Big Deal mark 40th anniversary with biggest ever line-up for charity barn dance gigs for Outreach EMR and Two Ridings Community Foundation at De Grey Rooms

The poster for Big Deal’s 40th anniversary charity concerts. Picture: taken last summer outside the barn where the band first performed in 1986

THE Big Deal Band will be at their biggest ever – 16 musicians in all – when they mark their 40th anniversary with a brace of reunion Barn Dance, Buffet & Musical Extravaganzas in York on Friday and Saturday.

The 7pm and 11pm charity fundraisers will be held at the De Grey Rooms, St Leonard’s Place, York, 30 years exactly since the country/folk collective celebrated their tenth anniversary there, when founder Richard Hunt first lived in York.

“We couldn’t have known it at the time, but soon after that splendid night we split up into several ‘mini–Big Deals’ in far-flung locales, including New Zealand, Mexico and Chicago,” says Richard, band founder, leader and fiddle and mandolin player – and software company owner to boot – who returned to York with his family in 2015 after spending 20 years in Chicago.

“We’ve hunted down 16 past band members from around Britain, America and New Zealand and successfully bribed them with new straw hats to reunite and play on Friday and Saturday. Now we’re encouraging you, our friends and faithful foot-tapping audience, to turn the evenings into huge celebratory flings.”

The Saturday shindig, in aid of York-based medical charity Outreach EMR, has sold out, with dozens on the waiting list, but tickets are still available at £30 for Friday’s gig for the Two Ridings Community Foundation, marking the foundation’s 25th anniversary. To book, go to: https://www.tickettailor.com/events/tworidingscommunityfoundation/1933063.

Each night will include buffet catering provided by Florencia Clifford and Hugo Hildyard’s Brancusi and Partisan, in Micklegate, plus a bar and raffle, to complement hoedown dancing to Gaelic, American, and Cajun tunes. Rest assured, newcomers, that absolutely no barn-dance experience is needed as caller Jo Howard leads barn dancers through the steps to the stomping hillbilly band.

“It’s definitely NOT black tie. Dress casual, dress down, dress gingham style,” says Richard, who will be meeting up with some players for the first time in 25 years.

Forty years ago, he formed the band with university friends Dave Williams, Adrian Hollis, Mike Evans and Mike’s girlfriend (now wife) Claire, performing their first folk-flavoured gig in the barn at the Warwickshire house of Richard’s parents.

They went on to support Hank Wangford and play the college and university circuit,  and although they never made the big time, music-making continued as a hobby.

Now comes the concert reunion weekend for two charities with roots in the York area, one supporting the welfare of people globally, the other supporting hundreds of York, North Yorkshire and East Yorkshire charities.

Set up by retired GP Peter Smith and led by retired York-area doctors, Outreach EMR supports 23 medical clinics in some of the poorest countries in the world, designing and building desperately needed Electronic Medical Records (EMR) software packages for laptop computers that enable staff in remote clinics to keep a record of patients’ medical histories.

These are being installed and supported for free in Africa and many other places around the world, including Haiti, Nicaragua and the Philippines, where medical workers are forced to rely on outmoded paper records.

Outreach EMR’s work is saving the lives of thousands of children and other vulnerable people every year. A suggested donation of  £20 per head can be made at https://www.zeffy.com/en-GB/donation-form/dig-deals-push-for-electronic-medical-recordsFood, entertainment and venue costs have all been underwritten by Big Deal so that 100 per cent of your gift can reach the charity.

The Two Ridings Community Foundation provides grants to charities and community groups throughout York and North and East Yorkshire. Last year alone it awarded 509 grants totalling £2.4 million.

All money raised from Friday’s ticket sales, bar and raffle will be match funded and go directly to Two Ridings’ 25th Anniversary Appeal with a target of £10,000 on the night. In addition, donations to the Barn Dance Fundraiser 25th Anniversary Appeal can be made for match-funding on the night.

Already, Big Deal band members Tim Crusher, Dave Williams, Drew Crawford and Richard Hunt have busked in the King’s Square rain in York city centre on January 17 for Two Ridings. The full band will be out in York on Saturday busking for Outreach EMR.

Assembling for the two concerts will be Adrian Hollis, from Muscat, Oman, on guitar; Mike Zecchino, from  Tucson, USA, on guitar; Richard Hunt, on violin and mandolin; Jo Howard, Richard’s sister, on barn-dance caller duty; Andy Howard, on washboard; Mike Evans, on mandolin, guitar and violin; Claire Evans, on double bass; David Webster, on guitar and banjo; Kate Hunt, Richard’s sister, on percussion.

So too will Chris Aston, from New York City, on guitar and bass; Alasdair Baxter, from  Auckland, New Zealand, on vocals, banjo and guitar; Tim Crusher, from Whitby, on accordion; David Williams, from Sheffield, on double bass, guitar and mandolin; Jez Fish and Nigel Peet, on saxophone, and Nigel Holmes, on electric bass.

“We have 16 members returning for the two concerts this week,” says Richard. “I’ve not seen Alasdair Baxter and Mike Zechinno for over 25 years. In the audience, we’ll have a dozen people who were there 40 years ago for the start and many who were there at the De Grey Rooms 30 years ago. A couple of friends, Dawn and Bill, are coming from Pittsburgh specially for the gig.”

The Big Deal Band: back story

Big Deal founder Richard Hunt, of Tadcaster Road, York

“I STARTED busking in 1982 while at Huddersfield University to help supplement my grant, along with my good friend Mike Evans,” recalls Big Deal founder Richard Hunt. “We got an early train every Saturday morning, at 6am, to get the most coveted busking spot in Leeds, outside C&A.

“After university, we formed a band, Big Deal, and the first concert was 40 years ago at my parents’ soon-to-be- converted barn in the Warwickshire countryside at Beausale. Publicity photos were taken in the barn behind.”

The conversion never went ahead. “We used exactly same location for our re-union photo shoot in August last summer, but we had to take out a 40-year build-up of nettles, brambles and old machinery,” says Richard.

For Big Deal’s first proper concert, a few months after their barn debut, they supported Hank Wangford, playing to an audience of 1,000 at Birmingham University. “We combined our own compositions and songs interspersed with barn dancing,” recalls Richard.

“For ten years we were predominately on the college tour, including playing all the May Balls in Oxford and Cambridge, occasionally three in a night! We shared line-ups, stages and sometimes dressing rooms with bands such as The Commitments, The The, Steve Harley and Cockney Rebel, The Farm, Aswad, Desmond Decker, Bad Manners and Voice Of The Beehive.

“In June 1991 we went on stage just after the Manic Steet Preachers had played only four songs,” says Richard. “They then proceeded to smash their instruments and throw them around the hall at Downing College, Cambridge: a publicity stunt, with journalists at the ready to record.

