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More Things To Do in and around York with fishermen, Irishmen and a Scotsman. List No. 48, courtesy of The Press, York

Getting Away With Murder(s) documentary filmmaker David Wilkinson at the gate of Auschwitz 1

AS the Grand Opera House reopens, diaries are starting to fill to pre-pandemic levels, much to the delight of a post self-isolating Charles Hutchinson.

Film world premiere of the week: Getting Away With Murder(s); Everyman York, Blossom Street, York, tonight, 6.30pm to 10.30pm

IT has taken 18 years for Yorkshire filmmaker David Wilkinson to bring his documentary, Getting Away With Murder(s), to the big screen.

Exploring an overlooked aspect of the Holocaust, he reveals that “almost one million people in 22 countries willingly carried out the unprovoked murder of 11 million innocent men, women and children but 99 per cent of those responsible were never prosecuted”.

Wilkinson, who examines the reasons behind the disregard for justice, will take part in a post-screening Q&A. Box office: everymancinema.com.

Fisherman’s Friends: Hooked on sea songs at York Barbican

They inspired a film and now they are back: Fisherman’s Friends: Unlocked & Unleashed, York Barbican, tomorrow, 7pm

CORNISH “buoy band” Fisherman’s Friends – combined aged 401 – re-emerge from lockdown for their Unlocked & Unleashed tour.

As celebrated in the film that shares their name, for 40 years they have met on the Platt of Port Isaac’s harbour to sing the songs of the sea.

In the line-up are lobster fisherman Jeremy Brown; writer, shopkeeper and master of ceremonies Jon Cleave; smallholder and engineer John ‘Lefty’ Lethbridge; Yorkshire-born builder John McDonnell; Padstow fisherman Jason Nicholas; filmmaker Toby Lobb and the new boy, former ambulance driver Pete Hicks. Box office: yorkbarbican.co.uk.

One Night In Dublin: One night in York for Irish songs aplenty at the Joseph Rowntree Theatre

Irish gig/jig of the week: One Night In Dublin, Joseph Rowntree Theatre, York, Saturday, 7.30pm

SATURDAY night is the chance to spend One Night In Dublin – in York – when “Murphy’s Irish Pub” opens its doors at the Joseph Rowntree Theatre.

Join in the craic as the lively Irish tribute band covers such Irish staples as Galway Girl, Tell Me Ma, Dirty Old Town, Irish Rover, Seven Drunken Nights and Whiskey In The Jar. Box office: josephrowntreetheatre.co.uk.

Gary Meikle: Scottish comedian in Surreal mode at York Barbican

This experience really is “Surreal”: Gary Meikle: Surreal, York Barbican, Sunday, 8pm

DELAYED from April 8 to this weekend, playfully dark cheeky-chappie Scottish comedian and “viral sensation” Gary Meikel presents his second tour show in York.

Looking to “get away with talking about anything that will have you laughing at things you probably shouldn’t be”, punchy storyteller Meikle draws material from his own experiences, not least his unique family dynamic.

New show Surreal covers such topics as evolution, social media, how to deal with burglars, single mums, bee sex and small-man syndrome. Box office: yorkbarbican.co.uk.

Exploration of family, myth and memory loss: Second Body’s Max Barton and Jethro Cooke in Styx at Theatre At The Mill

Residency of the week: Second Body in Styx, Theatre At The Mill, Stillington, near York, Sunday and Tuesday, 8pm

SECOND Body duo Max Barton and Jethro Cooke present their theatre-concert exploration of family, myth, memory loss and Max’s grandma, now with remixed music and bearing wounds wrought by 18 months of disrupted human connectivity.

“What does it mean to lose the memories that make us who we are?” they ask. “How can we continue to be ourselves when we are separated from our loved ones.” Box office: tickettailor.com/events/atthemill.

Back in Black: Robert Goodale and Antony Eden in the ghost story The Woman In Black, haunting the Grand Opera House, York, from Monday. Picture: Tristram Kenton

Re-opening of the week: Grand Opera House, York, for The Woman In Black, Monday to Saturday

AFTER 547 days, the Grand Opera House, York, steps out of the darkness and into The Woman In Black from Monday.

In PW Productions’ latest tour of Stephen Mallatratt’s adaptation of Susan Hill’s ghost story, Robert Goodale plays Arthur Kipps, an elderly lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a “Woman in Black” for 50 years now.

