Opera North in James Brining’s revival of The Magic Flute. Picture: Tristram Kenton
FOR the start of her first full year as general director, Laura Canning is presiding over an autumn of three revivals, of which this production by James Brining is the first.
Doubtless she had no say in the schedule, but it still looks cautious, especially when viewed in the wake of, for example, Buxton Festival’s five new productions this summer.
Brining operates as artistic director of Leeds Playhouse, just a short walk away from the Grand Theatre, and this had been his first full operatic production. It still shows signs of over-calculation.
Before the curtain we are treated to a welcome designed to embrace newcomers. Old-stagers might have regarded it as patronising but, seen alongside a bare-bones outline in the programme of what constitutes opera in the first place, it is arguably a useful introduction to an artform that too many have found intimidating: an attempt to cast the audience net more widely, in other words.
This process must be treated gingerly, however, if the company’s core audience is not to be deterred. The overture is intended as an introduction, presenting themes and building anticipation.
All of that is dissipated when it is overlaid with a dumb show, based on Bergman’s cinematic view of the whole work being a child’s dream/nightmare, that has little or nothing to do with Mozart. So, overture and dumb show are at odds with one another: in our screen-obsessed age, the eyes take over and the overture goes for naught.
As it was, Christoph Koncz, making his Leeds debut, opened the overture very slowly and followed with an extremely rapid allegro, which the orchestra – now under its new leader Katie Stillman – handled with panache. Thereafter Koncz impresses with the transparency of the textures he conjures.
Egor Zhuravskii has graduated from Fenton in Falstaff to Tamino here, and does so smoothly enough. Narrow at the start, his tone opens out over time but remains a little dry, albeit stylish. There is not much genuine feeling between him and Claire Lees’s admirable Pamina, but she entrances with every appearance and sounds ready for greater things.
Leaning heavily on his Welsh lilt, Emyr Wyn Jones makes an affable dunderhead of Papageno, almost taking the pantomime route, while Anna Dennis makes an imposing Queen of Night, edgy, determined and accurate.
Msimelelo Mbali, as Sarastro, lacks the gravitas shown by Andri Björn Robertsson’s Speaker, but his bass grows in authority in Act 2. Colin Judson offers an apt irritant as Monostatos, in place of the repellent figure we had last time.
Pasquale Orchard makes a charming Papagena, although she is introduced to Papageno early and deprived of her ‘old lady’ disguise. Many of the lesser roles are ably assumed by members of the chorus, proving its versatility.
Colin Richmond’s flexible set proves its worth once again, as does Douglas O’Connell’s high-impact video effects.
Brining envisaged Blakean poles of innocence and experience. He might instead have allowed Mozart and Schikaneder – in Jeremy Sams’s colloquial translation – to speak for themselves. The plot is complicated enough as it is.
Review by Martin Dreyer
Performances: Leeds Grand Theatre, February 12, 13, 15 and 22 2025, 7pm. Box office: 0113 243 0808 or leedsheritagetheatres.com. Hull New Theatre, March 27 and 29 2025, 7pm. Box office: hulltheatres.co.uk.
Duo Pleyel: Richard Egarr and Alexandra Nepomnyashchaya
Duo Pleyel –Richard Egarr and Alexandra Nepomnyashchaya (fortepiano), Mozart’s Real Musical Father, Sir Jack Lyons Concert Hall, University of York
I THOUGHT Duo Pleyel’s programme title, Mozart’s Real Musical Father, was a bit of a stretch, but it turned out to be an inspired one.
The pieces in the programme were composed between 1772 and 1786 and showcase the early developmental years of the piano duet, as well as musically documenting the unlikely, or rather, little known, friendship between Mozart and JC Bach [German composer Johann Christian Bach, youngest son of Johann Sebastian Bach].
Bach was a major composer at this time and clearly a major influence on the young Mozart, but his music seems to have been relegated to the second division by both history and fashion. So the chance to hear these two sonatas was very welcome and illuminating.
Both performances displayed the relative simplicity, elegance and immediacy we expect from the reactionary style galant, a modern style that gives primacy on melody and harmony overcomplex counterpoint. But the works were very different in character.
The Sonata in F, op 18, no.6 was indeed “full of unbridled fun and playful virtuosity”. The music positively zipped along with the players knocking ideas back and forth; the communication between the two came across as simply instinctive. A real feature throughout the concert performance.
It was also inspired, resulting in creative decorative enrichment and even ‘unwritten’ cadenzas. Was this genuinely an in-the-moment thing? I don’t know, but it sounded like it.
Having said that, I actually preferred the Sonata in A, op 18, no.5. It just radiated with tenderness. And who wouldn’t be seduced by those gorgeous extended cadences.
The concert opened with Mozart’s early Sonata in D K.381. What struck me here was the dramatic exploitation of the contrasting register and dynamics. It was almost symphonic – loud ‘orchestral’ tuttis etc. But then Mozart was not only an instinctive ‘operatic’ composer, it was also in his DNA.
Richard Egarr is not only an exceptional musician, he is also an excellent communicator, albeit a slightly whacky one. A self-confessed Trekkie, who performs regularly “all over the planet”, presumably Earth, he engages with the audience in a singularly unique manner.
There was an early window (after the Mozart) into the pedalling on this distinguished 1848 Pleyel piano with a parallel drawn with the state-of-the-art IPhone16. He even threw in a reference to Karl Marx just for good measure.
I suppose the standout performance must have been Mozart’s Variations in G, K 501. The theme had echoes of The Magic Flute; the ‘miserable’ 4th variation was so engaging with heartfelt, touching exchanges.
But it was the signing off – the incredible use of the piano’s sordino lever, leaving the music disappearing into the mist – that was so telling. Haunting and quite magical. As indeed, was the playing in the Adagio of the Sonata in Bb, K. 358 where it just melted into the ears.
The musical chemistry between Richard Egarr and Alexandra Nepomnyashchaya was palpable and the concert performance sounded like a shared intimacy. This was further enhanced by the natural charm and communicative skills of Mr Egarr himself, who included the audience as a genuine part of the concert experience.
DEL Boy in a musical, a Dungeon murderess, a Greek teen tragedy and a top-Rankin Scottish detective are well worth investigating, advises Charles Hutchinson.
New attraction of the week: The Black Widow, York Dungeon, Clifford Street, York, from today, from 10am
THIS Hallowe’en season’s new show at York Dungeon opens today. Be prepared to encounter the grim tale of Britain’s first female serial killer: Mary Ann Cotton.
A north easterner with a propensity for lacing tea with a drop of arsenic, the Black Widow was convicted of only one murder but is believed to have killed many others, including 11 of her 13 children, and three of her four husbands. Box office: thedungeons.com/york/tickets-passes/. Pre-booking is essential.
Jude Kelly: Striving for a gender-equal world in The WOW Show
The WOW factor: The WOW Show with Jude Kelly, York Theatre Royal, tomorrow, 7.30pm
WOMEN of the World founder, chief executive officer and theatre director Jude Kelly CBE was director of West Yorkshire Playhouse, Leeds, from 1990 to 2002 and London’s Southbank Centre from 2006 to 2018 and set up the WOW Foundation charity in 2010 to achieve a gender-equal world.