“For the record, Big Deal never intentionally smashed instruments, but we once dropped the miked-up double bass in a bad hand-off, making a spectacular bang.”

Richard was known to play and dance. “I’ve fallen off the stage a few times, once breaking my violin scroll in two and one time my bow,” he says. “I had to have knee surgery two years ago, which I’m pretty sure was caused by these antics.

Big Deal Chicago band members Elaine Moore, Tim Crusher, centre, and Richard Hunt in 2011

“Our most famous barn-dancer at one of our gigs was Stephen Hawking, who did a fine job of a do-si-do in his wheelchair.”

Big Deal failed to make the big break through. “There was no Irish band part in the Titanic film for us, but we did have our share of disasters. Once we were on the John Peel Road Show, when, after performing, I asked John what he thought. He told me not to give up my day job. I told him I hadn’t got one!

“We also auditioned for Opportunity Knocks, singing one our original songs, Cowboy In The Wild West Midlands, at the Birmingham Ballroom. Everything went spectacularly wrong during the performance. Then the two bales of straw we’d brought in as props fell apart onto the thick, red shag carpet as we were trying to make quick exit.”

Guitarist Dave Williams has a framed rejection letter from presenter Huey Green. “I did, however, make a Super 8 film of the song that was used as part of the highlight reel, which included filmmaker Derek Jarman, for the Leicester Super 8 festival and UK tour in 1986,” says Richard.

Big Deal performed to 2,000 mostly screaming Barry Manilow Fan Club members at the Birmingham NEC. “At the time, we had Charlie, a band member with a striking similarity to Barry Manilow. We almost brought the house down.”

Accordion player Tim Crusher and Richard formed a new Big Deal band with Elaine Moore as their first American recruit in Chicago. “Elaine is the reason for me meeting my wife/her best friend Laura, but that’s another story!” says Richard.

“The authorities once stopped our set. We were on the first floor of a huge Irish pub, Fados, where hundreds of people were jumping up and down together in time with the music with the potential for the floor to collapse.”

In 1998, on St Patrick’s Day, the American Big Deal band played at the Rainbow Room, 30 Rockefeller Plaza (30 Rock), New York. “We shared the venue with The Chieftains, together with Michael Flattery and all the Lord of the Dance ensemble, who were celebrating the end of their tour,” says Richard.

“After our set, we gatecrashed their private party next door. A memorable night of dancing ensued with the full dance troupe, Riverdance style, with the band returning to the hotel at 7am.”

Later that year, Richard travelled with a monitor and mixing deck in a large suitcase from Chicago to Buenos Aires, Argentina. “Tim [Crusher] had recently moved from Mexico City to Argentina’s capital and the two of us had been booked for the first four opening nights of Guinness’s first pub in the country,” he recalls.

“Our set lasted from 12 midnight to 6am, at which time many of the wild punters headed directly to work! I don’t think I’ve ever seen as much Guinness being drunk by such stylish people.”

Big Deal assembled for a tenth anniversary gig at the De Grey Rooms on February 6 1996. “After that, we split up,  heading in different directions. Of the York-based band members, Tim Crusher, had already left to go to Mexico; banjo player Alastair Baxter went to Auckland, New Zealand, and I departed for Chicago, USA,” says Richard. “Only Nigel Holmes, the bass player, stayed in York.

Big Deal member Chris Aston plays bass in Brooklyn-based Fugue State Fair, whose concept album The Coming War Between the States imagines an alternative reality where America is at war with itself, again. Across 14 original songs, it tells stories of those involved in all aspects of this contemporary conflict, through its genesis, escalation and ultimate armistice.

After Alasdair Baxter emigrated to Auckland in the 1990s, he began playing his banjo and guitar in Irish pub bands before writing and performing as part of indie-folk band Hoop, who host the Ministry of Folk events in Auckland. Latest album Wrap Me Up In Winter was released to rave reviews.

Tim Crusher and David Williams are members of Rudolf Rocker, formed by very tall brothers Mark and Steve Goodall. Other members include the League Of Gentlemen writer Jeremy Dyson.

Elaine Moore is a professional guitar player in Chicago, where she teaches at the Old Town Folk School.

Wright & Grainger perform Helios at outset of partnership with Theatre@41, Monkgate, ahead of Australia & NZ tour of SELENE

Alexander Flanagan Wright in Wright & Grainger’s Helios

EASINGWOLD theatre-makers Alexander Flanagan Wright and Phil Grainger re-visit the Greek tragedy of Helios on February 5 at 7.30pm as part of their new partnership with Theatre@41, Monkgate, York.

In Wright’s tale of the sun god’s son, Helios transplants the Ancient Greek tale into a modern-day myth wound around the winding roads of rural England and into the everyday living of a towering city.

In a nutshell, a lad lives half way up a historic hill, a teenager is on a road trip to the city in a stolen car and a boy is driving a chariot, pulling the sun across the sky.

“It’s a story about life, the invisible monuments we build to it, and the little things that leave big marks,” says Alexander.

Theatre@41 has teamed up with Wright & Grainger to co-produce their new show SELENE, an intimate theatre experience with cinematic score and striking storytelling, rehearsed at the Monkgate theatre in December before touring internationally in 2026, ahead of exclusive summer performances in York.

Theatre@41 is an intimate independent theatre, run almost entirely by volunteers, and this partnership with Wright & Grainger is the first of its kind for the organisation.

Wright & Grainger’s Alexander Flanagan Wright, left, and Phil Grainger with Australian theatre maker Megan Drury. Picture: Charlotte Graham

Theatre manager Tom Bellerby says: “We are delighted to be collaborating with Wright & Grainger on SELENE. A key part of our mission at Theatre@41 is supporting the creation of exceptional new work by artists from York and Yorkshire, and we can’t wait for audiences both here at the theatre and around the world to see this new show.

“Throughout the year Wright & Grainger will also be contributing to Create@41, our new artist development programme, supporting emerging artists in the city by sharing their skills and experience.”

The award-winning, globe-travelling Wright & Grainger’s work re-tells stories from Greek mythology as if they were happening today, bonding Wright’s spoken word with Grainger’s music.

Billed as a sibling show to Helios, SELENE is a radical explosion of an ancient myth, wherein a young girl is watching the moon landings on repeat, entranced by those astronauts’ weightlessness. A bunch of teenagers is swimming under a lunar eclipse, lost in what might happen next. A mismatched couple is watching a horror film at a drive-in cinema, soon to step into all the next stuff.

“It’s a story about the Goddess and the dark side of the moon,” says Alexander. “It’s about how we grow up defined by our bodies. It’s about the light sides of us and the dark sides of us. And it’s about the stuff inside us. All the wild stuff inside of us.”

