Category: Breaking News

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More Things To Do in York and beyond Gary Oldman as chocolate hits the sweet spot. Hutch’s List No. 16, from The York Press

Gary Oldman in rehearsal for Krapp’s Last Tape, opening at York Theatre Royal on April 14. Picture: Gisele Schmidt

GARY Oldman’s return to York Theatre Royal tops the bill of Charles Hutchinson’s recommendations. Chocolate is in the air too.

York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17

ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit in York, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: New availability of returns and additional seats on 01904 623568 or yorktheatreroyal.co.uk.

Margaret Beech: Making “paper magic” for York Open Studios in Oaken Grove, Haxby, York

Art event of the week: York Open Studios, Saturday and Sunday, 10am to 5pm

YORK Open Studios showcases 163 artists and makers at 116 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.

Wrongsemble: Performing Three Little Vikings, a tale of cooperation, bravery and making your voice heard, at Helmsley Arts Centre

Ryedale children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm

LEEDS company Wrongsemble present a bold and funny adventure story for little rebels by Bethan Woollvin, creator of Little Red and I Can Catch A Monster.  

Once upon a time in a Viking village, everything seems to be going wrong. Chickens are disappearing, trees are falling down. When the silly Chieftain won’t listen, can the three littlest Vikings figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Box office: 01439 771700 or helmsleyarts.co.uk.

Mark Stratford in Macready! Dickens Theatrical Friend, on tour at Theatre@41, Monkgate

Dickens of a good show of the week: Mark Stratford in Macready! Dickens’ Theatrical Friend, Theatre@41, Monkgate, York, tonight, 7.30pm

WRITER-PERFORMER Mark Stratford’s solo play tells the story of Macready, the Victorian actor-manager to whom Charles Dickens dedicated his novel Nicholas Nickleby. Capturing the joy, graft and tribulations of a life lived in theatre with passion, humour, emotion and multiple characters, Stratford journeys through the fascinating world of Victorian theatre and the extraordinary, conflicted life of Macready, from his first tentative steps on stage in a tatty country theatre to his final Drury Lane performance. Box office: tickets.41monkgate.co.uk.

Daniele Coombe, left, Rebecca Wheatley, Maureen Nolan and Carli Norris in Menopause The Musical 2 – Cruising Through The Menopause at the Grand Opera House

Musical of the week: Menopause The Musical 2 – Cruising Through The Menopause!, Grand Opera House, York, Sunday, 6pm

CARLI Norris, from Doctors, Hollyoaks and EastEnders, Maureen Nolan, of The Nolans, Rebecca Wheatley, from Casualty, and West End actress Daniele Coombe star in the final UK tour of this menopausal sequel.

Fast forward five years as the same characters set off on the high seas in this heartfelt, reassuring look at the “joys” of the menopause. Cue hot flushes, mood swings, memory lapses and weight gain on a bumpy trip of self-discovery, love and friendship, backed by a soundtrack of parodied hits. Box office: atgtickets.com/york.

The Storm Whale: Returning to York Theatre Royal next week after its first plunge in 2019. Picture: Northedge Photography

Revival of the week: The Storm Whale, York Theatre Royal Studio, April 15 to 19, 10.30am and 1.30pm

YORK writer and director Matt Aston revives his 2019 stage adaptation of Benji Davies’s tales of loneliness, love and courage, The Storm Whale, in a show built on puppetry, original songs and dialogue.

Noi lives with his dad and six cats by the sea. One summer, while dad was busy at work, Noi rescued a little whale, washed up on the beach. A friendship began that changed their lives forever. The following winter, his dad takes one last trip in his fishing boat. Alone once more, Noi longs to see his friend again. Will it take another storm to bring them back together? Box office: 01904 623568 or yorktheatreroyal.co.uk.

York Chocolate Festival: City centre will be chock-a-block with chocs’n’eggs for Easter

Festival of the week: York Chocolate Festival 2025, April 16 to 20, 10am to 5pm

YORK Chocolate Festival showcases everything sweet and chocolate from independent businesses in Parliament Street and around the city.

Highlights include the York Chocolate Festival Market; Chocolate Taste Trail; Ashley McCarthy’s Chocolate Sculpture and Family Easter Egg Hunt. Entry to the festival and market is free; some activities and events require tickets. Full programme at: yorkfoodfestival.com/programme.

Showaddywaddy: Rock’n’roll revivalists standing under the moon of love at the Grand Opera House

Rock’n’roll nostalgia of the week: Showaddywaddy, Grand Opera House, York, April 17, 7.30pm

SHOWADDYWADDY make the bold claim to be “the greatest rock’n’roll band in the world”, living up to that title for the past five decades, they say.

Formed in 1973 in Leicester, they have sold more than 20 million records. Here come Hey Rock And Roll,  Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon, Pretty Little Angel Eyes et al. Box office: atgtickjets.com/york.

The Talkinator: Written by a human, performed by a human, Patrick Monahan

Comedy gig of the week: Patrick Monahan: The Talkinator, Theatre@41, Monkgate, York, April 18, 8pm

IN 2024, amid much talk of about AI taking over humans, only one man can out-talk the chat-bots and robots. Step forward Irish-Iranian comedian Patrick Monahan for one hour of stand-up comedy written by a human, performed by a human. Box office: tickets.41monkgate.co.uk.

The Divine Comedy: New album and York Barbican tour date. Picture: Kevin Westerberg

Gig announcement of the week: The Divine Comedy, York Barbican, October 21

NEIL Hannon will promote The Divine Comedy’s 13th studio album, September 19’s Rainy Sunday Afternoon, on a 16-date autumn tour. Tickets will go on sale on Thursday, April 17 at 10am at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/.

Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions – sad, funny, angry and everything in between – as he “works through some stuff”: mortality, memories, relationships and political and social upheaval. 

