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REVIEW: Skedaddle Theatre in A Brief Case Of Crazy, York Theatre Royal Studio, silent love blossoms until tomorrow  ****

Rowan Armitt-Brewster’s introverted officer worker Thomas struggling with his bothersome briefcase in A Brief Case Of Crazy

SILENCE is golden in A Brief Case Of Crazy, a retro ray of comedic sunshine from Skedaddle Theatre that elicits the broadest of smiles and makes the heart pound with glee.

Trained in physical theatre at East 15 Acting School, Roan Armitt-Brewster, Lennie Longworth and Samuel Cunningham draw inspiration from another Rowan, Atkinson’s Mr Bean, as well as the black-and-white cinema of Charlie Chaplin and Buster Keaton.

There are shades too of Nick Park and Aardman Animation’s Wallace & Gromit comedies and Belgian surrealist René Magrittein the design for this hour-long “silent love story with a very loud heart”.

Armitt-Brewster, who appeared on the Theatre Royal main stage in Around The World In 80 Days-ish and the 2024 pantomime Aladdin, has described A Brief Case Of Crazy as “the sweatiest, stinkiest show in the world”.

In 1940s’ vintage woollen tank top, cardigan and fitted suit respectively, and sometimes in coats and bowler hats too, in such hot conditions for performing, Armitt-Brewster, Longworth and Cunningham must have felt even sweatier, even stickier. Nevertheless, they put everything into such a physically demanding show, one that keeps them constantly on the move, regularly breaking into ever-faster dance routines.

They do not speak a word, but their facial mannerisms speak volumes, and all manner of sound effects and recorded songs and incidental music are the trigger for crisply choreographed movements of exquisite comic timing, especially in scenes on the London Underground.

Armitt-Bewster’s Thomas, in his specs and tank top that have not changed since childhood, is an introverted, nervy, nerdy office drone with a hidden crush on Longworth’s just-as-shy co-worker Daisy, in woolly hat, green cardigan and red skirt, who turns out to be equally secretly love struck (both of them keeping a photo of the other in a stashed-away folder).

Always standing in the way of love’s true path Cunningham’s office boss Simon, a preening poltroon with a large mirror in his briefcase, a snarling growl for Armitt-Brewster’s timid Thomas on every entrance and a red rose for Daisy, stolen each time from knock-kneed Thomas.

Love-struck: Rowan Armitt-Brewster’s timid Thomas and Lennie Longworth’s equally shy co-worker in A Brief Case Of Crazy

Can love prevail or will dastardly Simon spoil everything?  The office “romance” is played with mime and clowning, dance steps and slapstick set-pieces, sometimes involving the drawers of the office chest, where one opens as another is pushed shut. Always keep an eye out for the unexpected, such as the office sunflower suddenly growing taller in the pot when love is declared.

The characters are caricatures with familiar tropes, but beneath the comedy lies pathos too, as bullying and grief suddenly rise to the surface in a brief, deeply moving puppetry scene that takes Thomas back to his childhood.

In the blink of an eye, amid the changing sounds of a hospital, the scene recalls how Thomas was picked on, how he injured himself in a fall, how his mother tended to his injuries, and how that handkerchief went from her hand to his after she dies all too young. When theatre is this economical but visually rich in its storytelling style, it is all the more impactful.

Indeed, the timing is so well judged throughout that only once – in a sequence of love-blossoming dance routines in quick-quick succession, where Armitt-Brewster plays Astaire to Longworth’s Rogers – could the editing be tighter. Maybe trim a song, but definitely keep in Armitt-Brewster tap-dancing finale.

All three performances are a delight, from Armitt-Brewster’s tragicomic office nerd to Longworth’s toothy, Chaplinesque Daisy – you could picture her playing Shakespeare’s Puck – topped off with Cunningham’s vainglorious Simon, the cadaverous cad of the piece.

From a trio of misbehaving briefcases to the cast’s ability to put both commotion and emotion into motion, A Brief Case Of Crazy is an utter joy in its celebration of the romance of the underdog, its empowerment of being different, its love and refinement of a time-honoured but increasingly neglected performance style. You’d be crazy to miss it.

Skedaddle Theatre & Shoddy Theatre present A Brief Case Of Crazy, York Theatre Royal Studio, tonight, 7pm; tomorrow, 2pm and 7pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Age guidance: Five upwards.

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REVIEW: Wright & Grainger in SELENE, Halfway To Edinburgh Season, Theatre@41, Monkgate, York****

Megan Drury in SELENE

IN a new creative partnership with Theatre@41, Monkgate, Easingwold duo Wright & Grainger workshopped and rehearsed SELENE at the York theatre before actor Megan Drury headed off to Australia and New Zealand for a Bob Dylanesque never-ending tour that stretched eventually to more than 70 performances.

SELENE is a solo show for Drury, such an electric force on stage, who was so vital to the spoken-word gig theatre chemistry of Edinburgh and Australian Fringe hit THE GODS THE GODS THE GODS, but the imprint of partner Alexander Flanagan Wright’s rhythmic wordplay, cultural nous and philosophical insights and Phil Grainger’s lambent compositions is as deep as ever.

Wright & Grainger specialise in breathing new life into ancient myths, refracting the tales of Orpheus, Euridyce and Helios through the prism of the troubled modern world, often a rural Yorkshire one to boot yet universal too.

SELENE is the latest such venture, billed as a “radical explosion” of the ancient Greek tale of the goddess of the Moon and its dark side that once fixated Pink Floyd.

Dressed all in black with glittering trainers and ear rings, Drury immediately establishes that SELENE – pronounced Sel-ee-nay, not Celine, as in Dion, she clarifies – will not be the fulcrum of the story.

Instead, the focus falls on Selene’s already assertive 12-year-old daughter, Pandia (or ‘Panda’ as everyone calls her), whose fascination with the Moon will be followed at four-yearly intervals.

Drury’s Panda/Pandia will introduce each scene with an update of her/their list of All The Things I Am Not, always kick-started by her frustration at not being weightless, ever since she started watching Apollo 11’s landing on repeat.

She is fearless, frank, bloody-minded even, likes the F word and considers the chalk horse at Kilburn, not far from her home, to be “stupid”. She finds pretty much everything and everyone irritating, especially that horse and Benzo, who is always trying to outdo her with his knowledge of the Moon and its cycles.