Welcoming the new partnership, Alexander says: “What a treat to be producing a brand-new show with Theatre@41. We make shows that tour around the world and we spend a lot of time on the road. To be making a new show hand in hand with one of our favourite places in our home city is an absolute dream.

Wright & Grainger’s artwork for SELENE

“Theatre@41 is rapidly becoming a flagship venue in the north of the UK as a home for new artists, acclaimed touring work, the offbeat shows, the wilder ideas. We’re so chuffed to be part of that.”

Alexander continues: “We’re making SELENE with Megan Drury, a really amazing and well-respected performer and theatre maker from Australia, and the show will start its life on the other side of the world.

“We’ll be touring SELENE for five months across Australia and New Zealand [produced by A Mulled Whine Productions]  before heading back home and, importantly, back here to Theatre@41. The team at Theatre@41 have just opened up a whole new chapter – we’re damn proud to be working with them, making with them, carving out new ideas and new projects with them.

“We’re excited to take the show out on the road, and then really excited to bring it home. There’s a lot of love and trust and respect in all of it. And there’s a lot of joy in being stood here, at the start of it!”

SELENE will be performed at Theatre@41 as part of the Summer 2026 season on dates yet to be announced. Tickets for Helios are on sale at tickets.41monkgate.co.uk.

Megan Drury in the poster image for Wright & Grainger’s SELENE

Kym March takes shine to the dark side in run of villainous roles, playing Hedy in updated Single White Female after Cruella

Kym Marsh’s Hedy clasping Lisa Faulkner’s Allie in Rebecca Reid’s updated Single White Female, playing Grand Opera House, York, from tomorrow. Picture: Chris Bishop

“THIS is my villain era,” proclaims Kym Marsh on the eve of her return to the Grand Opera House, York, in Rebecca Reid’s update of Single White Female for the social-media age.

Last time, the former Hear’Say pop singer and Coronation Street soap star took to the dark side as Cruella De Vil in 101 Dalmatians The Musical in November 2024, having earlier played Alex Forrest – the Glenn Close role in the 1987 film – on the UK tour of Fatal Attraction in 2022.

Now, in the world premiere tour of Reid’s London tower-block re-boot of the 1992 New York psychological thriller, Kym cuts a more complex figure as Hedy, where the audience will be less sure whether she is friend or foe.

When recently divorced mum Allie (Lisa Faulkner in her first stage role in 21 years) advertises for a lodger to help make ends meet as she juggles childcare with starting a new tech business, enter Kym’s seemingly delightful Hedy, only for the new friendship to take a sinister turn.

“The last few roles I’ve done have been pretty villainous and I love it,” says Kym, whose back story also takes in 13 years as Michelle Connor in Corrie, partnering Graziano Di Primas on the 2022 series of Strictly Come Dancing, a 2023 to 2025 stint as school canteen worker Nicky Walters on Waterloo Road and presenting BBC One’s Morning Live.

Kym Marsh’s Cruella de Vil in 101 Dalmatians The Musical, on tour at Grand Opera House, York, in November 2024. Picture: Johan Persson

“It’s so easy to play the typical moustache twiddler, but I want to make Hedy a little bit more layered and actually have people be a bit taken aback, unsure if she’s good or bad right up to the last minute and even feeling sorry for her, particularly near the end. So, it is a bit more complex and nuanced than you might imagine.”

After her Fatal Attraction role as obsessed, mentally unstable editor Alex, Kym began discussions over potential further projects. “We came up with the idea of Single White Female because it had never been done before [on stage],” she says.

“It was also within that kind of genre of those epic, classic films that had a real impact on people at that time. So I’ve been attached to it from the start and it’s really exciting: the character of Hedy is so interesting and challenging to play.

“Without giving too much away to anyone who hasn’t seen the film, the character is very complex and, from an acting point of view, it gives me an opportunity to explore so many different places that you don’t necessarily really go to normally.”

Author, journalist and broadcaster Reid’s new stage version of Single White Female is designed to appeal to a new generation, while giving a new perspective to fans of Barbet Schroeder’s original film, refracted once more through the themes of ambition, identity and isolation.

Kym Marsh’s Hedy raises a glass to Jonny McGarrity’s Sam in Single White Female. Picture: Chris Bishop

Reid applies more than a contemporary spin, suggests Kym. “There obviously wasn’t social media back in the ‘90s, but if you know the essence of the plot and what it’s about, it works very well because we see people trying to imitate people’s lives online all the time,” she says.

“We hear about these stories of people ‘catfishing’ and so on, and I think there are elements of that within Single White Female that make it feel up to date, and its themes are even more relevant today than they were then.

“I think the world of social media is a wonderful place, but it’s also to be handled with care, because there is always that element of danger about it. And when you have a character like Hedy, and then you put social media into her hands, it can be tricky to the point of dangerous.”

Will devotees of the Bridget Fonda-Jennifer Jason Leigh screen clash still recognise the Single White Female they know and love – and will they be treated to the iconic stiletto moment – now that Reid has moved the location from a neo-Gothic New York building to a stark apartment tower block near Elephant & Castle in London?

 “The essence is very much still the same,” says Kym. “But the story is slightly changed: as well as being more up to date, it’s based in the UK rather than being in America. So there are differences, but the big, important, epic moments are still in there, and it’s very much still a thriller with a real shock factor. We want to have people on the edge of their seats.

Kym Marsh and Single White Female co-star Lisa Faulkner. Picture: Seamus Ryan

“I think people will still very much love the story whether they’ve seen the film or not. As for the iconic stiletto moment, you’ll have to wait and see!”

Her run of stage roles – not least a northern take on tyrannical hostess Beverly Moss in Mike Leigh’s satirical Seventies’ suburban comedy of manners Abigail’s Party in her Royal Exchange Theatre debut in Manchester in April and May – has given Kym a love of the stage while continuing to enjoy her television career.

“I’m so lucky that I am able to enjoy both being in front of the camera and on stage,” she says. “Obviously on stage you get an instant kind of reaction, which is very rewarding. You immediately know how much people are enjoying what you’re doing when you are on stage.

“Television can be very different from that. But there is a real buzz being on stage, you get that atmosphere straight away. And I really like travelling around, seeing different places and some beautiful theatres.

“It’s interesting that everywhere you go, the audience reacts differently to different parts. Then again, in front of a camera you always get to go again.”

Does Kym experience nerves? “Of course I do!” she admits. “Theatre is way more nerve wracking, that’s for sure. My dad passed away last year and I have found myself standing in the wings before I go on stage saying, ‘Come on Dad, come on Dad’.

