What’s On in Ryedale, York and beyond. Hutch’s List No. 48, from Gazette & Herald

Danny Horn’s Ray Davies leading The Kinks in Sunny Afternoon, on tour at Grand Opera House, York. Picture: Manuel Harlan

SUNNY Afternoon’s Kinks songs for dark nights, Dibley comedic delights and drag diva Velma Celli’s frock rock catch Charles Hutchinson’s eye.

Musical of the week: Sonia Freidman Productions and ATG Productions present Sunny Afternoon, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Wednesday, Friday and Saturday matinees

RETURNING to York for the first time since February 2017, four-time Olivier Award winner Sunny Afternoon charts the raw energy, euphoric highs, troubling lows, mendacious mismanagement and brotherly spats of Muswell Hill firebrands The Kinks, equipped with an original story (and nearly 30 songs) by frontman Ray Davies.

The script is by Joe Penhall, who says: “As a band The Kinks were the perennial outsider – punk before punk.” Box office: atgtickets.com/york.

Nicki Clay’s Reverend Geraldine Granger in MARMiTE Theatre’s The Vicar Of Dibley at Theatre@41, Monkgate, York. Picture: Paul Miles

Village drama of the week: MARMiTE Theatre in The Vicar Of Dibley, Theatre:41, Monkgate, York, until Saturday,7.30pm plus 2.30pm Saturday matinee

NICKI Clay is going doubly Dibley for MARMiTE Theatre in the new York company’s debut production of The Vicar Of Dibley, having played Geraldine Grainger for The Monday Players in Escrick in May.  

Martyn Hunter directs Ian Gower and Paul Carpenter’s cherry-picking of the best of Richard Curtis and Paul Mayhew-Archer’s first two TV series, bringing together all the favourite eccentric residents of Dibley as the new vicar’s arrival shakes up the parish council of this sleepy English village. Box office: tickets.41monkgate.co.uk.

N’Faly Kouyaté: Dancing shoes recommended

African rhythms of the week: N’Faly Kouyaté, National Centre for Early Music, York, tonight, 7.30pm

AFTER gracing stages across the world with Afro Celt Sound System — where Celtic voices and instrumentation met the vibrant heartbeat of African rhythms — avant-garde griot N’Faly Kouyaté embarks on a profoundly personal journey.

This masterful Guinean multi-instrumentalist, inspired vocalist and living bridge between ancestral heritage and future sounds returns with his album Finishing, whose songs stir the soul, provoke reflection, elicit smiles and set bodies moving. Bring your dancing shoes! Box office: 01904 658338 or ncem.co.uk.

Velma Celli: Rock Queen with a nod to David Bowie’s Aladdin Sane slash. Picture: Sophie Eleanor Photography

Drag night of the week: Velma Celli: Rock Queen, York Theatre Royal, tonight, 7.30pm

YORK’S international drag diva deluxe Velma Celli follows up her iconic October 1 appearance in Coronation Street soapland withan “overindulgent evening celebrating and re-imagining the best of rock classics” with her band. 

The alter ego of West End musical star Ian Stroughair, who has shone in Cats, Fame, Rent and Chicago, cabaret queen Velma’s live vocal drag act has been charming audiences for 14 years, whether at Yorktoberfest at York Racecourse, her Impossible Brunches at Impossible York, or in such shows as A Brief History Of Drag, My Divas, God Save The Queens and Divalussion (with Christina Bianco). Box office: 01904 623568 or yorktheatreroyal.co.uk.

Beth McCarthy: Heading back home to play Big Ian’s A Night To Remember charity concert. Picture: Duncan Lomax., Ravage Productions

Charity event of the week: Big Ian’s A Night To Remember, York Barbican, tonight, 7.30pm

BIG Ian Donaghy hosts a “night of York helping York” featuring a 30-strong band led by George Hall  with a line-up of York party band HUGE, Jess Steel, Beth McCarthy, Heather Findlay, Graham Hodge, The Y Street Band, Simon Snaize, Annie-Rae Donaghy, fiddler Kieran O’Malley, Samantha Holden, Las Vegas Ken and musicians from York Music Forum, plus a guest choir. 

Proceeds from this three-hour fundraiser go to St Leonard’s Hospice, Bereaved Children Support York, Accessible Arts & Media and York dementia projects. Tickets update: Balcony seats still available at yorkbarbican.co.uk.

Staff woes: William Ilkley, left, Levi Payne and Dylan Allcock in John Godber’s Black Tie Ball, on tour at the SJT, Scarborough

One helluva party of the week: John Godber’s Black Tie Ball, Stephen Joseph Theatre, Scarborough, November 12 to 15, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

ON the glitziest East Yorkshire fundraising night of the year, everyone wants to be there. The Bentleys are parked, the jazz band has arrived, the magician will be magic, but behind the bow ties, fake tans and equally fake booming laughter lie jealousies and avarice, divorces and affairs, as overdressed upstairs meets understaffed downstairs through a drunken gaze. 

The raffle is ridiculously competitive, the coffee, cold, the service, awful, the guest speaker, drunk, and the hard -pressed caterers just want to go home. Welcome to the Brechtian hotel hell of John Godber’s satirical, visceral comedy drama, as told by the exasperated hotel staff, recounting the night’s mishaps at breakneck speed in the manner of Godber’s fellow wearers of tuxedos, Bouncers. Box office:  01723 370541 or sjt.uk.com.

Ensemble 360: Performing works by Shostakovich and Dvořák at Helmsley Arts Centre. Picture: Matthew Johnson and Music in the Round

Classical matinee concert of the week: Ensemble 360, Helmsley Arts Centre, Sunday, 2.30pm

ENSEMBLE 360’s chamber musicians Benjamin Nabarro and Claudia Ajmone-Marsan, violins, Rachel Roberts, viola, Gemma Rosefield, cello, and Tim Horton, piano, perform the dramatic intensity and soaring lyricism of Dmitri Shostakovich’s Piano Quintet in G minor, Op. 57 and the radiant warmth and Czech folk-inspired melodies of Antonín Dvořák’s Piano Quintet No. 2 in A major, Op. 81, a piece cherished for its lush harmonies, spirited dances and seamless instrumental interplay. Box office: 01439 771700 or helmsleyarts.co.uk.

Rock’n’roll show of the week: Two Pianos, Pocklington Arts Centre, Thursday, 7.30pm

IN the words of Jerry Lew Lewis, “Two Pianos are awesome rockers”. Tomorrow night, David Barton and Al Kilvo  bring their rock’n’roll piano show to Pocklington for a journey through the golden age of  Elvis Presley, Chuck Berry, Fats Domino, Buddy Holly, Carl Perkins, Ray Charles, Wanda Jackson, Brenda Lee and, yes, the “The Killer” himself. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Lydia Hough and Joseph Taylor in London City Ballet’s Pictures At An Exhibition, on tour at York Theatre Royal

Dance show of the week: London City Ballet: Momentum, York Theatre Royal, Friday, 7.30pm (with post-show discussion); Saturday, 2.30pm and 7.30pm

LONDON City Ballet, former resident company of Sadler’s Wells, returns to York Theatre Royal with Momentum, a new repertoire that showcases artists rarely seen in the UK. Haieff Divertimento, an early George Balanchine work, was thought to be lost for 40 years after its premiere and remained unseen outside the USA until now. Emerging choreographer Florent Melac, premier danseur at Paris Opera Ballet, combines inventive transitions with intimate partnering in his fluid new work.

