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Terry Brett launches third volume of Good Rabbits Gone cartoon tributes with Refugee Action York event at Pyramid

The cover artwork for Good Rabbits Gone 3: cartoons by Bertt deBaldock, words by Terry Brett

TERRY Brett launches his third volume of cartoon rabbit tributes to celebrities and remarkable individuals at a charity event at Pyramid Gallery, Stonegate, York, tomorrow (16/1/204).

Publishing costs are met by the gallery, enabling copies to be given away from there, but voluntary donations are encouraged in aid of Refugee Action York at the 4.30pm to 7pm event, where Terry/artist Bertt deBaldock will sign copies.

“From my experience with the first and second volumes, people enjoy being given the book,” says Terry. “Most of those people have then offered a donation, which can be done through the Just Giving website,  www.justgiving.com/page/terry-brett.”

RIP Lee Scratch Perry: Bertt deBaldock’s cartoon valedictory to the innovative Jamaican record producer and composer

The 108-page third compendium of death notices, entitled Good Rabbits Gone Volume Three 4 Equality, spans September 2021 to December 2022 with a fourth volume covering the fallen of 2023 on its way.

Among those featured are Queen Elizabeth II (Delivered: 21 April 1926, Post: 8 September 2022); Leslie Phillips (‘Hello-o-o’: 20 April 1924, ‘Ding Dong!’: 7 November 2022); June Brown (Year Dot : 16 February 1927, Bless Her Cotton Socks: 3 April 2022); Ruth Madoc (Hi-de-Hi! : 16 April 1943, Bye-de-bye: 9 December 2022); Terry Hall (Special : 19 March 1959, Much Too Young : 18 December 2022), and Kathleen Booth, British computer scientist and mathematician, (Ticking: 9 July 1922, Ticker stopped: 29 September 2022).

The cartoon drawings by “the Scribbler” Bertt deBaldock, the nom d’art of Pyramid Gallery owner, colour-blind artist, ukulele player and long-ago chartered surveyor Terry Brett, are each drawn in response to an individual’s death and then assembled in a book with Terry’s own witty tributes or poignant memories.

The qualifications for inclusion have changed for Volume Three’s memorial works. “The first volume was just about musicians, actors and comedians who had made an impact on my life,” says Terry.

“The second featured more scientists because I’m fascinated with technology and science. For the third one, I became interested in people who had made a difference with respect to social matters.

“The work celebrates a period in which prejudice and inequality has not only been challenged, but also has been noticed and the individuals rewarded,” says Terry Brett of Good Rabbits Gone 3

“I realised there was a social record evolving that is interesting to me because the order in which a narrative unfolds is dictated purely by the date on which a person died.

“But their story tells much about society in decades that have gone past. So I got interested in individuals who had made some sort of impact on society in the 1960s, 1970s and 1980s.”

Gradually, a collective theme for the latest volume emerged, hence the title of Good Rabbits Gone Volume Three 4 Equality. “It came to me as I was collecting names,” says Terry. “I noticed that many of the individuals chosen for the book were noted for their involvement with campaigns that fought against inequality or prejudice or misogyny.

“I didn’t go looking for these subjects but found them when listening to the BBC Radio 4 programme Last Words, which has given much quality airtime to great, quiet people who have decided to stand up to prejudice or do some good. These individuals are not massively wealthy, not famous as a media personality, but had perhaps been awarded a CBE or OBE for their campaigning activities.

Bertt deBaldock’s rabbit cartoon tribute to The Ronettes’ Ronnie Spector

“A good example is Ma Smith, who was awarded the Pride of Britain award for setting up a soup kitchen in Oxford. and another is Avtar Singh Jouhl, who was made an OBE for fighting racial inequality in Birmingham. Jouhl had persuaded Malcolm X to visit the factory in Smethwick just a few days before he was assassinated.”

Such dedicated individuals, numbering 18 “if we include women who have excelled in careers that used to be dominated by men”, add interest and substance to the book, says Terry.

“In this way, the work celebrates a period in which prejudice and inequality has not only been challenged, but also has been noticed and the individuals rewarded. Though many would say that there is still some way to go!

“I think the media now gives more coverage relating to the #metoo movement and the horrible Windrush scandal, whereby the Government pushed forward a policy of deliberately being cruel to immigrants and also legitimate citizens who had come to Britain on the Windrush ship from the Caribbean, to the point of extraditing some of them back to the West Indies, even though they may have been born in the UK. 

Farewell fashion designer Vivienne Westwood, from Good Rabbits Gone 3

“Many great women feature in this book after battling against prejudice in the workplace, just getting on with their jobs, and at last they’re being recognised for what they did.”

