Strictly dance star Johannes Radebe finds Freedom at last in debut solo tour show

FREEDOM. What better title could South African dancer and ground-breaking Strictly Come Dancing star Johannes Radebe give his debut British tour.

“It is the freedom to dance to my own tune for the first time,” says 34-year-old Johannes, ahead of his itinerary opening with a Yorkshire show at Bridlington Spa on Wednesday (16/3/2022) before playing the Grand Opera House, York, on April 12.

“I’ve danced in many productions around the world but I’ve never been able to capture on stage where I came from, and I never thought I’d be able to go on my own tour, so it’s a very welcome surprise.”

Radebe (pronounced Ra-dee-bay) was catapulted to new heights of popularity by bonding so exhilaratingly with 2012’s The Great British Bake Off winner and TV chef John Waite as the first all-male couple in 2021’s series of Strictly, pipped for the Glitterball by first deaf contestant Rose Ayling-Ellis and professional partner Giovanni Pernice.

“It was liberating and healing as well,” says Johannes. “I’ve got a better relationship with my mum now, as we can talk about my sexual orientation – and people’s lives have changed for the better too.

“In a world where two men still can’t be free to be  together, I hope to be able to educate the masses, and if people had a glimpse of that with me and John dancing together, then they can think about it.”

Such was the appeal and dancing brio of both partnerships, each marking a first for Strictly, that many would have loved them to have been declared first equal. “I’m with you!” says Johannes, bursting into laughter. “John kept saying, ‘it’s fine if we don’t win’, and yes, it is s fine! At the finale, we both stood there as couples thinking ‘it’s fine’. That’s the friendship that comes through the show.”

After touring the world in Burn The Floor, Joahannes was head-hunted to join the Strictly professionals for the 2018 series, first moving to Britain that year. In his second season, when partnering Catherine Tyldesley in 2019, he danced the first same-sex routine with fellow Strictly pro Graziano Di Prima.

The tour poster for Johannes Radebe’s Freedom show

Last year was to be even more significant. “My decision to finally dance with another man in the competition came about after I lost a friend of mine within our community. He was murdered, and the last words that were uttered to him by his killer was that he was a ‘faggot’,” says Johannes.

He paused, consumed again by the pain of what his friend had suffered, then said: “I get a moment to highlight it in the show. This is something that needs to be done, to give it that platform, and it’s important to keep being flamboyant – but that does require bravery.”

Freedom marks Johannes’s return to the Grand Opera House for the first time since sharing the York stage with Strictly alumni Kevin Clifton and Graziano Di Prima in Burn The Floor in July 2019.

On tour from March 16 to May 1, Johannes Radebe: Freedom is billed as “a celebration of music and dance, from African fusion to fiery Latin, from classic dance arrangements to huge party anthems”, as Radebe and his dancers take the audience on his personal journey, from starting to dance at seven to leaving South Africa at 21 to travel the world, winning international titles and electrifying Strictly Come Dancing.

Now he will be expressing himself to the full in Freedom. “I’ve been on a quest to find Black dancers in this country that are versed in all dance styles, but not many of them are ballroom dancers, whereas where I come from everyone can do the Cha-cha-cha,” says Johannes.

“I’ve chosen everyone through auditions. I had to be in the room to feel their energy, to see if they move me as a dancer, so I’ve found beautiful, individual dancers, which will make it feel a different show.

“It’s a show designed to be representing everyone, and it will be so beautiful to have audiences that support our artform – and I know we have that privilege because of the Strictly audience.”

Johannes has a theory as to why dance and TV audiences feel such a strong connection with him. “It’s because I have no inhibitions. I know that I come alive when I dance. Something takes over. It’s a feeling as an artist that I can’t explain but people connect with it,” he says.

In a nutshell, Freedom. “Absolutely! Nothing is going to stop me. It’s about the joy that my dancing has brought to my mother. Nothing was more important to me than to see my mum be happy when often she would be sad,” says Johannes.

