Beth Steel’s Sandy and Jonathan Stockill’s Danny in Ryedale Youth Theatre’s Grease The Musical
RYEDALE Youth Theatre heads back to the summer of 1959 at Rydell High to follow the epic love story of Danny Zuko and Sandy Dumbrowksi in Grease The Musical at the Milton Rooms, Malton, from April 1 to 4.
Here come the T-Birds and Pink Ladies, hot rods and timeless songs, such as Summer Nights, We Go Together and Greased Lightning in a show with book, music and lyrics by Jim Jacobs and Warren Casey and songs from the 1978 film by arrangement with Robert Stigwood.
Formed in 1991, the main purpose of Ryedale Youth Theatre is to train young people, aged eight to 18, in the Ryedale and York areas in all aspects of the performing arts and in particular musical theatre, both on stage and behind the scenes.
Each Easter, Ryedale Youth Theatre welcomes up to 70 young people to participate in a theatre production, an enriching experience that inspires creativity, teamwork and confidence at an organisation run by dedicated volunteers that relies heavily on the generosity of supporters to fund such productions.
Ryedale Youth Theatre lads in leather in Grease The Musical
Next week, the focus falls on Grease, the American musical that opened on February 5 1971 in Chicago, in a damp, draughty former trolley barn called the Kingston Mines Theatre. On a $171 budget , a non-professional cast of 18 actors played the first of its scheduled “four performances only” to a full house of 120 seats.
Almost immediately, the show was extended…then again and again and again. The rest, as they say, is history.
A year later, on St Valentine’s Day, February 14 1972, the musical romantic comedy opened in New York. Within six months, a national tour crossed the United States and Canada. Then a company opened in Australia.
The first London production premiered at the New London Theatre with a young, unknown Richard Gere as Danny Zuko (the role assumed eventually by co-producer Paul Nicholas). Soon the foreign productions, touring companies and stock and amateur groups seemed to span the globe.
The success of Randal Kleiser’s 1978 motion picture starring John Travolta and Olivia Newton-John in 1978 resulted in a new legion of Grease fanatics. Forty-eight years later, the musical continues to play to packed houses.
Ryedale Youth Theatre’s Pink Ladies cast members in Grease The Musical
“Grease doesn’t have a message,” says Ryedale Youth Theatre chair Barbara Wood. “It gives you a flavour of being a teenager in the ’50s – when rock’n’roll and putting grease on your hair were the most important things in life. If people come along to the show and take it on that level, then we’ll give them a party.
“In fact, if you come out of the theatre feeling that you’ve been to the best party in town, then we’ll know that we’re getting it right. A party of the best kind. It was fun then, but it’s just as much fun now!
“What Grease is really all about – more than anything else – is having fun. So, just sit back, kick off your blue suede shoes, and relax. Have a ball! Grease is, after all, a celebration.”
Ryedale Youth Theatre presents Grease The Musical, Milton Rooms, Malton, April 1 to 4, 7.15pm plus 2pm Thursday and Saturday matinees. Box office: yourboxoffice.co.uk.
Dale Vaughan, front, with Monica Frost and Matthew Warry, in a scene from Pick Me Up Theatre’s Next To Normal. Picture: Joanna Hird
A DYSFUNCTIONAL American family musical, a spirited band of newsboys, a madcap murder mystery and a bakery burlesque night confirm variety is the spice of Charles Hutchinson’s arts life.
American musical of the week: Pick Me Up Theatre in Next To Normal, Theatre@41, Monkgate, York, tonight to April 4, 7.30pm except Sunday and Monday; 2.30pm matinees, Saturday, Sunday and April 4
ANDREW Isherwood directs York company Pick Me Up Theatre in Brian Yorkey and Tom Kitt’s Tony Award-winning musical exploration of family and illness, loss and grief as a suburban American household copes with crisis and mental illness.
Dad is an architect; Mom rushes to pack lunches and pour cereal; their daughter and son are bright, wise-cracking teens but their lives are anything but normal, because Mom has been battling manic depression for 16 years.Next To Normal presents their story with love, sympathy and heart. Box office: tickets.41monkgate.co.uk.
Freida Nipples: Baps & Buns on board a baguette at Rise@Bluebird Bakery
Cabaret of the week: Freida Nipples presents Baps & Buns Burlesque, Rise@Bluebird Bakery, Acomb, York, Friday, 8pm, doors 7pm
YORK’S queen of burlesque, Freida Nipples, swaps teas for tease as she turns the bakery cafe into a cabaret joint for a night of fun, frolics and freedom of expression in all shapes and sizes.