In Wright & Grainger house style, the performance is conversational, knocking down theatre’s fourth wall from the off, and immersive too, all the more so for being staged in the round to match the shape of a full moon. Assorted moons will decorate Theatre@41’s black box theatre in differing forms and sizes, each switched on and off by Drury, depending on a scene’s requirement and focus.

Pages from the script, again placed in a circle at the audience’s feet, are a familiar W&G sign of imminent involvement for all those who volunteer to take on roles, in this case playing wild card Panda’s friends/classroom colleagues from schooldays onwards, through various party initiations, lunar experiences, first drinks, skinny dips, first encounters with Fleetwood Mac’s Landslide and morning-after breakfasts with mum Selene.

Another mythical world will stir too, the one where dogs become werewolves at twilight, and again two volunteers take on howling duty, later joined by the entire audience.

As Panda turns into a young adult, discovering who and why they are, Wright & Grainger’s SELENE becomes an ever more humorous, intellectually smart and typically unconventional study of “the light sides of us, the dark sides of us, the things orbiting around us as we grow up and especially the wild stuff inside us”.

Not only is SELENE a joyously wild ride through a rites of passage, but it also rivals Sir Patrick Moore for interesting observations and facts on the Moon, gives belated attention to Michael Collins’s lonely role on that 1969 lunar trip and points out Apollo was a misnomer for a space ship to the Moon, given that Apollo was the sun god.

By now, Drury’s relentless, questing Panda/Pandia/whatever they want to call themself next finally lists All The Things I Am. “The truth,” she says. Oh for such certainty in our world of half truths, alternative truths and Truth Social.

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Arnup Studios artists to hold collective exhibition at Pyramid Gallery for first time

Hannah Arnup: Exhibiting tripod ceramic vessels at Pyramid Gallery from Saturday

ARTISTS Hannah Arnup, Michelle Galloway, Liz Foster, Kate Pettitt, Penny Phillips and Emma Welsh will be on hand at Saturday’s opening of Arnup Studios’ exhibition at Pyramid Gallery, Stonegate, York, from 11am to 2pm.

“We are delighted to show a collection of works made at Arnup Studios, Holtby,” says gallery owner and curator Terry Brett. “Having worked with many of these artists and craftspeople individually, it’s a real honour to have them here as a collective for the first time.”

Liz Foster in her studio

Running until September 27, the exhibition in the 15th century building features landscape and abstract paintings, ceramic wildlife sculpture, stoneware pottery and handmade jewellery, showcasing the diverse range of artists that works at the studios near York.

The connection between Arnup Studios and Pyramid Gallery goes back to the 1990s when the gallery first exhibited work by Hannah’s parents, renowned sculptors Mick and Sally Arnup, alongside sons Ben and Tobias and daughter Hannah.

Kate Pettitt at work in her studio. Picture: The Resilient Wanderer

After inheriting the studios, Hannah redesigned the buildings to create individual studios for artists and craftspeople.

She is proud to continue the artistic legacy of her parents: “Today, the studios are shared by five other artists and craftswomen, each working independently while benefiting from the camaraderie and support of the wider Arnup Studios community,” she says. “It is a truly special place.”

Gallery opening hours are 10am to 5pm, Monday to Saturday.

Michelle Galloway

Immersed In Nature, by Michelle Galloway, at Pyramid Gallery

Who will be exhibiting?

Hannah Arnup: Studied Fine Art Sculpture at Kingston School of Art and Post-Graduate Ceramics at Goldsmiths College. Exhibiting a range of tripod ceramic vessels influenced by the balance, beauty and intricate detail of early Chinese ritual bronze vessels and her ongoing fascination with antiquity.

Liz Foster: Studied painting at Glasgow School of Art. Exhibiting a selection of her contemporary colour-led abstract oil paintings exploring bold colour, form and gestural mark-making.

Wolf Head, by Penny Phillips, from the Pyramid Gallery exhibition. Picture: Dawn McNamara

Kate Pettitt: Studied fine art, illustration and graphic design in both Exeter and York. Exhibiting a selection of plein air and studio paintings.

Michelle Galloway: Exhibiting a selection of landscapes and closely observed paintings of the natural world.

Penny Phillips in her Arnup Studios studio. Picture: Dawn McNamara

Penny Phillips: Exhibiting a series of textural ceramic sculptures inspired by her love of British wildlife.

Emma Welsh: Traditionally trained goldsmith exhibiting a selection of her unique jewellery designs.

Studio website: arnupstudios.weebly.com.

Collector’s Locket, by Emma Welsh, from the Pyramid Gallery exhibition

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Peter Polycarpou to play Hercule Poirot in The Hollow, Lucy Bailey’s fifth Agatha Christie production for Fiery Angel at Grand Opera House from May 18 to 22 2027

Peter Polycarpou’s Hercule Poirot in the poster for Fiery Angel’s tour of The Hollow

TWO-TIME Olivier Award nominee Peter Polycarpou will play Agatha Christie’s Belgian detective Hercule Poirot in the 2026-2027 UK & Ireland tour of The Hollow, playing the Grand Opera House, York, from May 18 to 22.

After sold-out tours of And Then There Were None, Murder On The Orient Express and Death On The Nile, producers Fiery Angel and director Lucy Bailey will team up again to present another of Christie’s psychologically complex mysteries from this autumn.

The Hollow will be toured in a new version by Tamsin Oglesby, whose credits include Future Conditional (Old Vic Theatre) and Really Old, Like Forty Five (National Theatre).

Renowned detective Hercule Poirot expected a quiet break in the country; instead he is drawn into one of the most unsettling cases of his career at The Hollow, an elegant country estate, where a glamorous circle of guests gathers one summer evening.

Beneath the sunlit charm, something darker coils. Old passions refuse to die. New rivalries ignite. Dangerous infatuations take hold. Then a shot rings out. A body is discovered, then a smoking revolver in an unsteady hand. The scene appears almost staged, but what looks to be a shockingly straightforward crime turns out to be anything but.

Looking forward to directing her fifth Christie classic, Bailey says: “The Hollow is one of Agatha Christie’s most powerful and arresting plays. At first glance, it appears to be a classic country-house mystery, but it’s something far richer: a family ruthlessly clinging to the past, failed relationships and illicit love.

Director Lucy Bailey. Picture: Manuel Harlan

“Christie gathers a circle of brilliantly drawn characters to an English country estate and lets long-buried family tensions simmer until a sudden act of violence shatters the idyll. When the unthinkable happens, it falls to the incomparable Hercule Poirot to unravel the truth.