“I was only a child and so I didn’t understand the magnitude of it when she carried me on her back, telling everyone I’d got a prize in a dance competition. She was so proud, even though it wasn’t first place. But that’s the thing. That talent was nurtured from a young age, and though my mum couldn’t support it financially, everyone else contributed.”

Johannes Radebe’s pathway to Freedom was set in perpetual motion, and hopefully another Strictly series awaits too. “We haven’t had the phone-calls yet, but I’ll gladly do it for as long as they will have me,” he says.

Might he look to do another all-male coupling? “Well, you never now. I’m just glad to have kicked down that door.”

Johannes Radebe: Freedom, Bridlington Spa, Wednesday, 7.30pm; Grand Opera House, York, April 12, 7.30pm. Box office: Bridlington, 01262 678258 or bridspa.com; York, 0844 871 7615 or atgtickets.com/York. Further Yorkshire performances: Sheffield City Hall, April 3, sheffieldcityhall.co.uk; Bradford St George’s Hall, April 9, bradford-theatres.co.uk; Hull City Hall, April 23, 01482 300306 or hulltheatres.co.uk.

Copyright of The Press, York

Imogen Hawgood makes According To McGee debut alongside Pop artist Horace Panter in hyperrealism double delight

Las Vegas Pioneer Club, by Imogen Hawgood

YORK gallery According To McGee introduces a new painter and illustrator to their growing stable of artists this weekend for the Hyperrealism in America and Japan show.

Imogen Hawgood, from County Durham, brings her collection of realist paintings to Tower Street for a duo show with Pop artist and Ska legend Horace Panter, The Specials’ bassist.

“The inaugural aspect is important to the gallery as we continue to celebrate our 17th anniversary,” says co-director Greg McGee. “We’ve been blessed to run an art gallery in such a wonderful city through so many triumphant and difficult times.

Beer Crates, Tokyo, by Horace Panter

“The worst thing to do is fossilise and rely on our biggest sellers. The beauty of York is that, as a city with so much heritage, there’s a huge market for all things contemporary, and we’ve always tried to engage with that.”

Horace Panter and his hyper-art is no stranger to the McGees. “I’ve been working with According To McGee for a number of years now and am delighted to be bringing Americana and Japanese street scenes to this exhibition with Imogen,” he says.

Panter’s slices of punk-infused realism are instantly recognisable on the gallery’s white walls. “From Edward Hopper-inspired depictions of Midwest motels to the inner-lit thrum of Japanese kiosks and sun-warmed Coca-Cola crates, his collection complements perfectly Imogen’s art, which explores the icons of Americana and the idea of ‘the road’ as a transitional and symbolic landscape,” says Greg.

New Beverly Cinema, by Imogen Hawgood

Hawgood’s focus has turned to American landscapes and roadside imagery, together with experimentation with light leaks and colour effects. “Imogen spent some time in Los Angeles and is now lasering in on the American Dream, with its mythic allure of the West,” says gallery co-director Ails McGee.

“Viewers will see that her work is instantly cinematic. There’s the composition and lighting that feels really filmic and looks iconic and stylish, like a modern Hopper. Depictions of Cinerama Dome in Hollywood and Quentin Tarantino’s New Beverly Cinema help hammer home this vibe.”

Imogen says: “The freedom of the American open road has been a powerful image for generations on both sides of the Atlantic, representing for some self-discovery, for others a path to redemption.

“I try to capture a sense of movement through my composition and use of colour and lighting,” says County Durham painter and illustrator Imogen Hawgood

“Through the use of my own photography, as well as found footage, the images I create juxtapose an air of nostalgia with contemporary viewpoints. I often use the interior of a car as a frame through which to view a passing landscape and try to capture a sense of movement through my composition and use of colour and lighting.”

While working on new images, Hawgood works up ideas by using a thumbnailing process influenced by film storyboarding. “Film is an important source of inspiration across many areas of my practice, influencing my choices across composition, colour and lighting,” she says,

“I’m particularly drawn by stark lighting traditionally used in film noir, and more contemporary takes on this genre, like the neon chaos of Ridley Scott’s neo-noir Blade Runner.