In an evening of optimism, determination and laughter, she explores “our often exasperating and confusing journey towards gender equity, covering everything from money, sex, race, food, and ageing”. Expect personal anecdotes, guests and big ideas. “The message is: If you are a woman or you know a woman, please show up!” says Jude. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Sam Lupton: Playing Del Boy in Only Fools And Horses The Musical at the Grand Opera House, York
“Plonker” musical of the week: Only Fools And Horses The Musical, Grand Opera House, York, October 14 to 19, 7.30pm plus 2.30pm Wednesday and Saturday matinees
BASED on John Sullivan’s long-running BBC One series, his son Jim Sullivan and comedy treasure Paul Whitehouse’s West End hit, Only Fools And Horses The Musical, combines 20 songs with an ingenious script.
“Join us as we take a trip back in time to 1989, where it’s all kicking off in Peckham,” reads the 2024-25 tour invitation. “While the yuppie invasion of London is in full swing, love is in the air as Del Boy sets out on the rocky road to find his soul mate, Rodney and Cassandra prepare to say ‘I do’, and even Trigger is gearing up for a date (with a person!). Meanwhile, Boycie and Marlene give parenthood one final shot and Grandad takes stock of his life and decides the time has finally arrived to get his piles sorted.” Box office: atgtickets.com/york.
Gray O’Brien in the role of Inspector John Rebus in Rebus: A Game Called Malice at York Theatre Royal. Picture: Nobby Clark
Thriller of the week: Rebus: A Game Called Malice, York Theatre Royal, October 15 to 19, 7.30pm; 2pm, Wednesday, Thursday; 2.30pm, Saturday
SCOTTISH crime writer Ian Rankin’s much-loved detective, John Rebus, takes to the stage in a new storyco-written with Simon Reade. Gray O’Brien, from Coronation Street, Casualty and Peak Practice, plays Rebus in a cast also featuring Abigail Thaw and Billy Hartman.
When a splendid Edinburgh mansion dinner party concludes with a murder mystery game, suddenly a murder needs to be solved. However, guests have secrets of their own. Among them is Inspector John Rebus, but is he Is playing an alternative game, one to which only he knows the rules? Rankin will attend the October 18 post-show discussion with the cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Chris Mooney and Helen Spencer: Playing lovers with opposite takes on their relationship in The Last Five Years at the NCEM, York. Picture: Simon Trow
Debut of the week: Wharfemede Productions & Black Sheep Theatre Productions in The Last Five Years, National Centre for Early Music, St Margaret’s Church, Walmgate, York, October 17 to 19, 7.45pm
HELEN Spencer and Nick Sephton launch their new York company, Wharfemede Productions, in tandem with Black Sheep Theatre Productions, by staging The Last Five Years, Jason Robert Brown’s musical story of two New Yorkers, rising novelist Jamie Wellerstein and struggling actress Cathy Hiatt, who fall in and out of love over the course of five years.
Combining only two cast members, York Theatre scene luminaries Chris Mooney and Spencer, with a small band, expect an intimate and emotive evening of frank storytelling and gorgeous music. Box office: ticketsource.co.uk/wharfemede-productions-ltd.
Alexander Flanagan-Wright in Helios, a modern take on an Ancient Greek myth, performed under the Great Hall dome at Castle Howard
Theatrical event of the week: Wright & Grainger in Helios, The Great Hall, Castle Howard, near York, October 17, 5pm and 7.30pm
A LAD lives halfway up an historic hill. A teenager is on a road trip to the city in a stolen car. A boy is driving a chariot, pulling the sun across the sky. In a play about the son of the god of the sun, Helios transplants the Ancient Greek tale into a modern-day myth wound round 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,” says writer-performer Alexander Flanagan-Wright, who presents his delicate tale with a tape-player beneath the Great Hall dome’s mural, painted by 18th century Venetian painter Antonio Pelligrini, whose depiction of the Fall of Phaeton was the thematic inspiration behind Helios. Box office: castlehoward.co.uk.
Squeeze: 50th anniversary celebrations at York Barbican
Recommended but sold out already: Squeeze, York Barbican, October 18, doors 7pm
DEPTFORD’S answer to The Beatles mark their 50th anniversary as Chris Difford and Glenn Tilbrook manage to Squeeze in hit after hit, like pulling musses from a shell. Don’t miss the support act, one Badly Drawn Boy.
Strictly between us: Husband-and-wife dancers Aljaž Škorjanec and Janette Manrara look forward to A Night To Remember at York Barbican next June
Show announcement of the week: Aljaž Škorjanec and Janette Manrara: A Night To Remember, York Barbican, June 1 2025
STRICTLY Come Dancing favourites Aljaž Škorjanec and Janette Manrara – married since 2017 – will be touring next year with A Night To Remember, featuring an ensemble of “some of the UK’s very best dancers and singers”.
Aljaž, partnering Tasha Ghouri in the 2024 series, and It takes Two presenter Janette will “perform stunning routines to an eclectic array of music”, spanning the Great American songbook through to modern-day classics, backed by their own big band, fronted by boogie- woogie star Tom Seal. Box office: yorkbarbican.co.uk/whats-on/aljaz-and-janette-a-night-to-remember.
In Focus: Black Treacle Theatre in Accidental Death Of An Anarchist, Theatre@41, Monkgate, York, Oct 15 to 19
Superintendent Curry (Chris Pomfrett) and DI Daisy (Adam Sowter) are pushed to the edge by The Maniac (Andrew Isherwood), when they are surprised in Accidental Death Of An Anarchist. Picture: John Saunders
BENT police and politics come under fire in York company Black Treacle Theatre’s provocative production of Dario Fo’s uproarious farce Accidental Death Of An Anarchist next week.
In a new adaptation by Tom Basden, creator of Plebs and Here We Go, the setting is updated to the rotten state of present-day Britain.
The satirical play is set in a police station where a suspect has “accidentally” fallen to his death, but did he jump or was he pushed? As the police attempt to avoid yet another scandal, a mysterious imposter (the Maniac) is arrested and brought in for questioning.
Seizing the chance to put on a show, he leads the officers in an ever-more ridiculous reconstruction of their official account, exposing their cover-ups, corruption and (in)competence.
The original 1970 Italian farce by Nobel Prize winner Dario Fo and Franca Rame was based on the real-life case of an anarchist suspected of a bombing, who plunged to his death from a Milan police station in suspicious circumstances and was later exonerated. Now comes the British re-boot.
The Maniac (Andrew Isherwood) peruses the Anarchist’s case file as Inspector Burton (Paul Osborne) interrupts him
Director Jim Paterson says: “I’m really excited to bring this new adaptation of one of my favourite plays to York. Dario Fo was a master of using comedy to talk about the social and political issues of the day – particularly state corruption and hypocrisy.