“Equally comic and tragic, it’s a play about people trapped between the lives they have and the lives they longed for. That tension makes The Hollow feel startlingly contemporary.”

The Hollow will be produced by Fiery Angel in association with Agatha Christie Limited and the Marlowe Theatre, Canterbury. Joining Bailey in the production team will be costume designer Joanna Parker, lighting designer Chris Davey and sound designer and composer Nick Powell. Casting is Ginny Schiller.

James Prichard, of Agatha Christie Limited, said: “We are thrilled to be working once again with Lucy Bailey and Fiery Angel on this bold new production of The Hollow. A sharply observed and unsettling drama, it showcases a fascinatingly different facet of my great grandmother’s storytelling, and we are excited for audiences across the UK and Ireland to experience it anew.”

Lead actor Polycarpou’s stage credits include Les Misérables: The Arena Concert Spectacular, The Unlikely Pilgrimage Of Harold Fry and Hello, Dolly!, while his screen work includes House Of The Dragon, Birds Of A Feather, The Diplomat, The Brutalist and Evita. He received Olivier nominations for his performances in Oslo and The Band’s Visit.

Tickets are on sale at atgtickets.com/york.

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AcombFest street art festival drew 12,000 over three days. Next year’s plans to be announced at PaintJam art sale on Sept 12

Curtis Hylton’s Owl mural on the Acomb Post Office wall, created at AcombFest

ACOMBFEST, York’s first International street art festival, attracted 12,000 people to Acomb as art and community bonded from July 3 to 5. 

Record numbers were drawn to churches, food vendors, bars and in particular to the four new street murals by Australian photorealist SMUG, Reading wildlife artist Curtis Hylton, Sheffield’s Peachzz and Bristol-based, Acomb-raised SledOne, commissioned by event curators Art Of Protest on the festival theme of Return To Nature.

A PaintJam, curated by RARE Collective’s Sharon McDonagh and Sola at The Carlton Tavern in support of charity partner SASH, York (Safe and Sound Homes), hosted nine live paintings by York and international artists Boxxhead, HazardOne, Lady Mkei, Lincoln Lightfoot, Liskbot, Nicolas Dixon, Sola, spAm (Sharon McDonagh) and VYZ. Hundreds bought artwork and prints created by the artists to raise vital funds for SASH. 

Acomb business owner Simon Taylor, of the Post Office/Taylors of Acomb, hosted Reading wildlife muralist Curtis Hylton’s spray-painting of his new owl mural, now resplendent on an external wall.

“We’ve seen a boost in business already, with people coming into the shop to ask about the artwork and in turn buying products from us,” said Simon. “The response from the public has been amazing; we have people gathering outside and sharing their positive views. I can’t wait to see what the future holds for Acomb and I hope more events like this can return.” 

Fishponds Wood’s moth “reveal” on the Sunday morning when hundreds of people gathered in the woods to release moths to the accompaniment of a five-piece band. A record-breaking 750 people visited Holgate Mill to view Jim Grant and Ben Grant’s light installation Rock Soil Sky on July 4 and 5: the highest number of visitors at the windmill over a weekend. 

St Stephen’s church turned into a gallery over the weekend, hosting original works by Damien Hirst and Tracey Emin, complemented by work by Acomb artists.

The Reverend Matt Woodcock said: “People were streaming into church, queuing to get into church. The art exhibition has been a smash hit. I never thought I’d see the day!” 

Creative events and activities were centred on Front Street with free street art workshops. Venues included Bluebird Bakery, The Hand, SoJo, The Crooked Tap, The Sun Inn and The Fox.Each venue had its own bespoke offer: from bush craft and nature art to water art and artist talks. 

Jimmy Hebbron, owner of The Crooked Tap, said: “This weekend has brought local businesses together, world-class art to our walls and put plenty of money behind the bar. Our food vendors on Friday night sold out at record time!

“Hosting workshops made our venue packed out from 11.30 am and the music took us until close. Please leave feedback on the event so that we can secure funding for AcombFest next year!” 

Community activities include a community cinema at Acomb Explore library and spoken word at Books & Bevs. Acomb Methodist Church was packed all weekend with an artist market by That Acomb Arty Thing and activities that kept hundreds of families busy.

On September 12, artworks created at the RARE Collective PaintJam will be auctioned off at an event hosted at the Carlton Tavern in aid of SASH. Plans for next year’s follow-up festival will be revealed. 

The festival was shaped by speaking to more than 1,100 residents that co-produced the important theme around returning to nature. Funding was all provided by York and North Yorkshire Combined Authority Vibrant and Sustainable High Street Fund, Great Acomb Community Forum, City of York Council, York St John University, business and the community.

“The Art Of Protest and AcombFest team would like to say a huge thank-you to all involved,” says Jeff Clark. “No matter how big or small, the support and love for the festival has been truly mind blowing. Thank you from the bottom of our hearts.“ 

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The frocks & shocks of The Rocky Horror Show return to Grand Opera House with Stephen Webb as Dr Frank N Furter

Stephen Webb’s Dr Frank N Furter in The Rocky Horror Show. Picture: David Freeman

STEPHEN Webb leads the cast as lascivious Dr Frank N Furter in The Rocky Horror Show’s latest return to the Grand Opera House, York, from July 20 to 25

Directed by Christopher Luscombe, Richard O’Brien’s outré musical tells the story of Brad and his fiancée Janet, two squeaky-clean American college sweethearts, who meet Dr Frank N Furter by chance when their car breaks down outside his creepy Transylvanian castle while on their way to visit their favourite professor.

Cue an adventure they will never forget, full of fun, frolics, frocks and frivolity, bursting with timeless songs and outrageous outfits as O’Brien combines science-fiction, horror, comedy and music while encouraging audience participation. Those audiences, by the way, need no encouragement to dress up in the most outrageous fancy dress.

The Narrator’s role will be played by actress, stand-up comedian, cabaret act, writer, drama lecturer, singer and television presenter Jackie Clune, who played Mrs Lamb in the BBC sitcom Motherland.

She will be joined by James Bisp as Brad; Haley Flaherty as Janet; Ryan Carter-Wilson as Riff Raff; Laura Bird as Magenta/Usherette; Daisy Steere as Columbia; Morgan Jackson as Rocky and Edward Bullingham as Eddie/Dr Scott.