Alexei Ratmansky, New York City Ballet’s artist in residence, presents Pictures At An Exhibition, performed to Modest Mussorgsky’s eponymous score, set against a backdrop depicting Wassily Kandinsky’s paintings. Unseen in the UK since its 2009 premiere, Liam Scarlett’s Consolations & Liebestraum is a response to Franz Liszt’s piano score, depicting the life cycle of a relationship, its blossoming and later fracturing love. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Anna Gallon to direct York Shakespeare Project in modern nightlife take on Love’s Labours Lost at Theatre@41, Monkgate

Anna Gallon: Appointed director of York Shakespeare Project’s Love’s Labours Lost

ANNA Gallon will direct York Shakespeare Project in Love’s Labour’s Lost next spring as its 25-year project to stage all of William Shakespeare’s plays rolls on.

Her immersive production, set amid modern nightlife, will run at Theatre@41, Monkgate, York, from April 22 to 25 2026 with 7.30pm evening performances complemented by a 2.30pm Saturday matinee.

 “We are absolutely delighted to welcome Anna as our director,” says YSP chair Tony Froud. “She emerged from an outstanding group of applicants and we know that she will find an exciting way to let the play speak to us in 2026.”

Anna is co-founder and artistic director of York theatre company Four Wheel Drive, perhaps best known for its 2023 production of The Trial Of Margaret Clitheroe in the Guildhall. She also appeared as Lucetta in YSP’s The Two Gentlemen Of Verona, directed by Tempest Wisdom in 2024.

 “I’m thrilled to be directing Love’s Labour’s Lost for YSP,” she says. “It’s a dazzling, witty play about language, love, and self-discovery – and I can’t wait to bring it to life in a way that feels vibrant and connected to the world we live in today.”

Set firmly in the here and now, Anna’s Love’s Labour’s Lost will re-imagine Shakespeare’s sparkling comedy of wordplay and romantic mischief in a world of modern nightlife. Her playful, immersive production promises to mix verse, rhythm, dance and striking visuals to create a fresh and contemporary celebration of love, temptation and folly.

Auditions will be held in Room 2 at Southlands Methodist Church on Tuesday, November 25, from 6.30pm, Wednesday, November 26, 6.30pm, and Saturday, November 29, from 10am. Anyone interested in auditioning can sign up via the online form: https://forms.gle/XiDKFL4CLiehUgacA

For more information or if you have any questions, please contact Anna directly at annagalloncreative@gmail.com.

REVIEW: MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, tonight to Saturday ****

Always time for chocolate: Nicki Clay’s Geraldine Granger in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

MARMiTE Theatre’s entire run of The Vicar Of Dibley sold out before opening night. What an achievement for this new York company – and how enviously any number of village churches must look at the full congregation.

New company, yes, but one steeped in names familiar to followers of the York theatre scene, from director Martyn Hunter to Nicki Clay, a third generation York performer with more than 50 shows in 26 years to her name.

Here she is on doubly Dibley duty, having played the Reverend Geraldine Granger in May for the Monday Players in Escrick.

Joining her in Hunter’s company are Florence Poskitt, Neil Foster, Mike Hickman, Adam Sowter, Jeanette Hunter and Helen “Bells” Spencer, all regulars on York’s boards, and Glynn Mills, whose absence of a cast profile in the programme made him a man of mystery to your reviewer.

Who will fill that empty seat? Dibley Parish Council awaits the arrival of the new incumbent in The Vicar Of Dibley. Present are Mark Simmonds’s Owen Newitt, left, Neil Foster’s Hugo Horton, Glynn Mills’s David Horton, Mike Hickman’s Frank Pickle, Jeanette Hunter’s Letitia Cropley and Adam Sowter’s Jim Trott. Picture: Paul Miles

Research enquiries revealed he had been connected with theatre for 62 years, attending Central School of Speech & Drama, working in repertory theatre, the West End and on UK tours, and doing voiceovers and cabaret too. All that experience shows in a performance full of fire and ire, putdowns and intolerance as council chairman David Horton.

Rich Musk and Martyn Hunter’s set design accommodatesGeraldine’s cosy sitting room cum office with desk and typewriter alongside the tables and chairs of Dibley Parish Hall, permanently laid out for the next meeting.

Above is a screen, on which Ian Gower and Paul Carpenter’s cherry-picking of the best of Richard Curtis and Paul Carpenter’s first two television series opens with the familiar Dibley faces walking through the churchyard. Scene titles, Later, Later Still, Later That Evening, and such like, denote time of day and the change from one day to the next.

To either side of the screen on the mezzanine level is a neon-lit cross; on one occasion up there, Clay’s Geraldine tells one of her shaggy dog tales to Poskitt’s Alice Tinker, the ditzy church verger, but the lighting puts a distracting shadow slash across the vicar’s face from the barrier railing. Hopefully that can be eradicated.

In perfect harmony: Rachel Higgs, Helen “Bells” Spencer, Henrietta Linnemann and Cat Foster on choral duty in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

On more than one occasion, the York vocal harmony group The Hollywood Sisters (“Bells” Spencer, Cat Foster, Henrietta Linnemann and Rachel Higgs) transform themselves into The Holy Sisters to sing hymns in beatific Songs Of Praise manner. Wholly in harmony with the play’s multitude of formal meetings and informal chats, their inclusion is typical of Hunter’s good directorial judgements that see the sitcom flow of short scenes sustain momentum with a twinkle in the eye throughout.

The play opens with Mills’s grouchy parish council chairman David Horton hosting the meeting where the new vicar will make a first appearance. In attendance are his awfully nice son Hugo (Neil Foster); the stickler-for-accuracy minute-noting parish clerk Frank Pickle (Mike Hickman); knitting-on-her-knee Letitia Cropley (Jeanette Hunter) , creator of endless inedible cakes and sandwiches, and no-no-no-no-yes man Jim Trott (a gurning Adam Sowter, left arm in a sling, presumably not for extra comic effect?!).

Dashing in and out with bodily ablution problems that he loves to describe is blunt dairy farmer Owen Newitt (Mark Simmonds, York’s busiest actor of the moment as he follows his Macheath in York Opera’s The Beggar’s Opera with Dibley, only a month to go to Pick Me Up Theatre’s Anything Goes).

 Enter the new vicar, very definitely not a man as irascible chairman Horton expects, but Clay’s Geraldine Granger, drawing attention to her ample bust (matched by her even more ample supplies of chocolate). Whereupon Clay performs in the French style, mirroring the speech rhythms, facial expressions and mannerisms of Dawn’s sitcom vicar but with her own panache.

Nicki Clay’s Geraldine Granger looks on as Neil Foster’s Hugo Horton and Florence Poskitt’s Alice Tinker kiss at last in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

Clay’s Geraldine is a delight throughout, at once reverent yet irreverent, and her scenes with Poskitt’s ever-slow-off-the-mark, exasperating Alice are a particular joy.