The broader focus has had an impact on the creative process too. “The pictures are not drawn straight away anymore and there’s a huge backlog,” says Terry. “It’s become quite time consuming. Much of the work has been done with me sitting in a beach hut in Goa for eight weeks in January 2023 and three more last October. It’s the only way I can find enough time to do them.”

A theme is yet to strike Terry for the next volume. “But looking through the list, there are so many actors, musicians and television personalities to consider, as well as footballers,” he says. “I will search for more designers and artists to join Mary Quant, Paco Rabanne and Phylida Barlow and cartoonist Bill Tidy.

“I’m also keen to include icons such as Barry Humphries, Paul O’Grady, Mike Yarwood, Len Goodman and writers Benjamin Zephaniah, Martin Amis, Fay Wheldon and Burt Bacharach. So many big names that reflect the impact of television in the 1970s, ’80s and ’90s. Two of my favourite scribbles so far are those of David Crosby and Tina Turner, both very pleasing to draw.”

Queen Final: Bertt deBaldock’s drawing to mark the death of Queen Elizabeth II

Explaining the latest book’s support for Refugee Action York, Terry says: “I started fundraising for them when asked to draw a rabbit for Jean Moss, who was involved with the charity before she died in 2020. Donations for the second volume raised £2,400 for Refugee Action York in memory of Jean.

“They provide support to refugees by giving advice, helping fill out forms and providing necessities such as school uniforms. They aim to change the narrative about refugees and help them become useful members of society.

“Refugee Action York assists refugees and asylum seekers by means of a weekly meeting every Wednesday at York St John’s University and a monthly Sunday meeting, called The Hub, at Clifton Green Primary School.

A second charity event will be held at Pyramid Gallery on March 9 from 4.30pm to 7pm, when donations will go to St Leonard’s Hospice, in memory of Terry’s father, who died of prostate cancer.

Terry Brett/Bertt deBaldock’s first Good Rabbit Gone: David Bowie, January 10 2016

Terry’s Good Rabbits Gone series began on January 10 2016. “Upset that David Bowie had suddenly left us, I decided to draw him as a rabbit, using a shape that I’d first drawn on stencils for wall hangings and a comic-style Christmas card in 1994.

More rabbits followed (Terry Wogan, Glen Campbell Ken Dodd, Keith Flint, Judith Kerr) and deaths of loved celebrities became an obsession, first publishing them on Twitter and Facebook at #GoodRabbitsGone,” he says.

“During a spell of Covid confinement in 2020, I put them into a book, Good Rabbits Gone and made the decision to offer the books only for donations to charity. As of July 1 2023, charitable donations of the books and other means of collecting money in Pyramid Gallery have amounted to £8,000 for St Leonard’s Hospice as well as £2,400 for Refugee Action York.”

Why depict rabbits, Terry? “It might seem weird to be creating memorials to people by representing them as a rabbit, but I don’t see the need to question it too much,” he says. “I find the act of drawing helps relieve the sense of loss and my own anxiety about mortality. The process of reading about the individual’s life and trying to capture a tiny segment of their character in a simple drawing is a little bit cathartic. 

Terry Brett, as depicted by alter ego Bertt deBaldock, when compiling the first volume of Good Rabbits Gone under the Covid cloud

“The rabbit body and ears create a limitation in the final drawing, preventing each portrait from being too complicated or serious. All the individuals become united by the addition of rabbit ears!”

Or, in a nutshell…? “There’s a long-held belief in the Bertt/Brett household that if you have lived a good life, well, let’s say a mostly good life, i.e. if you have been nice or have achieved something for the benefit of others, then when you die you will become a rabbit.”

Contemplating what gravestone humour may lie in store for Terry himself, he suggests: “He was hoppiest when scribbling a rabbit”.

Terry Brett/Bertt deBaldock launches Good Rabbits Gone Volume Three 4 Equality at Pyramid Gallery, Stonegate, York, tomorrow (16/1/2024) with a book-signing session and charity fundraiser for Refugee Action York from 4.30pm to 7pm.

Why use the name Bertt deBaldock?

Terry Brett/Bertt deBaldock at Pyramid Gallery, York

“A PARTICULAR friend in my youth always called me ‘Bertt’ and I was born in Baldock, well, a mile away in a tiny hamlet called Bygrave, in north Hertfordshire,” explains Terry.

“I use the French preposition ‘de’ in the same way that it is used in the name ‘DeBrett’s’, which is basically a list of the most influential people, many of whom are deceased or about to be.”

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Now’s the right time to reassess Terence Rattigan in Settlement Players’ Separate Tables at York Theatre Royal Studio

The cast for York Settlement Community Players’ production of Terence Rattigan’s Separate Tables

AFTER being at the helm of four Chekhov plays, York Settlement Community Players stalwart Helen Wilson had considered checking out of directing altogether.