Completing the cast are Phantoms Jesse Chidera, Nathan Zach Johnson, Tyla Dee Nurden and Bethany Amber Perrins, plus on-stage swing/dance captain David Peter-Brown and on-stage swing/assistant dance captain Lucy Aiston.

Producer Howard Panter says: “This new cast brings an extraordinary energy and freshness to our legendary show. The thrilling mix of talent will continue to delight audiences across the country. The Rocky Horror Show is a guaranteed party night after night – it’s fierce, fearless and not to be missed!”

Stephen Webb’s Frank N Furter in doctor’s garb, centre, with fellow principals in The Rocky Horror Show. Picture: David Freeman

Here Stephen Webb discusses career ambitions, the challenges of playing sweet transvestite Dr Frank N Furter,  his favourite costume and the Rock Horror phenomenon .

Was there a moment when you realised you wanted to be a professional performer?  

“I was obsessed with John Travolta in Grease. I went to watch it in London when it first opened. I was obsessed. I thought, ‘I need to be in theatre’. That changed it for me really. I used to watch the film all the time.”

How did you react when you learned you would be playing Dr Frank-N-Furter?

“Well, I couldn’t believe it first of all. When I originally wanted to audition for Rocky, I thought I’d be up for Brad and then they said, ‘No, we want to see you for Frank’. When I got it, I was ecstatic! I couldn’t believe that I got this role. But in the next moment, I was really anxious because it’s such an iconic role. I just want to live up to the legacy.”

How do you bring your own twist to the role while honouring the legacy of past performances?

“I remember that Christopher Luscombe, the director, said, ‘We don’t want you to do an impersonation of Tim Curry, we want to see your version’, which actually settled me.

“I portray Frank using an American accent, instead of an English accent. Obviously, Frank’s costume is quite feminine,so I do inject an element of masculinity into my performance. My take on it is a little bit rough around the edges. The audience has mixed feelings about Frank, which I love. He is a lovable psychopath!

“Because the character was written during the ‘70s Glam Rock era, I take inspiration from David Bowie, T. Rex and Queen. But I always find something new every performance, which makes playing this role so exciting.”

What is your favourite part of performing as Frank each night?

“There are two moments. One is my entrance. I’m not on stage for the first 20 minutes and the audience are waiting for Frank to come on. There’s a big drum beat before I enter and I’ve got this big old cloak on.

“I walk down centre stage and sing ‘Sweet Transvestite’, whip off my cloak and reveal my crazy costume. The audience goes absolutely berserk for it. It doesn’t matter if I’ve had the worst day in the world – it goes away as soon as I’m on that stage.

“Another special moment for me is when you see the vulnerable side of Frank. It’s like he’s taken off his mask and you’re seeing the true side of him.”

Do you have a favourite audience interaction or reaction so far?

“There are loads of shouts throughout the show. The audience are very much part of the show; they are almost another character. I’ve heard pretty much all of them now, so they don’t tend to catch me out. When I’m talking to Rocky, when he first comes out, there are a few shouts that are quite rude, and I love them! I think they’re really funny.”

James Bisp’s Brad and Haley Flaherty’s Jane in The Rocky Horror Show. Picture: David Freeman

What is the most challenging part of playing Frank, either physically or emotionally?

“It’s not wearing the heels – I absolutely love wearing those – it’s actually wearing the black corset because it doesn’t give. Singing and dancing in a corset means I must make sure that I eat and drink enough at the right time before doing the show, otherwise I struggle throughout the show.”

Do you have a favourite outfit on stage?

“My finale red sequin corset. I absolutely love it. It really fits me like a glove – and it changes colour. If you push it up, it goes black, if you push it down, it goes red.”

If you could keep one piece of Frank’s wardrobe for yourself, what would it be?

“I do a few scenes with a leather jacket with tassels on it. I’m a motorcyclist so would love to steal it and ride my bike wearing it!”

The Rocky Horror Show has been pushing boundaries for more than five decades. Why do audiences keep coming back after all these years?

“It’s a show that celebrates what it means to be different, to follow your dreams, like the song ‘Don’t Dream It, Be It’. There are amazing songs; I don’t think you could ever get bored with the ‘Time Warp’ or ‘Sweet Transvestite’! It’s got a lot of heart, it’s extremely funny, and it allows people to be part of it. There’s no other show like it.”

Do you have any pre-show rituals before stepping into Frank’s heels?

“I don’t really have any pre-show rituals but I do love make-up. Before Rocky Horror, I never liked using make-up, now I absolutely love it. As soon as I start putting the make-up and wig on, it transforms me, like I’ve got an alter ego!”

Finally, what do you hope audiences will take away from experiencing The Rocky Horror Show?

“I think everyone who comes will have fun. It’s unique, liberating, funny, fierce and sexy. It’s a brilliant night out where everyone can be who they want to be. It’s one great big party!”

The Rocky Horror Show, Grand Opera House, York, July 20 to 25, Monday to Thursday, 8pm; Friday & Saturday, 5pm and 8.30pm. Box office: atgtickets.com/york. Content warning: Rude parts. Age guidance: 12 plus.

The Rocky Horror Show: the history bit

BEGAN life in 1973 in front of an audience of 63 people in the Royal Court’s Theatre Upstairs, in Chelsea, London. Transferred to Chelsea Classic Cinema, then King’s Road Theatre, 1973 to 1979, and Comedy Theatre in the West End, 1979-80.

The Rocky Horror Show has enjoyed the longest continuous run of a contemporary
musical anywhere in the world, being watched by 35 million people in more than 30 countries and translated into 20 languages.

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REVIEW: Martin Dreyer’s verdict on Opera North in The Sound Of Music, Leeds Grand Theatre, until August 1

Katie Bird’s Maria in Opera North’s The Sound Of Music

IF your memories of The Sound Of Music come with the emotional baggage of the 1965 film starring Julie Andrews, you will be more than pleasantly surprised by this reconstituted stage version.

Miss Andrews was a huge talent and the film proved a blockbuster, but its sugar-rush has been supplanted in this Nikolai Foster production (revived here by Ollie Khurshid) by a great deal more substance, political, emotional and geographical.

First seen in Leicester’s Curve Theatre last November, it now has the benefit of a full-size (40-piece) professional orchestra and chorus. Operatic purists may recoil to learn that all the singers are miked – which certainly helps the children’s voices – but they will get over it.