Las Vegas Double Exposure, by Imogen Hawgood

“Thematically, I’m also inspired by films such as Easy Rider, Thelma And Louise and Kalifornia; examples of narratives which also question the allure of the road and where it may lead.”

Hawgood has exhibited in the New Light exhibition at Scarborough Art Gallery and at the Holt Festival in Norfolk. In 2020 she was shortlisted for the ING Discerning Eye, John Hurt and Sworders art prizes; last year she was highly commended in the watercolour category at the Broadway Arts Festival competition. Overseas, her work has been shown at the Vestige Concept Gallery in Pittsburgh, Pennsylvania.

Ails concludes: “Horace Panter has taken his position in the pantheon of UK Pop artists. His contribution to the cultural landscape is indisputable, so it’s especially exciting to introduce Imogen to our collectors in this way.

Japanese Vending Machine, by Horace Panter

“When established artists are in such proximity to rising stars, it can really make a gallery’s walls zing. This is a great result, not only for York’s cultural life, but also for the north, and we’re looking forward to seeing existing collectors and meeting new collectors this weekend.” 

Horace Panter and Imogen Hawgood’s Hyperrealism in America and Japan exhibition runs at According To McGee, Tower Street, York, from March 12 to 25.

Gallery opening hours are: Monday to Friday, 11am to 3pm; Saturday, 11am to 4pm; or by appointment on 07973 653702.

Kentmere House holds retrospective show by ‘painter’s painter’ Roy Freer (1938-2001)

Statue At Sleningford, by Roy Freer

KENTMERE House Gallery, in York, is holding an exhibition in celebration of the work of Suffolk artist and teacher Roy Freer (1938-2021).

“Roy, who died on March 3 last year, was regarded as one of the finest painters of his generation,” says Ann Petherick, owner and curator of the Scarcroft Hill gallery. “He had been showing with Kentmere House ever since we opened in 1991 and before that at Grape Lane Gallery in the city centre.

“We have a small number of his works for sale, with prices held at their original levels of £550 to £1,800, to be followed by a larger exhibition in association with his family in the autumn.”

Roy had studied at Bourneville College of Art and Birmingham College of Arts and Crafts from 1956 to 1958. After becoming a full-time artist more than 30 years ago, he showed a single-minded focus in using overlays of rich colour to depict still-life, figure and landscape as a way of presenting a visual understanding of his subject.

“Working from a familiar selection of either studio-based still-life objects or outdoor features, Roy was concerned with the interpretation of the subject as a visual experience rather than a factual response,” says Ann.

“In his paintings, the over-layering brush marks underpin the main structure and the whole is suffused with light, depicted in strong shafts of colour across the canvas. Although still-life or landscape was his usual subject matter, he was also a very fine portrait painter.” 

Roy Freer said of his work: “Scattered objects, shaded objects, bright objects; snatches of coloured material and papers; windows of summer brightness and the darkness of winter; familiar objects not quite seen, veiled behind light, shadow and colour. These are the concerns of my painting.” 

Golden Apples, by Roy Freer

Roy, who lived in a riverside house in Sudbury, was drawn to colour, seeing the world as a very colourful place even on rainy days. “For me, the fascination of painting is to be found in the experience of the subject as moments of stillness and change,” he said.

“A landscape, for example, is a continual source of change, and one is ever aware of the passage of time, as with the movement of light from morning to afternoon. Both in landscape and still life, I want to show through colour and brush mark, a visual interpretation of the subject that reflects the magical substance of sensation and experience.” 

He was a member of the Royal Institute of Oil Painters (ROI), New English Art Club (NEAC), and the Royal Institute of Painters in Watercolours; painted leading players Steve Davis and Jimmy White for Snooker International and was commissioned by Shell UK to provide work for their calendar.

Although most of his work has been shown in the south, he was artist-in-residence for the York Early Music Festival and took part in two exhibitions of paintings of Yorkshire gardens in association with the National Gardens Scheme and the Royal Horticultural Society, both curated by Kentmere House Gallery.