Poskitt, a supremely expressive physical comedian, wins hearts too in her love-struck, tongue-tied bonding with Foster’s equally awkward, inhibited Hugo. Their kissing clench that stretches from Act One finale into Act Two opener is one of the comic highpoints, not least from the nimble-footed input of Clay’s Geraldine, breaking down the fourth wall to play to the audience in providing a running commentary on what’s going on.

Hickman’s Pickle, Jeanette Hunter’s Letitia, Sowter’s Trott and especially Simmonds’s brusque Owen all have their moments too in MARMiTE Theatre’s debut that you will surely love, not hate. Don’t swear if you are too late for a ticket; Hunter and co have plans to do further Dibley village capers.

MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, November 11 to 15, 7.30pm and 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk. All profits will be donated to Comic Relief.

Who won Aesthetica Short Film Festival 2025 awards and what were the highlights?

Aesthetica Short Film Festival 2025 Best Documentary and Best of Fest winner: JD Donnelly’s The Hold

YORK’S Aesthetica Short Film Festival has concluded its landmark 15th anniversary edition by announcing 2025’s award-winning filmmakers: a new generation of talent poised to shape the future of screen culture.

For 15 years, Aesthetica has been the home of new voices in film, where tomorrow’s BAFTA and Oscar nominees and winners are first discovered.

Across five transformative days, from November 5 to 9, York welcomed filmmakers, delegates and industry professionals from more than 60 countries worldwide, underscoring the BAFTA-qualifying festival’s significance as an international platform for storytelling and creative exchange. 

This year’s winners, selected from more than 300 films spanning 15 categories, represent the best in innovation, creativity and emotional storytelling. Audiences were reminded that the filmmakers, writers and artists celebrated here are the stars of tomorrow, destined to become household names on the international stage.

Aesthetica Short Film Festival 2025 Best Director: Reiff Gaskell for Cuerpos

2025 Award Winners

Genre awards
:

  • Best Advertising: Swimming With Butterflies – Karl Stelter
  • Best Animation: Wild Animal – Tianyun Lyu
  • Best Artists’ Film: Mother Company – Alexandros Raptotasios; Konstantinos Thomaidis
  • Best Comedy: Dating In Your 20s – Lily Rutterford; Lucy Minderides
  • Best Dance: Spoken Movement Family Honour – Daniel Gurton
  • Best Documentary: The Hold – JD Donnelly
  • Best Drama: El Corazón – Oscar Simmons
  • Best Experimental: We Will Be Who We Are – Priscillia Kounkou Hoveyda
  • Best Fashion: Fugue  – Nastassia Nikè Swan Yin Winge
  • Best Family Friendly: Girls Together – Christie Arnold
  • Best Music Video: Tank  – Garath Whyte
  • Best Thriller: Scope – Emma Moffat
  • Best VR & Immersive: Xian’er (Chinese Immortals) – Fang Zhou
  • Best Game: Blue Prince – Dogubomb
  • Best Feature (Documentary): Torn – Kullar Viimne
  • Best Feature (Narrative): Disremember – Matthew Simpson
  • Best Podcast: Reality Looks Back – Anne Jeppesen

Craft & special awards:

  • Best Director: Cuerpos – Reiff Gaskell
  • Best Cinematography: Baby – Simisolaoluwa Akande
  • Best Editing: No One Really Knows Me Well – Gaia
  • Best Screenplay: Giants – Alex Oates, Andy Berriman
  • Best of Fest: The Hold – JD Donnelly


Mark Kermode: Busy festival, playing with his band The Dodge Brothers twice, first at Silent Cinema with Live Score screening of 1928’s Beggars Of Life, starring Louise Brooks, at York Theatre Royal on November 6, then at The Basement, City Screen Picturehouse, on November 7, after his In Conversation with Mark Kermode book discussion with Surround Sound co-author Jenny Nelson at York Theatre Royal. Picture: Julie Edwards

Festival Highlights: Five days of creativity, performance and innovation

A Global Programme of Film

Aesthetica 2025 screened more than 300 films across multiple venues, representing genres from drama and documentary to experimental work and immersive VR projects. Filmmakers from around the world attended in person, sparking conversations and collaborations that extended beyond the cinemas into York’s streets and cafés. The festival’s international scale reinforces its role as a launchpad for talent on a global stage.

Masterclasses and industry insight

THE festival’s Masterclass series offered audiences unparalleled access to industry leaders, including:

  • Peter Straughan (Tinker, Tailor, Soldier, Spy)
  • Jasmin John (Adolescence, Boiling Point)
  • Mick Audsley (Harry Potter And The Goblet Of Fire)

Industry organisations such as Aardman, BBC, Film4, Framestore, The New York Times, ITV, Industrial Light & Magic and Ridley Scott Associates shared insights into directing, screenwriting, post-production and the creative use of emerging technologies.

Beyond the Frame: Live performance, comedy & music

York Theatre Royal played host to live events and performances:

  • Comedy Night with Sophie Duker & Friends, featuring Eleanor Tiernan and Bella Hull.
     
  • Silent Cinema with Live Score, featuring Louise Brooks in 1928’s Beggars Of Life accompanied by bass player Mark Kermode’s band The Dodge Brothers and Neil Brand.
     
  • Mark Kermode in Conversation with Surround Sound co-author Jenny Nelson, exploring the role of music in film storytelling.
     
  • The New Music Stage, showcasing ten emerging acts, with Universal Music A&R and singer-songwriter Jack Savoretti attending.

The poster for Aesthetica Short Film Festival 2025

Immersive & Interactive: The EXPO, VR & Games Lab
 

THE VR & Games Lab pushed the boundaries of storytelling through interactive and immersive media. The Podcasting Lounge celebrated excellence in audio storytelling, while the York UNESCO City of Media Arts EXPO highlighted cutting-edge innovation across digital media, visual effects and design. Workshops for children and teens in filmmaking, animation, and coding nurtured the next generation of creative talent.

UK Film Production Summit

THE UK Film Production Summit, held at The Grand, York, brought together more than 150 leading production companies, development executives and commissioners. Chaired by Ridley Scott Associates, discussions explored The Future of Production: Scripted, Unscripted, Film, TV & Streaming, with sessions on AI, virtual production, global streaming and investment models.

Mark Herbert, CEO of Warp Films, delivered a keynote speech on independent storytelling and the future of British production, joined by representatives from BBC Films, Film4, Working Title, Paramount, Clerkenwell (Baby Reindeer), Scott Free and many more. 

Festival director Cherie Federicosaid: “Aesthetica is about discovery, ambition, and possibility. Over five days, York becomes a place where the next generation of talent is seen first, where ideas collide, and where creativity thrives across every discipline – from film and music to VR, games and podcasts.

“This festival is the beating heartbeat of the UK’s creative sector, a space where innovation, culture and storytelling converge, shaping the future of our industry.”

Continuing online

AESTHETICA 2025 continues online until November 30, offering audiences the chance to catch up on all the films, see the winners and discover the brightest and boldest talent in screen from around the world. This digital extension ensures the festival’s creativity, innovation and international spirit can reach audiences across the UK and globally. Visit: www.asff.co.uk.