“What Tom Basden’s version does brilliantly is bring the plot bang up to date in both setting and references, taking in police scandals and political issues of recent years – as well as packing it full of hilariousjokes! It’s fast, furious and funny, and I can’t wait for opening night.”
Lead actor Andrew Isherwood says: “Playing the Maniac, I get the opportunity to play multiple roles, with a variety of voices, which is always fun for me as I really enjoy getting the chance to play around, have some fun and indulge a little bit, which I don’t normally get to express in the same show.
“I think audiences will get a real kick out of the bizarre nature of this show, with all its twists and turns and bitingly satirical elements woven in, all performed by a brilliantly talented cast!”
PC Joseph (Guy Wilson) attempts to keep a record of the increasingly complex story being spun in Accidental Death Of An Anarchist. Picture: John Saunders
Black Treacle Theatre in Accidental Death Of An Anarchist,Theatre@41, Monkgate, York, October 15 to 19, 7.30pm plus 2.30pm Saturday matinee.Box office: https://tickets.41monkgate.co.uk. Running time: Two hours 15 minutes, including interval.
In the cast will be: The Maniac – Andrew Isherwood; Inspector Burton – Paul Osborne; DI Daisy – Adam Sowter; PC Joseph – Guy Wilson; Superintendent – Chris Pomfrett; Fi Phelan/PC Jackson – Jess Murray.
Production team: Director, Jim Paterson; lighting designer, Adam Kirkwood; set designer, Richard Hampton; costume/props, Maggie Smales.
Did you know?
Black Treacle Theatre’s past productions were: Constellations (March 2022), Iphigenia In Splott (March 2023) and White Rabbit, Red Rabbit (November 2023), all at Theatre@41, Monkgate, York.
Last Chance To See: Jack Ashton starring in Little Women at York Theatre Royal, today at 2.30pm and 7.30pm
Jack Ashton as Professor Bhaer in Little Women at York Theatre Royal. Picture: Charlotte Graham
STARRING in a much-loved television series can be a boon or a bother for an actor who becomes identified with a particular character. Directors may be reluctant to offer different sorts of role.
Happily, Jack Ashton, best known as the Reverend Tom Hereward in BBC One’s Sunday night staple Call The Midwife, has escaped being typecast. So much so that in York Theatre Royal’s production of Louisa May Alcott’s coming-of-age classic Little Women, he is playing not one but two very contrasting characters.
The link is that both are suitors of the titular Little Women – John Brooke and Professor Bhaer, the love interests for Meg and Jo March. Not that Jack downplays the problems of leaving Call The Midwife after five years as the vicar of Poplar in the series set in an East End Anglican convent in the late 1950s and 1960s.
“It was difficult, more difficult than I thought,” he admits. “It was hard for a few years for my agent to get me seen for something. If you’re known as a particular character, it can be hard to do something that’s opposite to that and challenge yourself, which is what you want to be as an actor.”
In the past Jack has said that Call The Midwife changed his life, a reference to becoming a father – of Wren, six, and Lark, two – through his relationship with co-star Helen George. “It was a lovely time in my life,” he says. So much so that the last time he acted in York, in Strangers On the Train at the Grand Opera House in March 2018, newly-born Wren came on tour with them.
Jack Ashton’s John Brooke and Ainy Medina’s Meg March in Little Women, adapted by Anne-Marie Casey, at York Theatre Royal. Picture: Charlotte Graham
Juliet Forster’s production of Little Women at York Theatre Royal, where he has performed since his early days as an actor, certainly offers the chance to do something different: two different characters in one show.
One of them, Professor Bhaer, requires a German accent, necessitating Jack to work with a voice coach.
He has not read Little Women, although he has seen Great Gerwig’s 2019 film version, and coincidentally has just finished working with Saoirse Ronan, who played burgeoning writer Jo March in the American movie.
While he has not worked previously with any of the Little Women cast members, he has done so with director Juliet Forster, York Theatre Royal’s creative director.
She directed him in productions that have punctuate his life, going from a young man fresh out of drama school in 2006 to present-day leading man, appearing in Twelfth Night and the Studio double bill of Escaping Alice and End Of Desire, as well as The Guinea Pig Club and The Homecoming under former artistic director Damain Cruden’s direction.
Jack Ashton rehearsing the role of Professor Bhaer in Little Women. Picture: S R Taylor Photography
York remains one of his favourite places. “It’s such a great city. I love coming back, it’s a no-brainer when that kind of offer, like Little Women, comes along,” says Jack.
“I have really good friends in York and I’ve befriended Rita and Paul, the original people on the digs list. I got so lucky because I stayed with them the first time and have continued to stay with them every time since.”
He is realistic about the pitfalls of being an actor. “Sometimes people think an actor’s life is quite glamorous. We just audition and audition, and sometimes people say ‘yes, we want you’. Most of the time they say, ‘no thank you very much’.”
He has several projects waiting to be seen, including Jonatan Etzler’s satirical comedy Bad Apples – the one with Saoirse Ronan – and a small role in Lockerbie, a Sky drama series about one man’s battle to learn the truth about the Pan Am Flight 103 bomb explosion over the Scottish town on December 21 1988. He continues to play Harry Chilcott in BBC Radio 4’s long-running series The Archers too.
Returning to the topic of Little Women, does he have any sisters? “Two older sisters,” he replies. “I can definitely relate to not being able to get a word in edgeways.”
Box office: 01904 623568 or yorktheatreroyal.co.uk.
“We just audition and audition, and sometimes people say ‘yes, we want you’. Most of the time they say, ‘no thank you very much’,” says actor Jack Ashton
Kaiser Chiefs: Feeling the benefit of 20 years of Employment at Temple Newsam, Leeds, next May
KAISER Chiefs will mark the 20th anniversary of debut album Employment with a home-city concert at Temple Newsam Park, Leeds, on May 31 2025.
Joining the Yorkshire indie band that day will be mid-Noughties peers Razorlight, The Cribs, The Coral and We Are Scientists, plus Hastings trio HotWax and West Yorkshire’s Ellur, “two of the most exciting new indie artists in the UK”. Tickets go on sale today at https://tix.to/KCTempleNewsam.
Released in March 2005, the seven-times platinum and multi-award winning Employment remains the biggest-selling record from a Leeds artist, propelling I Predict A Riot and Oh My God to becoming anthems for the city, forever intertwined with Leeds life, culture, football and more.
To honour that special connection, as well as the 20th anniversary, Kaiser Chiefs will take to one of Leeds’s biggest stages for a celebration of Employment and the city that inspired it.
Kaiser Chiefs, minus Ricky Wilson that day, launching their When All Is Quiet: Kaiser Chiefs in Conversation with York Art Gallery exhibition in December 2018
London quintet Razorlight will perform a special set to mark the 20th anniversary of their debut album, Up All Night; Wakefield band The Cribs celebrate the same anniversary for sophomore album The New Fellas; The Coral, from the Wirral, will dive into their back catalogue, and cult American indie rockers We Are Scientists will highlight the 20th anniversary of their major label debut, With Love And Squalor.