On the fabulously zesty menu will be Donna Divine, Ezme Pump, Callum Robshaw and Freida herself, hosted by Harvey Rose. Box office: bluebirdbakery.co.uk/rise.
Tribute show of the week: The Supermodels, Kirk Theatre, Pickering, Saturday, 7.30pm
BACK by popular demand, The Supermodels return to Pickering with hits aplenty from the 1970s, 1980s and 1990s, from The Who to Led Zeppelin, Abba to A-ha Abba, ELO to Queen, Erasure to Oasis. The show is “guaranteed to put a smile on your face”, but book promptly because a sell-out is predicted. Box office: 01751 474833 or kirktheatre.co.uk.
The Snake Davis Trio: Jazz, soul, tales and banter at Helmsley Arts Centre
Jazz gig of the week: The Snake Davis Trio, Helmsley Arts Centre, Saturday, 7.30pm
SAXOPHONIST to the stars Snake Davis teams up with his best buddies, trumpet player Johnny Thirkell and guitarist Mark Creswell, for a night of gorgeously mellow musicianship infused with jazz, soul and pop. Expect beautiful tunes, fascinating tales and bags of banter. Box office: 01439 771700 or helmsleyarts.co.uk.
Lucy Keirl in rehearsal for Murder For Two at the Stephen Joseph Theatre, Scarborough. Picture: Tony Bartholomew
Whodunit of the week: Murder For Two, Stephen Joseph Theatre, Scarborough, Saturday to April 18
JOE Kinosian and Kellen Blair’s fast-paced musical whodunit is a madcap murder mystery with a twist, performed by two actors, Tom Babbage and Lucy Kierl , who play 13 characters between them, plus the piano, as they put the laughter into manslaughter.
When famous novelist Arthur Whitney is found dead at his birthday party, it is time to call in the detectives, but they are out of town. Enter Officer Marcus Moscowicz, a neighbourhood cop who dreams of climbing the ranks. Here is his chance to prove his super sleuthing skills and solve the crime before the real detective arrives. Box office: 01723 370541 or sjt.uk.com.
The clock is ticking: James Bye, left, Shvorne Marks, Natalie Casey and Grant Kilburn in 2:22 A Ghost Story, on tour at the Grand Opera House, York
Supernatural thriller of the week: 2:22 A Ghost Story, Grand Opera House, York, March 30 to April 4, 7.30pm and 2.30pm Wednesday and Saturday matinees
“THERE’S something in our house. I hear it every night. At the same time,” says Jenny, who believes her new home is haunted, but her husband Sam is having none of it. Whereupon they argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening and is moving closer. Only by staying up until 2:22 will they know the answer.
James Bye, Shvorne Marks, Natalie Casey and Grant Kilburn perform Uncannyand The Battersea Poltergeist podcaster Danny Robbins’s supernatural thriller, the Best New Play winner at the 2022 WhatsOnStage Awards, on its return to York. As secrets emerge and ghosts may or may not appear, dare you discover the truth? Box office: atgtickets.com/york.
Black Sheep Theatre Productions on Parade in the rehearsal room for next week’s musical at the JoRo
The other American musical of the week: Black Sheep Theatre Productions in Parade, Joseph Rowntree Theatre, York, April 1 to 4, 7.30pm plus 2.30pm Saturday matinee
PRESENTED by York company Black Sheep Theatre Productions under the direction of Matthew Peter Clare, Jason Robert Brown and Alfred Uhry’s stirring Tony Award-winning musical explores love and hope against the odds, set against a backdrop of political injustice and rising racial tension.
Leo Frank, a Brooklyn-raised Jew, is put on trial for murder, but when the world seems against you, receiving a fair trial might prove impossible. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Beth Steel’s Sandy and Jonathan Stockill’s Danny in Ryedale Youth Theatre’s production of Grease The Musical
‘Word’ of the week: Ryedale Youth Theatre in Grease The Musical, Milton Rooms, Malton, April 1 to 4, 7.15pm plus 2pm Thursday and Saturday matinees
EACH Easter, Ryedale Youth Theatre welcomes up to 70 young people to participate in a theatre production. This time the show will be Grease, featuring book, music and lyrics by Jim Jacobs and Warren Casey and songs from the 1978 film by arrangement with Robert Stigwood.
Ryedale Youth Theatre heads back to the summer of 1959 at Rydell High to follow the epic love story of Danny and Sandy. Here come the T-Birds and Pink Ladies, hot rods and timeless songs, such as Summer Nights, We Go Together and Greased Lightning. Box office: yourboxoffice.co.uk.