“I must say, I never thought I’d direct again,” says the York actress, stage director and York College tutor. “I felt like it was the end of the chapter, and I did think, ‘where would I go from here?’.”

Briefly she pondered the possibility of doing an Arthur Miller play, but after all those Russian plays – Uncle Vanya, Three Sisters, The Cherry Orchard and The Seagull – her thoughts turned to the quintessentially English work of Terence Rattigan and in particular Separate Tables.

“This play was something that I’d been considering directing years and years ago for Settlement because it has three really good parts for older women; it’s fairly easy to do set wise, and it’s a damn good play.”

Catching the directing bug once more, Helen is deep into rehearsals for Settlement’s staging of Separate Tables at York Theatre Royal Studio from February 8 to 17.

Technically Separate Tables comprises two interconnected one-act plays, two tales of love and loss, ageing and desperation, both set in the shabby Beauregard Private Hotel, Bournemouth, where events unfold 18 months apart in 1954 and the late-summer of 1955 respectively.

Only the two lead characters change from the first tale to the second, the supporting cast of hotel manager, staff and guests staying the same, as guests, both permanent and transient, sit on separate tables: a formality that underlines the loneliness of these characters in Rattigan’s depiction of class, secrets and repressed emotions.

“Terence Rattigan very much fell out of fashion with the rise of the ‘Angry Young Men’ in the 1950s,” recalls Helen of the new age of playwrights and novelists, John Osborne, Kingsley Amis, John Braine, Alan Sillitoe and John Wain.

“Famously, Kennth Tynan [the leading theatre critic of his day] turned against Rattigan, saying his plays were rendered irrelevant in the new ‘kitchen sink’ era. But, actually, Separate Tables is a play that was very daring for its time, and there will be a gasp when certain phrases are uttered, where you realise that nothing changes in the world of politics. On top of that, the character John Malcolm is like a forerunner of Jimmy Porter in Osborne’s Look Back In Anger, written only a year later.”

The first tale,Table By The Window, spotlights the troubled relationship of disgraced former Labour Cabinet Minister John Malcolm and his ex-wife, Mrs Shankland. Arriving as a seemingly random guest, she is dining with him, but earlier Malcolm had served time for assaulting her.

The second, Table Number Seven, focuses on the friendship of a repressed spinster and Major Pollock, outwardly generous but bogus behind his façade as an upper-class retired army officer. “It reminds me of Fawlty Towers, with those permanent characters of the two old ladies that always talk at the same time and the Major. It’s a play with lots of drama and a little bit of Victoria Wood thrown in at the beginning!”

Significantly too, Settlement will be using the variation on Rattigan’s drama favoured in American productions from an earlier draft, where Major Pollock is found guilty of approaching young men on the sea front for cigarettes and “other services”.

“You’ll find it as kind of an add-on at the back of the script, and officially that version was never done in Britain, but we’re using it, rather than the script from the premiere where Major Pollock was found to be sexually harassing women at a cinema,” says Helen. “Burt Lancaster and David Niven starred in the 1958 film, with Niven as Major Pollock, and it was very risqué for the time as it went with the homosexual storyline.”

For all Tynan’s judgement, rooted in how Rattigan contrasted with the new breed of working and middle-class writers, Rattigan was anything but a conformist. “He could never experience a safe, cosy relationship in his life; he always veered towards the dangerous,” says Helen.

“He was the son of a diplomat and went to Harrow and Oxford but never voted Tory. He didn’t sit his finals at Oxford, deciding he wanted to be a playwright instead. It was an open secret that he was gay, but it was never spoken of, and while he had lovers, they would never be seen together. He lived on the ground floor of a block of flats, with the lovers staying on the top floor.  

“It’s interesting to see how taboos have changed, but there’s still shock value in the play, and we’ve had some really good discussions during rehearsals, with our two younger cast members, where they might not have realised how homosexuality was viewed at that time. I felt rather Victorian trying to explain those things to them.”

The lead roles in each tale were written to be played by the same performers, but Helen has gone with separate actors, casting Chris Meadley, from Tadcaster, as John Malcolm; Molly Kay, from Flamborough, as Mrs Ann Shankland; Settlement and York Shakespeare Project regular Paul French as Major Pollock, and another York stage familiar face, Jess Murray as Miss Sybil Railton Bell.

The roles of the aforementioned three older women go to Marie-Louise Feeley as bohemian racegoer Miss Meacham, Caroline Greenwood, from last summer’s community cast for York Theatre Royal’s Sovereign, as Mrs Railton Bell and Linda Fletcher as Lady Matheson.