“I make mistakes and hold my hands up and I think that gives me a girl-next-door feel,” says Kym Marsh. Picture: Nick James

“Because you want to feel that someone is helping you out when you are out there. You really hope that nothing’s going to go wrong, that you give a great performance and people enjoy it.”

Now 49 – she will turn 50 on June 13 – Kym has not stopped working since she auditioned for the TV show Popstars 25 years ago, duly joining the band Hear’Say. “I feel very fortunate and very lucky that I’ve been allowed to have the career that I’ve had and to have been received in the way that I have,” says the Merseyside-born mother of three and grandmother of two.

“I think maybe it’s because I come across as a sincere individual. I’ve never tried to hide anything. I make mistakes and hold my hands up and I think that gives me a girl-next-door feel. Perhaps everyone knows someone a bit like me.

“I was brought up by a family who are very caring and open. My family means everything to me. I absolutely adore my kids and my grandchildren. I think I try to only ever be caring and open, too, when I’m being interviewed or meeting new people, because, to be honest, I don’t know how to be anything else!”

Single White Female, Grand Opera House, York, February 3 to 7, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: https://www.atgtickets.com/shows/single-white-female/grand-opera-house-york/.

The poster for Single White Female, adapted by Rebecca Reid and directed by Gordon Greenberg on its premiere tour

REVIEW: Carlos Acosta’s Nutcracker In Havana, Grand Opera House, York, 2.30pm and 7.30pm today ***

Let it snow, let it snow in Carlos Acosta’s Nutcracker In Havana. Picture: Snow Johan Persson

THE storm-swelled waters were beginning to recede but the barrier was still in place on the Kings Arms’ door on King’s Staith on Friday night: a weather hazard of the York riverside down the flooded centuries.

That same night – after Wednesday and Thursday’s performances fell foul to cast illness – it was snowing in Havana in Carlos Acosta’s relocation of The Nutcracker to modern-day Cuba.

Snow in Havana? Official records state the only time snow fell in Cuba was in February 1900 in the Sierra Maestra mountain range around Pico Turquino. Not even climate change might change that, but the power of theatrical imagination can.

Cuban-British dance luminary Carlos Acosta CBE, former Royal Ballet favourite, now director of Birmingham Royal Ballet, also directs Acosta Danza in his homeland, where he trained at the National Ballet School of Havana.

His Cuban company is on tour in the dreek UK from October 31 to February 11, turning up the heat on Tchaikovsky/Petipa/Ivanov’s Russian  ballet, premiered at the the Mariinsky Theatre,  in St Petersburg, Russia, in December 1892.

The story, characters, Christmas setting and transition from house to frosted winter wonderland remain the same, but from set and video designer Nina Dunn’s opening projections of Havana’s Spanish-colonial architecture to Angelo Alberto’s costume designs, from the lush green vegetation to composer and arranger Papa Gavilondo Peon’s Cuban re-boot of Tchaikovsky’s score, Acosta’s Nutcracker evokes Cuba as much as rum, cigars, vintage 1950s’ cars and the Buena Vista Social Club.

For all that Havana detail – even the flamboyantly moustached mask when the  Nutcracker comes alive – Acosta’s  choreography is essentially classical ballet, rather than modern, making it  the least Cuban transition in the show.

Alexander Varona’s mysterious, magical toymaker Drosselmeyer is the ringmaster, conducting Clara’s wide-eyed journey with sleight of hand and a toreador’s sense of dramatics, as familiar scenes play out in new ways, maybe restricted by the Grand Opera House’s narrow stage, but with humour in toys’ movements and enchantment too.

However, the spectacle (aside from the snowfall scene) and drama fall short of Northern Ballet’s celebrated Christmas staple at Leeds Grand Theatre  and  Act Two loses momentum.

Box office: atgtickets.com/york.

How Robin Simpson is switching from pantomime dame to dog for The Last Picture at York Theatre Royal Studio

Director John R Wilkinson and actor Robin Simpson in the rehearsal room for York Theatre Royal’s premiere of Catherine Dyson’s The Last Picture: James Drury

IN the first York Theatre Royal production to be made for the Studio since 2019, associate director John R Wilkinson directs Robin Simpson in The Last Picture from February 5 to 14.

After his sixth season as the Theatre Royal pantomime dame in Sleeping Beauty – and confirmed already for a seventh winter in Snow White And The Seven Dwarfs – Robin will swap the dame’s frocks and puns for the role of a dog in YTR, ETT and An Tobar & Mull Theatre’s world premiere co-production.

Robin will play an emotional support dog in Catherine Dyson’s 75-minute solo play, first performed in a reading at the Theatre Royal as one of 37 winning scripts selected from more than 2,000 entries by the Royal Shakespeare Company for its 37 Plays competition in 2023.

“We were given three of the plays to do in book-in-hand readings,” recalls John. “Juliet [creative director Juliet Forster] did  one about MeToo ; Mingyu [resident artist Mingyu Lin] Lin directed one about immigration and diaspora. Then, by default, I was given this one – and I lucked out because The Last Picture was the best play.

“Part of the deal is that the writer comes up to see the reading. Catherine is an actress from Swansea – one of her main roles was playing the ‘woman in black’ in The Woman In Black, the role that’s never credited in the programme! – and she’s branched out into writing plays.

“She and I really connected over my love of European theatre – bare-bones abstract  work – that leans into a storytelling in collaboration with the audience, where there’s very little in terms of set and design elements and instead the audience is encouraged to conjure the play for themselves.”

Dyson’s monodrama invites you to imagine yourself in a theatre in 2026. Now picture yourself as a Year 9 student on a school trip, and then as a citizen of Europe in 1939 as history takes its darkest turn. While you imagine, emotional support dog Sam will be by your side to look after you and keep everyone safe in a play built around empathy, its power and limits and what it asks of us.  In a nutshell, The Last Picture explores our shared past, our present,  and the choices we face today.

“For context, Catherine has Jewish heritage,” says John. “Her grandfather escaped persecution just before everything happened in Poland, escaping over the Tatra Mountains, so there’s a personal connection with this story.”

In a novel theatrical conceit, “Catherine was interested in telling the story through the eyes of a dog”, says John, in a device where Robin does not come on dressed as a dog but gives voice to what the dog is seeing and experiencing.

Robin says: “Pretty much straightaway it’s made clear that it’s being told by a dog, where we’re asking the audience to go on a journey of the imagination, when the story is told through a series of pictures created in language.”

John rejoins: “There are only one or two, very clear, stage directions by Catherine, but one was that there should be no actual pictures: they should all be created in the audience’s imagination.”