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XXX marks the spot for Harland Miller, man of letters of the Pop art variety on his home-city return to York Art Gallery

York Pop artist Harland Miller with his new work York from his XXX exhibition at York Art Gallery. Picture: Olivia Hemingway

IF brevity is the soul of wit – ironically a quote from Shakespeare’s longest play, the 40,000-word Hamlet – then that philosophy applies to Pop artist Harland Miller’s new exhibition in York.

“I wanted to use as little language as possible, to see if a short word like ‘If’ , for instance, could mean as much to someone as a long sentence,” he says, on his return to his home city the day after his 61st birthday to launch XXX at York Art Gallery: the gallery he first visited aged 16 on a lunch break from a job he had just started, setting him on his path to international acclaim as an itinerant painter in New York, New Orleans, Berlin and Paris as part of fellow Yorkshireman Jay Jopling’s stable of White Cube gallery artists.

“This show is entitled ‘XXX’ but it doesn’t flout any indecency laws so it should stay open longer than the last one [his Covid-curtailed 2020 show] , which was slated to run for six months but closed after only a few weeks (as was the whole of the city) due to lock down, so I never did find out what being given the keys to the city actually unlocked,” says Harland.

“But York is a city of perpetual mystery and history, including my own, and it always draws me back. It’s especially exciting to be sharing this with everyone – not once, but twice.”     

Harland Miller with his 2019 oil on canvas XXX at York Art Gallery. Picture: Olivia Hemingway

Coinciding with the publication of his new book of the same title by Phaidon, Harland is showcasing paintings and preparatory works on graph paper from his Letter Paintings series, topped off by the unveiling of several new oil paintings, not least York – a suitably short city name to match his project brief.  

He had built his 2020 York Art Gallery exhibition around its title work, York So Good They Named It Once, a work transformed into mugs, fridge magnets et al. “I knew I wanted to do something about York again, and I thought, ‘how can I bring York into the series I’m making?’. The answer was right in front of my face: all the works used letters that made short words and York is a short word!” says Harland.

“Then I thought, what is coming through that says ‘York’ to me. The white rose, though that was a bit obvious, and yellow from the daffodils that come out in the spring. When I was a kid, the Bar Walls were covered with them.

“My mother wasn’t the most positive person, but she equated the daffodils coming out with York regenerating each year in spring.”

Artist Harland Miller stands by his Oh No work, sporting his newly designed Oh No scarf, on sale at York Art Gallery. Picture: Olivia Hemingway

And so Harland Miller’s ‘York’ blossomed into life as his first ever flower painting:  York, so good he has now painted it twice. “Hopefully you see the rose and the daffodil in the white and the yellow, and not a fried egg,” he cautions.

York, a work created since the XXX book went to print, forms part of a hard-edged series that “melds the sacred seamlessly with the everyday”, drawing inspiration from medieval manuscripts, where monks often laboured to produce intricate illuminated letters to mark the beginning of chapters.

In these works, Miller applies bold colours and typefaces to accentuate the expressive versatility of monosyllabic words and acronyms such as ESP, If and Star, the series now expanding to take in Oh No (with an accompanying scarf among the exhibition merchandise), Kiss, Boss and Loop and his first hard-edged  diptych, Far Out.

The Letter Paintings present overlaid letter forms as their image, with a neutral band at the bottom in the form of a title alongside Miller’s own name as their author. By isolating, overlaying and reuniting individual letters, he creates a sense of depth in the image and encourages contemplation.

Far Out, Harland Miller’s first diptych from his Letter Paintings series at York Art Gallery. Picture: Olivia Hemingway

“From two letters, I moved on to three-letter words and favourite four-letter words and now a five-letter word, Eerie, though that’s cheating with three ‘E’s. I like to start with a word and then work with the feeling it evokes, like getting an eerie feeling from the word ‘eerie,” says Harland.

“I painted ‘Numb’ just a couple of years ago after my mother passed away. Yellow and purple felt natural colours for it, and I wanted that sense of walking through that numbness in the painting, which had come from that feeling.”

Yellow and purple might strike you as an unusual colour combination, but Miller had studied colour psychology back in the day when working in graphic design with Peter Turpin at Turpin Graphics.

“Yellow can make people feel violent, but what’s interesting is if you introduce purple, which can make people feel introspective, then by putting it with yellow, you can become violently introspective, which isn’t good for you, but part of my punk philosophy is to challenge that.”

Harland Miller, XXX, oil on canvas, 2019. Copyright: Harland Miller. Photo copyright: White Cube, Theo Christelis

The exhibition is defined by the letter X, so good he used it thrice. “Unlike any other letter in the alphabet, it’s also its own word without being a word. ‘X’ is more exciting than ‘I’. It sounds more exciting!  I don’t know if it’s exciting because it features in words we like, like ‘exciting’ or ‘sex’, but if was ‘secks’, you wouldn’t get a band called The Sex Pistols! Secks Pistols just wouldn’t look good. ‘X’ is a letter that makes a word look good and sound good.”

The exhibition’s themes will extend beyond the indoor gallery spaces into the gallery gardens, through a creative interpretation of Miller’s Far Out diptych, using a selection of flowering plants. Visible from the ground and the gallery’s balcony, the plantings will be sown on two wired raised planting beds on the sloping grass verge behind the gallery, leads up to the wildflower meadow. 

This floral installation will be planned so flowers appear from the end of June, peaking during the summer season, all adding to a show with the XXX factor.

Harland Miller: XXX, York Art Gallery, on show until  August 31. Opening times: Wednesday to Sunday, 10am to 5pm. Tickets: yorkartgallery.org.uk.

Beatrice Bertram

Dr Beatrice Bertram, senior curator at York Art Gallery, on Harland Miller’s XXXhibition:

“WE are delighted to welcome Harland back to York Art Gallery and his home city to show this extraordinary exhibition entitled XXX. The displays here in York explore his celebrated series of Letter Paintings, brought together for the first time alongside new work created exclusively for our exhibition.

“Harland’s distinctive, impactful paintings are instantly recognisable and repay close looking. His clever use of language and colour encourages us to encounter everyday words afresh, as he lays letters over one another in an intriguing process of deconstruction and reconnection.