Catherine Edge plays Miss Cooper; James Lee follows up his preening Piers Gaveston in York Shakespeare Project’s Edward II with Charles Stratton here; Nicola Strataridaki, soon to appear in one of Next Door But One’s Yorkshire Trios, is Jean Tanner and Matt Simpson takes the role of old school master Mr Fowler. Jodie Fletcher completes the cast as Mabel.

Helen concludes: “People might think it’s cosy to go to a Rattigan play, but a lot of Separate Tables will make audiences feel uncomfortable – and that subject of a disgraced MP is very apt for our times. There’s definitely more in common between Separate Tables and Look Back In Anger than you might first think.”

York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Copyright Of The Press, York

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After 30 years Shed Seven hit THE maximum high as ‘the stars align’ for A Matter Of Time to top the album charts

Shed Seven’s Tim Wills, left, Paul Banks, Rick Witter, Rob ‘Maxi’ Maxfield and Tom Gladwin announce hitting number one for the first time in a post on X

SHED Seven have become the first York band to top the album charts, 30 years since their Change Giver debut surfed in on the crest of the Britpop wave.

A Matter Of Time, released last Friday on their new home of Cooking Vinyl, has hit the chart peak after a concerted campaign that began last autumn with pre-sale packages and has continued with myriad versions of the album on vinyl, CD, cassette and digital download packages, accompanied by an on-going ten-venue tour of record stores for meet & greet and signing sessions and stripped-back performances.

Outselling Lewis Capaldi and Taylor Swift over the past seven days, the Sheds celebrated the success of their sixth studio album by posting on X (Twitter) in the past hour: “We’ve waited 30 years for this announcement, but the stars have finally aligned, and we’re thrilled to announce that our album ‘A Matter Of Time’ is number one on the official UK album charts!”

The Sheds have secured their place in offical UK chart history by becoming the British rock group with the longest gap between their debut release and first number one album: a total of 29 years and three months from September 5 1994’s Change Giver to January 5 2024’s A Matter Of Time.

Shed Seven notched 15 Top 40 hits between 1994 and 2003, while their albums A Maximum High (1996), Let It Ride (1998), Going For Gold: The Greatest Hits (1999) and Instant Pleasures (2017) all made the Top Ten.

A Matter Of Time, the Sheds’ first studio release in six years, also was the best-selling album of the week in British independent record shops.

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Bev Jones Music Company branches out into classic rock with Steve Coates’s jukebox hits at Joseph Rowntree Theatre

The poster artwork for One Night Of Classic Rock at the Joseph Rowntree Theatre, York

THE BJMC [Bev Jones Music Company] is going into partnership with the newly formed Steve Coates Music Productions. First up will be January 20’s performance of One Night Of Classic Rock at the Joseph Rowntree Theatre, York.

“Steve is entering York’s amateur music scene with a sell-out show,” says delighted BJMC producer Lesley Jones. “The show has a waiting list for return tickets, such is its popularity. I think Steve simply came up with a brand new idea and it’s worked!”

Lesley first met Steve six years ago. “He’s not a music theatre fan, but after going to a show he said, ‘why can’t I do a rock show from my jukebox?’. After a few drinks he says I convinced him he could and the rest is history,” she says. “The next show is in the diary already and Steve is now contacting other venues in other towns.” 

Billed as a “one-of-a-kind production designed for true rock fans, featuring a passionate cast of singers and six-piece band, all paying tribute to their favourite rock heroes”, the 7.30pm show combines “an impressive sound and light show with thunderous anthems from everyone’s favourite rock bands”.

“Get ready to have your mind blown with the familiar classic riffs everyone remembers,” says Lesley. “The sound will be phenomenal with perfect harmonies, solid rock accompaniment and fabulous vocals.

For those about to rock: BJMC cast members in rehearsal

“All the songs are taken from Steve’s own jukebox – a real original – that includes AC/DC, Led Zeppelin, Meat Loaf, Tina Turner, Status Quo, Queen, Eagles, Fleetwood Mac, The Who, plus many more.”

The One Night Of Classic Rock band will be led by Mickey Moran, joined by fellow guitarists Eddie Oktay Stock and Liam Stevenson, keyboard player James Rodgers, saxophonist Sam Lightwing and drummer Jez Smith.

Moran will be among the lead vocalists too, alongside York Opera singer and dietician Annabel Van Griethuysen, Clare Meadley, Jack Storey-Hunter and Chris Hagyard, restored to full health after illness forced the last-minute cancellation of the BJMC’s Guy And Dolls last October.