Drag night of the week: Velma Celli: Rock Queen, York Theatre Royal, Nov 12, 7.30pm

Velma Celli: Rock Queen with a nod to David Bowie’s Aladdin Sane slash make-up. Picture: Sophie Eleanor Photography

YORK’S international drag diva deluxe Velma Celli follows up her iconic October 1 appearance in Coronation Street soapland with an “overindulgent evening celebrating and re-imagining the best of rock classics” with her band. 

The alter-ego of West End musical star Ian Stroughair, who has shone on the London stage in Cats, Fame, Rent and Chicago, cabaret queen Velma’s live vocal drag act has been charming audiences for 14 years.

In York, Velma is to be spotted hosting Yorktoberfest at York Racecourse and her Impossible Brunches at Impossible York, as well as on stage down the years at York Theatre Royal, the National Centre for Early Music and The Basement at City Screen Picturehouse.

Wider afield, Velma has starred in such shows as A Brief History Of Drag, My Divas, God Save The Queens, Equinox, her David Bowie tribute Irreplaceable, Velma Celli Goes Gaga, Show Queen and Divalussion (with American actress, singer and impressionist Christina Bianco), performing in London, at the Edinburgh Fringe and with award-winning success in Australia. 

On Wednesday, Velma will be joined by musical director Scott Robinson on keyboards, Al Morrison on guitar, Olly Chilton on bass and Chris Sykes on drums.

Velma’s Act One set list will comprise Summer Of ’69; I Was Made For Loving You; Don’t Let The Sun Go Down On Me; It Must Have Been Love; Wicked Game; The Edge Of Glory; When Doves Cry; Bohemian Rhapsody and I Wanna Break Free/Under Pressure.

Act Two will open with a David Bowie medley, followed by Starman; Hey Jude; Ironic; Creep; Wonderwall; (Everything I Do) I Do It For You; If I Could Turn Back Time and The Best. Rock Queen will bid goodnight with the encore American double whammy of Livin’ On A Prayer and Sweet Child O’ Mine.

Box office: 01904 623568 or yorktheatreroyal.co.uk.

REVIEW: Neon Crypt & The Deathly Dark Tours in The Wetwang Hauntings – Live!, Theatre@41, Monkgate, York ****

Michael Cornell’s Michael Nightly, playing Mayor Dick Nightly with deadly earnest intent, in The Wetwang Hauntings – Live!

FIRST, the murky mystery history bit: between 1986 and 1993, a series of often violent hauntings rocked the East Riding village of Wetwang. The cases went cold and all the records were lost…until now!

This week, interconnected York companies Neon Crypt  (purveyors of macabre theatre) and The Deathly Dark Tours (ghost walk hosts) are going live with their investigations, boldly venturing where only their Wetwang Hauntings podcast series has ventured before.

Enter Dr Dorian Deathly (alias actor and voiceover artiste Jamie McKeller), not afraid to introduce himself as “York’s premier spookologist”, who will be simultaneously helped and hindered in his investigations by Deathly Dark Tours’ daft duo Dafydd and Dalton Deathly, the alter-egos of fellow Wetwang Hauntings podcast writers Jimmy Johnson (in bow tie and black nail polish) and Ben Rosenfield [built  like a Victorian bodybuilder, kitted out by Wednesday Addams) .

Tooled up for a poltergeist encounter: Jimmy Johnson’s Dafydd Deathly, left, Ben Rosenfield’s Dalton Deathly and Jamie McKeller’s Dr Dorian Deathly

On hand too will be Dede Deathly (Laura McKeller) in multiple guises for the re-telling of these reopened cases, along with the mysterious Mayor Dick Nightly (any echo of former Honorary Mayor of Wetwang Richard Whitely is entirely coincidental!).

Nightly (deep-voiced, deader-than-deadpan Michael Cornell) is now played by deadly earnest actor son Michael Nighly – twice Nightly, as it were – who ploughs his own furrow, resolute in purpose, stony of face, not always in tandem with storytellers Dafydd and Dalton, nor with Dorian as he strives to keep order.

The show is a work in progress, rehearsed in only five days, and it has an air of shambling, occasionally shambolic enthusiasm, deliberately so for the benefit of the midnight-dark humour,  but also unpredictably too.

Laura McKeller in one of her multiple roles in The Wetwang Hauntings – Live!

Like when Johnson, ever dapper in his velvet suit,  has to exit stage left urgently to, how shall I put this, throw up, not as a Pavlovian reaction to the nefarious deeds, but as the culmination of feeling ill all day. Round of applause, please, for ploughing on.

Likewise, the “Booth” is kept busy with requests for sound effects or jolted into action to remedy a missed cue. This is all part of the madcap fun of the rollercoaster ride through three newly re-heated cold cases: first, the Grainger family in Cleaver Avenue, then the Wetwang Asylum with its multiple name changes.

And finally, a choice of four, decided by audience votes in the interval. Would it be The Playground, VHDeath, The Haunted Haddock or John Merrylegs? VHDeath on Thursday, a reward, surely for its punning title.

Ben Rosenfield’s Dalton Deathly interviewing Laura McKeller’s “Sh***y” Phyllis

Murky matters are played out on a stage set out as Dorian’s paranormal investigations HQ with a drawing board (to keep going back to), neon lit in red with the word Deathly, plus minimal stage furniture, such as chairs and a stool, and ample curtains. Above is a screen put to regular use for case titles, Nightly’s cassette tape recordings and VHF footage.

Cornell’s dourly Yorkshire Nightly – last seen in 1988 – has a habit of turning up like Banquo’s ghost, whether haunting the mezzanine level or standing  silently in the “Booth”, hovering ever closer over the perimeter of the audience seating or re-creating the Mayor’s ever more urgent interviews into the horrors that befell Wetwang.

The chaotically comedic style has echoes of physical theatre practitioners Le Navet Bete (whose version of Dracula: The Bloody Truth was staged by Neon Crypt earlier this year), and more darkly of The League Of Gentlemen too, in the Deathlies’ first full-length play. It carries the Neon Crypt and Deathly Dark tour house styles too, nimble on its feet, quick in reaction time, more often daft than scary – and not averse to spoofing Danny Robins’ Uncanny work.

Dr Dorian Deathly, eminent York spookologist, leading the paranormal investigations in The Wetwang Hauntings – Live!

In Noises Off and The Play That Goes Wrong tradition, nothing will stop either Deathly team or Nightly from completing the grim task in hand. Jump scares? Yes. Horror? Hammy as Hammer, yes. Awful puns? Yes. Did you hear about the case of the ghostly bird? The poultrygeist . Boom boom. Thank you, Dorian, for that one.

What’s next for Dorian and co? More Wetwang Hauntings podcasts and plans for an expanded version of the live show. Oh, and Neon Crypt are contemplating a spooky take on the nightclub hell of John Godber’s Bouncers next May with a cast of McKeller times two, Cornell and fellow co-founder Laura Castle.  Not so much John Godber as John Ghostbuster, perhaps?!

Neon Crypt & The Deathly Dark Tours present The Wetwang Hauntings – Live!, Theatre@41, Monkgate, York, 2.30pm and 7.30pm today (8/11/2025). Suitable for age 13 upwards. Box office: tickets.41monkgate.co.uk.