In Focus:Be Amazing Arts in Disney’s Newsies Jr, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee
Be Amazing Arts’ cast for Disney’s Newsies Jr, this week’s production at the Joseph Rowntree Theatre, York
YORK audiences are invited to seize the day this week as Malton company Be Amazing Arts brings the high-energy, crowd-pleasing musical Disney’s Newsies Jr to the Joseph Rowntree Theatre.
This spectacular youth production features a cast of 60 young performers from the Ryedale and York area, aged seven to 18, who will share the unforgettable music, dynamic choreography and inspiring story after months of dedicated rehearsals.
Written by Harvey Fierstein (book), Alan Menken (book) and Jack Feldman (lyrics), Disney’s Newsies The Musical was adapted from the 1992 film, premiering at the Paper Mill Playhouse, Milburn, New Jersey, before hitting Broadway in 2012.
Packed with moving numbers, bold dance routines and a powerful message of courage and unity, Newsies Jr follows a spirited band of newsboys as they fight for what is right against New York City’s powerful newspaper publishers.
In the news: Be Amazing Arts cast members rehearsing for Disney’s Newsies Jr
Promising to be an uplifting theatrical experience for audiences of all ages, the production will showcases not only the performers’ talent but also their commitment, teamwork and passion for live theatre.
Be Amazing Arts specialises in providing young people with the opportunity to work in a professional theatre environment while developing industry skills both on and off the stage. From performance and technical theatre to teamwork and discipline, participants gain invaluable experience that builds confidence and creativity in a supportive yet professional setting.
Creative director Roxanna Klimaszewska says: “Our cast has worked incredibly hard to bring this show to life. Their energy, dedication and enthusiasm have been inspiring. We cannot wait for the people of York to see what these amazing young performers have achieved.
“Be Amazing Arts strives to inspire the next generation, keeping at the heart of everything they do, making work with, for or by young creatives.”
Box office: 01904 501935 or josephrowntreetheatre.co.uk.
YORK spoken-word poet, performer and cheesemonger Stu Freestone will launch his debut poetry collection, The Lights That Blur Between, at The Crescent on March 30.
A co-founder and associate artist of Say Owt, York’s “collective of gobby northern poets” since 2014, he writes in a playful style founded in everyday moments in works that walk the line between between grit and gentleness.
Or as Barmby Moor surrealist comedian Rob Auton puts it: “There’s so much momentum in Stu’s words. The images sprint into your head and your brain is a better place for it.”
Drawing from family stories, kitchen tables, pub corners and stages across the country, his poetry “celebrates ordinary lives with extraordinary care,” says Stu. “Blending conversational humour with emotional honesty, the writing explores love, loss, resilience, and the quiet lights that carry us through.”
The Lights That Blur Between has been written over more than a decade, shaped on stage and finally brought together “somewhere between a notebook, a pint and a deep breath”.
“The collection explores the nostalgia of adolescence, relationships and grief, and the ongoing work of processing life, as well as the occasional – and necessary – detours into the comedic themes of condiment addiction, festival trips gone wrong, cheesemonger battle raps and the perils of ‘after work’ drinking,” says Stu, summarising his “honest portrayal of life experiences”.
The cover artwork for Stu Freestone’s The Lights That Blur Between. The sea, its vastness and restorative powers, feature emotively in his writing
Freestone has performed across the UK, including multiple runs at the Edinburgh Fringe, and was shortlisted for Best Spoken Word Performer at the Saboteur Awards in 2015. He has shared stages with internationally renowned artists such as Shane Koyczan, Hollie McNish, Sage Francis, B. Dolan, Dizrael, and Harry Baker and has recorded live sessions for BBC Introducing and BBC Upload.
Now comes his debut book launch, promising an evening of powerful performance and heartfelt storytelling, including two sets from Stu, one accompanied by a band featuring guitarist (and shoemaker) Simone Focarelli, accordionist Ben Crosthwaite and drummer Joe Douglas, plus support slots from York performance poet and political satirist Sarah Armitage and emotive Grantham singer-songwriter Adam Leeson.
“It’s amazing really,” says Stu, reflecting on the book’s completion. “It’s been a journey since 2012-2013 to now, where I’ve always thought I should have done it before, but the writing wouldn’t be same.
“I’ve had a lot more experiences to collate into my writing, so there are more meaningful tendencies to what I want to write about: whether nostalgia or re-living that nostalgia, or resilience or getting over grief: things I had not experienced back then. So it’s ‘me on a page’ on 100 pages and it’s nice to have that proof in my hand, in the book, which is very different to having it on my laptop.”