“Don’t miss this unique opportunity to experience Miller’s bright, bold, brilliant body of work produced during an exciting new phase in his career.”

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REVIEW: Martin Dreyer’s verdict on Leeds Song, Florian Boesch/Joseph Middleton, Howard Assembly Room, Leeds, April 5

Florian Boesch: “Unique approach to Schubert’s Winterreise”

YES, you read it correctly, Leeds Lieder – pithy, alliterative, euphonious – has been dumbed down to ‘Leeds Song’, lacking all the above epithets and centred on hissy sibilants. We might perhaps have had ‘Leeds Lieder and Song’, tautologous, of course, yet retaining a link to the past.

But the rebranding boys, much on the warpath lately – witness North Yorkshire ditching the white rose – have had their way, no doubt charging for the privilege.

That rant now over, the festival got off to a sensational start with Florian Boesch’s unique approach to Schubert’s Winterreise (not a title that needs translating for anyone who has read this far).

This was operatic monodrama. Forget making every note beautiful in a cosy song-cycle. Boesch delivered the traveller’s unvarnished mental anguish and fluctuating emotions with no holds barred.

‘Good Night’ was quite staccato, with the hint of a smile at the end. It was deceptive. Our traveller was angry at the weather-vane and his lukewarm tears provoked emphatic fury at winter’s ice. Numb with cold, there was no relief to be found in nature until he recalled the linden tree, whose branches rustled a friendly whisper.

The recollection of his beloved’s house rekindled his anger and his mental vacillations continued,on the river. With ‘A Backward Glance’ he was almost shouting his defiance – by this point Boesch was fully inhabiting the traveller’s shoes, rivetingly bound up in the drama even as the will-o’-the-wisp led him astray.

Boesch was weariness personified in ‘Rest’, finding no peace from his pain, but then he became all childish innocence for his springtime dream and there was even jauntiness in his anticipation of something in the post. There were subtle nuances everywhere, a sudden rubato here, a little tenuto there.

After the post horn had ceased, the final ‘Mein Herz’ was fractionally held back, with telling effect. As he transferred his friendship from nature to animals, he darkened his tone for the crow and turned sardonic over the barking dogs. Surviving the savage cold of the stormy morning, he found immediate pleasure in deluding himself.

By now, we were at the nub of the traveller’s loneliness and Boesch conjured a pin-drop moment of deep reflection as he faced the road of no return. Turned away from ‘The Inn’, in reality a cemetery, he brought tears to the eyes, his determination encapsulated by the boldness of the postlude.

That continued through ‘Courage’ and ‘The Phantom Suns’, until the latter ended in a whispered sotto voce. Then all that was left was the organ-grinder, whose lot was never going to improve. Just as our traveller faced an eternity of misery, he had at last found someone to identify with.

The cycle had been a searing experience for singer and audience alike and was followed by a prolonged silence. Middleton stuck bravely to his guns at the piano, caught out slightly once or twice by Boesch’s spontaneity, but it mattered not. They were a splendid team.

Review by Martin Dreyer

The Leeds Song festival continues until April 12. www.leedssong.com.

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Dawn Landes to perform The Liberated Woman’s Songbook at Bluebird Bakery, Acomb & Hebden Bridge Trades Club

Dawn Landes: Returning to York on July 2 after playing there in 2015 and 2018

AMERICAN country roots singer-songwriter Dawn Landes will present The Liberated Woman’s Songbook at Rise@Bluebird Bakery, Acomb Road, Acomb, York, on July 2.

She is to play ten British dates, including Glastonbury Festival on June 29 and Hebden Bridge Trades Club on July 3, on her return to British shores after last autumn’s stirring performance at the Barbican, London, where she captivated her audience with a powerful, history-rich set celebrating women’s voices. 

Folk icon Peggy Seeger, who appeared with Landes at the Barbican, said of The Liberated Woman’s Songbook shows: “Dawn Landes has conceived and carried out a stunning programme of selections from The Liberated Woman’s Songbook and is touring with it, using only female singers plus a band, all sourced from wherever her next programme will take place. 

“I was part of it in September 2024 at London’s Barbican and would gladly do so again wherever it travels.  A must-see, must-hear, must-applaud,  vigorously wonderful evening for men and women of any age. An about-time happening.”

The Liberated Woman’s Songbook reimagines music from the women’s liberation movement. Inspired by a 1971 songbook of the same name, Landes and producer Josh Kaufman (Bonny Light Horseman, Bob Weir, Cassandra Jenkins) breathe new life into 11 powerful songs spanning 1830 to 1970, amplifying the voices of women who fought for equality throughout history.

The album cover artwork for 2024’s The Liberated Woman’s Songbook. Design by Nathan Golub; photo by Shervin Lainez

The project began when Landes stumbled upon The Liberated Woman’s Songbook at a thrift store during the pandemic. Following the 2022 overturn of the Roe v. Wade case in the United States, the songs took on an even greater urgency.

 “We’re suddenly back in 1971 all over again,” Landes reflects. “I know we’re in for a long fight, and it helps to find solidarity where you can.” Kaufman adds: “Many of these songs were never meant to travel beyond the picket line. I hope our work helps to amplify their message of freedom and equity anew.”

Recorded in Upstate New York and Chapel Hill, North Carolina, The Liberated Woman’s Songbook features contributions from Emily Frantz (Watchhouse), Kanene Pipkin (The Lone Bellow), Rissi Palmer, Charly Lowry, Annie Nero and Lizzy Ross (Violet Bell).

The album was first brought to life on stage by Landes and Kaufman at the Newport Folk Festival in July 2023, when the set was recognised by Rolling Stone magazine as “one of the best things we saw at Newport”, reinforcing the record’s relevance and power.

 “There was always going to be plenty of room to roam within these centuries-old compositions,” Landes told Uncut magazine. “When we do the full show, it’s just so powerful, because there’s that great feeling of solidarity between women.”