Guitar prodigy Toby Lee branches out into blues and soul revue at The Crescent

The poster for Toby Lee & James Emmanuel’s Blues & Soul Revue at The Crescent, York

BLUES guitar prodigy Toby Lee was last spotted in York playing with Jools Holland and His Rhythm & Blues Orchestra, sharing special guest billing with Soft Cell’s Marc Almond at York Barbican on December 11 2024.

Next Wednesday, he will be in good company again, sharing the stage with Decca label-mate soul singer James Emmanuel as their eight-date Blues & Soul Revue promises to “melt faces and warm souls” at The Crescent.

Featuring Lee’s full touring band, solo sets, glorious collaborations and on-stage jamming, the night will deliver “guitar solos, smooth vocals and at least one person in the crowd yelling ‘Woo!’ at the wrong time”…if you ever wondered how AI would put together a press release about a UK blues sensation going on tour (it says here).

Warwickshire-born Lee, who headlined the Fulford Arms on May 18 last year, is touring on the back of dropping into myriad summer festivals, from Glastonbury to Love Supreme, Isle of Wight to Belladrum.

“I’m very excited. It should be a fun tour,” says Toby, speaking to The York Press while in rehearsal for an itinerary that opened on October 22. “I’ll be playing The Crescent for the first time – and I do like a standing gig, so that’ll be great.

“I’m always that annoying member of the band who says, ‘guys, let’s cut four songs and play something we haven’t played for two years’,” says Toby

“I’m still promoting House On Fire, which we released on October 4 [on 100% Records] last year as my first fully original record.  Quite a step up from doing covers mixed with originals previously [on 2021 debut Aquarius] but this time we wanted to focus on originals.”

All the songs were composed by Toby, working with Shadow Hands (alias Bnann and Gareth Watts) and Sam Collins, who plays bass in his band, at Cube Recording Studio in Truro.  He is now working on the next record, he says. “It’s at the very early stages at the moment, but there will be something that will come out next year,” he promises.

What did he learn from making House On Fire? “The thing for me, if I’m totally honest, I didn’t realise how vulnerable you are as a writer when you’re writing about heartbreak,” says Toby, still only 20, after teaching himself guitar from the age of eight.

“I’m quite reticent with my emotions, but then suddenly you’re at the point of letting out every emotion to someone you’ve never met before – and that’s a rare thing about being a musician.

“But I do love writing on my own because you tend to have this voice in your head, and it’s so much more satisfying when  your version comes to fruition – though it’s also good to have someone to help you cross the finishing line.”

Toby Lee and his band in action

From being uncertain initially about songwriting, Toby has grown to enjoy it the most of his music-making roles. “Songs tend to come to me when I’m most relaxed or when I’m about to fall asleep and I have to stay up to complete them,” he says.

“But I also like that thing of looking out to sea. It’s the best place for it [creativity]. That’s my happy place, where I can be relaxed and open myself to it. It might not be so great for recording, but sometimes I can record a demo in my 14ft-long old 1967 Volkswagen bus, with dogs barking and seagulls squawking!”

Toby has found his musicianship progressing from the blues – he played guitar at B.B. King’s Blues Club in Memphis in 2015, aged ten – to embracing a “more soulful, rocky style”, now bringing together a live set that will still please blues and jazz devotees too.

“When you’re playing so many styles, the thing that takes the longest is creating the set list,” he says. A set list that keeps changing too! “One hundred per cent, I do that! I’m always that annoying member of the band who says, ‘guys, let’s cut four songs and play something we haven’t played for two years’.

“I get that for some musicians, when you know what you’re doing each night, there’s no anxiety, but I really like to change it up because it keeps us in the moment, having a bit of fun, and keeping the jamming parts very natural.”

Toby Lee’s cover artwork for last year’s House On Fire, his first album of original compositions. Toby filmed the video for his House On Fire single in his 1974 Corvette Stingray, named “Elvis” by next Wednesday’s guest act Isabella Coulstock

Mentored by Bernie Marsden in his early days, Toby has shared stages with Buddy Guy, Slash, Billy Gibbons, Peter Frampton and Joe Bonamassa (at the Royal Albert Hall), as well as starring in the West End production of School Of Rock and performing with McFly on Tonight at the London Palladium in his teenage rise.

Above all, Toby looked very much at home in Jools Holland’s company at York Barbican last December and when performing House On Fire with the dapper boogie-woogie piano doyen on Jools’s Annual Hootenanny  2024 show on BBC Two last winter.

“I know people say ‘never meet your heroes’, as they seem like one person and then you meet them and they’re totally different, but that’s not the case with Mr Jools Holland, who’s even more lovely in person,” he says.

“Even if he hasn’t got the time, he’ll still find it for you, and it was such a compliment for him to give me that time on tour with him. It was an experience I’ll never forget. It could come across as quite daunting with him being a household name, so there’s a pressure attributed to it, because you want to get it right, and two nights before we played The Royal Albert Hall, I lost my voice, as I was also touring with my own band and doing lots of radio stuff.

“But Ruby Turner [ever present on Jools’s tours] got her voice coach in to help me get my voice back, and Jools ended up having me playing guitar on a couple of extra songs. I love how it’s such a family with him.”

“It was an experience I’ll never forget,” says Toby Lee, recalling last year’s tour with Jools Holland (left) and His Rhythm & Blues Orchestra

Looking ahead to next Wednesday’s Blues & Soul Revue show at The Crescent, Toby says: “It’s a bit of a different tour for me, this one. Something we’ve never done before. Touring with James Emmanuel, a soul singer from Edinburgh, who’ll open for us.

“He’s one of those soul singers with a voice like butter. He’ll be playing with my band for his set, which is good for my guys to try something different. It’ll be really cool because we’ve never had a full band support at our gigs before.

“The one thing that we wanted to create was to change it up a bit with having different parts to the show, so here we have different musicians working with us to give a diiferent vibe to it.”

Completing the line-up will be Toby’s fellow vintage car enthusiast Isabella Coulstock. “She’s a singer-songwriter, who’s supported The Who, Chris Isaak, Jools Holland and Nick Heyward, so I feel like she’s doing me a favour,” he says.

Toby Lee & James Emmanuel, An Evening Of Blues & Soul, with Isabella Coulstock, The Crescent, York, November 12, 7.30pm. Box office: thecrescentyork.com/events/toby-lee/.

More Things To Do in York and beyond when Dibley’s vicar is at your service. Here’s Hutch’s List No 48, from The York Press

Danny Horn’s Ray Davies leading The Kinks in Sunny Afternoon, on tour at the Grand Opera House, York, from next Tuesday. Picture: Manuel Harlan

SUNNY Afternoon’s Kinks songs for dark nights, Dibley comedic delights and drag diva Velma Celli’s frock rock catch Charles Hutchinson’s eye.

Musical of the week: Sonia Freidman Productions and ATG Productions present Sunny Afternoon, Grand Opera House, York, November 11 to 15, 7.30pm plus 2.30pm Wednesday, Friday and Saturday matinees

RETURNING to York for the first time since February 2017, four-time Olivier Award winner Sunny Afternoon charts the raw energy, euphoric highs, troubling lows, mendacious mismanagement and brotherly spats of Muswell Hill firebrands The Kinks, with an original story (and nearly 30 songs) by frontman Ray Davies.