Stu’s poetry differs in print from live performance too. “There’s a massive contrast because I was very aware of how to transpose it to the page, and where it would need an edit to a make it more book-friendly,” he says.
“There are pieces that have evolved for the page or been written expressly for the page. There is therapy here, from both the reader’s perspective and mine, where I feel I’m confiding in them amid the grief of everyday life, when there are things that don’t get spoken about in the spoken-word performance environment.
Stu Freestone’s self-portrait from The Lights That Blur Between as he looks at himself in the mirror
“The book is basically saying we’re all the same in how we grow through memories, reflecting on those nostalgic moments but then contrasting that with the everyday processes of normal life: the things that others don’t see.”
The book is divided into four sections: adolescent reflection, mental health, then comedic works that “try to find the light in life” and finally, our relationship with loss, encapsulated in Before The Lights Go Out and the closing poem, title work The Lights That Blur Between.
“We try to get through loss with courage and empathy, where we can grow from our memories, but inevitably we walk through these lines between ‘breaking’ and ‘becoming’,” says Stu.
“I lost a friend, Nick,to suicide two years ago and wrote Before The Lights Go Out as an ode to our home town of Grantham and then the desperate bleakness of him no longer being there. The only thing I can take peace from is he achieved what he need to achieve, which sounds very dark, when he felt help was not an option.
“I’m 40 now, and to have lost as many people as I have in my close circle is very unlucky, so it’s an interesting place for me to try to find the perspective on that. I’ve done that through processing and writing, and I’ve written poems that aren’t in the book that are angry, but the ones in there that mean most to me are testament to trying to find positivity, for men to know that it’s OK to talk. That’s why we’ll be fund-raising for CALM, the Campaign Against Living Miserably charity.”
Stu’s trademark playful positivity surges through two poems in particular, Bliss, his hymn to York, his home since York St John University days in 2005, and Heed The Cheese, a nod to his other life running The Cheese Trader in Grape Lane. “I wanted to write a ‘univocalic’ poem, where every word uses only one specific vowel, so it had to be ‘E’ for cheese!” he reasons.
It strikes the only cheesy note in the book.
York Literature Festival and Say Owt present Stu Freestone, The Lights That Blur Between: book launch, The Crescent, York, March 30, doors 7pm. Box office: yorkliteraturefestival.co.uk or https://thecrescentyork.com/events/say-owt-stu-freestone-book-launch/.
Catrin Mai Edwards’ Martha, left, Estella Evans’ Mary Lennox and Dexter Pulling’s Colin in York Theatre Royal’s production of The Secret Garden The Musical. Picture: Marc Brenner
THIS production marks two homecomings: the return of the 1991 Broadway musical to its Yorkshire moorland roots in Frances Hodgson Burnett’s 1911 children’s novel, together with John Doyle’s re-acquaintance with York Theatre Royal after 29 years.
The Scotsman had put actor-musician shows at the heart of his York artistic directorship from 1993 to 1997 before going on to win Tony Awards on Broadway when transferring the artform to the United States.
Now, when his cast members fold away the dust sheets at Misselthwaite Manor, they are not only reviving Hodgson’s story but the actor-musician template too, one where all the players are omnipresent on stage, instruments in hand, rather than garden tools, always on the move as if on a merry-go-round.
Doyle and co-scenic designer David L Arsenault further enhance the sense of a ghost story or memory play by populating the stage with trunks and suitcases, in part to reflect 11-year-old orphan Mary Lennox’s arrival at her uncle’s haunted house from India, where her parents have died from cholera.
Haunting presence: Joanna Hickman’s Lily with Henry Jenkinson’s Archibald Craven. left, and Andre Refig’s Neville in The Secret Garden The Musical. Picture: Marc Brenner
Visually, although the moors are depicted on the base of the drapes, the walled garden of the title remains a secret. We never see its regeneration in the form of flowers or foliage; instead seeds are pulled out of trunks or petals fall from above.
The large key, discovered by Mary (Estella Evans, sharing the role with Poppy Jason), must unlock our imagination to create the mysterious yet now magical garden, dormant since the death of Lily (Joanna Hickman), whose fall from a tree had induced her son Colin’s birth, her life curtailed in childbirth.
Marsha Norman and Carly’s sister Lucy Simon’s musical condenses Hodgson’s story into 90 unbroken minutes, and in doing so turns the spotlight rather more on the struggling adults than young Mary’s own spiritual growth, nurtured in tandem with her rejuvenation of bed-ridden Colin (Dexter Pulling, splitting performances with Cristian Buttaci).