Kaiser Chiefs are “very excited to announce our biggest Leeds gig ever”. “Twenty years since Employment, and 23 years since we last played at Temple Newsam, we are delighted to be back,” say Ricky Wilson (vocals), Simon Rix (bass), Nick “Peanut” Baines (keyboards), Andrew “Whitey” White (guitar) and Vijay Mistry (drums).
“Last time we played there [in their days as Parva], we joked we were on after Guns N’ Roses, who had played the previous night, so it’s been a long wait to finally actually headline the Park.
“We are a band that historically always looked forwards, but after 20 years of people telling us how important Employment is to them and how it soundtracked people’s lives, we felt we had to organise a celebration.
“We’ve managed to get a few of our old touring friends to come and celebrate with us and of course everyone is invited. Come celebrate the 2000s, Employment, When Leeds took over the World. See you all in May.”
A job well done: the new murals in North Street Gardens, York
THE transformative mural project in North Street Gardens, York, is complete.
In a collaboration between York BID (Business Improvement District), York Cares and City of York Council’s Eco Team, the project has seen the installation of vibrant murals designed and painted by BA Graphic and Communication Design students from York College & University Centre.
Part of the 16th annual York Cares Big Community Challenge that ran from September 16 to today, the murals aim to breathe new life into the flood defence barriers, which had become heavily graffitied.
Funded by the Nature Hubs Fund, the murals celebrate the history and evolution of North Street Gardens, while reflecting the values of the Big Community Challenge.
Before…
The murals feature bold, graphic designs, drawing inspiration from the plant life in the gardens and the shapes and patterns found in the nearby architecture.
The gardens, originally gifted to the city by Rowntree’s, have long served as a place of connection between nature and the community. It is now hoped the murals will bring this history to life by focusing on themes of environmental preservation and community spirit.
The York Cares Big Community Challenge is dedicated to changing landscapes through social and environmental initiatives. This year’s challenge saw more than 450 volunteers dedicating 1,362 hours of their time to improving green spaces.
The murals are a testament to this year’s focus on connecting people with nature, increasing biodiversity and fostering a sense of community. The murals also contribute to the growing York Mural Trail, an initiative by York BID to enhance the visitor experience by making the city’s public spaces more attractive and engaging.
After….One of the completed murals at North Street Gardens
Enthusing over the project, Rachel Bean, York BID’s project manager, said: “We are thrilled to collaborate with York Cares, the City of York Council’s Eco Team and York College and University Centre on this meaningful project.
“We want to say a big thank-you to the students for their beautiful murals, that not only elevate the space but also create a lasting cultural asset for the city, connecting people with nature and their community.”
Holly Hennell, manager at York Cares, said:“The students’ designs have perfectly captured the environmental focus of the Big Community Challenge, incorporating themes of biodiversity, nature and community connection. The murals add colour and life to the gardens, and we hope will encourage more people to enjoy this tranquil green space in the centre of York.”
Monica Gabb, course leader at York College and University Centre, said: “We have relished this opportunity for the students to bring their digital designs to life in a new scale and medium. Working directly with a live client from start to finish builds so many skills and relationships for our students.
Another completed mural at North Street Gardens
“What a fantastic portfolio piece for them. Thank you so much to York BID, York Cares and the Eco Team for their continued support and opportunity for our Level 5 students.”
Did you know?
NORTH Street Gardens, York, is undergoing a broader £6,000 rejuvenation to improve the space for public use and biodiversity.
Did you know too?
THIS year is the 16th York Cares Big Community Challenge. Over the past month, more than 450 volunteers from 16 employers and both universities [University of York and York St John University] have volunteered for 1,362 hours to change landscapes, connecting communities in the north, south, east and west of York through nature.
York Cares has hosted 48 volunteering sessions across 33 sites working with 28 partners. During the month, volunteers have weeded, dug, raked, scythed, built a pond dipping platform and boardwalk, picked litter, sown 6kg of wildflower seeds and planted 17,800 plants and bulbs to improve the sites.
Shed Seven celebrate topping the Official UK Album Chart with Liquid Gold, their second number one of 2024. Picture copyright: Ofiicial Charts Company 2024
IF at first you succeed after 30 years, then succeed again only a matter of months later.
Like buses, no number one ever arrived for York band Shed Seven until not one but two album chart toppers came their way in one year, making the Britpop survivors only the 20th act to achieve that feat in the Official UK Album Chart.
In good company too, standing on the shoulders of such giants as Frank Sinatra (1957); Elvis Presley (1962); The Beatles (1963, 1964, 1965); Bob Dylan (1965, 1970); Led Zeppelin (1970, 1976) and Elton John (1973, 1974, 1990).
Who else? George Mitchell Minstrels (who?! * See answer below); The Monkees; Slade; Mike Oldfield; Abba; Queen; Diana Ross; Robbie Williams; Blue(yes, really); Rihanna; Taylor Swift (2020, 2021, 2023) and Ed Sheeran.
Shed Seven’s final promotional push to take Liquid Gold to the number one spot
Rather than chasing rainbows in 2024, it’s Getting Better and better for Shed Seven, the band with the alchemist’s touch in a year of Going For Gold.
The Sheds began their 30th anniversary celebrations by entering the charts at number one with sixth studio album A Matter Of Time on January 12, a record-breaking gap of 29 years and three months between their debut, September 5 1994’s Change Giver, and first chart topper.
Could Liquid Gold, their second release of the year on indie label Cooking Vinyl, follow suit? Sitting at number one in the UK Midweek Album Chart, the Sheds saw off the challenge of Bring Me The Horizon’s Post Human: Next Gen, pulling ahead by 2,500 sales by Thursday morning in what had shaped up to be a two-horse race heading into the final straight, before cantering away to a lead of almost 5,000 at Friday afternoon’s finishing post.
“We can’t quite believe we are writing these words, but we’ve only gone and done it again!!” posted the band on their shedsevenofficial site on Instagram. “Our second number one album this year!!!
Liquid Gold Covers Edition: One of multiple formats that secured the top spotfor Shed Seven
“Liquid Gold is the official UK Chart number one album beating new releases from major artists including Ed Sheeran and Lady Gaga! Firstly, thank you to everyone who has bought the record – you truly are the best fans.
“Also, a huge thanks to all the amazing people we worked with on the album, and for helping us create the most beautiful record. Thanks to Cooking Vinyl for believing in us.”
Later the band posted: “This is one of the most rare feats on the Official Chart: securing two Number 1 albums on the Official Albums Chart within a single calendar year. In all of recorded Official Charts history, this has only happened to 20 acts, and now Shed Seven joins the likes of The Beatles, David Bowie, and Elvis!”
As with A Matter Of Time, a combination of myriad versions of Liquid Gold, a resourceful, rallying social media campaign and on-going record store tour of intimate gigs and personal appearances ensured the industrious five-piece were first past the post.
Huts five, Shed Seven: Tim Wills, left, Rob ‘Maxi’ Maxfield, Rick Witter, Paul Banks and Tom Gladwin promoting next summer’s Scarborough show at the seaside
The promotional campaign also took in a Radio 2 In The Park live set in Preston, a BBC Radio 2 Piano Session, plus Radio 2 playlist exposure and Amazing Radio’s Track of the Week status for the single Waiting For The Catch, a duet with Issy Ferris, of Ferris & Sylvester.