Dawn Landes, The Liberated Woman’s Songbook, Rise@Bluebird Bakery, Acomb, York, July 2, doors 7.30pm for 8pm start; box office: https://www.seetickets.com/event/dawn-landes/rise-bluebird/3372912?aff=id1bandsintown. Also Hebden Bridge Trades Club, July 3, 7.30pm; thetradesclub.com.

Dawn Landes: the back story

Dawn Landes: Wistful country singer, songwriter and guitarist

BORN in Louisville, Kentucky, December 5 1980. Spent many years living and performing in Brooklyn, New York, where she studied at university, then in Nashville. Now based in Chapel Hill, North Carolina.

Recorded seven albums and five EPs since 2005, with her songs featuring in The Good Wife, House and Gossip Girl. Frequent collaborator with contemporary artists such as Sufjan Stevens, Nora Jones and composer Nico Muhly. Once part of the group The Bandana Splits.

Married to Idaho singer-songwriter Josh Ritter from 2009 to 2011. Ritter addressed their marital breakdown on 2013 album The Beast In Its Tracks, but rather than taking the chance to get things off her chest in response, Dawn chose to write a record that points more towards hope than heartache, 2014’s Bluebird.

Her transformative skill with covers caught fire with 2007 bluegrass rendition of Peter Bjorn And John’s whistling hit Young Folks.

February 2015’s Covers EP was led off by Bruce Springsteen’s Atlantic City, performed as a duet with My Morning Jacket’s Jim James, complemented by Tom Petty’s Southern Accents, Dolly Parton’s Longer Than Always, Roxy Music’s More Than This and Henry Mancini’s Moon River. Has French EP to her name too, Mal Habillee.

Has appeared with Boston Pops, NYC Ballet and on TED main stage. Her musical ROW, about fellow Kentucky native Tori Murden McClure’s quest to become first woman to row across the Atlantic Ocean, premiered in 2021 at Williamstown Theatre Festival and is available on Audible.

Latest album The Liberated Woman’s Songbook was released on March 29 2024 during Women’s History Month, showcasing folk songs in her guide to women’s activism from 1800s to high times of 1970s’ Women’s Lib.

Last played York in November 2018 gig at The Basement, City Screen, with husband Creighton Irons on keyboards, in low-key show that contemplated the “big themes of midlife” in mid-tempo songs of heartbreak, youth fading into the distance, and love lost and found. Previously opened five-date UK and Irish tour at Fibbers, Toft Green, in January 2015. Played Fibbers twice in 2006, supporting The Earlies in May and Fionn Regan in September.

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What Shakespeare did to Richard III, now Richard III does to Shakespeare in Philipp Sommer’s Re-Lording Richard 3.0 riposte

Re-Lording Richard 3.0 writer-performer Philipp Sommer

YORK’S own King Richard III looks back at his history with Alexa at his side – a modern voice in 1485 – in Philipp Sommer’s Re-Lording Richard 3.0 at York St John University Creative Centre Auditorium on April 24 at 7.30pm.

The Berlin writer-performer is bringing his reimagining of Richard’s origin story to York as part of the 2025 York International Shakespeare Festival.

Re-Lording Richard 3.0 brings Richard III to the stage so that he may share his fears, his doubts, his joy and loyalty in this 50-minute retort to Shakespeare’s hatchet job, performed  in English.

“Shakespeare’s play underpins his person as the embodiment of evil, but is that all he was?” asks Sommer.  “Then, it was theatre; now, it’s social media that provides a platform for propaganda.”

The poster for Philipp Sommer’s Re-Lording Richard 3.0, playing York St John University Creative Centre Auditorium on April 24

Sommer describes his play as a “drama-dy”, combining drama and comedy. “‘Everyone has seen Richard III by Shakespeare, but have you seen Shakespeare by Richard III? This is the story from Richard’s point of view.”

Richard settles his accounts with Shakespeare, as Richard and Alexa ask the question: “Has the world really changed?”

Re-Lording Richard 3.0 supports the festival’s mission of bringing international voices to York to celebrate and elaborate upon Shakespeare’s work.

Founded in 2015, the festival is marking its tenth anniversary with this season’s April 22 to May 4 programme. For full details and tickets, go to yorkshakes.co.uk.

Produced by the community arts charity Parrabbola, the festival is now an annual event, returning to live performance in 2023 after a Covid-enforced break, with support from York St John University.

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Flautist Jenefer Fraser and pianist Chris Hughes to play Dementia Friendly Tea Concert at St Chad’s Church on April 17

Flautist Jennifer Fraser

JENEFER Fraser, flute, and Chris Hughes, piano, will perform this month’s Dementia Friendly Tea Concert on Maundy Thursday at St Chad’s Church, Campleshon Road, York.

“I’m really looking forward to this solo flute recital, playing some really lovely and fun repertoire, including La Flute de Pan by Mouquet and Carmen Fantasy by Francis Borne,” says Jenefer, who  is studying for a MMus in Performance at the University of Leeds.

She will be joined by accompanist Hughes for the 2.30pm programme on April 17 that also will feature music by John Rutter and Massanet’s Meditation before concluding with Borne’s Carmen Fantasy, based on tunes from Bizet’s opera.

“It will be a great start to the Easter weekend,” says co-organiser Alison Gammon. “Please encourage your friends to come too! As usual, 45 minutes of music will be followed by tea, coffee and homemade cakes in the church hall.

“The event is a relaxed concert and ideal for people who may not feel comfortable at a formal classical concert, so we do not mind if the audience wants to talk or move about.

“Seating is unreserved and there is no charge although donations are welcome. We give a donation to the church to cover heating and the rest goes to Alzheimer’s charities.”

Along with a small car park at the church, on-street parking can be found on Campleshon Road, but it can become busy, so do allow plenty of time. “If you are more mobile, it would really help if you could park on the street to allow for disabled parking in the car park,” advises Alison. Wheelchair access is via the church hall.