Antony Eden is the young Actor he engages to help him tell that story and exorcise his fears, but soon reality begins to blur and the flesh begins to creep. Box office: atgtickets.com/york

Bird song: Henry Bird, pictured in his Vampires Rock days, will be the special guest for You Can’t Stop The Beat

Community concert of the week: You Can’t Stop The Beat, Joseph Rowntree Theatre, York, Tuesday, 7.30pm

GENERATION Groove and Community Chorus are joined by special guest Henry Bird, the well-travelled York singer and guitarist for Tuesday’s fundraiser.

“Concerts and performances have been on hold for well over a year and we’re all delighted to be back getting you singing and even dancing and raising money to help the wonderful Joseph Rowntree Theatre go from strength to strength,” say the organisers. Box office: josephrowntreetheatre.co.uk.

Waitress: Serving up a slice of musical pie at Leeds Grand Theatre from Tuesday

Musical of the week outside York: Waitress, Leeds Grand Theatre, September 14 to 18

MEET Jenna, a waitress and expert pie-maker who dreams of some joy in her life. When a hot new doctor arrives in town, life turns more complicated and challenging, but with the support of her workmates Becky and Dawn, she finds that laughter, love and friendship can provide the perfect recipe for happiness.

Sara Bareilles and Jessie Nelson’s comedy musical stars Lucie Jones as Jenna, Emmerdale’s Sandra Marvin as Becky, Evelyn Hoskins  as Dawn and Busted’s Matt Willis as Dr Pomatter. For tickets:  0113 243 0808 or at leedsheritagetheatres.com.

Destiny calling: Kirk Brandon’s Spear Of Destiny are heading to The Crescent in York

Cult band you really should see: Spear Of Destiny, The Crescent, York, September 19

LEADING Spear Of Destiny for 38 years now, Kirk Brandon heads out on their Worldservice@35 tour on the back of releasing last November’s lockdown album.

Brandon’s post-punk band – featuring Adrian Portas (New Model Army/Sex Gang Children), Craig Adams (Sisters Of Mercy/The Cult /The Mission), Phil Martini (Jim Jones And The Righteous Mind) and saxophonist Clive Osborne – re-recorded 1985’s WorldService album during 2020.

The WorldService@35 tour features the album and B-sides in full plus an extended career-spanning encore at three Yorkshire shows: York, then Leeds Brudenell Social Club on September 21 and The Welly, Hull, September 25.

Pie thrower: Jonathan Pie will vent his anger at the truth vacuum at the Grand Opera House, York

Angriest man of the month award: Jonathan Pie, Fake News (The Corona Remix), Grand Opera House, York, September 19, 7.30pm

JONATHAN Pie, the no-holds-barred fictitious political broadcaster alter-ego of Tom Walker, is resuming his Fake News tour that began in 2019 and had to twiddle its agitated thumbs through lockdown.

In that hiatus, Walker continued to post Jonathan Pie content to his social-media channels, whether commenting on the global reaction to the 2020 pandemic, the Black Lives Matter movement or woke culture.

Now he unleashes his righteous rage once more on stage. Tickets for the York slice of Pie are on sale at atgtickets.com/york.

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David Wilkinson launches Holocaust documentary Getting Away With Murder(s) with premiere screening at Everyman York

Getting Away With Murder(s) director David Wilkinson at Clifford’s Tower, the site of the former Castle in York, where in 1190 the city’s entire Jewish population were massacred

YORKSHIRE filmmaker David Wilkinson’s Holocaust documentary, Getting Away With Murder(s), has taken 18 years to reach the big screen.

Tonight, Everyman York, in Blossom Street, York, will host the world premiere at 6.30pm, concluding with a post-screening question-and-answer session with Wilkinson, chaired by Dave Taylor, the Independent city councillor for the Fishergate ward.

Exploring an overlooked aspect of the Holocaust, Wilkinson’s feature-length film reveals that “almost one million people in 22 countries willingly carried out the unprovoked murder of 11 million innocent men, women and children but 99 per cent of those responsible were never prosecuted”.

Examining the reasons behind the disregard for justice, Wilkinson says: “I filmed in ten countries, including the UK, where I question our turning a blind eye that allowed 400 alleged Nazi war criminals to live in this country, completely untroubled by justice.

“The only prosecution that ever occurred went ahead 53 years after the perpetrator’s arrival in London. He was sent to prison for murdering 18 Jews, although in reality, he was responsible for a great many more deaths.”