The sixth principal vocalist will be former York Light Opera Company leading lady Ruth McNeil, who is a “massive rock performer” in her home city of Nottingham.

The backing singers will be Adele Barlow, Alison Laver, Linsey Dawn, Rosie King, James Noble and Sam Lightwing, when not on his saxophone. 

Annabel Van Griethuysen: Switching from opera to classic rock

Looking ahead, the BJMC’s partnership with Steve Coates will lead to performance programmes spanning a variety of music genres, from West End musicals to opera, jazz to cabaret, as well as this month’s newcomer: rock.

“Steve has also offered to produce our Les Miserables Youth Edition next January, which I’m looking forward to staging as a one-off youth production, open to all young singers in the North Yorkshire area, with no financial commitments required,” says Lesley.

The next BJMC classic rock night is booked for January 11 2025 at 7.30pm at the JoRo. “As this month’s show is holding a waiting list for any return tickets, maybe next January we’ll do a matinee as well or two nights,” says Lesley.

“Steve says that with the level of interest we’ve had, we must definitely consider extra dates. It’s a shame to have a list of disappointed potential audience members. However, he hopes to stage another show mid-year in another venue elsewhere in Yorkshire.” Watch this space.

As for January 20, ticketholders should “dig out those leathers and boots, grab a glass of beer or wine, and let’s rock the aisles,” says Lesley.

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Extra! Extra! Pickering Musical Society adds two more Aladdin shows at Kirk Theatre

John Brooks’s Abanazar, left, Stephen Temple’s Wishee Washee, Marcus Burnside’s Widow Twankey and Danielle Long’s Aladdin in Pickering Musical Society’s Aladdin

PICKERING Musical Society has added extra performances to this month’s pantomime run of Aladdin at Kirk Theatre, Pickering.

This winter’s spectacular show, charting Aladdin’s rise from humble beginnings to riches beyond his wildest dreams, now opens with a 7.15pm performance on January 18, while a Sunday matinee on January 21 is a new addition too.

“With the success of ticket sales this year, it looks like an additional night will have to be added next year too,” says director Luke Arnold.

Setting out on his quest with a magical lamp, a trusty genie and wishes aplenty, only Aladdin can take on his evil uncle Abanazar. Can he conquer the magical cave and who will win the heart of the princess in the most spellbinding battle of good versus evil?

Jack Dobson, Danielle Long, centre, and Millie Fisher in a scene from Pickering Musical Society’s Aladdin

The 2024 cast features Pickering panto favourites such as Marcus Burnside as the dame, Widow Twankey, and Stephen Temple as simple son Wishee Washee.

Panto regulars Danielle Long and Courtney Brown reunite as the principal boy and girl, Aladdin and Princess Lotus Blossom, while Paula Paylor and Rachel Anderson play comedic double act Minnie Wong and Winnie Wong. John Brooks, a relative newbie to the society, reprises the villain’s role, this year playing Abanazar. 

The principals will be supported by a large chorus of society members, along with students from the Sarah Louise Ashworth School of Dance, accompanied as always by a live band, directed by resident musical director Clive Wass. 

All in for Aladdin: The full cast for Pickering Musical Society’s 2024 pantomime

“Last year’s pantomime broke all box-office records and was a real high watermark for us,” says Luke. “This year we took the decision to add an extra performance to our production run and amazingly, with the support we have received already, we are once again on track to beat last year’s record!

“Working with a combined cast and production team of over 100 people, it really has been a joy to direct, and audiences can be assured of a fantastic, fun-filled production.”

Pickering Musical Society in Aladdin, Kirk Theatre, Pickering, January 18 to 28. Performances: 7.15pm, except January 22; 2.15pm, January 20 (four tickets left), 21 (sold out), 27 (six tickets) and 28 (nine tickets). Box office: 01751 474833 or thelittleboxoffice.com/kirktheatre.

Pickering Musical Society pantomime’s principal boy and girl: Danielle Long’s Aladdin and Courtney Brown’s Princess Lotus Blossom
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REVIEW: Steve Crowther’s verdict on Lumas Winds, BMS York Concerts, 5/1/24

Lumas Winds: First BMS York concert of 2024

BMS York presents Lumas Winds, Sir Jack Lyons Concert Hall, University of York, January 5

LUMAS Winds opened their programme with a confident performance of Mozart’s Magic Flute Overture. There are no hiding places in this music; technique is very much on the line and the crisply articulated playing throughout was both brave as well as admirable. Enjoyable too.

David Matthews’ Three Woodwind Studies, a set of personal, intimate portraits, was a delight. A Song For Emma (solo flute), with its charming melodic ebb and flow, was beautifully judged by Beth Stone.