Two numbers cut from the film are restored, How Can Love Survive? and No Way To Stop It. Both refer candidly to the Nazi backdrop. This musical has a serious side that the film version all but ignored.

When a messenger boy in uniform arrives with a telegram “from Berlin” and bellows a Nazi ‘Heil!’ salute, you can almost hear the audience gasp. It recalls the Anschluss (Germany’s annexation of Austria in 1938).

The message commands Captain von Trapp to join the German navy, which he is naturally loath to do. So it has a decisive effect – and gives us chilling context.

Michael Taylor’s set is exemplary. A nursery slope of the mountains around Salzburg, which are seen in the background – instantly paralleled by Maria’s “the hills are alive” at the start – has an angled path running down across the stage.

 In the final scene, the nine members of the Trapp family, now refugees, are silhouetted against the night sky as they escape through the mountains to the New World. We understand at once: history never really changes.

Edward Bennett: Playing Captain von Trapp in Opera North’s The Sound Of Music

When he needs to be in the abbey with the nuns, he lowers a great pointed ecclesiastical window-frame. In the castle, there are grand doors instead.

Needless to say, the musical side of the evening is stunning. Katie Bird makes Maria her own, conflicted over her true calling, firm in her principles, but tender with the children. ‘Do-Re-Mi’ is charming and ‘My Favourite Things’ is life-loving. She gives us all sides of a truly appealing character.

Edward Bennett is an actor rather than a singer, but his baritone is perfectly adequate for the role of Captain von Trapp, as in his duet with Maria, ‘Something Good’, and in Edelweiss’ with the family.

There is one truly glorious piece of singing from Katherine Broderick as Mother Abbess: she gives us full Wagnerian splendour in ‘Climb Ev’ry Mountain’ at the end of each act, soaring above the tumult.

The seven children – all are double-cast (this was the ‘Drop’ group) – sing with great conviction and clarity and they move with impressive discipline.

Amy Freston delivers a nicely haughty Baroness Elsa, whom the Captain discards for Maria, while other members of the pro-Nazi camp are neatly defined by Nicholas Butterfield as Max and Kamil Bien as Rolf. A variety of colourful cameos come from other members of the Opera North chorus, notably as nuns.

Ebony Molina’s choreography avoids traditional ‘song-and-dance’ routines in favour of more restrained and more engagingly lifelike dance. Oliver Rundell conducts with panache and his orchestra takes to the idiom like ducks to water, bursting with rhythmic pizzazz. The big choral numbers are thrilling.

This may not be The Sound Of Music as you imagined it, but it rings absolutely true. You dare not miss it.

Opera North in The Sound Of Music, Leeds Grand Theatre, until August 1. Box office: 0113 223 3600 or operanorth.co.uk.

Review by Martin Dreyer

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The Lyons Mouth win main prize at York International Young Artists Competition 2026. Who were the other award winners?

The Lyons Mouth

THE Lyons Mouth scooped two prizes in a home victory at the York International Young Artists Competition 2026 at the National Centre for Early Music on July 11.

The vocal ensemble of sopranos Ailsa Campbell and Elspeth Piggott, alto Ellie Stamp, tenors James Botcher and Jacob Ewens and bass Thomas Lowen, all University of York alumni, were awarded the main prize of a professional recording contract from Linn Records, a £1,000 cash prize, a future paid engagement with the York Early Music Festival and recording opportunities with BBC Radio 3.

In addition, The Lyons Mouth won the Friends of York Early Music Festival award, a cash prize of £500, while Tra Noi and Ossian’s Dream shared the cash prizes of £1,000, endowed by the EUBO Development Trust, for the Most Promising Young Artist/s specialising in the Baroque repertoire.

Lagrime won the Cambridge Music Prize, which includes a paid performance at Cambridge Early Music, and a new award, the Jury Prize, was awarded to gamba player Bianca Cucini, who performed with Tra Noi (bass viola da gamba, quinton) and I Mastricelli. (bass and  soprano viola da gamba).

The 2026 finalists were: I Mastricelli (Netherlands); Il Parrasio (Netherlands); Lagrime (Switzerland); La Mandorle (France); Nari Baroque Ensemble (Israel); Ossian’s Dream (Switzerland;) Quarterino (Switzerland); The Lyons Mouth (UK) and Tra Noi (Switzerland).

During the two days before the competition, each ensemble presented an informal recital at the NCEM, at St Margaret’s Church, Walmgate, with the aim of giving the musicians the opportunity to adapt to the performance space and to familiarise with the festival audience members in advance of the final.

These groups were selected from a pool of 56 ensembles from across the world and were judged by an international jury of Paul Agnew (Les Arts Florissants); Anna Danilevskaia (Sollazzo Ensemble); Kati Debretzeni (English Baroque Soloists), Veerle Declerk (Concertgebouw, Bruges) and Philip Hobbs (Linn Records).

The 2026 competition was presented by master of ceremonies Steven Devine, harpsichordist, fortepianist, conductor and director of orchestral, choral and opera repertoire and former York Early Music Festival artistic advisor.

Main prize winner The Lyons Mouth is a dynamic vocal consort founded in 2024 by singers who studied at the University of York. Inspired by their experiences performing in the Sir Jack Lyons Concert Hall, they created an ensemble devoted to vivid musical storytelling, crafting emotionally immersive performances that draw audiences into the dramatic heart of the repertoire.

In the final, the consort performed Victoria’s Secret: Claudio Monteverdi’s Svogava con le stele; Raffaella Aleotti’s Vidi speciosam; Monteverdi’s Sì, ch’io vorrei morire, Sigismondo d’India’s Dispietata pietate and Tomás Luis de Victoria’s Vadam et circuibo civitatem.

At the end of the competition, judging panel chair Philip Hobbs, from Linn Records, said: “I am always amazed and astonished at how this competition re-imagines and re-invents itself year after year, ensuring that early music has an exciting future and will continue to captivate audiences all over the world.

“Linn Records is very proud to continue this important relationship with the York Early Music Festival and I would like to congratulate the nine ensembles who took part in this fabulous day of music.”

Steven Devine said: “There were two things that, for me, really stood out about this year’s competition.  The sheer range of music was the first thing: almost 200 years of music was being performed by historically informed performers but with a sense of musicianship and virtuosity that was jaw-dropping. 