Director David Wilkinson at the train entrance to Auschwitz – Birkenau during the film-making for Getting Away With Murder(s)

Wilkinson’s studies brought him to York. “In 1190, Britain inflicted its own Holocaust when York’s Jewish population were massacred while under the King’s protection. 

“At a time of increasing attacks on Jews throughout England, they fled to the Castle – now the site of Clifford’s Tower – to be besieged by an incited angry mob, and then committed mass suicide rather than wait to be killed or be forcibly baptised. Those who did choose to be baptised and came out were slaughtered by the mob.” 

York in the 21st century is a different place, notes Wilkinson, who is chairman of film-makers Guerilla Films. The city now commemorates the massacre at Clifford’s Tower annually, along with Holocaust Memorial Day, as it acknowledges these atrocities and works to ensure that they never happen again.

York was one of the first British cities to receive City of Human Rights status, while York City of Sanctuary seeks to promote an environment of compassion and understanding in the city and provides support and assistance to refugees and asylum seekers.

York Interfaith Group meets regularly to promote mutual understanding between all of York’s faith groups and helps promote mixed-faith events hosted by its members.  

Alex Fischer showing director David Wilkinson around Court 600 at Nuremberg

Wilkinson says York is an example of how a city can turn itself around and learn from events that happened within its walls almost 900 years ago, as well as from more recent history. 

For many years, Jews thought that because of what happened at the Clifford’s Tower site, there was a ‘herem’ (ban) on Jews living in York. This was never the case and the relatively ‘new’ York Liberal Jewish Community (YLJC) is flourishing.

Celebrating its seventh birthday this year, and with around 100 members of all ages, YLJC is an active member in the York Interfaith Group and works regularly with other community and civic organisations.

YLJC is partnering with English Heritage and My Castle Gateway (for City of York Council) to achieve a new lasting legacy for the city’s history by seeking to influence the redevelopment plans of the car park at the base of Clifford’s Tower into a new public park.

The consultation plans include a small public plaza with a new memorial space to the 1190 massacre victims, yet to be detailed or funded.

“It seemed appropriate and particularly fitting to me that the city of York should be where I launch this film,” says documentarian David Wilkinson

Wilkinson explains how this influenced his choice when deciding where Getting Away With Murder(s) should be launched: “Normally with the films I make, the world premieres are either in London or at one of the prestigious film festivals such as Sundance or Edinburgh.

“I have thought long and hard about where to hold the important first screening of this film. As a Yorkshireman I have always felt singularly uneasy that my own county city was the setting for such a horrific crime.

“Therefore, it seemed appropriate and particularly fitting to me that the city of York should be where I launch this film.  It is an example of how a city and a Jewish community has and continues to move forward together.

“I am, therefore, delighted that the Everyman Cinema in York is supporting this important screening and that the York Liberal Jewish Communityhas agreed to co-host the event.” 

Wilkinson ponders the possibility of York erecting a “deferential memorial” to what many consider to be the darkest day in the city’s history. “In the documentary, I filmed numerous reverential memorials to the murdered Jews, in Berlin, Vilnius, Kaunas, Liepaja, Günzburg, Dachau, Vienna and Auschwitz,” he says.

Auschwitz survivor Arek Hersh, who features in Getting Away With Murder(s)

“The more locations I visited, the more I became convinced that York too should have its own deferential memorial to those Jews murdered in the city, no matter how long ago it took place.”

Lilian Coulson, chair of York Liberal Jewish Community, reflects on Wilkinson’s documentary: “When David approached us to discuss his film, we were amazed to be told about the extent of this ‘hidden’ part of all our history. 

“On a personal level, coming from a Jewish family who had to flee Nazi Germany to survive and whose grandfather was one of many lawyers working at the Nuremburg Trials, I have always wondered why nothing was done earlier by the outside world to stop the genocide of 11 million people, including six million Jews.

“Or what happened subsequently to those people who implemented this genocide. I look forward to viewing David’s film at its world premiere in York to learn more about what has happened (or not) since the Nuremburg Trials finished 75 years ago.”  

Lilian continues: “YLJC, as York’s only formal Jewish community, is delighted to welcome David and his film to this city and to help open doors to our friends here to promote his film to those who also wish to learn more about our more recent past.