Recorded at Vada Recording Studios, Stratford-upon-Avon, with producer Michael Rendall, the album features the orchestral reimagining of past hits, less discovered band favourites and one new song, All Roads Lead To You, embossed with strings, brass and gospel vocal arrangements.
Numerous formats have sold out already, now complemented by the Demos Edition CD, a set of demos that crystallises the raw energy that the Sheds exuded in their early days. All profits from Demos Edition CD will be donated to the Music Venue Trust, which supports grassroots music venues across the UK – multiple venues that have been “vital to every moment of Shed Seven’s long and storied career”.
Front man Rick Witter said: “It’s important for all new up-and-coming young acts to have the opportunity to play venues like these, as it’s a crucial part of any artist’s journey to get a foothold on the musical path. Long may these venues exist.”
Guitarist Paul Banks added: “Shed Seven has had an incredible 30 years, and this year has been nothing short of unforgettable. We’ve climbed every rung of the ladder in this industry, starting out in independent venues.
Shed Seven celebrate notching their second number one of 2024
“When we look back at the places we played in 1994, it’s heartbreaking to see how many have closed their doors. Independent bands need independent labels, record shops and venues, and we want to give something back.
“That’s why we’re thrilled to release a limited-edition Liquid Gold CD, with all profits going to the Music Venues Trust. It features demos that really capture the rawness of Shed Seven, that same energy we had when we played those venues early in our career. Without independent venues, there would be no Shed Seven.”
The Sheds’ run of in-store appearances and Change Giver concerts since Liquid Gold’s release may have been brought to a temporary halt by Rick Witter’s sinus infection – has the City of York Council’s plan to launch a Rick Gritter road gritter this winter arrived early in his throat?! – but plans are taking shape already for 2025.
Tickets go on sale at 9.30am this morning for their “biggest ever headline show in their home county”, a long-overdue debut at the 8,000-capacity TK Maxx Presents Scarborough Open Air Theatre, the UK’s largest purpose-built outdoor concert arena, on June 14, when Jake Bugg and Cast will be their special guests. To book, head to: scarboroughopenairtheatre.co.uk or ticketmaster.co.uk.
Witter said (before the sinus infection struck): “It’s been a dream of ours for some time to head out to the coast to play Scarborough OAT. It’s a stunning and historic venue…Yorkshire’s very own Hollywood Bowl!
Shed Seven’s poster for next summer’s trio of outdoor headline concerts
“2024 has been an amazing year for us. We’ve had our first number one album, sold out shows across the land, and now to announce our biggest ever headline show in Yorkshire – it doesn’t get much better!
“We can’t thank our fans enough and we want them to join us in Scarborough next summer for what will be a magical night at this incredibly special venue.”
In addition, Shed Seven have announced two further live dates for next summer, either side of the Pennine divide for Sounds Of The City 2025: Castlefield Bowl, Manchester, on July 4 and a return to Leeds Millennium Square on July 11, having headlined the Sound Of The City bill there on July 15 2023, when Cast and fellow York band Skylights supported.
Ian Broudie’s Lightning Seeds, from Liverpool, and the Sheds’ upcoming winter tour opening act, The Sherlocks, from Sheffield, will be on support duty on both nights. Again, tickets go on sale today at www.gigsandtours.com and ticketmaster.co.uk or via https://tix.to/SS25.
The promotional poster for Paul Heaton’s Bramall Lane concert next May, featuring Shed Seven on the support bill
“We can’t wait to get out next summer for these big shows,” said Rick “It’s going to be a huge celebration following the success we’ve had in 2024. Expect big hits and huge singalongs. See you down the front.”
And now there’s more! Shed Seven are to support Sheffield United fan Paul Heaton at his beloved Bramall Lane, Sheffield, on May 25, when Lightning Seeds will be on the bill too.
Singer, songwriter and former front man of Hull bands The Housemartins and The Beautiful South, Heaton grew up in the Steel City. He will perform with his live and special guest singer Rianne Downey.
Today he releases his new solo album, The Mighty Several, produced by Lightning Seeds’ Ian Broudie, on Blood Records. His autumn tour will open with Yorkshire shows at Bridlington Spa on November 29 and Leeds First Direct the next night.
Did you know? Shed Seven are champions of National Album Day
Shed Seven: Championing the album as an artform
SHED Seven have been announced as the first champions of National Album Day ahead of its return on Saturday, October 19.
The official statement reads: “National Album Day announces iconic alternative rock band Shed Seven as the first album champions to celebrate this year’s theme of Great British Groups.
“Hailing from York, Shed Seven released their debut album Change Giver in 1994, which celebrates its 30th anniversary this year. To honour the anniversary, Shed Seven have partnered with National Album Day to present a special tour celebrating 30 years of the record and to promote the art of the album format.
“Paul Banks, member of Shed Seven, says: ‘For Shed Seven, albums are a powerful medium – a journey that tells a story, like a book or film. This belief shapes our music, including our new LP, Liquid Gold.
‘To us, an album is more than a collection of songs; it’s a cohesive experience with a theme, mood, and intentional moments of tension and release. Every detail, even the silences, is deliberate and meaningful.
‘Making an album involves more than music; it’s a full artistic endeavour. We’re deeply involved in every element, from the songs to the cover art, which extends the album’s narrative. The album as a format deserves to be protected and cherished because it blends multiple artistic disciplines into one experience.
‘That’s why we support National Album Day on October 19th, which celebrates Great British Groups and highlights the importance of albums. As long as we make music, we’ll craft albums that tell stories and provide a full experience, like our latest, Liquid Gold. We hope you’ll join us on this journey.’
“Released earlier this year, Shed Seven’s album A Matter of Time marked two huge milestones for the band; becoming their first No.1 album, and making them the first ever band from York to have a #1 record on the Official Albums Chart.
On fire: Shed Seven top the charts for the first time with A Matter Of Time in January
“The album also out-sold the rest of the Top #10 physically combined (competing with heavy-hitters Lewis Capaldi, Taylor Swift, Olivia Rodrigo, and The Weeknd) in week one!”
Since its launch in 2018, National Album Day has been supported by a broad range of artists, such as Kylie Minogue, Joy Crookes, Sharleen Spiteri, Lewis Capaldi, Mark Ronson, La Roux, Elbow, Paloma Faith, Blossoms, Alice Cooper, Novelist, Tom Odell, Mahalia, Toyah Willcox and Jazzie B.
Last year Gabrielle, Declan McKenna, Tricky, Nuno Bettencourt, Shola Ama and The Corrs added their voices as passionate advocates of the album.
National Album Day is organised jointly by the BPI – the UK association of record companies and independent labels (BRIT Awards and Mercury Prize) – and ERA, the digital entertainment and retail association (Record Store Day).