The lack of garden matches that shift in focus: we see plenty of the Theatre Royal’s bare black-painted bricks and stone walls, an austere backdrop that adds to the claustrophobia of omnipresent loss that Mary’s uncle Archibald (Henry Jenkinson) imposes on all around him in the grip of grief that leaves him listless and unable to carry out any functions.
His equally stultifying younger brother, doctor Neville (Andre Refig), feels burdened with the need to step in, overseeing Colin’s highly restrictive treatment, ordering Mary to attend school and assuming control in the face of Archibald’s incapacity. In song too, they have a heft reminiscent of opera, and Jenkinson, in particular, sings with devastating impact.
John Doyle’s cast on the set design of cloths, trunks, suitcases and mosaic flooring in Misselthwaite Manor. Picture: Marc Brenner
Floating between both worlds is Hickman’s Lily, who moves in dream-like slow motion by comparison with all around, adding to her ghostly presence. Her singing is sublime throughout, and her performance is the embodiment of Doyle’s belief in the power of actor-musicianship to lift the music-making from underneath (in an orchestra pit) to within the performer.
Hickman, the outstanding performer here, becomes one with her cello, inseparable and heartbreaking – even more so than Jenkinson when at the piano – and this is the apotheosis of Doyle’s performance style and indeed the personification of musical supervisor Catherine Jayes’ gorgeous, deeply moving orchestrations.
The need for light amid the grave shade finds reward in Mary’s relationships with the caring Martha (Catrin Mai Edwards), gardener Ben (Steve Simmonds), young Dickon (Elliot Mackenzie), and especially in her sparring with spoilt, initially insufferable Colin that brings much needed humour.
Mary’s bewilderment at the Yorkshire accent elicits the loudest laugh, and more of this Them and Us banter would have been welcome, whereas the clash is more often one of wills, whether with Ann Marcuson’s teacher Mrs Winthrop or Refig’s Neville.
Elizabeth Marsh, on her return to York Theatre Royal, in the role of Mrs Medlock. Picture: Marc Brenner
Returning to the Theatre Royal, where she had been part of Doyle’s company for his first York actor-musician show, Moll Flanders, Elizabeth Marsh serves a dual role, primarily as stern head housekeeper Mrs Wedlock but also as a symbolic robin, guardian of the “secret” guardian, whose perky presence is represented by constant chirping on flute or whistle: a lovely, uplifting touch.
There is something of an (Indian) elephant in the room. Not so much Dickon being played by an adult (the kindly MacKenzie in roll-up jeans and braces), nor Hickman’s Lily wearing white boots in the Dr Martens style, because artistic licence, directorial whim and costume designer Gabrielle Dalton’s mood board must be allowed to play their part.
More so, why is Mary Lennox in modern clothes with a rucksack on her back (rather than the Indian clothing of the book at the start)? Is this to play to the school groups on GCSE study duty; is Mary reading a book and then stepping into the story? Is it to make Mary even more of an outsider, the alien arriving in Yorkshire? The book she carries is a photo album of relatives, so that rules that theory out; the other explanations go down cul-de-sacs too.
It was a diverting talking point afterwards in the foyer and no suggestion has satisfied your reviewer’s curiosity yet. Further answers on a proverbial postcard are welcome.
York Theatre Royal presents The Secret Garden The Musical, until April 4, 7.30pm (except Sundays and Mondays), plus 2pm, March 26 and April 2; 2.30pm, March 28 and April 4; 6.30pm, tonight and March 30. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Joanna Hickman’s Lily and Dexter Pulling’s Colin in a scene from The Secret Garden The Musical. In the background are Steve Simmonds’ Ben and Elizabeth Marsh’s Mrs Medlock. Picture: Marc Brenner
James Gilchrist: tenor Evangelist in Yorkshire Bach Choir’s St John Passion
CONDUCTOR Peter Seymour opted for a slower tempo in the opening chorus “Herr, unser Herrscher”.
While this had obvious merit – polyphonic transparency, clearly layered choral entries, crisp articulation of the text, and finely judged orchestral detail – it lost dramatic intent: the relentless drive and sense of agitation that a quicker tempo – think John Eliot Gardiner – can bring.
It is, of course, a trade-off: solemnity versus torment. And then something quite remarkable happened: James Gilchrist.