The script is by Joe Penhall, who says: “As a band The Kinks were the perennial outsider – punk before punk.” Box office: atgtickets.com/york.

MarcoLooks: Exhibiting at Inspired – York Artists & Designer Makers Winter Fair at York Cemetery Chapel

Christmas presence of the week: Inspired – York Artists & Designer Makers Winter Fair, York Cemetery Chapel, Cemetery Road, York, today and tomorrow, 10am to 5pm

NINE York artists and designers will be selling their work for the Christmas season in the divine setting of York Cemetery Chapel. Among them will be collagraphy printmaker Sally Clarke, jewellery designer Jo Bagshaw, artist Adrienne French, printmaker Petra Bradley and illustrator MarcoLooks . Enjoy a winter walk in the beautiful grounds too. Free entry, free parking.  

Clive Marshall RIP: York Railway Institute Band and York Opera perform in his memory at The Citadel tonight

Marshalling forces: York Railway Institute Band and York Opera, Clive Marshall Memorial Concert, The Citadel, Gillygate, York, tonight, 7.30pm

YORK Railway Institute Band and York Opera members come together tonight for a charity musical tribute to much-loved colleague Clive Marshall (1936-2025). Expect soaring choruses, heartfelt arias and the very best of operatic overtures in tonight’s programme of popular classics, in aid of St Leonard’s Hospice, where Clive spent the final days of his life in March this year. 

He was chairman of the RI band, leading the trombone section for many years, and first performed for York Opera in 1968, going on to play multiple character roles and stage direct myriad productions too. Box office: https://tickets.yorkopera.co.uk/events/yorkopera/1793750 or on the door.

At your service, in the French style: Nicki Clay’s Reverend Geraldine Granger in MARMiTE Theatre’s The Vicar Of Dibley

Village drama of the week: MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, November 11 to 15,7.30pm plus 2.30pm Saturday matinee

NICKI Clay is going doubly Dibley for MARMiTE Theatre in the new York company’s debut production of The Vicar Of Dibley, having played Geraldine Granger for The Monday Players in Escrick in May.  

Martyn Hunter directs Ian Gower and Paul Carpenter’s cherry-picking of the best of Richard Curtis and Paul Mayhew-Archer’s first two TV series, bringing together all the favourite eccentric residents of Dibley as the new vicar’s arrival shakes up the parish council of this sleepy English village. Box office: tickets.41monkgate.co.uk.

Velma Celli: Rock Queen, with a nod to David Bowie’s Aladdin Sane slash make-up, at York Theatre Royal

Drag night of the week: Velma Celli: Rock Queen, York Theatre Royal, November 12, 7.30pm

YORK’S international drag diva deluxe Velma Celli follows up her iconic October 1 appearance in Coronation Street soapland with an “overindulgent evening celebrating and re-imagining the best of rock classics” with her band. 

The alter ego of West End musical star Ian Stroughair, who has shone in Cats, Fame, Rent and Chicago, cabaret queen Velma’s live vocal drag act has been charming audiences for 14 years, whether at Yorktoberfest at York Racecourse, her Impossible Brunches at Impossible York, or in such shows as A Brief History Of Drag, My Divas, God Save The Queens, Equinox, Velma Celli Goes Gaga, Show Queen and Divalussion (with Christina Bianco). Box office: 01904 623568 or yorktheatreroyal.co.uk.

The poster for Toby Lee’s 2025 tour show, An Evening of Blues & Soul, at The Crescent

Blues gig of the week: Toby Lee & James Emmanuel plus Isabella Coulstock, An Evening of Blues & Soul, The Crescent, York, November 12, 7.30pm

BLUES prodigy Toby Lee’s musical journey started at only four years old when his grandmother bought him a yellow and green ukulele. This little instrument went everywhere with him, and he played it constantly, mainly tunes by Elvis and Buddy Holly. At eight, he received his first electric guitar for Christmas while staying at a Cornish. By chance, staying there too was Uriah Heep’s Mick Box, who duly gave him tips and picks. From that moment, Lee knew precisely what he wanted to do when he grew up.

Now 20, he has shared stages with Buddy Guy, Billy Gibbons, Peter Frampton, Slash, Lukas Nelson, Kenny Wayne Shepherd and his hero, Joe Bonamassa, at the Royal Albert Hall, as well as touring as Jools Holland and His Rhythm & Blues Orchestra’s special guest. On Tuesday, he is joined by James Emmanuel and Isabella Coulstock. Box office: thecrescentyork.com.

Beth McCarthy: Heading back home to York to play Big Ian’s A Night To Remember at York Barbican. Picture: Duncan Lomax, Ravage Productions

Charity event of the week: Big Ian’s A Night To Remember, York Barbican, November 12, 7.30pm

BIG Ian Donaghy hosts a “night of York helping York” featuring a 30-strong band led by George Hall  with a line-up of York party band HUGE, Jess Steel, Beth McCarthy, Heather Findlay, Graham Hodge, The Y Street Band, Simon Snaize, Annie-Rae Donaghy, fiddler Kieran O’Malley, Samantha Holden, Las Vegas Ken and musicians from York Music Forum, plus a guest choir. 

Proceeds from this three-hour fundraiser go to St Leonard’s Hospice, Bereaved Children Support York, Accessible Arts & Media and York dementia projects. Tickets update: Balcony seats still available at yorkbarbican.co.uk.

Staff woes: William Ilkley, left, Levi Payne and Dylan Allcock in John Godber’s Black Tie Ball, on tour at the SJT, Scarborough

One helluva party of the week: John Godber’s Black Tie Ball, Stephen Joseph Theatre, Scarborough, November 12 to 15, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

ON the glitziest East Yorkshire fundraising night of the year, everyone wants to be there. The Bentleys are parked, the jazz band has arrived, the magician will be magic, but behind the bow ties, fake tans and equally fake booming laughter lie jealousies and avarice, divorces and affairs, as overdressed upstairs meets understaffed downstairs through a drunken gaze. 

The raffle is ridiculously competitive, the coffee, cold, the service, awful, the guest speaker, drunk, and the hard -pressed caterers just want to go home. Welcome to the Brechtian hotel hell of John Godber’s satirical, visceral comedy drama, as told by the exasperated hotel staff, recounting the night’s mishaps at breakneck speed in the manner of Godber’s fellow wearers of tuxedos, Bouncers. Box office:  01723 370541 or sjt.uk.com.

Amit Mistry: Topping the Funny Fridays bill

Comedy gig of the week: Funny Fridays, Patch@Bonding Warehouse, Terry Avenue, York, November 14, 7.30pm to 9.30pm

AMIT Mistry headlines next Friday’s bill, joined by Lulu Simons, Gareth Harrison, Liam Alexander and Dominique McMillan, hosted by promoter Kaie Lingo. Doors open at 7pm for a night of “back-to-basics comedy fun” and tickets cost £10 at https://www.eventbrite.co.uk/e/funny-fridays-at-patch-tickets-1802236280229?aff=oddtdtcreator.