The event is supported by BBC Radio 2 and the breadth of BBC Sounds, radio, TV and online channels, and is backed by the wider recorded music community, taking in UK record labels, AIM, PPL and other trade associations, independent record stores and specialist chains, including HMV, and online retailers and digital/streaming services including Amazon, Spotify and YouTube.
The cover artwork for Change Giver, Shed Seven’s 1994 debut album on Polydor Records
THE Change Giver shows were scheduled to start with sold-out performances at Pryzm, Kingston, yesterday and today, hosted by Banquet Records, but Rick Witter’s sinus infection forced their postponement.
The Instagram statement from guitarist Paul Banks reads: “We’re absolutely heartbroken to let you know that we have to postpone this week’s shows at Kingston Pryzm due to Rick suffering from a sinus infection.
“He’s been gradually getting worse over the last few days, but he’s carried on and honoured the interviews he had as he didn’t want to let anybody down. However, it’s gotten so bad today [October 10] that, on doctor’s orders, we have no choice but to postpone the shows.
“Ticket holders, please check your email for more information. We’ll be in touch again a soon as the rescheduled dates are confirmed. Apologies for the very obvious disappointment.”
Further sold-out performances, playing the album in full, are scheduled for HMV Empire, Coventry, tomorrow (12/10/2024); SWG3, Glasgow, hosted by Assai Records, on October 17; Academy 2, Manchester, hosted by Crash Records, October 18, and Leeds Beckett Student Union, hosted by Crash Records, on October 19. An update on Rick’s vocal health will be forthcoming.
Likewise, sold-out in-store appearances are booked for Assai Records, Edinburgh, at midday on October 16 and Glasgow HMV at 5pm the same day.
Meanwhile, Change Giver is being released on heavyweight vinyl for the first time since 1994 in a re-issue that faithfully replicates the original Polydor UK pressing.
Shed Seven’s Paul Banks and Rick Witter performing on the first of two sold-out nights at York Musem Gardens in July, promoted by the Futuresound Group. Picture: David Harrison
NOVEMBER 30th ANNIVERSARY HEADLINE TOUR
14th – Sheffield, Octagon (SOLD OUT)
15th – Cardiff, University – Great Hall (LOW TICKETS)
16th – Liverpool, University – Mountford Hall (SOLD OUT)
18th – Halifax, Victoria Theatre (LOW TICKETS)
19th – Hull, City Hall (LOW TICKETS)
21st – Aberdeen, Music Hall (SOLD OUT)
22nd – Glasgow, O2 Academy (SOLD OUT)
23rd – Edinburgh, O2 Academy (SOLD OUT)
25th – Leicester, O2 Academy (LOW TICKETS)
26th – Margate, Dreamland
28th – Bristol, O2 Academy (SOLD OUT)
29th – Newcastle, O2 City Hall (SOLD OUT)
30th – Leeds, O2 Academy (SOLD OUT)
Stairway to Shed Seven: Rick Witter, left, Tom Gladwin, Tim Wills, Paul Banks and Rob ‘Maxi’ Maxfield step up in 2024. Picture: Barnaby Fairley
DECEMBER – 30th ANNIVERSARY HEADLINE TOUR
2nd – Oxford, O2 Academy (SOLD OUT)
3rd – Lincoln, Engine Shed (LOW TICKETS)
5th – Stockton, Globe
6th – Manchester, O2 Victoria Warehouse (SOLD OUT)
7th – Birmingham, O2 Academy (SOLD OUT)
9th – Norwich, The Nick Rayns LCR, University of East Anglia (SOLD OUT)
10th – Cambridge, Corn Exchange (SOLD OUT)
12th – Bournemouth, O2 Academy (LOW TICKETS)
13th – Nottingham, Rock City (SOLD OUT)
14th – London, O2 Academy Brixton (SOLD OUT)
Very limited tickets for select shows are available via shedseven.com.
DECEMBER – RICK WITTER & PAUL BANKS INTIMATE ACOUSTIC SHOWS
21st – York, Huntington Working Men’s Club (SOLD OUT)
22nd – York, Huntington Working Men’s Club (SOLD OUT)
*Who were the George Mitchell Minstrels?
THEY were formed by Scottish singer George Mitchell OBE, who devised the long-running Black And White Minstrel Show.
The tour poster for Only Fools And Horses The Musical
STICK a pony in your pocket! The Trotters are back, heading to York in Del Boy and Rodney’s yellow Reliant Regal Supervan III three-wheeler to perform Only Fools And Horses The Musical next week.
Running at the Grand Opera House from October 14 to 19, Jim Sullivan and comedy turn Paul Whitehouse’s hit show is on a 2024-2025 national tour after a record-breaking four-year sold-out run in London’s West End.
Based on John Sullivan’s BBC One comedy, this home-grown musical spectacular features cherished material and characters from the long-running series.
Sam Lupton: Playing Del Boy in Only Fools And Horses The Musical
Del Boy, Rodney, Grandad, Cassandra, Raquel, Boycie, Marlene, Trigger, Denzil and Mickey Pearce all feature in a musical with a score of 20 humorous songs and an “ingenious” script by John’s son, Jim Sullivan, and The Fast Show’s Paul Whitehouse
“Join us as we take a trip back in time, where it’s all kicking off in Peckham,” reads the tour publicity invitation. “While the yuppie invasion of London is in full swing, love is in the air as Del Boy sets out on the rocky road to find his soul mate, Rodney and Cassandra prepare to say ‘I do’, and even Trigger is gearing up for a date (with a person!).
“Meanwhile, Boycie and Marlene give parenthood one final shot and Grandad takes stock of his life and decides the time has finally arrived to get his piles sorted.”
Tom Major: Taking the role of Rodney in Only Fools And Horses The Musical
The show features musical contributions from rockney duo Chas & Dave, the beloved theme tune “as you have never heard it before”, and an array of new songs full of character and Cockney charm.
The touring cast includes Sam Lupton as Del Boy; Tom Major, Rodney, Philip Childs, Grandad; Georgina Hagen, Raquel; Nicola Munns, Marlene/Cassandra; Craig Berry, Boycie; Bradley John, Denzil; Lee Vg, Trigger; Peter Watts, Danny Driscoll/Mickey Pearce; Darryl Paul, Mike/Tony Driscoll; Richard J Hunt, dating agent, and Gloria Acquaah-Harrison, Mrs Obooko. Andrew Bryant is the resident director and dance captain.
Georgina Hagen: Cast as Raquel in Only Fools And Horses The Musical
“You’re guaranteed to have a right ol’ knees-up,” the tour blurb promises. “Only Fools And Horses The Musical is a feel-good family celebration of traditional working-class London life in 1989 and the aspirations we all share.
“So don’t delay, get on the blower, and get a ticket for a truly cushty night out. Only a 42 carat plonker would miss it!”
Only Fools And Horses The Musical, Grand Opera House, York, October 14 to 19, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york. Age guidance: Six upwards.