The production will lean into folklore and ritual. “The play is really fascinating in that we’re operating on several different levels. Firstly, I’m telling a story where I’m asking the audience to accept that I’m a dog, who’s part of a group of Year 19 pupils – aged 13, 14 – as their emotional support on a museum visit,” says Robin.

“Then I ask the audience to be the pupils, so they’re very much part of the story, sometimes in the story with me, and at other points we’re asking them to empathise with the people  in the pictures created through language, because it’s a play about empathy and humanity.”

Robin continues: “I think the reason Catherine chose the dog’s point of view is that the dog can say dispassionately what’s going on in the pictures without having that human connection to the story, so the audience can make up their own mind.

“In finding the voice for the dog, it has to be about a balance between telling the story and colouring the story with emotion without performing it.”

John adds: “It’s such a clever form of storytelling that Catherine has leant into. One thing we said is that it’s not an animal study, but the dog gives the storytelling comfort and warmth.”

At the beginning, there is a description of how dogs have the ability to absorb human emotions without understanding them. “The dog picks up on the children’s emotions of being affected by what they’re seeing without the dog understanding why,” says Robin.

“What Catherine has done really cleverly is that there a lot of sticky political situations going on in the world that she doesn’t directly refer to,” says John. “But in terms of what she’s asking the audience to do, she doesn’t give a political viewpoint but she lets you sit and reflect on how it relates to what’s happening now.”

The Last Picture, York Theatre Royal Studio, February  5 to 14, except February 8, 7.45pm plus 2pm, February 7, 11 and 14. Box office: 01904 623568 or yorktheatreroyal.co.uk.

More Things To Do in and around York as Colour & Light illuminates winter nights. Hutch’s List No. 4, from The York Press

Dame for a laugh anew: Graham Smith returns to the pantomime stage with Shiptonthorpe Community Theatre

A PANTO dame’s return and another’s transformation into a dog top Charles Hutchinson’s  cultural picks for early February and beyond.

Pantomime of the week: Shiptonthorpe Community Theatre in Robin Hood And The Babes In The Wood, Shiptonthorpe Village Hall, Shiptonthorpe, near Market Weighton, today, 3pm and 7pm; Sunday, 2pm; February 6 and 7, 7pm

GRAHAM Smith, Rowntree Players’ pantomime dame from 2004 to 2022, pulls on the frocks once more after a three-year hiatus in the York guest house proprietor’s debut for East Riding company Shiptonthorpe Community Theatre.

He plays Nellie Nickerlastic in Richard Waud’s production of Robin Hood And The Babes In The Wood, joined in principal roles by Neil Scott’s King Richard, Toby Jewsen’s Robin Hood, Chris McKenzie’s Little John, Henry Rice’s Will Scarlett, Paul Jefferson’s Friar Tuck, Alison Rosa’s Sheriff of Nottingham and Chloe Jensen’s Maid Marion. Tickets: 07922 443639 or email richardwaud@yahoo.co.uk.

Femme Fatale Faerytales: Dark feminist re-telling of age-old classic

A homecoming, a haunting, a holy rebellion: Femme Fatale Faerytales present Mary, Mary, Fossgate Social, Fossgate, York, February 1 and 2, 8pm (doors 7pm)

MARY, Mary quite contrary, wouldn’t you like to know how her garden grows? Step into the fairytale world of Femme Fatale Faerytales as Sasha Elizabeth Parker unveils a dark, lyrical, feminist re-telling of an age-old classic. Part confession, part ritual, part bedtime story for grown-ups, Mary, Mary invites you to meet the woman behind the nursery rhyme in all her wild, untamed, contrary glory.

In her York debut, expect enchanting storytelling, poetic prophecy and a subversive twist on the tales you thought you knew on two intimate, atmospheric nights in one of York’s cult favourite haunts. Box office: wegottickets.com. Box office: wegottickets.com.

Kym Marsh’s Hedy, left, and Lisa Faulkner’s Allie in Rebecca Reid’s updated version of Single White Female, on tour at the Grand Opera House, York

World premiere tour of the week: Single White Female, Grand Opera House, York, February 3 to 7, 7.30pm plus 2.30pm Wednesday and Saturday matinees

SCREEN actress, 2010 Celebrity MasterChef winner, TV presenter, chef and cookery book author Lisa Faulkner returns to the stage for the first time in 21 years in Rebecca Reid’s darkly humorous stage adaptation of psychological thriller Single White Female, now updated to the social-media age.

Faulkner’s recently divorced mum Allie is balancing being a single parent with the launch of her tech start-up. When she decides to advertise for a lodger to help make ends meet, Kym Marsh’s Hedy offers her a lifeline, but as their lives intertwine, boundaries blur and a seemingly perfect arrangement begins to unravel with chilling consequences. Box office: atgtickets.com/york.

Colour & Light: Illuminating Clifford’s Tower and York Castle Museum from February 4

Illumination launch of the week: Colour & Light, York Castle Museum and Clifford’s Tower, February 4 to 22, 6pm to 9pm

YORK BID is bringing Colour & Light back for 2026 on its biggest ever canvas. For the first time, two of York’s landmark buildings will be illuminated together when York Castle Museum and Clifford’s Tower become a combined stage for a fully choreographed projection show, transforming the Eye of York.

Presented in partnership with York Museums Trust and English Heritage, the continuous, looped, ten-minute show will bring York’s historic characters to life in a family-friendly projection open to all for free; no ticket required.

Matt Tapp’s ‘Wild’ Bill Hickok and Helen Gallagher’s ‘Calamity’ Jane in Joseph Rowntree Theatre Company’s Calamity Jane

Musical of the week: Joseph Rowntree Theatre Company in Calamity Jane, Joseph Rowntree Theatre, York, February 4 to 7, 7.30pm plus 2.30pm Saturday matinee

HELEN Gallagher’s tough talkin’, gun-totin’ heroine ‘Calamity’ Jane and Matt Tapp’s former peace-officer ‘Wild’ Bill Hickok lead director Sophie Cooke’s cast for Sammy Fain and Paul Francis Webster’s musical Calamity James.

Deadwood’s citizens are content with their ways of life: supporting their fort of soldiers and socialising at the beloved Golden Garter saloon. However, when a new face blows in from the Windy City to create a stir, friendships will be formed, long-time loyalties tested and perhaps even secret love revealed. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Alexander Flanagan Wright in Wright & Grainger’s Helios at Theatre@41, Monkgate

Ancient & modern  drama of the week: Wright & Grainger in Helios, Theatre@41, Monkgate, York, February 5, 7.30pm

EASINGWOLD theatre-makers Alexander Flanagan Wright and Phil Grainger begin their new partnership with Theatre@41 by re-visiting Helios, wherein a lad lives half way up a historic hill, a teenager is on a road trip to the city in a stolen car and a boy is driving a chariot, pulling the sun across the sky.

