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Black Sheep Theatre puts justice on trial in Parade at Joseph Rowntree Theatre amid religious intolerance and racial tension

Dan Poppitt, Charlie Clarke and Molly Whitehouse in rehearsal for Black Sheep Theatre Productions’ Parade

MURDER in myriad forms is making its way on to North Yorkshire’s stages this spring, whether Tigerslane Studios’ real-true-crime courtroom drama Murder Trial Tonight IV: Death Of A Landlord at York Barbican last Sunday or Joe Kinosian and Kellen Blair’s madcap musical whodunit Murder For Two, “putting the laughter into manslaughter” at the Stephen Joseph Theatre, Scarborough, from Saturday.

Next comes York company Black Sheep Theatre Productions’ staging of Jason Robert Brown and Alfred Uhry’s stirring Tony Award-winning musical Parade, first performed in 1998 and now more topical than ever in its exploration of love and hope against the odds, set against a backdrop of religious intolerance, political injustice and rising racial tension.

The tragic true story of the trial and lynching of  a man wrongly accused of murder will be brought to life anew at the Joseph Rowntree Theatre, York, from April 1 to 4.

The setting is 1913, when Leo Frank, a Brooklyn-raised Jew living in Georgia, is put on trial for the murder of 13-year-old Mary Phagan, a factory worker under his employ. Already guilty in the eyes of everyone around him, his only defenders are a governor with a conscience and his assimilated Jewish wife, who finds the strength and love to become his greatest champion when the world seems against you and receiving a fair trial might prove impossible.

Director/musical director  Matthew Peter Clare welcomes the chance to put Parade on parade. “It was due to be done in Leeds but that production got pulled because of Covid,” he says. “It’s not been done in York for at least a decade, and it’s fantastic for us to get hold of the rights, but it is an upsetting piece.

“It’s set in Marietta, near Atlanta, Georgia, post the race riots there, but pre the Great Depression and it’s based on a real-life trial of Leo Frank, who worked in middle management as a superintendent in a pencil factory.

“When one of the employees, Mary Phagan, is murdered, instead of doing a proper investigation, they arrest the nearest Jewish guy – whereas the the nearest black guy is let off because of the race riots, when politically it now wasn’t seen to be right to prosecute a black man.

“So they go with prosecuting Leo Frank, with all the prejudices  of the public heavily influencing the trial with the attitude of ‘he’s Jewish, so get rid.’”

Parade chimes with Black Sheep’s policy of presenting “theatre with a point  that encourages audience reflection”. “This is a show that, like our productions of Elegies For Angels, Punks And Raging Queens and Falsettos, is pushing the concept of ‘other’ to the front and shows the impact of moving against the ‘other’ at a time of racial prejudice,” says Matthew.

Playing the role of Leo Frank will be Black Sheep regular Dan Poppitt. “With regard to Leo, we said from very early on in rehearsals that he was not raised in Atlanta, unlike his wife Lucille, but from Brooklyn, and only moved there when offered a job by Lucille’s uncle, so Leo is seen as a Jewish man first, whereas Lucille is seen as Georgian first, Jewish second,” he says

“These are the nuances that we wanted to promote: the significance of his Jewish heritage and how that leads to prejudice.”

Dan has been particularly keen to be authentic in his portrayal. “Like having to learn Hebrew,” he says. “I’ve studied it phonetically to make sure that the dialogue is pronounced accurately.

Eloise Schneck rehearsing her role as Mary Phagan in Parade

“It’s a case of speaking it properly and with clear intention and how it should be delivered in society at that time.”

Molly Whitehouse is playing Leo’s wife Lucille, an assimilated Jewish woman, which means she “adopts the language, dress and secular cultural habits of the majority population”.

“I’m a northerner first and had a very secular upbringing,” she says. “That regional identity that you draw so much pride from, especially as a queer, working-class woman, can put you on the edge of the community.

“In Lucille’s case, she is already so close to the border of what’s acceptable in Georgia.”

Charlie Clarke has four roles in Parade, two on stage, as Mrs Phagan and Sally Slaton, and two off, as assistant director and choreographer. “I don’t do things by halves!” she says. “Luckily with Matthew directing and being the musical director too, I can spread what I do.