REVIEW: National Theatre in Dear England, Leeds Grand Theatre, until Saturday *****

David Sturzaker’s Gareth Southgate giving a team talk in James Graham’s Dear England. Picture: Mark Brenner

YOU know the score. England lost in two finals. Oh dear, England, again. But that isn’t the point. The point is the one that brought Gareth Southgate his knighthood. For services to rather more than kicking a ball. Services to redefining what it means to be English.

A definition that appears to be being mired again, not by Southgate’s Teutonic replacement, Thomas Tuchel, who makes a late appearance in James Graham’s defiantly uplifting play, but by the flag. That flag. The one that has David Sturzaker’s Gareth Southgate, with customary attention to tidiness, neatly folding out the St George’s red cross to ask his players what it symbolises. The flag that, rumour has it, is soon to be removed from the programme cover for the remainder of the tour’s run.

Amid the surge in divisive nationalism, how that scene’s significance has grown since Graham made it as much a centrepiece of his – and Southgate’s – discourse as the Dear England letter written to England fans in the barren, bereft days of Covid that prompted Graham’s state-of-the-nation drama.

Sir Gareth was at York Barbican the night before Dear England kicked off its Leeds run, administering his Lessons In Leadership – more motivational team talk than lecture, apparently – that he further substantiates in his new book, Dear England.  Calmer and karma in unison, putting the rainbow in the Wembley arch.

Your reviewer took his seat in the dug-out (Box C, Dress Circle) with a non-football fan – “Who’s Harry Kane?”, she enquired – but such is the spirit, the decency, the principles, the vision that turned out to be braver than Southgate’s risk-averse in-play tactics, that you end up cheering all over again.

You know the story, but not this story, not told this way, with Graham’s trademark humour, pathos, and cultural and political savviness that gives cameos not only to ex-England bosses Sam Allardyce (as brief as his reign), Graham Taylor, Sven-Goran Eriksson and Fabio Capello, but also to the hapless Tory Prime Ministerial trio of May (no neck), Johnson (brassneck) and Truss (what the heck).

We learn of Gareth’s radical methods, applied in tandem with Australian team psychologist Pippa Grange (Samantha Womack, with ace Aussie accent to boot), England’s first Head of People and Team Development. The suits upstairs might have scratched their woollen heads, but Gareth was onto something.

Like how to deal with fear. FOMP. Fear of Missing Penalties. The brain has 15 per cent less clarity when we are fearful. So, take longer to prepare to take a penalty, like the Germans. Or how about sitting all together at meals rather than at club-divided tables, unlike in the Ferdinand and Gerrard days? Yes, that would help too.  

We learn of the character beyond and beneath the football sticker front, whether Oscar Gough’s noble steed Harry Kane (only too aware of the public mocking his voice); Liam Prince-Donnelly’s Dele Alli, burdened by a surname he wishes to jettison, the prankster smile gone by the time he is dropped; Ashley Byam’s ever-questioning Raheem Sterling; or Jayden Hanley’s Marcus Rashford, with his caring causes and pride in Manchester, his sorrow at his father’s absence too.

Then there’s Connor Hawker’s oh-so-South Yorkshire Harry Maguire, Jack Maddison’s mad-as-that-surname goalie, mad-as-a-penalty-box-of-frogs Jordan Pickford and Tom Lane’s erudite Eric Dier.

And then come those one, two, three missed penalties against Italy, Rashford, Jadon Sancho (Luke Azille) and Bukayo Saka (Jass Beki), the Arsenal boy wonder, in the UEFA Euro 2020 final.

Immediately followed by the antisocial-media racist abuse they received, one, two, three seconds afterwards, and on and on. And then Bukayo Saka’s eloquent response, expressing a message of love, a message I had never heard before, so thank you, Dear England, for making it resonate so powerfully in 2025.

James Graham has that balance of the serious and the humorous in buckets; you really shouldn’t take the game of football so seriously, but you should be serious about changing it for the better. Not so much the beautiful game as the bountiful.

For all its ills, you still want to love the game, as Gareth says in another of his team-talk takes on Shakespearean soliloquies. That’s the Henry V in him, but he’s the manager next door too, as expressed in Sturzaker’s admirable performance, especially when addressing the grey-shirted elephant in the room: Southgate’s grave semi-final penalty miss against Germany in 1996.

The best all-round performance award goes to utility player Ian Kirkby, equally humorously adroit as Eriksson, head honcho Greg Clarke, gainsaying Matt Le Tissier, new boss Tuchel and, above all, crisp-munching presenter Gary Lineker, cheeky one liners and all.

Rupert Goold’s direction flows rather more cohesively than any number of meat-and-potatoes England performances, while Es Devlin’s set, with its white centre circle, outer circle and circle above goes against the shape of football pitches, dressing rooms and theatre stages alike but brings a sense of togetherness, like a team huddle before kick-off  – and togetherness is Southgate’s key mantra.

You will love and despair anew at the old footage that plays out high above the upper circle, as we re-live those years of hurt and hope again.

One minor quibble, but only because we are in Leeds: local lad Kalvin Phillips, so instrumental to Euro 2020’s new England, is not among the myriad players. Alas, he knows only too well how missing out feels under Pep Guardiola’s cold shoulder at Manchester City.   

National Theatre in Dear England, Leeds Grand Theatre, tonight, kick-off 7.30pm; tomorrow, kick-off 2pm and 7.30pm. P.S. No excuses for not attending: Leeds United don’t play Nottingham Forest away until Sunday afternoon.  

REVIEW: York Stage, The Great British Bake Off Musical, Joseph Rowntree Theatre, York, baking until Saturday ****

Oops! Nik Briggs’s big Ben sees his Big Ben showstopper topple over in York Stage’s The Great British Bake Off Musical. All pictures: Charlie Kirkpatrick, Kirkpatrick Photography

NIK Briggs’s York premiere of Jake Brunger & Pippa Cleary’s musical spoof could not be better timed, opening the night after the final to series 16 of Channel 4’s The Great British Bake Off, most notable for the winner’s Showstopper being the largest cake in the show’s history.

It measured 1.2 metres in length, should you be wondering. Nothing is baked on quite that scale beneath York Stage’s tented stage decked in bunting and banter, but more than 50 models of cakes have been made in foam and Polystyrene for Technical Challenges and Showstoppers alike.

‘Bake Off’ is the first musical where the Showstopper meets the show-stopper, drawing the increasingly trim producer-director Briggs back to the boards for his first principal role since Shrek – his 2020 pantomime cow doesn’t count! – to sing two of the peachiest numbers, My Dad (with Eady Mensah’s Lily, his chaperoned daughter) and The Perfect Petit Fours (with Harriet Yorke’s outstanding Gemma).

Bake Off contestants for starters: Stu Hutchinson’s Russell, left, Harriet Yorke’s Gemma, Joanne Theaker’s Babs, Grant McIntyre’s Dezza, Alana Blacker’s Francesca, Nik Briggs’s Ben and Fredo’s Hassan

Briggs’s widowed Bristol police detective Ben – “the cooking copper” – and Yorke’s Blackpool carer Gemma are two of the eight contestants, each with a back story and motive for competing to be revealed in song, like cutting through a multi-layered cake.