His tenor Evangelist proved the dramatic engine of the Passion. From the opening recitative, “Jesus ging mit seinen Jüngern,” he established the narrative with urgency and clarity. Particularly effective were the razor-sharp exchanges with the chorus, as the crowd – here the soldiers – interject in “Jesum von Nazareth!”
One of the most powerful Evangelist moments in Part I is the recitative “Da verleugnete Petrus abermal” – Peter’s denial – a secco recitative for tenor with continuo accompaniment. The rising tension was palpable.
This is followed by the cock crow, conveyed through the text, and then the shock of silence. What ensued was a remarkable depiction of Peter’s emotional collapse in “Und ging hinaus und weinete bitterlich”, again with no string or wind support.
A standout passage of Part II was Gilchrist’s delivery of “Und neigte das Haupt und verschied”. This is the climactic narrative moment of the Passion: after all the drama – indeed, all the operatic intensity – it is over. The music stops.
Gilchrist also shaped the work’s pivotal theatrical moments with real authority: the mob’s blunt rejection in “Nicht diesen, sondern Barrabam!”; the biting, almost grotesque sarcasm of “Sei gegrüßet, lieber Jüdenkönig!”; and, most strikingly, the escalating hysteria of “Kreuzige! Kreuzige!”. In each case, his framing of these interruptions ensured the narrative never lost momentum.
The voice of the choir in the chorales throughout is that of communal reflection: the exact opposite of mob rule. Personally, I felt the tempi were a touch brisk; I missed a sense of real stillness. That said, they were confidently performed. The final chorus, “Ruht wohl, ihr heiligen Gebeine”, with its warm, reassuring harmonies and gently rocking, lullaby-like rhythm, was very moving.
Yorkshire Bach Choir performing St John Passion at Sir Jack Lyons Concert Hall
The success of the performance depends on the contrast between the Evangelist’s narrative urgency and Christus’s centred stillness, each role demanding not only vocal control but also a finely judged sense of dramatic purpose.
Frederick Long proved an excellent Christus. His performance radiated authority, poise and inner calm. It was refreshing to hear such clarity of pitch in the lower bass register, rather than the all-too-common woolliness.
I found Long’s “Mein Reich ist nicht von dieser Welt” genuinely moving: surrounded by accusation and political tension, his quiet conviction, supported by the halo of strings, created a moment of true stillness and otherworldliness.
The other soloists all acquitted themselves admirably. Tenor Jason Darnell gave a fine account of the demanding “Ach, mein Sinn”, capturing its agitation and urgency. Darnell coped well with the quick, restless rhythms, generating a real sense of unease.
Alto Louise Dobson gave a compelling “Es ist Vollbracht”, beautifully supported by Richard Boothby on viol da gamba, whose intimate, haunting tone was ideally suited to the aria.
Both sopranos, Bethany Seymour and Wendy Goodson,delivered fine performances; Ms Seymour’s “Ich folge dir gleichfalls,” with flute and continuo, offered a moment of light, graceful contrast.
Perhaps most enjoyable of all was Caroline Sartin-Smith’s “Von den Stricken meiner Sünden”. Her rich alto voice suited the aria well, although the two oboes – beautifully played – occasionally compromised the balance.
The orchestra – from Lucy Russell and Agata Darashkaite on violins to Ben Horden on organ – was first-rate. There were moments when the balance did not favour the upper strings, but these are the forces Bach himself conceived, so perhaps best left there.
It was good to see Peter Seymour again, directing from the harpsichord with authority and assurance.
The Brand New Heavies on stage at York Barbican. Picture: Paul Rhodes
WHAT do you do after the hit has gone? For the Brand New Heavies, who flew near the top of the Acid Jazz movement in the late-1990s, the answer has been to keep on playing. Now one of many acts riding the mature audience gravy train, this talented group are definitely not resting on their laurels.
This reviewer last saw The Brand New Heavies nearly 30 years ago, and the good feeling they generate feels no different three decades on.
Founding members guitarist Simon Bartholomew (perhaps wearing one of Prince’s slinky outfits, with his rock star locks) and bassist Andrew Levy (getting jiggy in tight sequined trousers) remain the focal points, and their love of improvisation helps to keep the music fresh. All of the nine-strong band members were listening closely to one another and enjoying being on stage.
N’Dea Davenport has been gone from the line-up for ten years. In her stead since 2018, Angela Ricci’s poise and vocals were flawless. There’s a lot of repetition in their tunes, but she never wavered and made for a poised contrast with Bartholomew’s showboating.