Benjamin Ferencz, 101, the last living prosecutor at the Nuremberg Trials to give an eye-witness account, watches a 27-year-old Benjamin Ferencz prosecuting, as director David Wilkinson looks on

“We are lucky to live in a city that positively tries to encourage good interfaith relationships and tolerance and actively stretches out a hand to those in need. The continued dialogue of the proposed redevelopment of the Clifford’s Tower and Eye of York area provides a unique opportunity for us all to work together to commemorate its history and, at the same time, look positively to the city’s future.”  

Wilkinson has great hopes that tonight’s screening could launch a campaign to raise money for an improved memorial for the 1190 victims, to be sited within a wider contemplative space, as being proposed for the English Heritage site under the My Castle Gateway plans.

“This could be undertaken in conjunction with York Liberal Jewish Community, who are already fundraising to employ the first resident rabbi in York since the Middle Ages, to help grow and develop their community,” he suggests. 

“We hope that this will help in bringing about a successful outcome and that, after 831 years, the memory of those 150 people massacred inYork will be respectfully and informatively remembered.”  

 For tickets for tonight’s world premiere, go to: everymancinema.com.

Getting Away With Murder(s) director David Wilkinson at the gate to Auschwitz 1

Director’s statement by David Wilkinson

“I HAVE been trying to make Getting Away With Murder(s), either as a film or a TV series, since 2003.

I was baffled as to why it has taken so long to find the funding as, to me, it was essential to know why so very few of the murderers of the Holocaust were ever prosecuted.

I had hoped that others would also wish to know this answer. 

When I was distributing his film Talking Sides in 2003, I discussed this in great detail with Sir Ronald Harwood as we drove around the country promoting his movie in key cities.

Ronnie wrote over a dozen plays, films, books and articles dealing with the Holocaust and told me that it “informed him”. When I mentioned to him that I was considering making the film, he instructed me to get on with it as he too wanted to know the answer.

The numbered arm of Auschwitz survivor Arek Hersh

It was intended that he be in the film (he later appeared in another documentary of mine), but his contribution in this was sadly not to be.

The film is dedicated to him. 

My sole motivation for making Getting Away With Murder(s) was simply to find that answer as to why so many got away with their crime – the crime of mass murder on an industrial scale.  

A simple question, you might think.

I knew long before I began filming that the answer(s) would be far from simple. 

The film is almost 200 minutes long. The subject is so complex that I found it impossible to fit the answers into a neat 90 or 110 minutes. One of the advantages of not having any funding from a broadcaster means that I was free to explore the subject as I felt in detail.” 

The poster for Getting Away With Murder(s), the Holocaust documentary set for British release on October 1, the 75th anniversary to the very day of the end of the International Military Tribunal at Nuremberg. David Nicholas Wilkinson’s film covers what happened after the trial was over



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Scarborough Open Air Theatre clocks up 100th show as Courteeners play tonight

100 not out: Courteeners playing the landmark 100th show at the reopened Scarborough Open Air Theatre tonight. Picture: Cuffe and Taylor

COURTEENERS have the honour tonight of performing Scarborough Open Air Theatre’s 100th show since its 2010 reopening.

Supported by Wirral wonders The Coral, the Manchester band will perform under the East Coast setting sun in a week when fellow Mancunians James will play Britain’s largest purpose-built outdoor concert arena tomorrow and Snow Patrol on Friday.

More than 450,000 people have attended a concert at Scarborough OAT since Her Majesty The Queen re-opened the refurbished Scarborough Borough Council-owned venue in Burniston Road 11 years ago.

Headliners to grace the Scarborough stage include Elton John, Tom Jones, Lionel Richie, Kylie Minogue, Noel Gallagher, Dionne Warwick, Cliff Richard, The Beach Boys, George Benson, Bryan Adams, Michael Ball & Alfie Boe, Status Quo, Happy Mondays, Katherine Jenkins, Little Mix and Britney Spears.

After a pandemic-enforced fallow 2020, this year’s star-studded return has featured Stereophonics, Kaiser Chiefs, Culture Club, Nile Rodgers & Chic, Keane, Olly Murs, UB40 featuring Ali Campbell and Astro and Anne-Marie before concluding with Duran Duran’s sold-out finale on September 17. 

Councillor Jim Grieve, Scarborough Borough Council’s cabinet member for quality of life, said: “Since reopening in 2010, Scarborough Open Air Theatre has established itself as the borough’s premier outdoor live music venue.

“Working with our partners, we’ve brought some of the biggest names in the music industry to the Yorkshire coast. This has boosted the area’s reputation for high- quality events and contributed millions of pounds to the local economy.