“As choreographer and assistant director, we’ve spoken about how each actor has to give each character their own identity, like Reggie Challenor playing two characters [Jim Conley and Newt Lee] who are the complete antithesis of each other.

“We’ve also discussed how, first of all, they’re all representing real people on stage and how they must make sure that’s pushed through in their performances – and the cast have been really receptive to that.

“We have to ensure we tell the story with truth because, before it’s a musical, it’s a true story.”

Dan rejoins: “I think, especially with a stage show, it’s very easy to forget they’re real characters, but every single person in the show was a real person with a life from before the show’s story began.”

The design will be “incredibly minimalist,” says Matthew. “The blocks we used in Falsettos will be used again, but in a different way, not to evoke houses but the red hills of Georgia. They’re being utilised either as part of the choreography or they’re serving as the landscape.”

Should you be wondering, Parade is so named because the story opens and closes on the day of the Marietta parade for the Confederates’ Memorial Day. “So that’s the framing device, celebrating Georgian identity, but unfortunately there’s a dark underside to that identity, where it prevails, being regardless of the truth in this trial,” says Matthew.

Black Sheep Theatre Productions in Parade, Joseph Rowntree Theatre, York, April 1 to 4, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk

Who’s in the cast for Parade?

Dan Poppitt as Leo Frank; Molly Whitehouse, Lucille Frank; Reggie Challenor, Jim Conley/Newt Lee; Eloise Schneck, Mary Phagan; Oskar Nuttall, Frankie Epps/Young Soldier; Mark Simmonds, Governor Slaton/Old Slaton; Charlie Clarke, Mrs Phagan/Sally Slaton; Pauline Tomlin, Minnie McKnight; Jack Hooper, Hugh Dorsey; Richard Bayton, Britt Craig; Georgina Burt, Iola Stover;  David Copley Martin, Judge Roan; Jack James Fry, Luther Rosser/Officer Ivey; Sophia Razak, Essie, and Sarah Rudd, Monteen.

Who’s in the production team?

Director and musical director: Matthew Peter Clare; assistant director & choreographer: Charlie Clarke; assistant choreographer& welfare officer: Jack James Fry; costumier: Molly Whitehouse; sound designer: Ollie Nash; lighting designer: Adam Kirkwood; stage managers: Megan Bostock & Steve Hibbs.

Coming next from Black Sheep Theatre Productions

They did the monster match: Dan Poppitt’s Alan and Molly Whitehouse’s Minnie in Black Sheep Theatre Productions’ poster for Love At First Bite

JOSH Woodgate will direct Dan Poppitt and Molly Whitehouse’s seductive new work Love At First Bite at Theatre@41, Monkgate, from June 4 to 6.

“Dating can be hell, but what if one of them was a creature of the night?” ponder the co-writers.

What happens? Alan and Minnie meet at a speed-dating night. A spark flickers. Dates follow. Laughter lingers.

“Yet beneath the rhythms of a familiar rom-com, something waits in the dark,” say Poppitt and Whitehouse, who will play the lovers. “One of them is a vampire — but the secret shifts. Each night, the actors trade fangs, and the audience is left to wonder who is hunter, who is prey.”

Blending sharp-fanged wit with a brush of gothic shadow, Love At First Bite toys with romance, rewrites folklore and invites audiences to consider what it means to love…and to hunger!

Woodgate’s production will mark Black Sheep’s return to Theatre@41, Monkgate, after last year’s staging of The Tempest and The Inner Selves. Tickets for the 7.30pm evening performances and 2.30pm Saturday matinee are on sale at tickets.41monkgate.co.uk.

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Meet The Makers at Pyramid Gallery on Saturday as Lesley Williams, Sarah Williams, Peter Heaton and Adele Howitt exhibit Other Viewpoints art and ceramics

Moorland, by Lesley Williams

SATURDAY will be the chance to meet Yorkshire artists Lesley Williams, Sarah Williams and Peter Heaton and ceramicist Adele Howitt from 11.30am to 2.30pm at their Other Viewpoints exhibition at Pyramid Gallery, Stonegate, York.

York artist Lesley Williams gained a BA Hons in textile design at Nottingham Trent University and an MA in Fine Art from Leeds Metropolitan University.

She taught art and design for many years before concentrating on her own work, which has been collected both here and abroad.