Roy showed regularly with Mall Galleries, London; Catto Gallery, Hampstead, London; David Messum Gallery, Cork Street, London, and the Royal Birmingham Society of Artists.

Paying tribute to Roy, Salliann Putnam, of the New English Art Club, says: “I had been so inspired by Roy that I invited him to run a weekend workshop for the society. He ended up running three and they were all brilliant.

“He arrived in a small van, which was packed to the roof. We had a large village hall that Roy transformed into a world of pure colour.”

Roy assembled three large white platforms, placing deckchairs, sunflowers, pots, fabrics, cubes, painted chairs and many other objects on and around them.

Harbour Shelter, by Roy Freer

“It was a colourist’s paradise,” recalls Salliann. “Roy then demonstrated his approach to painting, and it was a revelation. From the very first mark, there was life and energy. He would mass in the big areas in wonderful colour.

“Then he would gradually move into smaller marks, mixing the colour and transferring it to his brush. He would then study his subject with a searching eye before making a mark. His work looks so free, but it is carefully considered.”

Roy taught Salliann how to look. “I recall him showing a slide of an interior with the light flooding in through the window,” she says. “Roy then adjusted the lens on the projector so that everything was out of focus.

“This was a moment of magic as the image was transformed into pools of light. Edges disappeared; tones became all important; masses appeared. Colour and tone were more important to Roy than the subject.”

Summing up, Salliann says: “Roy was an inspirational painter; he was very much a painter’s painter. I was privileged to attend a number of his courses and came away totally inspired. The art world has been enriched by Roy’s painting and his teaching. He will be so missed.”

Paul Curtis, also from the New English Art Club, says: “Roy Freer’s paintings softly tap you on the shoulder as you walk by, pulling you back to look again at the quiet, close-toned colour with one accent of light. They reflected his personality and determination to take a chance with his work in order to get it right.”

Club president Peter Brown always found Roy’s paintings “remarkably fresh”. “His ability to design the picture surface while describing form and space created welcoming atmospheres for us to enter and enjoy,” he says. “He appeared to show respect for his subject, sometimes monumentalising – say – the end of a terrace, and yet was never a slave to his subject.

“I was so pleased to hear from [his wife] Sally that his sons plan to publish an archive of Roy’s work online. Something for us all to look forward to after his sad passing.”

Still Life, by Roy Freer

Young artists sought for Pocklington Arts Centre’s competition to mark The Queen’s Platinum Jubilee. Deadline day is April 26

CALLING young artists. Pocklington Arts Centre is launching an art competition to celebrate Her Majesty Queen Elizabeth II’s Platinum Jubilee.

Children aged five to 18 are invited to create a piece of artwork inspired by The Queen’s 70 years on the throne.

Entrants could win a top prize of £200 for their school or organisation, and further prizes of £50, £25, and £10 will go to the three pupils whose works are judged to be in the top three. 

The competition is being run in association with All Saints’ Church, in The Pavement, Pocklington, where selected images from the competition will be displayed on the railings in an outdoor exhibition from May 23 to June 18. 

Pocklington Arts Centre director Janet Farmer says: “The Platinum Jubilee is a special moment in our history, so we wanted to present an exhibition that reflects this. 

“After we previously held two hugely successful outdoor exhibitions at All Saints’ Church during lockdown, we can’t wait to see these new artworks marking such a momentous occasion, created by young talent, on display.”

The prize money has been made possible thanks to the Friends of Pocklington Arts Centre, whose chair, Janet Brader, says: “We love being able to encourage children and young people to engage in the arts, something that we do through subsidising the venue’s family theatre programme, so we are delighted to be able to support this wonderful competition.”

Young artists should submit their 2D art as an A4 or A3 image or a Jpeg, excluding photography, to Pocklington Arts Centre, in Market Place, or by emailing info@pocklingtonartscentre.co.uk by Tuesday, April 26.

Please include your name, age, telephone number, email address and name of your school or organisation.