The hits were all present and correct, Midnight At The Oasis, You Are The Universe and Dream On Dreamer neatly spread throughout the set, leaving space for funky jams and a smattering of more recent numbers. At their best, the sound of The Brand New Heavies is like a light sunny breeze on your face.
The Brand New Heavies’ Andrew Levy, left, Angela Ricci and Simon Bartholomew
Their most loved songs are rightly regarded as feel-good anthems, tunes that will lighten the spirit. Music snobs may consider them inoffensive and superficial, but that would be to do them something of a disservice.
Their influences are in impeccable, classic soul and funk – and they work hard on the chops and the stage craft. The hip-hop influences in their later albums were downplayed.
In this they were the opposite of openers Galliano. Despite being a musical footnote, they provided a surprisingly good opening set, which was fun, funky, and had a lot of rapping.
Theirs was also a study of contrasts, the elegance of Valerie Etienne (despite her face being invisible beneath a golf visor) with Rob Gallagher’s latter-day Alf Garnett dancing (even if it is hard to imagine Garnett singing Everything Is Going to Get Better to Elsie…). Their set was much enriched by Ski Oakenfull’s keyboards and the propulsive bass of Erne McKone that never let up.
As the daffodils danced on the city walls outside, inside the crowd were definitely moved by these two fine bands, as welcome as Spring.
Alison Moyet: Returning to York Barbican this autumn. Picture: Naomi Davison
ALISON Moyet will play York Barbican on November 18 in one of ten new additions to her Songs Of Yazoo, the minutes and Other tour.
After 20 UK and Irish shows, including Sheffield City Hall on October 6, sold out within days, the Basildon-born soul, blues and pop singer-songwriter has announced further autumn dates, with another Yorkshire gig among them at Bradford Live on November 13.
The 2026 tour will focus exclusively on songs from Yazoo’s 1982-1983 catalogue and a selection from her solo electronica albums, 2013’s the minutes and 2017’s Other.
In her days as Alf, Moyet answered a Melody Maker advert to join fellow Essex musician Vince Clarke in Yazoo after his split from Depeche Mode. A handful ofYazoo hits have become staples of Alison’s live sets, but much of the electronic duo’s material has been performed only rarely outside of their two brief tours: 1982’s breakthrough travels and 2008’s Reconnected reunion.
Songs Of Yazoo, the minutes and Other is billed as a “unique opportunity to experience songs live that propelled their phenomenal yet short-lived run”, comprising 1982’s UK and USA platinum-selling debut Upstairs At Eric’s and 1983’s parting shot, the UK chart-topping You And Me Both.
Alison Moyet’s poster for the ten new shows on her Songs Of Yazoo, the minutes and Other tour
For the first time, Moyet will team multiple Yazoo numbers with songs from her creative return to electronica for the minutes and Other, both produced by principal co-writer Guy Sigsworth.
“Many years touring the same pool of songs and I am keen for a palate refresher,” says Moyet, 64. “Specifying which years I will be fishing from too, I think, is a grand way to serve pot luck for specific tastes. No bones…”
Moyet last visited York Barbican on February 20 2025 on her first headline tour since 2017, when she had been joined by keyboard players John Garden and Shaun McGhee on November 19 that year to promote Other.
Last year’s show followed Moyet’s graduation from Brighton University in 2023 with a first-class degree in fine art printmaking, whereupon she combined art and music on her 18-track October 4 album, Key, creating the artwork as well as reworking singles, fan favourites and deep cuts, complemented by two new songs.
In addition, Moyet will embark on a 21-date tour of North America this summer as a special guest on The Human League’s Generations tour, alongside Marc Almond’s Soft Cell.
Tigerslane Studios’ cast for Murder Trial Tonight IV, Death Of A Landlord
I WAS really looking forward to this show—perhaps more accurately, this re-trial of a real-life court case—and it didn’t disappoint.
From the moment we entered, Sunday afternoon’s sold-out audience was cast as the jury in the trial of reclusive tenant Tre Bennet, accused of the brutal stabbing of his landlord, Victor Sloane. The only eyewitness: Sloane’s young daughter.
Presented under the direction of Gareth Watts, the stage was starkly arranged as a courtroom, complete with witness box, dock and judge’s bench, while the prosecution and defence occupied opposite sides as a cast of 11 played out Steve Cummings’ script.
When we were asked to stand for the judge’s entrance (Karren Winchester’s Her Honour Judge Amanda Livingstone KC ), the theatrical illusion snapped seamlessly into something far more immersive: participation.