“As we reach the milestone of 100 shows at the theatre this week, we look forward to many more years of fantastic events to come.”

Scarborough Open Air Theatre venue manager Stuart Clark: Worked on 90 of the 100 shows since the 2010 reopening

Live music is programmed at Scarborough OAT by promoters Cuffe and Taylor, who are part of Live Nation and have a ten-year contract to deliver headline shows at the 8,000-capacity venue.

Venue programmer Peter Taylor said: “What a week we have in store here at Scarborough Open Air Theatre. Courteeners, James and Snow Patrol are three of the biggest names in British indie rock and to bring all three here in the same week is just fantastic. This really is going to be a week to remember.

“Cuffe and Taylor are so proud to have programmed live music at this wonderful venue since 2016, in which time we have brought many world-famous music icons to the Yorkshire coast. We absolutely love it and we cannot wait to add to the 100 big-name headliners in the years to come. Watch this space!”

Shows at Scarborough OAT attract thousands of visitors to the Yorkshire coast each summer and have created an estimated benefit to the borough of more than £25m in the past decade.

Cuffe and Taylor work hand in hand with the council-led team at Scarborough OAT. Venue manager Stuart Clark has worked on more than 90 of the 100 headline shows since 2010. “It’s a brilliant venue – a real jewel in the Yorkshire coast’s crown,” he said. “You only have to look at the calibre of artists who come here regularly to realise how well thought of Scarborough OAT is.

“It’s such a team effort to put these shows on and I cannot thank the incredible team here at the venue and Cuffe and Taylor enough. But, above all, we’d all like to thank the people of the borough and the Yorkshire coast for their incredible support of the venue down the years – and here’s to many more brilliant nights at the OAT.” 

Tickets are still available for James and Snow Patrol at scarboroughopenairtheatre.com or on 01723 81811. Gates open at 6pm each night.

Mad about the Boy: Boy George lapping up the cheers at Culture Club’s August 14 concert at Scarborough Open Air Theatre this summer . Picture: Cuffe and Taylor

Details of 100 Scarboroughian Nights

1. Gala Opening Night, 23/7/2010

2. 80’s Rewind Night, 31/7/2010

3. The Doves, 7/8/2010

4. N Dubz, 5/6/2011

5. Elton John, 21/6/2011

6. Musicport, 14/8/2011

7. Last Night Of The Proms, 28/8/2011

8. 80’s Rewind 2011, 2/9/2011

9. Dionne Warwick, 6/6/2012

10. John Barrowman, 21/6/2012

11. Olly Murs, 15/7/2012

12. Russell Watson, 4/8/2012

13. Big Night Out, 18/8/2012

14. JLS, 25/8/2012

15. Olly Murs, 6/6/2013

16. The Wanted, 13/6/2013

17. Happy Mondays, 22/6/2013

18. Leona Lewis, 12/7/2013

19. Status Quo, 27/7/2013

20. Katherine Jenkins, 3/8/2013

Ricky Wilson at Kaiser Chiefs’ gig at Scarborough Open Air Theatre on August 8 2021. Picture: Cuffe and Taylor

21. The Saturdays, 23/8/2013

22. McFly, 30/8/2013

23. Jessie J, 25/6/2014

24. McBusted, 27/6/2014

25. Last Night Of The Proms, 28/6/2014

26. Status Quo, 12/7/2014

27. Boyzone, 26/7/2014

28. Little Mix, 27.7/2014

29. Legends Of Pop 2014, 2/8/2014

30. Union J, 23/8/2014

31. James, 22/5/2015

32. Boyzone, 13/6/2015

33. The Vamps, 20/6/2015

34. Last Night Of The Proms with Alfie Boe, 27/6/2015

35. Jessie J, 10/7/2015

36. Elaine Paige and The Royal Philharmonic Orchestra, 11/7/2015

37. McBusted, 18/7/2015

38. Tom Jones, 29/7/2015

39. Legends Of Pop, 1/8/2015

40. UB40, 14/8/2015

Nile Rodgers & Chic performing at Scarborough Open Air Theatre on August 20 2021. Picture: Cuffe and Taylor