Katherine Ryan to return to York Barbican with Missus’s thoughts on love and life

Katherine Ryan: Autumn return to York Barbican

CANADIAN comedian, writer, presenter and actress Katherine Ryan is to return to York Barbican on September 29 for a second performance of Missus.

The creator and star of the Netflix series The Duchess and host of All That Glitters first presented her latest tour show in York last December.

Ryan, 38, once denounced partnerships but she has since married her first love, accidentally, in a world where a lot has changed for everyone, prompting her to offer new perspectives on life, love and what it means to be Missus.

London-based Ryan’s debut sitcom, The Duchess, made its debut in September 2020, immediately leaping to the top of the UK Netflix chart in the wake of her Netflix stand-up specials, 2017’s In Trouble and July 2019’s Glitter Room.  She remains the only woman to be given a Netflix global special.

Ryan is a stalwart of British panel shows Would I Lie To You?, 8 Out Of 10 Cats and QI and has appeared on the BBC One series Who Do You Think You Are?.  

Tickets for Katherine Ryan’s Missus show go on sale on Friday from 10am at yorkbarbican.co.uk.

Richard Bean’s irreverent comedy 71 Coltman Street is back up and running for Hull Truck Theatre’s 50th anniversary

Playwright Richard Bean

AT last, tonight IS the press night for Hull Truck Theatre’s 50th anniversary “headline production”, Richard Bean’s 71 Coltman Street.

First, a Covid outbreak among the company in rehearsals delayed the opening from February 17 to February 22, when “the complexity and ensemble nature of the show meant it could not be ready any earlier”.

Press night was duly moved from February 23 to March 1, only for a second, wider-spread Covid outbreak in the company to enforce the cancellation of more performances from March 1 to 5.

Third time lucky for the fourth estate, artistic director Mark Babych’s production of Hull playwright Bean’s riotous comedy reopens tonight for its final week.

Commissioned to mark Hull Truck’s 50th birthday, with songs by musician, writer and comedy actor Richard Thomas, of Jerry Springer The Opera notoriety, 71 Coltman Street begins a suite of work in 2022 to mark the pioneering Hull theatre’s past, present and future.

It takes the form of an origin story that embraces the spirit of Hull Truck’s founders and the ideals and ideas that drove them, told with Bean’s trademark humour, grit and passion, familiar from One Man, Two Guvnors and his 2017 Hull City of Culture premiere, The Hypocrite.

In a combination of irreverent comedy, cabaret, farce, and drama, Bean heads back to the 1970s to recount Mike Bradwell’s mission to revolutionise British theatre. Sick of fancy plays by dead blokes, he wants to tell stories about real people, living real lives, and it doesn’t get more real than Hull.

In a freezing cold house on Coltman Street, a motley crew of unemployed actors gather to improvise a play with no name, no plot, no budget, and no bookings. So begins Hull Truck Theatre under Bradwell’s artistic directorship.

Thrilled to open the 50th anniversary season with 71 Coltman Street, director Babych says: “From our radical roots to who we are now, Hull Truck Theatre remains a company inspired by the people and place of Hull and East Yorkshire, working with a diverse range of artists and communities to create work with a unique northern voice that celebrates the stories of our city-centre stage.

“We’re incredibly excited to be working with Richard again after the amazing success of The Hypocrite [co-produced with the Royal Shakespeare Company] in 2017. After such a long association with the company, with an incredible track record of work, including Toast, Under The Whaleback and Up On The Roof,Richard’s commitment to the company and the city is something of which we are very proud.”

In preparation for writing the play, Bean conducted extensive research with original company members and founding artistic director Bradwell. 71 Coltman Street is his creative response to the early days of the company, some parts true, others not, but to appropriate the late great Eric Morecambe’s quote, his play is “playing all the right notes, but not necessarily in the right order”!”

“The house at 71 Coltman Street is still rather grand,” says Richard. “It’s a big house, like an old merchant’s house, that was turned into bedsits in the 1960s and became a house for passers-through.