Chris Vettraino’s performance of A Birthday Song (oboe) was both haunting and hypnotic. A Study For Sam (solo clarinet) was a first performance and proved to be a quirky, fun-filled gem.

Mozart’s Divertimento in F is an early work written in 1775. To be sure, it is more of a window into what was to come, but impressive nonetheless. The writing was full of confidence with each instrument given a share of the spoils. The playing was wonderful, the balance impeccable.

Sally Beamish’s The Naming Of Birds proved to be an evocative set of character pieces; very imaginative and quite unlike anything I have heard before. Each of these five demanding movements had five soloists evoking the call of each bird – partridge (horn), lapwing (oboe) and so forth.

I did find the actual live recorded introductions a tad contrived and frankly unnecessary, but it was a very engaging work and very well performed. However, not for the first time when listening to Ms Beamish’s music, the work left me impressed rather than moved.

Actually, I felt the same about Malcom Arnold’s Three Shanties. Impressive performances, impressive writing but …well, it put a smile on my face. Sally Beamish’s arrangement of Mozart’s Adagio for Glass Harmonica was an entirely musical affair. The sound was so seductive with the cor anglais replacing the oboe “to give a warm, dark quality to the quintet”. Which it did. How inspired.

Unlike Anton Reicha’s Two Andantes and an Adagio. The music was pretty forgettable, in fact I’ve forgotten it already, but the performance certainly wasn’t. Delightful.

Lumas Winds ended this splendid concert with the best work in the programme – apart from the Mozart, obviously – in Elizabeth Maconchy’s terrific Wind Quintet. It was so well written by a composer so clearly still at the top of their game. She was in her mid-seventies.

An opening Allegro of quirky urgency and unsettling metrical changes; the poco Lento more expressive, weaving contrapuntal lines underpinned by a dotted rhythm throughout; the third movement, Vivo, with a bit of a musical spat between clarinet and bassoon; the Andante opening with a short clarinet and horn duo, inviting in the other instruments to the party and the closing Rondo with each soloist having their say and the cute snap ending.

The players were at one with the technical and musical demands. The performance was illuminating.

Review by Steve Crowther

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More Things To Do in York and beyond, whether inside and outdoors. Here’s Hutch’s List No. 2 for 2024, from The Press, York

Black’n’White the Zebra and Hiran Abeysekera (Pi) in Life Of Pi, bound for Leeds Grand Theatre from Wednesday. Picture: Johan Persson

DRAMAS, circus, musical theatre, rock’n’roll, sorrowful folk, one more pantomime and the return of forest concerts attract Charles Hutchinson’s attention.

Theatre event of the week: Life Of Pi, Leeds Grand Theatre, January 10 to 13; 2pm and 7pm, Wednesday, Thursday and Saturday; 7.30pm, Friday

WINNER of five Olivier Awards, not least Best Play, the West End spectacle Life Of Pi is heading north on its debut British tour with its combination of jaw-dropping visuals, magic and puppetry.

Adapted from Yann Martel’s 15 million-selling, 2002 Man Booker Prize-winning fantasy novel, Life Of Pi finds Pi stranded on a lifeboat with four other survivors – a hyena, a zebra, an orangutan and a Royal Bengal tiger. Time is against them, nature is harsh, who will survive on this epic journey of endurance and hope. Box office: 0113 243 0808 or leedsheritagetheatres.com.

The poster for Meat Loaf By Candlelight at Grand Opera House, York

Tribute show of the week: Meat Loaf By Candlelight, Grand Opera House, York, January 12, 7.30pm

STARS of the original West End and international productions of Bat Out Of Hell will be accompanied by a rock band in a tribute to Texan rock-operatic singer and actor Meat Loaf “as you have never heard before”.

On the Meat Loaf menu will be I’d Do Anything For Love (But I Won’t Do That), Bat Out Of Hell, Two Out Of Three Ain’t Bad, Dead Ringer For Love, You Took The Words Right Out Of My Mouth, Rock And Roll Dreams Come Through et al. Box office: atgtickets.com/york.

Cirque: Combining musical theatre bangers and circus skills at York Barbican

Move over PT Barnum and Hugh Jackman: Cirque: The Greatest Show, York Barbican, January 13, 2pm and 6pm

CIRQUE: The Greatest Show combines West End and Broadway musical theatre showstoppers with spectacular circus skills, ranging from aerialists and contortionists to thrilling feats of agility and flair.

West End performers join with mesmerising circus acts in the all-star cast for an enchanting variety show that vows to “charm and astonish in equal measure”. Box office: yorkbarbican.co.uk.