In Wright’s story of the son of the sun god, Helios transplants the Ancient Greek tale into a modern-day myth wound around the winding roads of rural England and into the everyday living of a towering city. “It’s a story about life, the invisible monuments we build to it, and the little things that leave big marks,” he says. Box office: tickets.41monkgate.co.uk.

Robin Simpson in rehearsal for Catherine Dyson’s The Last Picture, premiering at York Theatre Royal Studio

Solo show of the week: The Last Picture, York Theatre Royal Studio, February 5 to 14, except February 8, 7.45pm, plus Wednesday and Saturday 2pm matinees

ROBIN Simpson follows up his sixth season as York Theatre Royal’s pantomime dame by playing a dog in York Theatre Royal, ETT and An Tobar and Mull Theatre’s premiere of Catherine Dyson’s The Last Picture, directed by John R Wilkinson.

Imagine yourself in a theatre in 2026. Now picture yourself as a Year 9 student on a school trip, and then as a citizen of Europe in 1939 as history takes its darkest turn. While you imagine, emotional support dog Sam (Simpson’s character)will be by your side in a play about empathy – its power and limits and what it asks of us – in a story of our shared past, present and the choices we face today. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The poster for Super Furry Animals’ summer concert at York Museum Gardens

Gig announcement of the week: Live At York Museum Gardens presents Super Furry Animals, York Museum Gardens, July 11

FUTURESOUND completes the line-up for its third Live At York Museum Gardens season with Welsh art-rock icons Super Furry Animals, celebrating more than 30 years together with multicolour hits and off-piste deep cuts, lovingly handpicked from  nine albums.

Gruff Rhys, Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce are returning to the concert platform in 2026 for the first time in ten years. Joining them in York will be special guests Baxter Dury, Los Campesinos!, Divorce and Pys Melyn. Tickets for SFA, along with Liverpool’s  Orchestra Manoeuvres In The Dark on July 9 and South Yorkshire ’s Self Esteem on July 10, are on sale at futuresoundgroup.com/york-museum-gardens-events.

Super Furry Animals: Playing first concerts in ten years in 2026, including Live At York Museum Gardens headline show

Joseph Rowntree Theatre Company to stage Western Frontier musical Calamity Jane under Sophie Cooke’s direction

Helen Gallagher’s ‘Calamity’ Jane and Matt Tapp’s Wild Bill Hickok: Leading the Joseph Rowntree Theatre Company cast in Calamity Jane. All pictures: Jennifer Jones

THE Deadwood Stage rolls into York from February 4 to 7 when the Joseph Rowntree Theatre’s in-house fundraising company kicks off the spring season with Calamity Jane.

Gracing the JoRo stage for only the second time since the Haxby Road theatre’s inception in 1935, Sammy Fain and Paul Francis Webster’s 1961 musical – preceded by the 1953 film version – is  a story of friendship, adventure, and romance, set against the dramatic backdrop of the Western Frontier. 

Director Sophie Cooke, musical director Martin Lay and choreographer Heather Stead steer the Joseph Rowntree Theatre Company’s eighth full-scale production since forming in 2017.

Charting the interlinked lives of a South Dakotan community, full of characters united by dreams of a better life, Calamity Jane takes audiences to the golden age of musicals in an adaptation by Ronald Hanmer and Phil Park from Charles K Freeman’s stage play.

Tom Menarry’s Mister Francis Fryer and Alex Schofield’s Henry Miller in rehearsal for Calamity Jane

Led by tough talkin’, gun-totin’ heroine ‘Calamity’ Jane, and ex-peace-officer ‘Wild’ Bill Hickok, the citizens of Deadwood are content with their ways of life: supporting their fort of soldiers, socialising at the beloved Golden Garter saloon and awaiting treasures brought in from the world beyond.  

However, when a new face blows in from the Windy City and creates a stir, friendships will be formed, long-time loyalties tested and perhaps even secret love revealed.

As a fan of Calamity Jane in all its adaptations since her childhood, director Sophie Cooke chose this show for JRTC, drawn to songs beloved by multiple generations, the humorous, heart-felt story and the show’s combination of operetta, vaudeville and vintage Broadway.

“It’s been a dream to direct,” she says. “Calamity Jane is a story about friendship, love, and community, with a true feel-good factor. The community spirit in Deadwood really captures the spirit of community theatre: everyone pulling together, supporting each other and having fun along the way. 

Calamity Jane director Sophie Cooke in the rehearsal room

“It celebrates that golden-age musical feel: big songs, big characters and lots of heart. It’s a timeless show, with themes, characters and songs that defy decades.”

In the cast will be Helen Gallagher as ‘Calamity’ Jane; Matt Tapp as Wild Bill Hickok; Jennifer Jones, Katie Brown; Adam Gill, Lieutenant Daniel Gilmartin; Mollie Raine, Adelaide Adams; Sadie Sørensen, Susan; Tom Menarry, Mister Francis Fryer, and Alex Schofield, Henry Miller

 Joining them will be Paul Betts as Joe; company newcomer David Hartley as stage-coach driver Rattlesnake; Jamie Benson, Charlie from Nantucket; Kit Stroud, poker-playing doctor-undertaker “Doc” Pierce; Matthew Jarvis an d Conor Heinemeyer as scouts Hank & Pete and Gary Bateson as Colonel. 

Playing the CanCan Girls will be Abigail Atkinson; Liz Campbell; Chloe Chapman; Hollie Farmer; Sarah Rudd; Rachel Shadman and Heather Stead. Featured dancers will be Britt Brett; Katie Crossley; Robyn Hughes-Maclean; Rebecca Jackson; Lorna Newby and Jennifer Dommeck.

Joseph Rowntree Theatre Company cast members enjoying a rehearsal for Calamity Jane

The ensemble will comprise Meg Badrick; Victoria Beale; Amy Blair; Ruth Boag-Chapman; Pamela Bradley; Sophie Coe; Sue Coward; Lois Cross; Phoebe Dixon; Catherine Halton; Johanna Hartley; Cate Lawson; Caitlin McDowell; Lucy Moul; Rocks Nairn-Smith; Cameron O’Byrne; Kayleigh Oliver; Eliza Rowley; Rachael Turner and Charlotte Wetherell.

Joseph Rowntree Theatre Company in Calamity Jane, Joseph Rowntree Theatre, York, February 4 to 7, 7.30pm plus 2.30pm Saturday matinee (last few tickets available). Box office: 01904 501935 or https://www.josephrowntreetheatre.co.uk/whats-on/musical/calamity-jane/2830.

Joseph Rowntree Theatre Company: back story

FORMED in 2017, the company has since staged such shows as Kiss Me, Kate!, Hello Dolly, Curtains and 2025’s Beauty And The Beast as the im-house company at the JoRo.