“They wore their scholarship lightly and at the service of their raw talent.  In addition, the supportive atmosphere between the groups and their enjoyment of each other’s work was wonderful to watch.  Definitely one of the highpoints of my musical experiences.”

Festival director and NCEM director Dr Delma Tomlin said: “The competition provided an amazing finale to our 50th edition, proving that early music can truly transport us Beyond Borders. The musicianship today was of the highest calibre and our nine ensembles gave us a range of exquisite music, spanning 400 years. As always, it was a pleasure to welcome the young artists to York and help them on their journeys to future success.

“I would also like to say a huge thank-you to our panel of judges for their hard work and support, to Steven Devine for his expertise and invaluable help and, of course, to our friends and supporters BBC Radio 3.”

The Lyons Mouth said: “We’re absolutely thrilled to have received not one but two prizes in this year’s competition. To have done it in our home city of York makes this moment feel even more special!

“It was a real treat to meet so many fantastic musicians in the competition, and inspiring to watch them perform. We’d love to say a huge thank-you to the Friends for choosing us for their award: as an ensemble who values the audience’s experience above all, this was really meaningful for us.

“We’re excited to record with Linn Records and to return to the festival next year. This whole experience feels like an amazing next step and we can’t wait to see where it takes us.”

 The competition provided a spectacular finale to the nine-day festival, where old friends and new connected through concerts, recitals and workshops staged in historic venues around the city.

The recitals from this year’s final are available to watch on demand on the NCEM’s ncem.co.uk website and YouTube channel and edited highlights will be shared on BBC Radio 3’s Early Music Show on Sunday, August 30 at 5pm.

The nine ensembles taking part were:

I Mastricelli: An early music ensemble founded in 2023 at the Royal Conservatoire in The Hague. Its name evokes the “mastricelli”, talented young musicians who assisted the great maestri of the Neapolitan conservatories. Featuring cello, viola da gamba and other bass instruments of the violin and viol families, I Mastricelli explores the expressive depth and resonance of the bass register, the foundation of Baroque sound.

Il Parrasio: The name Il Parrasio is derived from “Il Bosco Parrasio”, the hilly grove of trees overlooking the city of Rome where, every summer, the great and varied artistic minds of the Arcadian Poets met to discuss strategies for influencing all facets of Italian art culture away from the overindulgence of the high baroque and towards a return to more simple and natural styles.The ensemble focuses on the vibrant and expressive styles of the Venetian repertoire.

La Mandorle: La Mandorle (meaning almond in Italian) is a family affair, seeking to bring baroque music closer to the audience and to promote research into repertoire, with a particular taste for the French treasures of the 17th and 18th centuries. La Mandorle was awarded First Prize and Audience Prize at the International Haendel Competition in Göttingen in May 2025 and has been supported since 2024 by Sustainable-Eeemerging.

Lagrime: Led by trombonist Maximilien Brisson, Lagrime was formed after the release of the album Scorrete lagrime mie to continue to showcase the vocality of the baroque trombone. From its inclusion in church music-making circa 1500, the trombone has been associated with the voice perhaps more than any other instrument, and Lagrime explores the vocal virtuosity of the baroque trombone in intimate settings.

Nari Baroque Ensemble: Since 2019, the Nari Baroque Ensemble has specialised in performing baroque music on period instruments. Selected as Fabulous Fringe at the Utrecht Early Music Festival 2025 and winners of the main prize at the Göttingen Händel Competition 2024, each of Nari’s performances tells a story by combining original texts with excerpts from cantatas and sonatas.

Ossian’s Dream: This collective of musicians focuses on performing mainly chamber music from the 18th and 19th centuries under historically informed conditions. They are committed to rediscovering and re-enacting salon practices, understanding the salon as a place of artistic freedom, interdisciplinarity and gender issues.

Inspired by the famous painting by Dominique Ingres, the name refers to one of the most fascinating phenomena of the Romantic era, the revival of the mythical figure of Ossian.

Quarterino: These four musicians, who met through the European Union Baroque Orchestra, are preparing various projects in Switzerland, Italy and the Netherlands. Each member ensemble has taken part in ensembles and festivals throughout Europe, including York, Bremen, Utrecht and Urbino. They are also principal continuo players in EUBO 2025.

The Lyons Mouth: Dynamic vocal consort of young professional singers who first met while studying at the University of York under the guidance of Robert Hollingworth, director of the vocal group I Fagiolini.

Their early experiences performing in the Sir Jack Lyons Concert Hall inspired them to create an ensemble that would bring audiences into the dramatic and emotional heart of vocal music. Its members already sing with the BBC Singers; I Fagiolini; The Swingles; Voces8; Tenebrae; Dunedin Consort and The Norwegian Soloistchoir.

Tra Noi: Tra Noi is characterised by lively communication, both with each other and with theaudience. The ensemble was formed in 2023 and already has won the 2023 ‘Wiener Konzerthauspreis’ of the H.I.F.-Biber Competition; the 2023 Biagio Marini Competition Audience Prize; the 2024 Göttingen Handel Competition; first prize at the 2024 Concours International de musique ancienne du Val de Loire; third prize at the 2024 International Van Wassenaer Competition, as a duo formation, and first prize, audience prize and Gamba Gesellschaft Prize at the 2025  Orlando Lasso competition in Landshut, Germany.

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REVIEW: Steve Crowther’s verdict on Helen Charlston, Paul Agnew & Sergio Bucheli, A Gentle Air, York Early Music Festival 2026, Merchant Taylors’ Hall, York, July 9

Mezzo-soprano Helen Charlston performing by candlelight at Merchant Taylors’ Hall, York. Picture: Ben Pugh

A GENTLE  Air was an exploration of the 17th-century French air de cour, centred on the songs of Honoré d’Ambruys and Sébastien Le Camus.

The programme opened with d’Ambruys’ Le doux silence de nos bois, a pastoral love song in which nature provides a peaceful refuge for lovers. You could almost feel the audience melt – and I’m not referencing the extreme temperature – as mezzo-soprano Helen Charlston sang the opening delicate stanza:

“The soft silence of our woods

is now broken only by the songs

of the birds that Love gathers here.”

Her tone was rich, the delivery expressive and nuanced, mirroring the underlying tenderness of the poetry.

Self-pity replaces pastoral serenity in Le Camus’ Je veux me plaindre:

“I would complain

of your harshness,

and what do I have to fear

would constrain me,

since I am dying?”