“Basically, the family who owned it in back then still own it, but we’ve changed their names in the play to protect their identity!”

Bean drove down the street but could not access 71 Coltman Street itself. “Mike Bradwell and Alan Williams told me all about it instead. It was where they lived and worked on shows, with a really massive three-panelled window at the front,” he says.

“Running between Anlaby Road and Hessle Road, in west Hull, Coltman Street has a reputation as a bit of a rough street, a transitory place to live. My dad was a policeman in Hull, and if you said, ‘there’s a new theatre company setting up in Coltman Street’, he’d say, ‘oh, Coltman Street’!”

Hull Truck Theatre in 71 Coltman Street, Hull Truck Theatre, Hull, until March 12. Box office: 01482 323638 or at hulltruck.co.uk.

REVIEW: Paul Rhodes’s verdict on Blair Dunlop with Ellie Gowers, The Crescent, York, 6/3/2022

Blair Dunlop: “Cutting an elfin figure, he was refreshingly un-diva like”. All pictures: Paul Rhodes

THE best moments in live music are often those that can’t be re-created by spinning the record at home. When touring musicians also play together rather than skedaddling after their set, then magic can happen.

As Blair Dunlop, Magpies’ fiddler Holly Brandon and support act Ellie Gowers sang and played together, Sunday’s concert went from middling to great. The energy and camaraderie between the performers was palpable and the musical results were wonderful.

Blair Dunlop has been forging a strong cult following since his debut back in 2012. As the son of UK folk royalty Ashley Hutchings, Dunlop is used to the level of expectation that welds itself to any son or daughter of such a figure.

He has since moved progressively away from those folk antecedents, but to his credit has also kept traditional elements to the fore. Newly turned 30, he has doubtless many twists and turns ahead.

Like others of his generation (take a bow Ed Harcourt and Teddy Thompson), Dunlop has perhaps found it hard to find a musical spot to wed himself too, and can therefore end up caught between stylistic camps.

Ellie Gowers: “Well-chiselled songs and playing were consistently fine”

On this tour he was playing new tunes. Interestingly, he chose to first play songs that have been rejected by “the suits at the record label”. You have to say they probably made the right call – here was the sound of Dunlop trying too hard. His tale of a Chesterfield working man’s café was simply too workmanlike. Better was to come.

Dunlop is good company on stage. Cutting an elfin figure, he was refreshingly un-diva like, instead talking at length of his love of cars and football. 356, his song about a classic Porsche was memorable (if anatomically incorrect) and new number Giulietta took his love of petrol but made it more relatable.

Dunlop’s guitar playing was consistently excellent, but like the man himself never too flash. Beneath The Citadel was perhaps the best received, with some wonderful picking on display, as well as some high-brow lyrics to match his own fine brows.

Support act Ellie Gowers is a new name to the city, but certainly one to watch. Her well-chiselled songs and playing were consistently fine. From the heart of England (Warwick), Gowers was previewing her debut album (due Autumn 2022) based on traditional folk tales from her home county, along with earlier material in a singer-songwriter garb.

What was arresting was the variety that she weaves into her songs, and the quality of her crystal-clear voice. For an encore, Dunlop and Gowers took on Gillian Welch’s mighty Dark Turn Of Mind and fought it to a draw. Two performers who unmistakably bring the best out of one another. Long may they run.

Review by Paul Rhodes

Blair Dunlop and Ellie Gowers: Uniting for encore cover of Gillian Welch’s Dark Turn Of Mind

Marillion follow up An Hour Before It’s Dark album with York Barbican autumn concert

Marillion: New album and autumn tour

MARILLION will play York Barbican on September 21 on their nine-date autumn tour to promote new album An Hour Before It’s Dark.

Tickets will go on sale on Friday at 10am at yorkbarbican.co.uk for the prog rock veterans, who say: “We’re once again looking forward to our shows in September, in conjunction with Kilimanjaro, and we can’t wait to get out there and play the new album to the fans.”