All show profits fund the maintenance and development of the long-running community stage, allowing York performers, volunteers and audience members alike to enjoy classic and contemporary theatre in a space of their own. More than £50,000 has been raised so far, with plans for future productions already underway. 

The Joseph Rowntree Theatre Company’s poster for next week’s production of Calamity Jane

Graham Smith finds new home for dame duty in Shiptonthorpe pantomime Robin Hood And The Babes In The Wood

Graham Smith: Playing Dame Nellie Nickerlastic in his first pantomime since 2022

GRAHAM Smith, once the doyen of Rowntree Players pantomime dames in York, is moving on to panto pastures new with Shiptonthorpe Community Theatre after a three-year hiatus from the frocks and quips.

Yorkshireman Graham, who lives on farmland near Wilberfoss, will revel in the moniker of Dame Nellie Nickerlastic in Richard Waud’s production of Robin Hood And The Babes In The Wood at Shiptonthorpe Village Hall in two clusters of performances from tomorrow to Sunday, then next Friday and Saturday.

“It came about by accident,” says Graham, who lives 11 minutes from Shiptonthorpe.  “I put some left-overs from a building project on Nextdoor [the neighbourhood app], and this guy got in touch and said he’d have them.”

The conversation led on to a recollection of Graham’s days in the Rowntree Players panto and a suggestion that he should contact the Shiptonthorpe group. “I thought it would be too late for this year’s show, but I rang Richard [Waud] anyway and I think he thought I might see it as beneath me, but it certainly isn’t,” he says.

“Over the years I’ve done touring pantomimes; I’ve done school-hall pantomimes; I’ve even done a convent in North Wales. They were days spent in and out of a van, doing maybe two shows a day.

“I said to Richard, ‘all I’m concerned about is making sure I do my best and that everyone does theirs – happy days’. I offered to play in the comedy duo, the baddie, whatever, but for the first scene in the auditions Richard asked me to read for the dame…then the second scene, then the opening to Act Two!

“Then Richard asked, ‘Does anyone else want to have a go?’, and someone said, ‘What? After that!’. When I got home, there was a message on my phone from Richard to say, Graham, we’d love you to do it’. He must have contacted me within ten minutes of finishing the auditions.”

Graham first played the dame for Rowntree Players in 2004, appearing as Dottie Trott in Jack And The Beanstalk at the Joseph Rowntree Theatre, after two years in the panto’s comedy duo, and retained the role until 2022.  

On resuming pantomime’s most celebrated part, he says: “I think the dame is a specialist role. I’m fortunate enough to be fairly quick-witted, so if anything unexpected comes up, rather than ‘corpsing’ [the theatrical term for an actor breaking out of character into uncontrollable, unscripted laughter on stage], I’ll usually have a quick response.

“That’s why I played dame for Rowntree Players for so many years and why Shiptonthorpe were keen for me to do it this time.”

Graham, who has worked in the York hospitality trade for almost 30 years as proprietor of the Georgian House & Mews in Bootham, had first donned the dame’s dresses away from a theatre stage. “Bizarrely, it was at a friend of mine’s hair salon called Balta in York,” he recalls. “They did a pantomime for charity as one of his workforce was theatrical and would put on a show for four of five nights for customers and friends at the salon, which he wrote and directed.

“I believe we did three of them, and I took to the dame like a duck to water. I’m very comfortable in my own skin being camp on a stage  – and the bizarre thing is that, as the dame, I find I can flirt equally with the men and the women in the audience.

“I was only thinking about this the other day: how the dame can have women giggling just as easily as making the blokes feel embarrassed!”

Joining Graham in Waud’s cast will be Neil Scott, Shiptonthorpe’s former “beloved and renowned dame”, now taking on a regal new role as King Richard; Toby Jewsen as Robin Hood; Chris McKenzie, Little John; Henry Rice, Will Scarlett; Paul Jefferson, Friar Tuck; Alison Rosa, Sheriff of Nottingham, and Chloe Jensen, Maid Marion.

Further roles in the Alan P Frayn-scripted show will go to Robbie Howe as Snivel and Phil Featherstone as Grovel; Sienna Cayton, Ella; Pelham Dennis, Sam; Carolyne Jensen, Poet; Sarah Burnell, Minstrel, and Shirley Rice, Lady Guy.

“For a village-hall show, the set looks fantastic, the digital lighting system, sound and mixing desk are all of a high standard and all the cast will have radio microphones,” says Graham.

“In rehearsal, Richard has been quite a laidback director about making little changes. For the way I speak, as a Yorkshireman, some of the lines don’t work, sometimes the words jar, so Richard has been happy for me to make adjustments.”

 Discover the results from tonight when Graham is dame for a laugh once more.

Shiptonthorpe Community Theatre in Robin Hood And The Babes In The Wood, Shiptonthorpe Village Hall, Shiptonthorpe, near Market Weighton, tomorrow, 7pm; Saturday, 3pm and 7pm; Sunday, 2pm; February 6 and 7, 7pm. Tickets are available from Richard Waud on 07922 443639 or by emailing richardwaud@yahoo.co.uk.

Lisa Faulkner makes stage return after two decades in updated psychological thriller Single White Female at Grand Opera House

Gunning for her: A tense moment for Lisa Faulkner’s Allie as Kym Marsh’s Hedy reaches trigger point in Single White Female. Picture: Chris Bishop

LISA Faulkner is returning to the stage for the first time in 21 years to appear in Rebecca Reid’s re-imagining of 1990s’ psychological thriller Single White Female, now re-booted for the social media age.

Next stop on the world premiere’s six-month British and Irish tour will be the Grand Opera House from February 3 to 7 in her first visit to York since enjoying the delights of Bettys tea rooms with her grandparents when she was “very young”.

Actor, television presenter, 2010 Celebrity MasterChef winner, cookery book author, chef and mother Lisa will play recently divorced mum Allie, balancing being a single parent with the launch of her tech start-up.

When Allie decides to advertise for a lodger to help make ends meet, the delightful Hedy offers her a lifeline, but as their lives intertwine, boundaries blur and a seemingly perfect arrangement begins to unravel with chilling consequences.

Taking the role of Hedy on the road from January 9 to June 13 is Coronation Street, Waterloo Road and Abigail’s Party actor, TV presenter and Hear’Say pop singer Kym Marsh, who last appeared at the York theatre as villainous Cruella De Vil in 101 Dalmatians The Musical in November 2024.