Peter Panto: The PQA York pantomime at the JoRo Theatre

Still time to squeeze in another pantomime: PQA York in Peter Panto, Joseph Rowntree Theatre, York, January 14, 7.30pm

PETER Panto, the high-flying PQA Pantomime, features the talented young performers of the Pauline Quirke Academy York’s Friday Academy.

Join Peter Pan as he flies off on a new adventure for one night only in a show featuring “stunning visuals, gorgeous music and barrel-loads of laughter on a swashbuckling journey to Neverland unlike any before”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Showaddywaddy’s 50th anniversary tour, taking in Grand Opera House, York

Hey, rock and roll nostalgia: Showaddywaddy 50th Anniversary Tour, Grand Opera House, York, January 19, 7.30pm

FORMED in Leicester in 1973, Showaddywaddy like to call themselves “the greatest rock’n’roll band in the world”. Their 50th anniversary travels rock’n’roll on into 2024 with a line-up featuring only one original member, drummer Romeo Challenger, aged 73.

Dave Bartram, the singer on such hits as Hey Rock And Roll, Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon and Pretty Little Angel Eyes, now manages the band, having performed his last gig in Ilkley in 2011. Andy Pelos takes  lead vocals. Box office: atgtickets.com/york.

Angeline Morrison: Performing songs of sorrow at the NCEM, York

Leaping ahead: Angeline Morrison, National Centre for Early Music, York, February 29, 7.30pm

SEEKING to make the most of the extra day in this Leap Year? Why not discover why the Guardian picked Angeline Morrison’s The Sorrow Songs: Folk Songs Of Black British Experience (Topic Records) as the number one folk album of 2022.

Birmingham-born, Cornwall-based folk singer, songwriter and multi-instrumentalist Morrison explores traditional song with reverence, love and curiosity, a handmade sonic aesthetic and a feeling for the stories of ordinary human lives. York singer-songwriter Holly Taymar supports. Box office: 01904 658338 or ncem.co.uk.

Paul French: Soon to play Major role in Separate Tables at York Theatre Royal Studio

Classic play of the season: York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees

AFTER directing four Russian plays by Chekhov, Helen Wilson turns her attention to Separate Tables, two very English Terence Rattigan tales of love and loss, set in a shabby Bournemouth hotel in the 1950s.

Guests, both permanent and transient, sit on separate tables, a formality that underlines the loneliness of these characters in a play about class, secrets and repressed emotions. Chris Meadley, Paul French, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher lead the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Bryan Adams: Canadian rocker will play Dalby Forest on June 21

Going down to the woods again at last: Forest Live concerts, Dalby Forest, near Pickering, June 21 and 22; gates open at 4pm

FOREST Live concerts are to return to Dalby Forest for the first time since Paul Weller and Jess Glynne’s shows in June 2019. Covid put paid to 2020, since when three more silent summers have passed in the woods, but the hiatus will come to an end after Forestry England’s announcement of two outdoor gigs for 2024.

Bryan Adams, forever associated with (Everything I Do) I Do It For You’s 16-week chart-topping run from the 1991 film soundtrack to the forest tale of Robin Hood: Prince Of Thieves, will play on June 21. Nile Rodgers & CHIC will be supported by Sophie Ellis-Bextor and Deco on June 22. Ellis-Bextor previously guested at Erasure’s Dalby date in 2011. Box office: forestlive.com.

Nile Rodgers: Good times ahead at Dalby Forest on June 22 in the company of CHIC
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It’s only a matter of days before Shed Seven will know if they have made number one for the first time after 30 years…so buy NOW!

Feel the heat: Shed Seven could be hot news this week in the album chart

YORK band Shed Seven are on the cusp of hitting the maximum high after 30 years of chasing rainbows. New album A Matter Of Time is standing proud at number one in the midweek chart.

Their sixth studio album and first for their new home of Cooking Vinyl is on course to see the Britpop alumni become the first York group to top the UK album chart, giving them the perfect start to their 30th anniversary celebrations. Come Friday afternoon, all will be revealed.

Earlier today, the Sheds posted on Facebook: “We’re over the moon to confirm that A Matter Of Time is #1 in the midweek album chart!! Thank you all SO MUCH for buying the album and getting us to this amazing position.

“It’s not a done deal yet as we’re against the usual major label artists, so now more than ever, if you can buy a copy or download the album, it makes a huge difference to our chart position. Unfortunately streaming doesn’t make a big difference. https://shedsevenn.lnk.to/AMOT”

“We’d also be the first ever artist from YORK to get a #1 album, so let’s bring it home!!!!” they added.

That claim is not strictly true, however: All of 60 years ago, York-born composer John Barry wrote the score for the James Bond film Goldfinger, whose soundtrack album topped both the British and American charts, knocking The Beatles’ A Hard Day’s Night off its perch in July 1964.