Addressing social, political and personal matters, Marillion “put their finger on the pulse of time” on their March 4 album,  whether referencing the last hour of being allowed to play outside as a child before having to go home; the fight against time in relation to the climate crisis or the last minutes in a person’s life.

The poster for Marillion’s September 2022 tour

An Hour Before It’s Dark contemplates the Covid-19 virus, mortality, medical science, care and Leonard Cohen and yet the music is surprisingly upbeat, Marillion’s sound being bolstered by the soulful addition of Choir Noir.

Like its predecessor, 2016’s FEAR (**** Everyone And Run), the new album was recorded at Peter Gabriel’s Real World Studio. Those studios also formed the backdrop for a behind-the-scenes documentary on the making of the album and a performance of Murder Machines released in tandem with the record.

Founded in 1979, Marillion have chalked up 20 studio albums over 43 years. In the line-up at York Barbican will be Ian Mosley, Steve Rothery, Steve Hogarth, Pete Trewavas and Mark Kelly.

More Things To Do in York and beyond as Bloosmbury sets in for spring gallery run. List No. 72, courtesy of The Press, York

Fan-tasia : Becky Gee, curator of fine art at York Museums Trust, at the Beyond Bloomsbury: Life, Love & Legacy exhibition at York Art Gallery. Picture: Charlotte Graham

FROM an ice trail to Spring Awakening, a very happy pig in mud to sibling rivalry in a salon, Charles Hutchinson points you in the right direction for days and nights out.

Exhibition opening of the week: Beyond Bloomsbury: Life, Love & Legacy, York Art Gallery, until June 5

YORK Art Gallery’s spring exhibition, in partnership with the National Portrait Gallery and Sheffield Museums, explores the lives and work of the extraordinary Bloomsbury writers, artists and thinkers.

Active in England in the first half of the 20th century, they included the writer and feminist pioneer Virginia Woolf and her sister, the painter Vanessa Bell, as key figures.

On show are more than 60 major loans of oil paintings, sculptures, drawings and photographs by Bell, Dora Carrington, Roger Fry, Duncan Grant, Paul Nash, Gwen Raverat and Ray Strachey, plus four commissions from Sahara Longe, painted in response to the Bloomsbury legacy, and Bloomsbury-inspired murals and fireplaces designed by graphic artist Lydia Caprani. 

York Ice Trail: Thrills in chills this weekend

Spectacle of the week: York Ice Trail, today and tomorrow

MAKE IT York and Visit York invite you to “pack your suitcase, grab your passport and embark on a journey around the world” in the return of the York Ice Trail.

Sculptures of solid ice await discovery at 43 locations this weekend, inspired by international cultures and a love of travel. Live carving is promised too.

In response to the Russian invasion of Ukraine, the National Railway Museum has withdrawn its Faberge’s Trans-Siberian Railway Egg in Low Petergate, but a newly added ice sculpture in support of Ukraine will be on display in St Helen’s Square.

Giovanni Pernice: This is him in This Is Me!, on tour at York Barbican on Wednesday

Dance show of the week: Giovanni Pernice: This Is Me!, York Barbican,  7.30pm

AFTER partnering Rose Ayling-Ellis to Glitterball Trophy success in the 2021 series of Strictly Come Dancing, Giovanni Pernice pays homage to the music and dances that inspired his journey from competition dancer to television favourite.

“I just want to try and do something different, something that you haven’t seen before,” says Sicilian stallion Pernice, 31. “I want to challenge myself and show off my hidden talents.” Cue ballroom and Latin dances and more besides. Box office: yorkbarbican.co.uk.

Peppa Pig in her dressing room, awaiting her call for the Best Day Ever

Children’s show of the week: Peppa Pig’s Best Day Ever, Grand Opera House, York, Wednesday, 1pm and 4pm; Thursday, 10am and 1pm

PEPPA Pig is so excited to be heading off on a special day out with George, Mummy Pig and Daddy Pig in a road trip full of adventures, songs, games and laughter.