“I’m so full of joy to be taking on another challenge at 53. I feel very lucky,” says Lisa Faulkner

“I’m delighted to be returning to the stage playing opposite the utterly fantastic Kym Marsh,” says Lisa. “I got chills watching Single White Female in the cinema back in 1992, so it’s a real thrill to be part of this bold new production. I cannot wait to bring this fascinating story to life and keep audiences around the UK on the edge of their seats!”

Kym concurs: “I remember being totally gripped by the movie when I first saw it in the cinema and could never have imagined back then that I’d be starring in the world premiere of its life on stage. Get ready to be thrilled, shocked and entertained – and watch out for those stiletto heels!”

The new stage play, adapted by author, journalist and broadcaster Rebecca Reid, reworks the story from John Lutz’s novel SWF Seeks Same and Barbet Schroeder’s 1992 film (scripted by Don Roos), transferring the setting from a neo-Gothic New York building to a starker apartment tower block near Elephant & Castle in London in 2026.

Allison and Hedra are now named Allie and Hedy as Reid retains the dark humour and suspenseful storytelling in the updated tale of ambition, obsession, and the desperate need for belonging in an isolated world.

“It’s been a long time since I was on stage,” says Lisa. “The rehearsals and first couple of weeks were like, ‘oh my god, I’m doing this’, but it’s lovely to be back. I’m so full of joy to be taking on another challenge at 53. I feel very lucky.

“I really think this [opportunity] came from the sky. I have so many wonderful things I do, but there was a sense of timing to doing this. My daughter [Billie] is 19 and doing her own thing, so I don’t necessarily need to be at home, and also I had a conversation in the late summer with my two best friends about doing a theatre show.

Back in the kitchen, but this time Celebrity MasterChef winner Lisa Faulkner is on stage in Single White Female. Picture: Chris Bishop

“Angela [Waterloo Road actor and director Angela Griffin], suggested I should do a tour, though I didn’t say anything to my agent. But two or three weeks later I received the script for Single White Female.”

At first, Lisa felt reticent to read it. Once she did, however, she “really liked it”. “I said to John [husband John Torode], ‘I think I should do this’,” she recalls.

“I think Rebecca has done a very good job bringing it into the modern age, though also if someone has seen the film, there are some big nods to it, but it’s very different. You don’t have to have seen the film to enjoy the play.”

Describing Allie’s character in Reid’s version, Lisa says: “She’s recently divorced from a really rubbish husband and has moved into her best friend Graham’s apartment with her 15-year-old daughter, Bella. She needs a flatmate – enter Hedy, who answers her social media advert, and that’s when it starts unravelling.

“Bella is on social media too, so there’s a new storyline there, but the stilettos are still there, and so is the lift. Listen out for the screeching lift noise.

“It’s a really fun night out. There are a few jump scares but it’s much more of a ‘popcorn’ scare , and now there’s a message to it about thinking about what you put online, which is something we all have to think about. What’s great about it is that you now have Allie’s story, Hedy’s story, Bella’s story and Graham’s story too.”

Kym Marsh and Lisa Faulkner in the poster image for Single White Female

Single White Female promises to captivate, shock and explore “just how far we would go to find – and keep – a family together”. “I just think there’s so much depth to it, especially a depth of character. Hedy is less one-dimensional now; she has her reasons for being how she is, and she’s very dark, whereas Allie is the light.”

Lisa is performing with Kym Marsh for the first time. “We’ve both been in Waterloo Road but at different times,” she says. “Angela [Griffin] has directed her in Waterloo Road and said ‘you will love working with her’. Kym’s been such a joy and a real support too.”

Lisa conducted this interview on Tuesday while travelling to Cardiff Millennium Centre with husband John Torode [the former MasterChef presenter], and the couple are as busy as ever with their culinary commitments.

“We launched our cooking channel, John And Lisa’s Kitchen And Home, just before Christmas on You Tube, doing the filming for that on my days off, and we have some other stuff coming up,” she says. “We have a John and Lisa cookery range coming out – some lovely pots and pans and utensils – that I’m really excited about.”

Single White Female, Grand Opera House, York, February 3 to 7, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.

Nish Kumar to play York, Leeds, Hull, Sheffield and Scarborough on Angry Humour From A Really Nice Guy tour

“Inequality is widening, autocracy is rising and political parties are collapsing,” says political comic Nish Kumar. That’s why the time is right for his Angry Humour From A Really Nice Guy tour

POLITICAL comedian Nish Kumar will play the Grand Opera House, York, on September 23 on his Angry Humour From A Really Nice Guy tour.

Tickets go on general sale at 10am tomorrow (29/1/2026) at https://www.atgtickets.com/shows/nish-kumar-angry-humour-from-a-really-nice-guy/grand-opera-house-york/.

“The world is in chaos,” laments Kumar. “Inequality is widening, autocracy is rising and political parties are collapsing. In these divided times, what this country desperately needs is Angry Humour From a Really Nice Guy. (In many ways it’s actually the last thing this country needs, but it’s what it’s getting, so tough luck).”

Pod Save The UK podcast co-host, former host of axed BBC Two show The Mash Report and Late Night Mash, and one of Taskmaster’s greatest losers to boot, Wandsworth-born Kumar has entered his 40s (birthdate August 26 1985). His mind is breaking, his body is worse, “but audiences can still expect existential angst and political disquiet from comedy’s cheekiest boy”.

After blending his trademark high-energy with more personal reflections on mental health and modern life on his Nish, Don’t Kill My Vibe tour, now Kumar  will “tackle big, uncomfortable questions in a bold, fast-paced and unflinchingly smart new show, delivered with fury, intelligence and warmth”.  

Kumar says: I looked out of the window and the world was ending. Stand-up comedy was the only thing that made sense to me – then it was co-opted by charlatans in service of autocrats. I’m going back on tour to try and reconnect with the thing I love more than anything else. I promise the show will be funnier than this.”

Kumar has appeared on such TV shows as Live At The Apollo, QI, Have I Got News For You, The John Bishop Show, 8 Out of 10 Cats Does Countdown, Russell Howard’s Stand-Up Central, Drunk History and Frankie Boyle’s New World Order.

Nish’s Your Power, Your Control tour show was released as a special on Sky Comedy in 2023 and he made a Netflix special as part of the Comedians Of The World series, as well as joining fellow comic Joel Dommett for Comedy Central’s 12-part travelogue Joel & Nish Vs The World and Josh Widdicombe in Sky Max’s Hold The Front Page. On the radio, he has hosted BBC Radio 4’s The News Quiz and BBC Radio 4 Extra’s Newsjack.

His 2026 tour will take in further Yorkshire gigs at Leeds Playhouse, October 3, Hull Truck Theatre, October 9, Octagon Centre, Sheffield, November 13, and Scarborough Spa Theatre, November 14. Box office: www.nishkumar.co.uk from tomorrow morning.