Dates for the 2025 diary of Dementia Friendly Tea Concerts are: May 22, York Guitar Quartet; June 19, Patrick Wilson, trumpet, Maria Marshall, cello, and Robert Gammon, piano; July 17, Flauti Felice flute ensemble; Aug 14, Tina Sanderson and friends, string ensemble.

The season will continue on September 18, Robert Gammon, piano; October 16, Giocoso Wind Ensemble; November 20, Billy Marshall, French horn, and Robert Gammon, piano, and December 11, Ripon Resound Choir.

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REVIEW: Steve Crowther’s verdict on Student Showcase, Sir Jack Lyons Concert Hall, University of York, April 2

THE concert opened with the student-led chamber choir Animas singing Messiaen’s O Sacrum Convivium. And very good it was too.

The singing was pretty much pitch perfect and the balance was impressive. The choir captured the contemplative, sacred mood of this devotional work well; the soprano Alleluia near the close had a wonderful stillness.

The performance of Fauré’s Cantique de Jean Racine, with its luxurious, quite intense choral wring with organ accompaniment, reminded me of the later Requiem. The tenors were impressive, always a good thing, and the performance left a ‘happy ever after’ glow.

The part-singing in Elgar’s My Love Dwelt In A Northern Land was confident and clean, with fine tenor and soprano contributions. John Seymour’s I Will Lift Up Mine Eyes is an unashamedly sugary-sweet setting and no less enjoyable for that.

It has to be said that Samuel Wesley’s Blessed Be The God And Father was, to use a cricketing term, a “poor shot selection”. Not even the sweetest of solos and earnest commitment from the choir could redeem this ridiculous piece of music.

Anyway, from the ridiculous to the sublime in the form of Rachmaninoff’s Bogoróditse Devo. The performance was richly rewarding with impressive dynamic range and contrasts.

Vox opened their set with Katie Laing’s Sea Shanty Mashup. This was an impressive work and an impressive performance to go with it. The stand-out sea shanty was the arrangement of the Cornish folk group Fisherman’s Friends’ Keep Hauling. Goodness me this was moving, but it is a deeply moving song.

Not for the first time, I would question the term “arrangement”, which doesn’t adequately embrace the creativity expressed in Ms Laing’s Mashup.

To be honest, I was genuinely nervous about any arrangement of Paul Simon’s masterly Sound Of Silence. I mean, it’s just perfect. But Ms Laing’s version was respectful, touching and impressive.

Another notable “arranger” was Milo Morrod, whose reworking of Runaway and Sh-boom stood out as being notably creative. A fine singer too.

I loved Ted Jenkins’s funky arrangement of Tom Misch’s Disco Yes, particularly the electric bass guitar imitation. So too, Vox’s arrangement of Fleet Foxes’ Mykonos, with the pizzicato ‘chirping’ accompaniment signing the song off.

But the “coolest a cappella group at the University of York”, nah, that accolade goes to the student-led gospel choir, Zamar. Dressed in majestic purple cassocks, swishing in time to the beat of the music, they were on a musical mission.

They opened their set with an energetic arrangement of the soul classic Ain’t No Mountain High Enough (Marvin Gaye/Tammi Terrell), originally sung by Diana Ross. And for a bonus point, used in the closing scene in the first, and best, Bridget Jones film.

Whatever Zamar sang filled the whole auditorium with a bouncing, infectious joy. Eva Cassidy’s How Can I Keep From Singing was quite delightful, as were Andrew Lloyd Webber’s Any Dream Will Do and Go Go Go Joseph arrangements.

Stephen Schwartz’s Wicked’s For Good has an instinctively engaging, albeit sugary tune. But what it lacks in originality was transcended by this full-on, infectious performance.

The set closed with a remarkable, inclusive version of Steven Taylor’s Hallelujah You’re Worthy. The audience were invited to join in the fun. Well, naturally, I didn’t, but what appeared to be the whole of the audience, however, did. They were in on the act. Standing up, jiving, arm rolls, the lot. It was like a Holy, cleansed version of the gothic, irreverent classic musical The Rocky Horror Picture Show, without suspenders or lipstick. Just great fun.

The finale brought the three choirs together in Olivia Ryan’s arrangement of Fleetwood Mac’s Go Your Own Way. They got on famously.

And that was that: great songs, impressive arrangements, talented and creative musiciansand singers. Who could ask for anything more.

Review by Steve Crowther

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RENT’s message of love matters more than ever, says Inspired By Theatre as York company reignites American musical

Dan Poppitt’s Roger, left, Gi Vasey’s Mimi and Mikhail Lim’s Benny in Inspired By Theatre’s RENT, opening at the Joseph Rowntree Theatre tomorrow. Picture: Dan Crawfurd-Porter

“THIS isn’t just another revival; for us, it’s personal,” says Inspired By Theatre director Dan Crawfurd-Porter as the York company prepares to open RENT at the Joseph Rowntree Theatre tomorrow (10/4/2025).

“RENT was the show that opened my eyes to what theatre could truly be, beyond just performance, and beyond just entertainment,” says Dan, recalling his first encounter with  Jonathan Larson’s groundbreaking American musical in 2021.

“It fuelled my love for stories that matter and ignited my desire to produce theatre. I discovered community theatre after a crisis point in my own life, joining my first show, Jesus Christ Superstar, at 21.

“That same year, 2021, I saw RENT for the first time, and everything changed. I fell in love with Jonathan Larson’s work, from his early pieces to his role in transforming what musical theatre could say and do.

“It inspired me to create a company with a purpose. We started by producing Tick, Tick… BOOM!, Larson’s semi-autobiographical piece, always with the long-term intention of bringing RENT to life.”

Dan continues: “For Inspired By Theatre as a whole, RENT reflects our core values: community, inclusion, and using theatre as a tool for connection and change. This show allows us to bring those values to the forefront, and create work that inspires, just like RENT once inspired me.”

RENT follows on from Crawfurd-Porter’s July 2024 staging of  another iconic American rock musical, Green Day’s American Idiot.  “RENT tells a story of love, resilience and artistic defiance, making it as relevant today as it was when it debuted 30 years ago,” says Dan.