From castles to caves, dragons to dinosaurs, ice creams to the obligatory muddy puddles, there will be something for all the family to enjoy. Look out for Miss Rabbit, Mr Bull and Gerald Giraffe too on “the best day ever for Peppa Pig fans”. Box office: 0844 871 7615 or at atgtickets.com/York.

Hair-larious: Buglight Theatre turn the Bronte sisters into salon stylists in Jane Hair

Salon appointment of the week : Buglight Theatre in Jane Hair: The Brontes Restyled, York Theatre Royal, Studio, Thursday, 7.45pm

SIBLING rivalry meets literary debate one explosive evening when stylists Anne, Emily and Charlotte Bronte cut, colour and style while sharing their hopes and dreams in Bradford’s most creative beauty salon.

Buglight Theatre writers Kirsty Smith and Kat Rose-Martin offer this chance to meet the modern-day versions of three determined young women from Yorkshire who set the literary world on fire. For returns only, ring 01904 623568.

Josh Liew and Amy Hawtin: Playing the leads, Melchior Gabor and Wendla Bergman, in Central Hall Musical Society’s Spring Awakening at Theatre@41

Musical of the week: Central Hall Musical Society in Spring Awakening, Theatre@41, Monkgate, York, Thursday and Friday, 7.30pm; Saturday, 2.30pm, 7.30pm

CENTRAL Hall Musical Society (also known as CHMS, York), from the University of York, present Duncan Sheik and Steven Slater’s 2006 rock musical revamp of a once-banned Frank Wedekind play, directed by Abena Abban.

A group of teenagers in a small German village in 1891 find the oppressive structures upheld by their parents and teachers to be at odds with their own awakening sexuality.

Spring Awakening explores themes of sex, puberty, coming of age and a yearning for a more progressive future, refracting old-fashioned values through a 21st-century lens. Box office: tickets.41monkgate.co.uk.

Le Navet Bete’s motley crew of pirates in Treasure Island at York Theatre Royal

Family show of the week; Le Navet Bete in Treasure Island, York Theatre Royal, Thursday, Friday, 7.30pm; Saturday, 2.30pm and 7.30pm.

LAST in York last September to reveal a vampire’ secrets in Dracula: The Bloody Truth, physical comedy company Le Navet Bete now go in search of buried treasure in a swashbuckling family adventure, Treasure Island.

Peepolykus artistic director and writer John Nicholson directs a cast of four, playing 26 characters in a fresh take on Robert Louis Stevenson’s tale laced with contemporary comedic twists, tropical islands, an unusual motley crew of pirates, a parrot called Alexa (straight from the Amazon), a white-bearded fish finger tycoon and unforgettable mermaid.  Box office: 01904 623568 or at yorktheatreroyal.co.uk.

David Ford: Living in interesting times at Pocklington Arts Centre on Thursday

Gig of the week outside York: David Ford, Pocklington Arts Centre, Thursday, 8pm

WHAT happens when you shut a creative force in a room for two years? The answer is a tornado blast of a new album from Eastbourne singer-songwriter David Ford documenting the tumultuous events of 2020 and 2021, as he charts the rise of Covid and fall of Trump, although both are still stubbornly refusing to go away.

Ford will air songs from the imminent May You Live In Interesting Times, along with compositions written in two days and recorded in one with American support act Annie Dressner. Look out for their six-track EP on sale at the Pock gig. Box office: 01759 301547 or at pocklingtonartscentre.co.uk.

What happens when the lead singer leaves just as you release your second album?

Bagged up: The artwork for Black Country, New Road’s second album, Ants From Up There

AS Black Country, New Road head out of the departing Isaac Wood’s song world, podcasters Graham Chalmers and Charles Hutchinson review sophomore album Ants From Up There and ponder where they might roam next, now they are six.

Under debate too in Episode 79 of Two Big Egos In A Small Car are PJ O’Rourke’s righteous literary legacy; Peter Jackson’s newly revealing Beatles rooftop concert film and American musicians’ love of British indie acts.

To listen, head to: https://www.buzzsprout.com/1187561/10141458