41. Scouting For Girls, 30/8/2015

42. Will Young, 30/6/2016

43. Status Quo, 9/7/2016

44. James Bay, 12/7/2016

45. Wet Wet Wet, 30/7/2016

46. Noel Gallagher’s High Flying Birds, 3/8/2016

47. Paul Heaton and Jacqui Abbott, 5/8/2016

48. Legends Of Pop 2016, 6/8/2016

49. Bryan Adams, 8/8/2016

50. Simply Red, 12/8/2016

51. Busted, 2/9/2016

52. The Beach Boys, 24/5/2017

53. Kaiser Chiefs, 27/5/2017

54. The Charlatans, 16/6/2017

55. The Jacksons, 17/6/2017

56. Michael Ball and Alfie Boe, 28/6/2017

57. Cliff Richard, 29/6/2017

58. UB40 featuring Ali Campbell and Astro, 30/6/2017

59. George Benson, 1/7/2017

60. Tom Jones, 2/7/2017

Keane caught in torrential rain at Scarborough Open Air Theatre on August 21 2021. Picture: Cuffe and Taylor

61. Little Mix, 6/7/2017

62. Olly Murs, 9/7/2017

63. Madness, 3/8/2017

64. 80s v 90s, 5/8/2017

65. Jess Glynne, 11/8/2017

66. Lionel Richie, 19/6/2018

67. The Script, 21/6/2018

68. Gary Barlow, 22/6/2017

69. Nile Rodgers & Chic, 24/6/2018

70. Steps, 29/6/2018

71. Alfie Boe, 30/6/2018

72. Emeli Sande, 5/7/2018

73. Noel Gallagher’s High Flying Birds, 6/7/2018

74. Stereophonics, 19/7/2018

75. Pete Tong Ibiza Classics, 20/7/2018

76. Il Divo, 21/7/2018

77. James Arthur, 26/7/2018

78. Bastille, 28/7/2018

79. Texas, 11/8/2018

80. Britney Spears, 17/8/2018

Anne-Marie, arms outstretched, at Scarborough Open Air Theatre’s 99th show on August 29 2021. Picture: Cuffe and Taylor

81. James, 18/8/2018

82. Hacienda Classical, 8/6/2019

83. Biffy Clyro, 14/6/2019

84. Cliff Richard, 26/6/2019

85. Years And Years, 18/7/2019

86. Madness, 19/7/2019

87. Lewis Capaldi, 20/7/2019

88. Jess Glynne, 21/7/2019

89. Kylie Minogue, 1/8/2019

90. Lewis Capaldi, 30/8/2019

91. Queen Machine, 31/8/2019

92. Stereophonics, 28/7/2021

93. Kaiser Chiefs, 8/8/2021

94. Culture Club, 14/8/2021

95. Nile Rodgers & Chic, 20/8/2021

96. Keane, 21/8/2021

97. Olly Murs, 27/8/2021

98. UB40 featuring Ali Campbell and Astro, 28/9/2021

99. Anne-Marie, 29/8/2021

100. Courteeners, 8/9/2021

Courteeners’ Liam Fray leading tonight’s 100th concert at Scarborough Open Air Theatre. Picture: Cuffe and Taylor

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Ensemble Molière are first New Generation Baroque Ensemble with NCEM, Royal College of Music and BBC Radio 3 support

Ensemble Molière: First New Generation Baroque Ensemble

ENSEMBLE Molière will be the first New Generation Baroque Ensemble from October, backed by the National Centre for Early Music, York, BBC Radio 3 and the Royal College of Music.

The new scheme will showcase and nurture exceptional British-based ensembles in the early years of their professional careers in the baroque sphere, supporting them to new heights of professionalism and artistry over two years, using the range of expertise, performance and recording opportunities available through each partner organisation.

A new group will join the programme in 2023 to begin a new two-year programme, helping to encourage UK Baroque ensembles of the future, supporting artists at a crucial stage in their careers. 

Comprising five musicians playing on historic instruments, Ensemble Molière combine flute, violin, bassoon, viola da gamba/cello and harpsichord in creative programmes from the 17th and 18th century repertoire, performed at many of the leading Baroque and Early Music festivals.

Chosen through a non-competitive process to become the first New Generation Baroque Ensemble, ensemble musicians Flavia Harte, Alice Earll, Catriona McDermid, Kate Conway and Satoko Doi-Luck can build on their early success through residencies at the NCEM and Royal College of Music (RCM) and a regular presence on BBC Radio 3, enabling them to further develop their professional skills, reputation, profile and artistry.

BBC Radio 3’s Early Music Show will feature Ensemble Molière on Sunday, September 19 at 2pm in the first of a series of regular updates, performances and features about the group.