On the boulevard of broken dreams: Dan Poppitt’s Tunny, left, Iain Harvey’s Johhny and William Thirlaway’s Will in Bright Light Musical Productions’ York premiere of Green Day’s American Idiot last July. Picture: Dan Crawfurd-Porter

Set in the heart of New York City’s East Village at the apex of the AIDS epidemic, RENT follows a group of young artists struggling to survive, create and hold onto hope in the face of uncertainty.

“RENT redefined what musical theatre could be,” says Dan. “It brought rock music, queer voices and the reality of the HIV/AIDS crisis to the mainstream stage with honesty and heart. You can draw a straight line from RENT to shows like Spring Awakening, Next To Normal, Dear Evan Hansen, and Hadestown. It paved the way for modern musical theatre to be bold, raw and real.”

Larson’s musical made its Broadway debut on April 29 1996 and has not dated over the past three decades, reckons Dan. “Homophobia, housing insecurity, the cost of living crisis, cuts to arts funding, and the pressure on young people to ‘make it’ in a gig economy, these are all still with us,” he says. “The show may be set in the ’90s, but its message is absolutely timeless. And that reminder, to love boldly, live fully, and stand by your community, feels more essential than ever.

“RENT celebrates bravery, defiance, creativity and unconditional love. It shows young people at their most vulnerable, but also their most powerful, unafraid to break rules, build community and fight for something better.”

In his directorial role, Dan’s biggest challenge has been to strike a balance between emotional truth and theatricality. “With RENT, you can’t fake it,” he says. “It requires vulnerability and sincerity, every single night. The other challenge has been finding the balance between honouring the original and bringing our own perspective to it, making sure it feels fresh while staying true to Larson’s vision.”

Dan holds no truck with naysayers’ contention that Rent has only good song, the life-measuring Seasons Of Love. “Reducing the score to just one number completely overlooks the musical and emotional richness of the show,” he counters.

“Jonathan Larson created a soundtrack that doesn’t just support the story, it is the story. “Light My Candle and Goodbye Love are two of the finest examples of storytelling through song in musical theatre. One Song Glory is heartbreakingly raw. Take Me Or Leave Me is a powerhouse duet that has become a rite of passage for performers.

“This isn’t just another revival; for us, it’s personal,” says RENT director Dan Crawfurd-Porter

“And La Vie Bohème? It’s more than a song, it’s a celebration and a protest. Even the quieter numbers, Halloween, Without You and I’ll Cover You (Reprise), are deeply affecting, layered with vulnerability and truth. “The brilliance of RENT’s score is that it’s urgent, messy and honest, just like the characters themselves. Larson created a musical landscape that’s not only memorable, but profoundly human too.”

Describing the set and costume design for RENT, Dan says: “It’s layered, authentic and curated with so much thought. Days spent painting by a team led by Gi Vasey. A scaffold making a return to the stage but being transformed.

“So many set pieces and props have been built or sourced for this show. There will be no doubt what world the audience has entered into. Our set incorporates real panels from the AIDS Memorial Quilt, giving a powerful visual tribute to those lost to HIV/AIDS.

“The costumes are grounded in 1990s’ realism. But they’re not just era-accurate, they’re character-driven. Each look reflects not just the time, but the personality, story and identity of the person wearing it.”

Why should anyone who has not seen RENT see it for the first time, Dan? “Because it’s theatre that hits you in the heart,” he says. “You’ll laugh, cry and maybe leave thinking a little differently about the people around you. It’s the kind of show that stays with you.”

Why should someone who has seen RENT see it again? “Like with every production of RENT, we’re telling this story with new energy and new voices, no version of the show is the same,” says Dan. “This production will move you, challenge you and remind you to measure your life in love.”

Inspired By Theatre in RENT, Joseph Rowntree Theatre, York, tomorrow (10/4/2025) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: https://www.josephrowntreetheatre.co.uk/whats-on/all-shows/rent/2761.

Director Dan Crawfurd-Porter on Inspired By Theatre’s cast for RENT

Inspired By Theatre’s principal cast for RENT: left to right, Maddie Jones, Jess Gardham, Iain Harvey, Dan Poppitt, Gi Vasey, Mikhail Lim, Joseph Hayes and Fen Greatley-Hirsch. Picture: Dan Crawfurd-Porter

THE principal cast comprises Green Day’s American Idiot leading man Iain Harvey as Mark; Dan Poppitt as Roger; Gi Vasey as Mimi; Joseph Hayes as Tom Collins; Maddie Jones as Maureen; York blues singer Jess Gardham as Joanne; Fen Greatley-Hirsch as Angel and Mikhail Lim as Benny.

In the ensemble will be: Richard Bayton; Katie Brier; Kailum Farmery; Rebecca Firth; Jack Fry; Chloe Pearson; Lucy Plimmer-Clough; Fernadna Aqueveque Retamal; Connie Richards; Josh Woodgate and Tiggy-Jade.

“This production brings together returning favourites and exciting new members of the company, and I’ve never seen a cast quite like this before,” says Dan. “We’ve assembled a powerhouse of performers, ready to bring this iconic show to life like never before.

“What excited me about this cast is first and foremost their commitment to the project. It’s unwavering. Their passion for the project matches mine. And then the talent that goes with that is so high.

“Our audition standard was incredible, which although it led to tough decisions with those we had to turn away, it meant we could really curate the perfect cast for my vision. This commitment and talent has felt like an absolute blessing throughout the process. The talent, commitment, closeness, understanding and diversity, makes them a force to be reckoned with within any amateur theatre scene.”

Dan, introduce your new cast members and why you choose them…

“BUILDING on the strength of our American Idiot company, we’ve welcomed an incredible group of new performers into the Inspired By Theatre family for RENT. Each brings something uniquely powerful to the production.