Nicola Munns at the double: Playing both Marlene and Cassandra in Only Fools And Horses The Musical
Remembering it well: Stalwart friends Dame Judi Dench and Gyles Brandreth, revelling in stories of stage and screenon stage at the Grand Opera House, York. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
DAME Judi Dench’s return to her home city for the talk show I Remember It Well at the Grand Opera House has been marked by a seat dedication in honour of last night’s visit to the York theatre.
Dame Judi chose her preferred seat number for the first such dedication since the Cumberland Street theatre was refurbished in 2022.
The engraved gold plaque, placed on the front-row seat A9 in the Dress Circle, reads: “York’s celebrated star of stage and screen, Dame Judi Dench, performed here 10 October 2024”.
Dame Judi, 89, was joined on stage at the sold-out 7.30pm event by television presenter, theatre producer, journalist, author, publisher and former Conservative MP for the City of Chester Gyles Brandreth.
Dame Judi Dench’s commemorative plaque on her chosen seat: A9, Dress Circle
Together they presented their hit West End and Royal Albert Hall reminiscence, I Remember It Well, wherein Dame Judi and her friend Gyles undertook a roller-coaster trip down memory lane as they explored the story of her extraordinary life, from her childhood in Heworth, York, in the 1930s to her latest Oscar nomination – for Best Supporting actress in Kenneth Branagh’s Belfast – in 2022.
The packed auditorium, “filled with excited locals and far-afield visitors”, was entertained with anecdotes aplenty – stories, Shakespeare sonnets, songs and surprises – in a “two-hour party of lifetime”.
Audience member Alison (no surname provided), who watched from the Ambassador Box, said: “She is such an amazing lady. A true legend and a night to remember. Judi and Gyles are so natural and comfortable together with such warmth. We felt very honoured and lucky to be here.”
The poster for Dame Judi Dench and Gyles Brandreth’s Grand Opera House soiree, I Remember It Well
The 2022 refurbishment included the replacement of 269 seats in the Dress Circle. Under the Dedicate A Seat scheme, “you could dedicate a seat to a loved one as an original gift, to your favourite Grand Opera House star or create a lasting legacy for someone who loved the theatre,” says the Grand Opera House website.
“For £250 per seat, an engraved plaque will be placed on the seat of your choice and you will receive a commemorative certificate. Your seat will then be dedicated for a minimum of three year.”
A touching moment in Dame Judi Dench and Gyles Brandreth’s show at the Grand Opera House last night. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
WHERE better for Wright & Grainger to stage their modern take on the Ancient Greek myth of Helios than underneath the dome of Castle Howard’s Great Hall.
The dome mural, painted by Venetian painter Antonio Pelligrini between 1709 and 1712, depicts the Four Elements, the Twelve Figures of the Zodiac and Apollo and the Muses.
This ethereal work climaxes with the tale of Phaeton falling from his father’s chariot. Encouraged to look higher and higher, the viewer finally meets the dizzying spectacle of Apollo’s son plunging to Earth, the chariot crashing into the river.
The Fall of Phaeton happens to be the thematic inspiration behind Easingwold storytellers Alexander Flanagan-Wright and Phil Grainger’s opus too, premiered at the Stilly Fringe at Stillington Mill, near York, in July 2023, and later that summer in the former Women’s Locker Room at Summerhall at the Edinburgh Fringe.
What happens, Alex? “A lad lives halfway up a historic hill,” he elucidates. “A teenager is on a road trip to the city in a stolen car. A boy is driving a chariot, pulling the sun across the sky.
“In a story about the son of the god of the sun, Helios transplants the Ancient Greek tale into a modern-day myth wound round 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.”
In the wake of their oft-performed, internationally acclaimed myth hits Orpheus, Eurydice and The Gods The Gods The Gods – joined for the first time by Half Man Hall Bull at this summer’s Edinburgh Fringe – Alex and Phil invite audiences to “join them in a grand room with a tape player-and a delicate tale to tell” in performances of Helios at 5pm and 7.30pm.
Alex and Phil have a history of staging performances at Castle Howard, ranging from Gobbledigook Theatre’s The Tales Of Beatrix Potter in the Walled Garden to The Guild Of Misrule’s peripatetic The Great Gatsby and Gobbledigook Theatre/The Flanagan Collective’s Orpheus that turned the Grecian Hall into a disco.
Now comes Helios, performed by Alex to a cinematic score by Phil. “To be honest, it was Abbi [Alex’s sister Abbigail Ollive, director of marketing and visitors at Castle Howard] who suggested it this time. When she first saw Helios at Edinburgh, she said, ‘oh, you know there’s a painting of the Fall of Phaeton in the Great Hall?, and I had to say ‘No’, but very quickly I thought, ‘we should definitely find time to do a show under such a piece of art’. Hopefully it’ll be an historically significant night.”
What drew Alex to re-telling the fateful tale of Phaeton in modern-day rural England? “There was something about this kind of need to prove yourself. These two young lads are kind of doing that ‘My dad’s better than your dad’ thing, where there’s a need to prove ‘I’m worth what I said I’m worth’ by doing something stupid,” he says.
“It’s that thing of wanting to be greater than you are and trying to do something that’s beyond your capacity,” says Alex
“I guess, in part, it’s the way you grow up in school, claiming ‘I am this or I am that’, and then someone says, ‘Yeah? Prove it’. It’s validating that space you take up in the world.
“It felt like it was a story that had a real tenacity to it, and then, like in loads of Ancient Greek myths, it speaks about how our landscape is laid out. Reflecting on how we grow up in our landscape, and how these stories define our day-to-day existence, it was a story well worth thinking about.”
Ancient becomes modern as Phaeton trying to ride his father’s chariot through the sky becomes “Phaeton having his mate Michael nick a car and then sticking it through the hedge”. “It’s that thing of wanting to be greater than you are and trying to do something that’s beyond your capacity,” says Alex. “That thrust of going too far to try to get the respect you’re pushing to achieve.
“You think, ‘what is that need in us now in a contemporary telling’ and you find the answer in something you remember in a story your mate told you.
“This is the interesting thing: why are you’re trying to go beyond these limits or trying to respond to someone else or a lack of something, rather than celebrating the beautiful things you have achieved.”
Alex continues: “Bragging is a want of broader satisfaction. It’s a loss of something, a lack of something, in everyone when growing up; you’re trying to compensate for something that otherwise means you don’t feel like you’re living life to the fullest.
“In our story of Helios we talk a lot about how it’s a show about facts in our world, how you live in relation to them, if you define them or they define you. There’s a bit in the show where they’re discussing their relationship with the sun. The sun being there means we can exist, but we like to define the sun: we are what defines us; that thing of saying ‘without us, the sun would be nothing’.
“We measure everything by the sun, but when you grow up there are so many other factors you are measured by and you understood what you’re in control of, rather than being controlled by. You brag less because you understand more.”
Why are we drawn to reckless speed in our youth? “I wonder why that is. I don’t know the answer, I don’t have an answer to posit. It starts with that joy of the bike, or roller skates, that joy of going really fast. I don’t know if it ever changes, though maybe we temper it.” says Alex.