The prosecution’s opening statement (by Alex Kapila’s Ms Victoria Pelham KC) was commanding, laying out what initially seemed like a compelling case. Witness statements, months of unpaid rent, and a description of a Black man in a yellow jacket—identified by the child—combined with blood found on the defendant’s door, all pointed toward Tre (Alpha Kamara).
We were also told that he suffered from schizophrenia, a detail framed to suggest a potential for violent outbursts. Add to this a recent confrontation between Tre and the landlord involving his mother, and the prosecution’s narrative appeared convincing. At this stage, the outlook for Tre Bennet felt bleak.
However, the defence lawyer (Ian Houghton’s Mr Miles Cavendish KC) methodically dismantled this certainty. The yellow jacket, central to the eyewitness account, was shown to be outdated—photographic evidence taken years earlier, with the garment long since discarded. The blood on the door was given a far more mundane explanation: an accidental injury sustained by the landlord while carrying out repairs. Gradually, the cracks in the prosecution’s case began to widen.
The emotional core of the piece came through the testimony of Tre’s mother (Karlina Grace-Paseda’s Dolores Bennet). Her account—detailing her escape from Sierra Leone to build a life in England with her young son—was deeply affecting.
Through her words, and those of Tre’s music teacher (Jason Deer’s Jason Scott), we were introduced to a very different portrait: a gentle, gifted young man shaped by hardship and subjected to racist abuse, yet defined by kindness and creativity. Importantly, the defence also challenged assumptions around mental illness, reminding us that the proportion of people with schizophrenia who commit violent crimes is extremely small.
What makes Death Of A Landlord so powerful is its insistence on confronting bias – both within the justice system and within ourselves. The production subtly raises the issue of racial profiling, prompting us to question whether the investigation may have been too quick to focus on a suspect who “fits the bill,” rather than exploring alternative possibilities.
The balance of the case is its greatest strength. Just when you feel certain, a new detail unsettles your confidence. The writing is sharp and meticulously structured, and the performances are so naturalistic that the boundary between theatre and reality all but disappears. As jurors, the weight of responsibility becomes palpable; the fear of reaching the wrong verdict lingers throughout.
Adapted from a true story, Tigerslane Studios’ production culminates in a modern twist: the audience delivers its verdict – guilty or not guilty – via smartphone using a QR code. Only then is the real-life outcome revealed on a large screen.
It’s a striking and sobering conclusion, leaving you not only reflecting on the case, but on your own judgement – and on this occasion, 84 per cent of York’s jury turned out to be wrong in their verdict.
This is immersive theatre at its most thought-provoking: gripping, unsettling, and impossible to forget.
Celestine Dubruel, theatrical judge and jury member
Kim Wilde: Fourth visit to York Barbican in less than a decade
EIGHTIES’ pop queen Kim Wilde will conclude her 13-date Singles Tour at York Barbican on March 28 2027.
Definitely not alone now, she will be supported by Nashville singer, songwriter, producer, cookery book author, Let’s Food With Tiffany cooking club hostess and The Masked Singer participant Tiffany.
Wilde played York Barbican previously on her Here Come The Aliens tour in April 2018, Greatest Hits 2020 tour in September 2020 and Closer tour in March 2025.
The chart-topping, BRIT Award-winning Londoner, now 65, tours consistently with her brother and co-writer Ricky and their family band, performing such up-tempo synth pop hits as Kids In America, Chequered Love, Water On Glass, Cambodia, View From A Bridge, You Keep Me Hangin’ On, You Came, Never Trust A Stranger, Four Letter Word and If I can’t Have You.
Boys, Love Blonde, The Second Time, Rage To Love, Another Step, Say You Really Want Me, Love In The Natural Way, Love Is Holy and Heart Over Mind could all feature too.
Wilde, daughter of 1950s’ rock’n’roll legend Marty Wilde, continue to release new songs of edge, love and high energy, as well as appearing in her own radio and television shows and being an award-winning gardener.
Foo Fighters covered Kids In America on their Songs From The Laundry EP for Record Store Day in 2015, 24 years after frontman Dave Grohl first recorded a demo.
Support act Tiffany covered Wilde’s 1981 debut hit too on 2007’s I Think We’re Alone Now: ’80s Hits And More album.
Born on October 2 1971, Tiffany Renee Darwish grew up with an alcoholic mother and now supports mental health awareness and sobriety. Like Wilde, she is an advocate for female empowerment and body image, after experiencing the trials and tribulations of being in the media spotlight from their teenage years to midlife.
At the age of 16, Tiffany topped the UK charts for three weeks in 1988 with her cover of Tommy James & The Shondells’ 1967 hit I Think We’re Alone Now.