Ensemble Molière say: “We are thrilled and honoured to be appointed the first ever BBC New Generation Baroque Ensemble and to become part of the New Generation family. We are looking forward to collaborating with the wonderful team from three organisations – BBC, RCM and NCEM – as well as to the opportunities and experiences we will enjoy on the scheme, including live performances and broadcasts.

“It will be a fantastic springboard for Ensemble Molière and will help us reach the next step as a group. We are very grateful to the New Generation Baroque Ensemble team for their support.”

“Ensemble Molière have an amazing future ahead of them,” says NCEM director Delma Tomlin

NCEM director Delma Tomlin says: “We are thrilled to be part of this UK-based venture that takes place over the next two years and we look forward to welcoming Ensemble Molière, who will be performing in our festivals in Beverley and York.  

“It’s wonderful to be working with the Royal College of Music and BBC Radio 3 once again and this is a fabulous opportunity for Ensemble Molière, who have an amazing future ahead of them.”

BBC Radio 3 controller Alan Davey says: “For some time, we have been keen to see if we can offer help and support to UK-based period-instrument ensembles in the early stages of their careers to allow them to develop and thrive with the same kind of spirit of innovation and adventure we see in the best ensembles across the world.  

“With this new scheme – as with our hugely successful New Generation Artists and New Generation Thinkers programmes – we want to support the best new talent and by working in partnership with the chosen Baroque ensembles and with the NCEM and RCM, we hope to build an even richer world of  ambitious, innovative  and thrillingly excellent music-making for the future.

“We are delighted to welcome Ensemble Molière and look forward to working with them over the coming years to bring their extraordinary music to wider audiences.”

Professor Ashley Solomon, head of historical performance at the Royal College of Music, says: “I am absolutely delighted that together with our colleagues at the NCEM and BBC Radio 3 we have appointed Ensemble Moliere as the first ensemble in the New Generation Baroque Ensemble scheme that we are now launching.

“Nurturing and inspiring the new generation of historical performers is part of our ethos at the Royal College of Music and I look forward to working with and mentoring the players in this exceptional ensemble. We hope that this unique opportunity will help support and enable them to thrive.”

Ensemble Molière’s musicians are:  Flavia Hirte, flute; Alice Earll, violin; Catriona McDermid, bassoon; Kate Conway, viola da gamba/cello, and Satoko Doi-Luck, harpsichord.



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Forty years on, Kevin Rowland revamps “fraudulent” Too-Rye-Ay for 2022 Dexys album and tour. York Barbican awaits

Dexys’ Kevin Rowland, second left, announces the second coming of Too-Rye-Ay, “as it could have sounded”

COME again, Eileen. Dexys, now shorn of the Midnight Runners appendage, are reworking their 1982 album, Too-Rye-Ay, for a 40th anniversary release and accompanying tour.

Led as ever by Kevin Rowland, Dexys will play York Barbican on September 30 2022 on their Too-Rye-Ay, As It Could Have Sounded Tour, in what may well be the veteran Birmingham band’s first ever York appearance, unless you know otherwise.

Released in July 1982, the one with strings, brass and dungarees attached reached number two, Dexys’ highest ever album chart position, buoyed by the top-spot success of ubiquitous wedding-party staple Come On Eileen.

The Van Morrison cover, Jackie Wilson Said (I’m In Heaven When You Smile), went top five too and Let’s Get This Straight (From The Start) peaked at number 17, but the notoriously perfectionist, restless Rowland says: “For many years, I’ve struggled with Too-Rye-Ay.

“I was never happy with many of the mixes on the record. Tracks like ‘Eileen’ and one or two others were really good, but with most others, while I felt the performances were really good, that didn’t come over properly in the mixes.”

The iconic 1982 album artwork for Kevin Rowland & Dexys Midnight Runners’ Too-Rye-Ay

The strongly devoted, long hooked on such exquisite highs as The Celtic Soul Brothers, Let’s Make This Precious, All In All (This One Last Wild Waltz), Old and Until I Believe In My Soul, may raise an eyebrow at Rowland’s assertion, but nevertheless he says: “I even felt fraudulent promoting the album, because I knew it didn’t sound as good as it should have.

“And of course, the irony was, it was by far our most successful Dexys album, because of the worldwide success of Come On Eileen. I knew there were other songs on there just as good as ‘Eileen’, but they hadn’t been realised properly.