“Gi Vasey trained at Bristol Old Vic Theatre School in Performance Design and is a multidisciplinary theatre-maker. She’s a standout talent as Mimi, with a voice and emotional depth that captivate, but her contribution goes far beyond performance. As an experienced scenic designer, Gi has spent entire days painting. Her presence has elevated every aspect of the production.

Maddie Jones’s Maureen, left, and Jess Gardham’s Joanne in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter

“Maddie Jones, returning to the stage after a break, has delivered a Maureen that’s bold, eccentric and magnetic. Her RENT audition left no doubt, she had it. Every rehearsal since has confirmed she’s the perfect mix of chaos, charm, and charisma.

“Jess Gardham is a multi-award-winning singer-songwriter with international touring experience and a rich theatre background. Her professionalism, warmth and sheer vocal ability have been a gift to this process.

“Mikhail Lim is well known in the York theatre scene as both a performer and director, and we’re thrilled to finally have him in an Inspired By Theatre production. His stage presence is commanding, his voice outstanding, and he brings an emotional honesty that makes every scene land.
“Fen Greatley-Hirsch has one of the most impressive CVs we’ve seen, with experience across Shakespeare, contemporary plays and musicals. His portrayal of Angel is nothing short of beautiful, sensitive, joyful and deeply moving.

“Joseph Hayes returned to the stage for the first time in seven years to join RENT, and his audition stunned the panel. His command of the role and delivery of I’ll Cover You (Reprise) is emotionally devastating in the best possible way. His name was the very first on our cast list.

“Katie Brier, a trained musical theatre performer (Leeds College of Music and London College of Music), brings not just vocal brilliance but also humour, musical intelligence and an infectious energy to the room. Having worked with her previously in York, we knew she was the perfect fit for this show and company.

“Lucy Plimmer-Clough, with a BA and MA in Music from the University of York, brings exceptional musicianship and vocal strength to the production. Her standout performance in one of RENT’s most iconic musical moments will leave audiences speechless.

“Connie Richards, who was due to play Mimi in another RENT production that was sadly cancelled, was a brilliant surprise at auditions. Her talent is immense, and having someone of her calibre in our ensemble is a testament to just how deep the talent runs in this cast.

Fen Greatley Hirsch’s Angel, left, and Joseph Hayes’s Tom Collins in RENT. Picture: Dan Crawfurd-Porter

“Fernanda Aqueveque Retamal began her theatre journey in Chile in 2001 and trained under renowned director Fernando Cuadra. Performing in a second language and bringing a unique international perspective to the production, Fernanda adds richness and diversity that’s not only rare but perfect for a show like RENT.”

One last question:

Why did you change the company name from Bright Light Musical Productions to Inspired By Theatre, Dan?

“Bright Light Musical Productions was a name chosen quickly in our early days, before we truly knew what we were building. As we grew, developed our voice, and began producing work with real purpose, it became clear that we needed a name that reflected who we are now, not who we were then,” he explains.

“Inspired By Theatre captures the heart of what we do. We’re inspired by the people we work with, the stories we choose to tell and the communities we engage.”

In the Inspired By Theatre diary for 2026:

1. Andrew Lloyd Webber & Tim Rice’s Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14 2026

2. Spring Awakening, coming-of-age rock musical with music by Duncan Sheik and book and lyrics by Steven Sate, Theatre@41, Monkgate, York, May 20 to 23 2026

3. A third project, still under wraps, coming to Joseph Rowntree Theatre in October 2026

“We’re thrilled to announce these shows,” says Dan. “2026 is going to be huge!”

Iain Harvey’s Mark in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter

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What’s On in Ryedale, York and beyond. Hutch’s List No. 14, from Gazette & Herald

Mr Willy Wonka, played by Jonathan, in Ryedale Youth Theatre’s Charlie And The Chocolate Factory at the Milton Rooms, Malton

MISSING out on Gary Oldman’s sold-out Krapp’s Last Tape on his York Theatre Royal return? Charles Hutchinson digs up plenty of consolation prizes.

Ryedale musical of the week: Ryedale Youth Theatre in Charlie And The Chocolate Factory, Milton Rooms, Malton, tonight to Saturday, 7.15pm plus 2pm Thursday and Saturday matinees

RYEDALE Youth Theatre brings Roald Dahl’s Charlie And The Chocolate Factory to the Malton stage in a magical adventure that journeys into Willy Wonka’s fantastical world.

Expect stunning performances and enchanting music in a family-friendly production perfect for all ages. Only 100 tickets are still available after sales of 1,200. Box office: yourboxoffice.co.uk/ryedale-youth-theatre.

Inspired By Theatre’s principal cast members in Rent, playing the Joseph Rowntree Theatre, York, from tomorrow

York musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee

YORK company Inspired By Theatre follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance. 

Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Welcome back: Gary Oldman in the York Theatre Royal dressing rooms

York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17

ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: New availability of returns and additional seats on 01904 623568 or at yorktheatreroyal.co.uk.

Abigoliah Schamaun: In pursuit of the “Holy Visa” in Legally Cheeky, on tour at Pocklington Arts Centre

Comedy gig of the week: Abigoliah Schamaun, Legally Cheeky, Pocklington Arts Centre, tomorrow, 8pm

ABIGOLIAH Schamaun thought she had it all; the flat, the career, the life partner. This US transplant was living the American Dream…in London. Then one day, the Wicked Witch of Westminster, told Abigoliah to click her sparkly heels and go “home”. In that moment, everything changed. To lose would mean losing everything. 

Abigoliah’s quest for the Holy Visa began, and the fight was very much on. Legally Cheeky charts her journey in a heart-warming tale of highs, lows, twists and turns as she recounts the year that shook her and partner Tom to the core. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Snake Davis, right, will be teaming up with Stu Collingworth at Helmsley Arts Centre on Friday night

Jazz gig of the week: Snake Davis with Stu Collingworth, Helmsley Arts Centre, Friday, 7.30pm

SAXOPHONIST to the stars Snake Davis will be joined by Hammond organist, composer and vocalist Stu Collingwood for an evening of soul pop and jazz. Davis performs regularly with famous artists at huge venues but is “far happier being himself at Helmsley Arts Centre”.