Tenor Paul Agnew embraced its emotional extremes, milking the expressive dissonances while balancing speech-like declamation with genuine lyricism.

The dialogue between the two singers deepened in the paired Lambert settings. Charlston’s Ombre de mon amant, a lament to the ghost of a dead lover, was sung with extraordinary stillness and beauty of tone, her expressive ornamentation intensifying the emotional restraint of the music.

Agnew’s response, Vos mépris chaque jour, remained rooted in the wounded dignity of a steadfast love confronted by apparent cruelty. The way he deftly negotiated the subtle harmonic shifts mirrored the text’s shifting emotions, while the contrast between the two voices reinforced the sense that the programme was unfolding as a continuing dramatic exchange rather than a succession of isolated airs.

Tenor Paul Agnew and theorbo player Sergio Bucheli at Merchant Taylors’ Hall. Picture: Ben Pugh

Throughout these exchanges, Sergio Bucheli’s theorbo acted as more than accompaniment, binding the individual airs into a coherent emotional narrative.

Alas, as they might have said, his moment to shine as solo performer was compromised. The change of instrument to the more delicate lute was cut short with one of the strings snapping whilst tuning – presumably a casualty of the heat?

Nevertheless, I really did enjoy his performance of Robert de Visée’s Suite in D minor. The fuller, richer sonority of the theorbo and graceful delivery suited the melancholic atmosphere of the programme thus far.

Marc-Antoine Charpentier took the programme into more introspective territory with Tristes déserts, sombre retraites. Agnew sang it with a real sense of pathos. The poignant suspensions and intensity gave the performance genuinely psychological depth.

Of the three Charpentier airs, the chaconne, Sans frayeur dans ce bois, proved the most moving. Bucheli’s gently recurring ground bass provided an emotional anchor, allowing Charlston’s elegant vocal line to unfold with increasing expressive freedom. The ornamentation was beautifully judged.

I wasn’t entirely convinced by Bucheli’s Shakespeare quotation (“I can suck melancholy out of a song, as a weasel sucks eggs”) but his account of de Visée’s Suite in G major was very persuasive. I should confess that I haven’t heard any of his music before, but the rich resonance of the theorbo, refined ornamentation and elegant dance rhythms in Bucheli’s performance made for a very rewarding listen.

The festival described the programme as being “inspired by the poetry of love”, inviting listeners into the delicate world of the French air de cour. Taken as a whole, A Gentle Air could be heard as one extended love duet.

Rather than presenting a succession of solo airs, the programme unfolded as a dialogue between two complementary voices. Helen Charlston and Paul Agnew frequently answered, echoed and completed one another.

Theorbo player Sergio Bucheli playing at July 9’s A Gentle Air concert. Picture: Ben Pugh

Their shared emotional journey traced  the stages of a relationship: desire, anticipation, tenderness, jealousy, complaint, separation and reconciliation, giving the programme an emotional continuity that transcended the individual songs.

Bucheli’s theorbo became more than an accompanying instrument. It bridged the emotional worlds between the two singers, almost assuming the role of an unseen narrator or confidant.

Fittingly, the final song of the programme – Jean-Philippe Rameau’s Je vous revois – resolved their emotional journey. After so many songs of longing, rejection, jealousy, solitude and, yes, melancholy, this was one of the programme’s few unequivocal moments of fulfilment:

“I see you once more, everything yields

to the utter delight

of meeting once again the object of

one’s love.”

The song was sung with elegance, poise and beautifully shaped phrasing. In the line “everything yields to the utter delight…” came emotional release.

The success of this dramatic conception rested not only on the repertoire but also on the performers themselves. Agnew and Charlston brought contrasting yet wholly complementary strengths, creating a partnership of balance, musical empathy and emotional conviction.

Helen Charlston has completed her three-year tenure as an artistic advisor to the York Early Music Festival, and this specially curated concert was a fitting and memorable way to sign off.

Review by Steve Crowther

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What’s On in Ryedale, York and beyond. Hutch’s List No. 29, from Gazette & Herald

Eliza Carthy: Performing with The Restitution at Ryedale Festival

A MYTHICAL tale of a goddess, a near-future re-spinning of the selkie myth, an Arthurian quest of a lifetime, a bothersome briefcase in a love story and  a nostalgia trip to variety’s golden days keep Charles Hutchinson  entertained.

Folk gig of the week: Eliza Carthy and The Restitution, Ryedale Festival, Selby Abbey, tonight, 7pm

FLAMBOYANT Robin Hood’s Bay fiddler and singer Eliza Carthy continues to re-imagine traditional music with fiery imagination and fearless individuality. The daughter of Martin Carthy and Norma Waterson, she grew up immersed in the folk world, and here she performs with her powerhouse touring band in one of Yorkshire’s most atmospheric and beautiful settings. For the full festival programme and tickets, go to: ryedalefestival.com.

Megan Drury in Wright & Grainger’s SELENE at Theatre@41, Monkgate, York

Radical myth revamp of the week: Wright & Grainger and Theatre@41 present Megan Drury in SELENE, Halfway To Edinburgh Season, Theatre@41, Monkgate, York, tonight, 7pm, and tomorrow, 8.30pm

AUSTRALIAN actor Megan Drury stars in Easingwold duo Phil Grainger and Alexander Flanagan Wright’s tale of the goddess and the dark side of the moon in a radical explosion of an ancient myth.

A young girl watches the moon landings on repeat. A teenager makes a list of all the things they are not. A young adult starts to discover who they are. Expect a story addressing the light sides of us, the dark sides of us, the things orbiting around us as we grow up and not least the wild stuff inside us. Box office: tickets.41monkgate.co.uk.

The Three Inch Fools: Epic tale of Arthurian adventure and medieval mayhem at Helmsley Walled Garden

Outdoor theatre show of the week: The Three Inch Fools in King Arthur And The Holy Fail, Helmsley Walled Garden, tomorrow, 7pm

FOUNDED by Cumbrian brothers James and Stephen Hyde, The Three Inch Fools present an epic tale of Arthurian adventure and medieval mayhem, set in a land of daring quests, dashing knights and endless jousting.

Waiting in the wings is a would-be hero, by the name of Arthur, but when Camelot is rocked to its core by a tragic – and frankly improbable – incident involving a large table of an undisclosed shape, Arthur is thrust into the quest of a lifetime, Destiny awaits, chivalry calls and the quest to end all quests begins. Bring chairs, blankets and cushions. Picnics welcome. Box office: 01439 771700 or helmsleyarts.co.uk.