The promotional campaign has caught fire from the pre-sale start last autumn. All test pressings? Sold out. Limited-edition Blood Records vinyl edition? Sold out. Live edition of the album? Sold out.

Album release shows at Pryzm, Kingston upon Thames, on January 25, HMV Empire, Coventry, on January 26 and Project House, Armley Road, Leeds, on January 27 – the only times the Sheds will play A Matter Of Time in its entirety, coupled with a greatest hits set – all sold out too.

Timed to coincide with the album’s release last Friday, a ten-day record store tour began with meet & greet and signing appearances at HMV York, in Coney Street, and earlier that day at The Vinyl Whistle, in Headingley, Leeds, where the Sheds performed in stripped-back mode.

Shed Seven’s Paul Banks, left, Tim Wills, Rick Witter, Tom Gladwin and Rob ‘Maxi’ Maxfield in York Museum Gardens, where they will play two sold-out 30th anniversary shows this summer

The tour takes vocalist Rick Witter, guitarist Paul Banks, bassist Tom Gladwin and 2022 recruits Tim Wills, keyboards, and Rob ‘Maxi’ Maxfield, drums, to London, Southampton, Brighton, Bristol, Birmingham, Leamington Spa, Nottingham, Manchester, Liverpool, Glasgow and back to London.  

At the weekend, Witter and Gladwin joined hosts Tim Lovejoy and Simon Rimmer in Channel 4’s Sunday Brunch studio, “chatting and cooking on gas”, followed later by a full band performance at the end of the show. “It will be the talk of the town!” they promised beforehand, in a reference to one of the album tracks.

Time matters, but it is not too late to support Shed Seven’s quest for the number one spot. A Matter Of Time is available to buy at shedsevenn.lnk.to/AMOTPR, with a range of album bundles and a new Going For Gold coloured vinyl LP format, exclusive to Banquet Records and limited to 300 copies.

Standing on the edge of achieving a new peak, the Sheds have returned to their roots with a deluxe digital download format that combines A Matter Of Time with Changed Giver, a stripped-back unplugged re-make of their 1994 debut album, Change Giver, recorded at Reel Studios in Elvington.

While Shed Seven have been a mainstay on the album charts over the past 30 years, their highest-charting record to date is 1999’s Going For Gold. That greatest hits collection peaked at number seven although 1996’s A Maximum High, 1998’s Let It Ride and 2017’s Instant Pleasures all made the Top Ten.

This summer, the Sheds will mark their 30th anniversary by playing two homecoming shows in York Museum Gardens on July 19 and 20  that sold out rapidly. Their special guest will be Peter Doherty, who contributes harmonies to the new album’s closing song, Throwaways.

Sheds’ vocalist Rick Witter enthuses: “Can you believe that after 30 years in the business, this album will be our highest-charting entry? We are also within reach of potentially getting our first number one album – we’d be the first band from York to reach the top! Thank you for all the support over the years and for A Matter Of Time. It’s genuinely appreciated. We have lots more planned throughout the year.”

Confirmed already is Shed Seven’s appearance at Blossoms’ Big Bank Holiday Weekend at Wythenshawe Park, Manchester, on August 25.

Expect more anniversary celebrations to be announced soon.

Shed Seven at last Friday’s meet & greet and signing session upstairs at HMV York
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Kirk Brandon, Jake Burns & The Ruts’ Segs Jennings and Dave Ruffy team up for Dead Men Walking gigs in York, Hull & Leeds

Dead Men Walking: Striding into York, Hull and Leeds

KIRK Brandon follows up his December 6 appearance fronting Spear Of Destiny at The Crescent with a return to the York community venue on February 6, this time with Dead Men Walking at 7.30pm.

Group founding member Brandon will be joined by The Ruts’ rhythm section of Segs Jennings and Dave Ruffy on acoustic bass, percussion and vocals, along with Jake Burns, legendary frontman of Belfast punk band Stiff Little Fingers, who will be bringing his guitar, songs and stories.

All members of the touring band contributed to Dead Men Walking’s 2021 album Freedom – It Ain’t On The Rise. Their 15-date January and February tour will be their first live fixtures since the release, taking in further Yorkshire gigs at The Social, Hull, on February 1 and Leeds Irish Centre on February 8.

The set will feature raw, stripped-back interpretations of the repertoire of Brandon’s bands Theatre Of Hate and Spear of Destiny, The Ruts and Stiff Little Fingers, complemented by a few surprise cover versions and a song or two from DMW’s album.

Tickets for Dead Men Walking’s 2024 Part 1 Tour, Acoustic & Live Songs & Stories are on sale at deadmenwalkingband.com.

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