She makes semi-abstract oil paintings based on the rural landscape and gardens and developed over time. From relatively figurative starting points, multiple layers are created, allowing for the subtle sensations and memories of the time and place to be included.

“Circular motifs create a sense of depth” in Lesley Williams’ artworks

The qualities of colour light and energy seen and felt on site are depicted using translucent layers that encourage the viewer to look beyond the surface. Circular motifs are often contained within the composition, in order to create a sense of depth and as a reference to the ever-continuing nature of time and the seasons.

Sarah Williams, from York, graduated with distinction from Norwich Art School in 1984 with a first class degree in Fine Art and achieved the prestigious Stowell’s Trophy Award at the Royal Academy.

This success granted her an unconditional place on the Masters degree in painting at the Royal Academy, paving the way for exhibitions spanning England and Switzerland, where Sarah shared a studio with Kurt Rup.

Sarah’s fine art work is rooted in personal narratives, employing a diverse array of materials including encaustic enamels and spray paint. While her repertoire encompasses various media, her primary focus revolves around the meticulous use of oils on stretched canvases.

What We Could Have, by Sarah Williams

Conceptually, Sarah employs colours, textural marks and shapes to construct a visual realm that blends seamlessly abstract and figurative elements. The aim is to elicit a nuanced emotional response, allowing viewers to interpret and connect individually with the expressive tapestry.

Peter, who will be exhibiting fine art prints, studied for a Fine Art degree at Nottingham Trent University and later gained an M.A. in Fine Art from Leeds Metropolitan University.

Living in North Yorkshire, he has exhibited widely since 1987, and his work has featured in publications and on television and is in private collections in Europe and the USA.

“The majority of my work is concerned with landscape, in one form or other,” he says. “I am always observing, collecting information and images. I make work constantly, if not photographs, musical sketches or scraps of writing. Interpreting, re-imagining places and situations.

Sarah Williams’ “primary focus revolves around the meticulous use of oils on stretched canvases”

“Often, when beginning work on a new project, I discover that actually the beginnings of it were seeded years before in images made, collected and forgotten.

“However, it is only in my studio that I discover how the work is going to reveal itself and take form. This process is always difficult, where time is lost, and ideas fail and are reborn continuously, until a thread can be followed out, and the path through the work becomes clearer.”

Peter continues: “A piece becomes complete when I feel it fits with the image that I have of it completed…the problem being that this also changes … but the work remains, as a marker along a section of a route now passed.

“I feel that it is important to never close off a piece of work, to leave space for the viewer to bring their own thoughts and interpretations to the pieces, to complete the work on their own terms, using their own reference points and imagination.

Tangled, by Peter Heaton

“I feel that it is important to never close off a piece of work, to leave space for the viewer to bring their own thoughts and interpretations,” says Peter Heaton

“Over the last few years, my work has evolved from being purely photographic, to now being a hybrid of various media which are combined in creating the final completed images.”

Adele Howitt, from Hornsea, is a designer and maker of ceramics with a portfolio of architectural ceramics and public realm art, placed within outside and inside spaces, and is a Crafts Council member and Homo Faber selected member.

An important element to this portfolio is the range of studio ceramics that explores the wider realm of landscape. Notions of the living landscape, abstraction, pollen grains and natural pattern mark her ceramic art.

Slab work is twisted and turned to add detailed relief, utilising the traditional pottery techniques discovered while investigating the South Yorkshire Potteries. The clay is a sculptural medium, opposing the tradition of using it as a technical medium or as an exploration of the vessel.

Frosted Celandine, by Adele Howitt

Adele’s techniques include drawing, hand building, coil/slab building, hand-thrown elements, extruded clay, printing and glazing.

A restricted palette of matt glazes – engobes – is applied to red, black or white clay. Wild plants growing in post-industrial historic landscapes are studied alongside research into their genus, revealing the structure of their pollen grains.

“This is paired with sketches of wild meadows that capture and distil the movement of nature,” says Adele. “This search is developed into three-dimensional form that utilises the most sustainable and precious material of clay.

“The ceramic manifestations include methods of construction include slab work, throwing, hand-building, sprig and press moulds, combined to create and enlarge the research into intricate sculptures.”