Rowan Armitt-Brewster’s introverted Thomas and Lennie Longworth’s equally shy Daisy in A Brief Case Of Crazy

Silent love story of the week: Skedaddle Theatre & Shoddy Theatre present A Brief Case Of Crazy, York Theatre Royal Studio, tomorrow to Saturday, 7pm plus 2pm Saturday matinee

INSPIRED by the timeless genius of Charlie Chaplin, Buster Keaton and Mr Bean,Rowan Armitt-Brewster, Samuel Cunningham and Lennie Longworth’s physical comedy A Brief Case Of Crazy is a silent love story with a very loud heart, told through slick choreography, mime, clowning and puppetry.

Meet Thomas, an awkward, introverted office worker with a quiet crush on his equally shy colleague, Daisy. His quest for love must contend with a boisterous boss named Simon and a rather bothersome briefcase that drags an awkward introvert into extraordinary events. Will his quest for love fail? Or will he discover that what’s on the inside counts most? Box office: 01904 623568 or yorktheatreroyal.co.uk. Age guidance: Five upwards.

Hannah Davies & Jack Woods: Re-imagining selkie myth in a not-too-distant future

Dystopian vision of the week: Hannah Davies & Jack Woods in The Ballad of Blea Wyke, Helmsley Arts Centre, Friday, 7.30pm

IN North Yorkshire writer and storyteller Hannah Davies and musician Jack Woods’ dystopian re-imagining of the selkie myth in a not-too-distant future, a young woman wants to see the sea. A stranger stands on a cliff. The last grey seal swims towards the shore. 

On her 18th birthday, tough care-leaver Cerys breaks the city’s lockdown and travels to the coastal cliffs that birthed her, the crumbling landscape drawing her back to her mythic past. Cue a haunting interweaving of story, music, poetry and song. Box office: 01439 771700 or helmsleyarts.co.uk.

Elf Lyons, the woman on the edge at Theatre@41, Monkgate, York

Comedy gig of the week: Halfway To Edinburgh Season presents Elf Lyons Is The Woman On The Edge (Work In Progress), Theatre@41, Monkgate, York, Friday, 7.30pm

LET London comedian, classically trained clown and Sky Arts Award winner Elf Lyons introduce this Work In Progress preview of her Edinburgh Fringe-bound show Elf Lyons Is The Woman On The Edge: “I’m sorry, I’ve said too much…”

She does, however, go on to say it will be “a completely normal, autobiographical (and in no way complex) observational stand-up show about love. A perfect show to take yourself to. Inspired by Vertigo, Apollo 13 the opera Pagliacci.  Directed by Ingmar Bergman.” Box office: tickets.41monkgate.co.uk.

Dominic Goodwin in a triptych of his myriad roles in Twice Nightly

Recalling variety’s golden days: Pyramus and Thisbe Productions present Dominic Goodwin in Twice Nightly, Friargate Theatre, York, Friday and Saturday, 7.30pm

RYEDALE writer, performer and pantomime dame Dominic Goodwin is touring his first one-man comedy show, directed by York director and actor Thomas Frere.

Twice Nightly follows the story of struggling comedian Freddie Francis in 1956 as the final curtain hovers over variety. Many acts of the time are highlighted, including Norman “Over The Garden Wall” Evans (said to be an influence on Les Dawson) Stockton comic Jimmy James, wartime star Robb Wilton and the iconic Max Miller. Box office: York, 01904 655317 or ridinglights.org/friargatetheatre.

Tommy Banks; Turning up the heat at York Theatre Royal

Culinary event of the week:  An Evening with Tommy Banks: Spinning Plates: Live, York Theatre Royal, Friday, 7.30pm

MICHELIN-STARRED chef and entrepreneur Tommy Banks makes the trip from his Oldstead family farm to York Theatre Royal to bring his extraordinary story to the stage for the first and only time. Told across three intersecting timelines – the past 25 years, the defining 12 months and the opening night for his latest pub —each moment teeters on a knife-edge.

Banks runs the Black Swan at Oldstead, Roots York, in Marygate, York, and the Abbey Inn at Byland, as well as co-founding Jeopardy Hospitality, whose first venture is the General Tarleton at Ferrensby, Knaresborough. For one night only, he combines storytelling and immersive cinema to lift the lid on hospitality service at its most intense. Box office: 01904 623568 or yorktheatreroyal.co.uk.

CMAT: Songs of identity, grief and beauty standards at Scarborough Open Air Theatre

Coastal gig of the week: CMAT, Scarborough Open Air Theatre, Saturday, gates 6pm

CMAT, alias Ciara Mary-Alice Thompson, burst on to the music scene six years ago with her debut single Another Day (KFC). The Dublin-born, County Meath-raised singer and songwriter has since released three bitingly humorous, emotionally honest albums, 2022’s If My Wife New I’d Be Dead, 2023’s Crazymad, For Me and 2025’s  Mercury Prize-nominated Euro-Country, her exploration of identity, grief and beauty standards, exemplified by Take A Sexy Picture Of Me. Box office: scarboroughopenairtheatre.co.uk.

Danger on T-Rex Mountain in Dinosaur Adventure Live at York Theatre Royal

Children’s show of the week: Dinosaur Adventure Live, Danger On T-Rex Mountain, York Theatre Royal, Saturday,  2.30pm

SIXTY-FIVE million years in the making, Dinosaur Adventure Live brings a fusion of family-friendly storytelling, puppetry, and roarsome science to the stage as the ancient world of dinosaurs crashes back to life for gasps, giggles and occasional jump-scares.

From a shadowy raptor on the loose to baby dinosaurs that you can feed (carefully!), Mike Newman’s show blends humour, thrills and hands-on learning into an interactive stage experience. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Matt Ford: In full swing at Milton Rooms, Malton

In the swing of things: Ryedale Festival presents Matt Ford and The Swing Legends Band, Milton Rooms, Malton, Sunday, 7pm

BRITISH singer and BBC Proms regular Matt Ford is joined by a full band to celebrate the songs of Frank Sinatra and fellow crooning legends Dean Martin, Tony Bennett and Michael Bublé. From late-night ballads to high-octane numbers shaped by elegance and irresistible wit, this is music that still knows exactly how to swing. Box office: 01653 696240 or themiltonrooms.com.