Joanne Theaker’s Babs, thrice married and looking for a fourth, is a lemon-sharp East London school dinner lady prone to euphemisms and giving back as good as she gets from Chris Wilson’s droll, Knock Knock joke-telling Phil Hollinghurst (the Paul Hollywood caricature).

Grant McIntyre’s powerfully voiced Dezza is the forceful vegan hipster environmentalist with a No Butter policy; Alana Blacker’s Francesca is a thirtysomething primary-school teacher, from Bognor via Bologna, bringing her Nonna’s traditional Italian recipes with her.

Joanne Theaker’s Babs on top form in Babs’ Lament, a show-stopper of the musical kind in The Great British Bake Off Musical

In his musical theatre debut, York busker Fredo (Sudeep Pandey) is Syrian-born  Wembley teenager Hassan, with his lucky T-shirt and happy-go-lucky demeanour. In scene-stealing mode, York Stage regular Stu Hutchinson’s Russell is an aeronautical engineer, married to Mario, as camp as a tent and determined to apply science and spreadsheets to his experimental bakes.

Amy Barrett’s Izzy, the 21-year-old Cambridge student of Home Counties stock, is posh and pushy, taking the biscuit for being so ruthlessly determined to win, dreaming of books deals, TV series.

Introducing proceedings, teasing and goading as the heat rises, are Sam Roberts’s Jim and Mary Clare’s Kim (“Mel and Sue, who?”, they say), while Tracey Rae’s bespectacled grand dame Pam Lee fills the Prue Leith slot with polished glitter and nudge-nudge-wink-wink banter.

Having her cake and eating too much of it: Amy Barrett’s win-at-all-costs Izzy, front and centre, where else, in The Great British Bake Off Musical

Brunger and Cleary bring affection, rather more than tension, to the tent, sending up Hollywood’s motorbike riding, Leith’s myriad business deals and love of a tipple in a recipe, and the baking-hot baking conditions that always befall one episode per series.

All the while, the elimination fun and games must be played out, concertinaed largely into one song, Don’t Send Me Home, with ever reducing numbers and ever-changing harmony demands for the diminishing contestants.

Everyone has their solo moment to parade their singing chops, Theaker’s Babs excelling in the pathos of Babs’ Lament and Yorke’s Gemma rising to the occasion in Rise. Wilson’s Hollinghurst and Rae’s Dame Pam have a rather sweet moment in I’d Never Be Me Without You.

Harriet Yorke’s Gemma: Rising to the occasion in Rise

Bubbling away throughout – as the tables disappear one by one, cakes crumble and contestants tumble – is the growing bond of Briggs’s Ben and Yorke’s Gemma, both in slow recovery from loss, to provide the obligatory love interest of the piece. Eady Mensah’s Lily (in a role to be shared with Abigail Hodgson, Ella Laister and Megan Pickard ) is a delightful conduit between them.

In style, Bake Off echoes most closely the humour and musical diversity of Victoria Wood’s patter songs and Tim Firth & Gary Barlow’s Calendar Girls. The underscore music of the TV series filters cleverly through the songs, ranging from big bluesy ballads to Chicago and Cabaret pastiches.

Songs have a tendency to go on too long, to overegg the moment, to be layered on a bit too thick – you get the picture – but the humorous dialogue is well timed under Briggs’s joyous direction and Danielle Mullan Hill’s musical staging is whisked into pleasing shapes. Likewise, Stephen Hackshaw’s band is on egg-cracking good form throughout, revelling in Jessica Viner’s arrangements.

And then there were seven: York Stage’s Bake Off contestants in the firing line for elimination: Joanne Theaker’s Babs, far left, Fredo’s Hassan, Nik Briggs’s Ben, Stu Hutchinson’s Russell, Harriet Yorke’s Gemma, Amy Barrett’s Izzy and Alana Blacker’s Francesca

We know that Edinburgh-born medical student Jasmine Mitchell won the Bake Off glass cake stand on Tuesday, but who triumphs in York Stage’s Great British Bake Off? Not telling, except to say that you’re the winner if you buy a ticket. Hollyhurst/Hollywood handshakes all round for a recipe delivered so creamily.

Iced buns being handed out on the forecourt before the show was the icing on the cake.

York Stage in The Great British Bake Off Musical, Joseph Rowntree Theatre, York, until Saturday, 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Well judged performances by Tracey Rea’s Pam Lee and Chris Wilson’s Phil Hollinghurst in The Great British Bake Off Musical

Introducing Fredo, playing Hassan in York Stage’s The Great British Bake Off Musical

YORK busker Fredo is making his first venture into musical theatre in York Stage’s The Great British Bake Off as Syrian-born Hassan, a 17-year-old student now living in Wembley, London.

Originally from Nepal, Fredo (real name Sudeep Pandey) came to York to study. He took up director-producer Nik Briggs’s invitation to step into the breach when the original actor, from elsewhere in Yorkshire, had to pull out on the first day or rehearsals.

“York Stage has always been committed to authentic casting, but within York’s acting community there are not a lot of Asian male actors,” says Nik. “I’d seen Fredo busking in York with his fantastic voice, so I looked up his details, contacted him and said ‘would you be interested in playing Hassan?’.

“He said ‘yeah’, and came down straightaway that night to start, with only five weeks of rehearsals to go. It’s his first time in a musical, his first time without his guitar on the street. He said, ‘five weeks ago, I didn’t even know what a musical was’!

Fredo: York busker making musical theatre debut in The Great British Bake Off Musical this week

“It’s been great to support him through his first stage show. He’s just so loveable. He has the biggest heart.”

 Fredo’s programme note states: “Fredo has built a reputation for his soulful vocals, intricate guitar work and dynamic live performances across Yorkshire’s vibrant music scene.

“Drawing inspiration from both Nepali roots and British contemporary sounds, his music blends cultures and genres with authenticity and heart.”

Catch Fredo busking, playing gigs or doing open-mic nights around York. When not performing, he continues to write, record and share his original music with audiences both locally and online.

Recipe for success: Brew & Brownie baker Mary Clare in rehearsal for her role as hostess Kim in York Stage’s Great British Bake Off Musical

Did you know?

JESSICA Viner and Stephen Hackshaw are sharing musical director duties for York Stage’s The Great British Bake Off Musical. “Jess has been with us for all the rehearsals and was set to be the MD for all the shows, but then she was offered the chance to do Singin’ In The Rain in China for three months – having just done the Chitty Chitty Bang Bang UK tour for a year,” says director Nik Briggs.

“Stephen was with us for the first week and will lead the band and conduct us through the shows, having worked with the band last week.”

Did you know too?

YORK Stage cast member Mary Clare (playing Bake Off hostess Kim) is a professional baker, baking for Brew & Brownie, in Museum Street, York. “It’s been hilarious in rehearsals, when there’s been lots of slow-motion ‘baking’ going on, and Mary will say, ‘oh, no, that’s not how you use that implement’, ‘oh, no, that’s not how you sieve’!” says director Nik Briggs. “She’s been our ad-hoc baking expert in the rehearsal room.”

Bake Off hosts Jim (Sam Roberts) and Kim (Mary Clare) mucking around in York Stage’s York premiere