Wright & Grainger present Helios in the Great Hall, Castle Howard, near York, October 17, 5pm and 7.30pm. Box office: castlehoward.co.uk.
The Great Hall and the Fall of Phaeton: the back story
THE Great Hall is the crowning masterpiece of dramatist-turned-architect John Vanbrugh’s design for Castle Howard, commissioned by the 3rd Earl of Carlisle.
From outside, the dome presents Castle Howard with a unique silhouette; on the inside, rising 70 feet into the air, it is a triumph of theatre and space. Massive columns, filled with carved decoration, rise in the four corners of the hallway; two large arches open to reveal the walls and staircases beyond; a balcony traverses the upper level, and above is the lantern and gallery with light flooding in from the eight windows.
The painted decoration, executed by the Venetian artist Antonio Pellegrini between 1709 and 1712, depicts the Four Elements, the Twelve Figures of the Zodiac and Apollo and the Muses.
This ethereal work climaxes with the tale of Phaeton falling from his father’s chariot. Encouraged to look higher and higher, the viewer finally meets the dizzying spectacle of Apollo’s son plunging to earth.
The 3rd Earl and Vanbrugh revelled in the playful ironies of this dramatic tale of ambition and fall, which gently mocked their own aspirations.
The dome was destroyed by a fire in 1940, and Pelligrini’s Fall of Phaeton was lost too. Following the reconstruction of the dome in 1960-61, a Canadian artist, Scott Medd, was commissioned to re-create the scene.
Gray O’Brien as Inspector John Rebus in Rebus: A Game Called Malice, on tour at York Theatre Royal. Picture: Nobby Clark
GRAY O’Brien makes his second stage appearance in York in 2024 next week, following up his Juror 10 in Twelve Angry Men at the Grand Opera House in May with Inspector John Rebus in Rebus: A Game Called Malice at York Theatre Royal.
Ian Rankin’s Scottish detective has been portrayed on stage, radio, television and online by such actors as Ken Scott, Brian Cox, Charles Lawson, John Hannah and, in six BBC One episodes in May and June this year, by Richard Rankin (no relation).
They have done so with varying degrees of success. John Hannah considered himself “miscast”, handing over to a more downbeat Ken Scott in the ITV series. Richard Rankin, the latest TV incarnation and younger than some of his predecessors, has met with approval.
O’Brien has not read the Rebus books, considering the thriller series to be “one of those things you get into or which just pass you by”, whereas devotees will be rushing out to acquire Rankin’s 25th detective novel, Midnight And Blue, published by Orion today (10/10/2024).
O’Brien has, however, spoken at length with the author, who says different actors bring out different aspects of Rebus, helping him to learn more about the character for the next book.
Gray O’Brien’s Juror 10, left, with Michael Greco’s Juror 7 in Twelve Angry Men at the Grand Opera House, York, in May. Picture: Jack Merriman
As he prepared to play Rebus, O’Brien asked the writer which books he should read to gain an insight into the character. Rankin’s reply came as a surprise. “He said, ‘don’t read them, you don’t need to, because this man is completely on his own. He’s now at a certain age where he’s retired. What’s been in the past is the past’,” O’Brien recalls.
In the new play, the retired detective finds himself at a posh Edinburgh dinner party where the guests play a murder mystery game. “He’s sitting there, a fish out of water thinking, ‘what the heck have I got myself into?’,” says O’Brien. “Then we discover why he’s really there, something happens, and the real Rebus bounces back.”
O’Brien likes how the whodunnit aspect was handled by Rankin, who co-wrote the play with Simon Reade after penning the first draft. The genre demands a denouement where the suspects are gathered together and the guilty party is exposed. “But we do it differently in this play,” he says, without giving too much away.
Given that his books are read worldwide, Rankin was keen to write a play that could be staged around the globe – another reason he wanted no constraints on the portrayal of the stage Rebus.
“It’s not Ken Stott’s Rebus or John Hannah’s Rebus. Your reading of the book is different to my reading of the book,” O’Brien says. “You read something like Lord Of The Rings or Game Of Thrones and you have the characters very much set in your head. Then you see it televised and go, ‘that’s the character I’m seeing in my head’.
Writer Ian Rankin, in the rehearsal room, reading the script for Rebus: A Game Called Malice. Picture: Jonathan Phang
“I can’t mimic or can’t try to copy someone else’s Rebus because we’re all made up completely differently. I can’t hold myself the way Ken Stott holds himself. We’re all different shapes, different sizes, we’re educated differently, we’re from different regions.”
Rebus’s accent was important to O’Brien, who grew up in Ayreshire, Rebus hails from Fife. Both men have Scottish accents but not necessarily the same-sounding accent. The Glasgow-born actor was keen to pay homage to the Edinburgh accent when the production played the Festival Theatre there last month and not resort to a generic Scottish accent.
“To English listeners it probably won’t matter as much,” he says. “Some people thought I was crazy doing an Edinburgh accent because I’m Scottish and I have a Scottish accent. I found the rhythms difficult because it’s a bit like getting someone from Milwaukee to do a Minnesota accent. They’re quite different. The Edinburgh vowel sounds and the line endings are completely different from the West Coast of Scotland.”
O’Brien has played major TV roles as Tony Gordon in Coronation Street, Richard McCaid in Casualty and Dr Tom Deneley in Peak Practice, but theatre remains an essential part of his work, whether touring in the 1954 courtroom drama Twelve Angry Men or starring alongside Dallas star Patrick Duffy in the American caper Catch Me If You Can.
“Theatre is a necessity because TV work stops and sometimes it doesn’t stop forever but there are certainly long hiatuses,” he says. “New people come into TV. Casting directors who championed you leave, the new ones don’t know you, and young people come in and don’t know my work. So you can get overlooked. Many careers crash and burn.
“I can’t mimic or can’t try to copy someone else’s Rebus because we’re all made up completely differently,” says Gray O’Brien
“I’ve been very, very lucky with the loyalty of [the late] producer Bill Kenwright. He’s always wanted me on stage if I’m available. Pretty much every year I get asked to do one of these stage tours. I jump at the challenge each time.”
O’Brien takes the responsibility of touring theatre seriously. “People are paying their hard- earned cash to come and have an experience in theatre. I would always encourage people to come and see a live play,” he says. “You don’t know what’s going to happen. There’s always a jeopardy moment on stage.
“It could be performance 100 or performance 24 where things don’t go fully as expected. Maybe an actor tries something slightly different and says a line with a different inflection. It can change the dynamic of the piece and it’s very exciting.”
What is the worst thing to have befallen him on stage? “Drying is terrible, just literally dropping the ball for half a second,” he says, referring to forgetting lines. “People don’t realise the concentration that’s involved in a play. You’ve got to be completely on the moment and be listening to everything.
“You cannot for a second think, ‘I wonder if I should have fish fingers tonight’. As soon as that happens you’releft with a cue but don’t know what you’re saying. That happens all the time and it’s just how quickly you can pick it up.”
Rebus: A Game Called Malice, York Theatre Royal, October 15 to 19, 7.30pm; 2pm, Wednesday and Thursday; 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.