Collingworth has toured with Tony Christie, Alan Barnes and Elaine Delmar and has a residency at Charts in Newcastle. He and Davis have enjoyed a creative partnership for a decade, fired by a love of melody and groove. Box office: 01439 771700 or helmsleyarts.co.uk.

Aleysha Jade in Curious Investigators at Pocklington Arts Centre on Saturday. Picture: Grant Archer

Family show of the week: One Tenth Human in Curious Investigators, Pocklington Arts Centre, Saturday, 1.30pm

SCRIBBLE and Clipboard have a job to do, sorting out the recycling, but Scribble keeps finding new things to investigate. When she discovers a mysterious egg hidden in the rubbish, the pair needs the audience’s help to rescue an unborn chick. Can you save a mysterious egg from a smashing and what will you discover along the way?

Curious Investigators is a cracking adventure, created in collaboration with engineering experts from Lancaster University, in a delightfully surprising, highly visual show for three to seven-year-olds and their grown-ups, hatched by One Tenth Human. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Wrongsemble in Three Little Vikings, a story of cooperation, bravery and making your voice heard at Helmsley Arts Centre

Children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm

A TRIO of brave little Viking girls saves the day in Leeds company Wrongsemble’s bold and funny adventure story for little rebels by Bethan Woollvin, creator of Little Red and I Can Catch A Monster.  

Once upon a time in a Viking village, everything seems to be going wrong. Chickens are disappearing, trees are falling down. When the silly Chieftain will not listen to the three littlest Vikings, can they work together to figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Suitable for age three upwards. Box office: 01439 771700 or helmsleyarts.co.uk.

Mark Druery: Taking part in York Open Studios this weekend

Art event of the month: York Open Studios, Saturday and Sunday, 10am to 5pm

YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.

The Divine Comedy’s Neil Hannon: New album and York Barbican autumn date. Picture: Kevin Westenberg

Gig announcement of the week: The Divine Comedy, York Barbican, October 21

NEIL Hannon will promote The Divine Comedy’s 13th studio album, September 19’s Rainy Sunday Afternoon, on a 16-date autumn tour. Tickets will go on sale on Thursday, April 17 at 10am at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/.

Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions – sad, funny, angry and everything in between – as he “works through some stuff”: mortality, memories, relationships and political and social upheaval. 

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The Divine Comedy to play York Barbican & Sheffield City Hall on October tour for orchestral album Rainy Sunday Afternoon

Neil Hannon: New album and autumn tour. Picture: Kevin Westerberg

NEIL Hannon will promote The Divine Comedy’s 13th studio album, Rainy Sunday Afternoon, on a 16-date autumn tour that visits York Barbican on October 21, preceded by Sheffield City Hall on October 16.

Tickets will go on sale at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/ on Thursday, April 17 at 10am for Hannon’s return to the Barbican for the first time since April 30 2022.

Much has happened to Northern Irishman Hannon, 54, in the wake of his last studio set, 2019’sTop Five-charting Office Politics. The Divine Comedy’s entire back catalogue was lovingly remastered and rereleased in 2020, followed by the Top Five success of February 2022 compilation Charmed Life – The Best Of The Divine Comedy, marking the completion of the Derry-born singer, songwriter, musical score composer and cricket enthusiast’s third decade as a recording artist.

Hannon then wrote all the original songs for Paul King’s 2023 musical fantasy film Wonka, pronounced by the Official Charts Co as “the UK’s most popular film of 2024”.

Rainy Sunday Afternoon will be released on September 19.  Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions:  sad, funny, angry and everything in between.

“My musical output is, for better or worse, a representation of my personality,” says Hannon. “A good chunk of that personality revels in the rumbumptious; celebrates the silly. And I made ample use of that for the Wonka songs.

The sleeve artwork for The Divine Comedy’s September 19 album, Rainy Sunday Afternoon, one that “works through some stuff: mortality; memories; relationships; political and social upheaval”

“I have, though, like everyone, a darker, more melancholy side. And for one reason or another it has been much in evidence of late. I needed to use this album as an outlet for those feelings.

“To work through some stuff. Mortality; memories; relationships; political and social upheaval. Everyone should get to make an orchestral pop album once in a while. It should be available on the NHS.”

Rainy Sunday Afternoon is available to pre-order now via www.thedivinecomedy.com. Album formats include standard black and limited-edition colour LPs, standard CD and a limited-edition deluxe CD with a bonus disc, Live In Paris & London.

The Divine Comedy’s autumn tour will take in: October 6, Philharmonic Hall, Liverpool; October 7, Royal Concert Hall, Nottingham; October 8, Forum, Bath; October 10, The Glasshouse, Gateshead;  October 11 and 12, Barbican, London; October 13, Dome, Brighton; October 15, Corn Exchange, Cambridge; October 16, Sheffield City Hall (box office, sheffieldcityhall.co.uk).

The itinerary will continue with: October 17, Civic Hall, Wolverhampton University;  October 18, Swansea Arena; October 20, Royal Concert Hall, Glasgow; October 21, York Barbican; October 23, New Theatre, Oxford; October 24, Bridgewater Hall, Manchester, and  October 25, Beacon, Bristol. European and Irish dates will follow next year.

Hannon’s visit to York Barbican on his Spring 2022 tour was his first York concert since May 2011.  That bygone night, the Irish chamber-pop leprechaun performed at York Minster, but the “divine” in The Divine Comedy was not the reason he could be found in northern Europe’s largest Gothic cathedral.

The Dean and Chapter had agreed to allow Tribeca Arts impresario Ben Pugh to run a series of rock/world concerts in the Minster, and if Hannon let slip a couple of X-rated words – one to describe Minster arsonist Jonathan Martin, the other in a lyric – the wrath from above did not befall him. He looked up heavenwards only when sipping red wine from a glass, mouthing “sorry” playfully.

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