Other Viewpoints runs at Pyramid Gallery, Stonegate, York, until May 9. Opening hours: 10am to 5pm, Monday to Saturday; closed on Sundays.

Heuchera, by Adele Howitt

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Emmerdale bad lad Tom Lister to play Captain Hook in Grand Opera House panto The Further Adventures Of Peter Pan

Tom Lister’s Captain Hook in the poster for The Further Adventures Of Peter Pan: The Return Of Captain Hook

EMMERDALE star Tom Lister is Hooking up with the Grand Opera House to make his York pantomime debut in The Further Adventures Of Peter Pan: The Return Of Captain Hook from December 5 to January 3 2027.

Stage and screen actor Lister, 47, best known for his eight years as bad lad Carl King in the Yorkshire soap from 2004 to 2012, will be in villainous mode anew as Captain Hook, performing alongside the already confirmed comedic returnee Jimmy Bryant as Smee in the UK Productions show.

Born Thomas Brown in Ingleton, Yorkshireman Lister took his mother’s maiden name when turning professional. Since graduating from Birmingham School of Acting in 2001, he has played Harry Wainwright in Heartbeat and Rob Ingram in The Bill, as well as appearing in Doctors and Hollyoaks and taking on the guise of jazz pianist Jamie Cullum on Stars In Their Eyes.

On leaving Emmerdale in October 2012, he played Captain Hook in Peter Pan at the Sundreland Empire that winter and has since branched out into musical theatre as Grimes in the world premiere of Water Babies at Curve, Leicester, in April 2014, subsequently appearing as Wild Bill Hickoc in the 2014 UK tour of Calamity Jane, as well as in 42nd Street in the West End and Legally Blonde The Musical.

He will be on familiar panto terrain once more as Captain Hook this winter, having won the Best Villain prize at the inaugural Great British Pantomime Awards in 2017 for his performance in Peter Pan in the 2016-2017 season at the Gordon Craig Theatre, Stevenage.

“I’m so excited to be sailing into York this Christmas as Captain Hook,” says Tom. “He’s a role I love, and I swear he gets more wicked and mischievous every year I play him!

“As a Yorkshireman, York is very close to my heart, and I can’t wait to spend Christmas in this beautiful city. I am really looking forward to teaming up with Jimmy Bryant to bring all of the festive magic and mayhem of panto. So come aboard and join us, or you’ll be walking the plank.”

Producer Martin Dodd adds: “We’re delighted that the wonderfully charismatic Tom Lister will be appearing as the deliciously devilish Captain Hook in this year’s pantomime.  Tom brings real star quality to Neverland. Paired with the brilliantly funny Jimmy Bryant as Smee, audiences can expect a perfect storm of comedy, adventure and just a touch of villainous charm.”

The Further Adventures Of Peter Pan: The Return of Captain Hook will run at the Grand Opera House, York, from December 5 to January 3 2027. Box office: atgtickets.com/york.

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Grease is the word of the week for Ryedale Youth Theatre at Milton Rooms from April 1

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.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 12, from Gazette & Herald

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.

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York performance poet Stu Freestone to launch debut collection The Lights That Blur Between at The Crescent on Monday

Stu Freestone: Poet, performer and cheesemonger

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/.

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Wendy Arrowsmith to play fundraising folk concert for Cayton Parish at All Saints Church, Ripley, on April 18

The poster and QR code for Wendy Arrowsmith’s concert

FOLK singer Wendy Arrowsmith will perform a fundraising concert for Cayton Parish at All Saints Church, Ripley, near Harrogate, on April 18 at 7pm.

Originally from Scotland, she now lives in North Yorkshire and continues to appear at folk festivals throughout Great Britain.

Accompanying herself on guitar, she will play a mixture of traditional folk songs, complemented by her own compositions.

Tickets, costing £16, are available via a QR code. All proceeds will go to church funds.

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REVIEW: The Secret Garden The Musical, York Theatre Royal, until April 4 ****

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

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REVIEW: Steve Crowther’s verdict on Yorkshire Bach Choir, St John Passion, Sir Jack Lyons Concert Hall, University of York, March 21

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.

And it was good, too, to see a full house.

Review by Steve Crowther

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REVIEW: Paul Rhodes’s verdict on The Brand New Heavies and Galliano, York Barbican, March 19

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.

Review by Paul Rhodes