; Miles Showell: mastering at Abbey Road, London.