“So, I was absolutely delighted to get this opportunity to remix the album with the masterful Pete Schwier, who has worked with Dexys since 1985, and Helen O’ Hara [violinist on the original album] is also helping.”

Too-Rye-Ay, As It Could Have Sounded will be released in this “brand new way and sound” next year via Universal on various formats, whereupon Rowland’s band will head out on the road to perform the album in full, complemented by soulful Dexys’ gems such as their first number one, Geno.

“I’m so into doing this album, that we are doing shows to promote it next year, where we will play the whole of the album from start to finish, as well as other Dexys’ favourites,” says Rowland, who turned 68 on August 17.

“There is no way on Earth I would be doing this tour, or even promoting a normal 40th anniversary re-issue, if it wasn’t for the opportunity to remix it and present it how it could have sounded.

“This is like a new album for me. It is an absolute labour of love. I want people to hear the album as it was meant to sound.”

York will be the only Yorkshire location on next year’s 11-date tour taking in The Forum, Bath, on September 17; New Theatre, Oxford, September 18; Brighton Dome, September 19; Albert Hall, Manchester, September 21; Royal Concert Hall, Glasgow, September 22; Symphony Hall, Birmingham, September 26; Cambridge Corn Exchange, September 27; St David’s Hall, Cardiff, September 29; York Barbican, September 30, and London Palladium, October 2.

York tickets go on sale on Friday (10/9/2021) at 10am at yorkbarbican.co.uk. Let’s make this precious all over again.

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Matchbox to spark up third-time-lucky York Ted-Fest 5 at Huntington WMC in October

Rockabilly rebels Matchbox top the York Ted-Fest 5 bill on October 30

STRIKE a light, look who will be headlining York Ted-Fest 5 at the Huntington WMC, York, on October 30. Step forward Matchbox, those rockabilly good old boys, still playing with their original hit-making 1980s’ line-up.

“York Rock’n’Roll Club continues to put rock’n’roll and rockabilly music there for the masses, reminding everyone why rock’n’roll is still around after 60 years,” says organiser Dave Williamson.

“Our next big gig in York after all these restrictions is our twice-postponed Ted-Fest 5, now taking place at the Huntington WMC, in North Moor Road, next month. Joining Matchbox will be Phil Haley & His Comments, who are the nearest thing to Bill Haley you will ever see.”

Echoes Of The Past DJ will be spinning discs at the 6pm to 11.45pm event; tickets cost £12 on the door.

The poster for York Ted-Fest 5. Please note: Phil Haley’s band are called “Comments”, not “Commets”

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Kevin Clifton to turn up the heat again in Burn The Floor at Grand Opera House

Kevin Clifton in Burn The Floor, returning to the Grand Opera House next January

STRICTLY champ Kevin Clifton will return to the Grand Opera House, York, in the hot hit ballroom dance show Burn The Floor on January 21 2022.

“Kevin from Grimsby”, who left BBC1’s Strictly Come Dancing professional roster after seven seasons at the end of 2019, last scorched the Opera House boards in May 2019.

After announcing his Strictly exit to make a full-time move into the world of musical theatre, he was set to play there too on the 2020/2021 UK and Ireland tour of Baz Luhrmann’s Strictly Ballroom The Musical, directed by Strictly judge Craig Revel Horwood, but the Covid pandemic put paid to the York run from November 23 to 28.

Clifton should have been on tour from September 26 2020 to June 26 2021 in his “dream role” of Scott Hastings, having been inspired by watching Luhrmann’s 1992 Australian film at the age of ten.

Dream role: Kevin Clifton should have played Scott Hastings in Strictly Ballroom The Musical but the pandemic put a stop to the 2020-2021 tour

He is thrilled to be rejoining his “dance family” once again for next January and February’s tour of Burn The Floor, a show with a “mix of eclectic live music, jaw-dropping choreography and ground-breaking moves, performed by an international ballroom dance company with an abundance of infectious, rebellious energy and passion”.

Clifton, 38, enthuses: “Burn The Floor is the show that ignited a spark in me and changed me forever as a performer. Through Broadway, West End and touring all over the world, this show has ripped apart the rule book, revolutionised our genre and inspired and shaped me as the dancer I am today.”

Billed as a “fiery, energetic and revolutionary ballroom production”, Burn The Floor has been packing a punch for more than two decades with its combination of Tango, Waltz and Rhumba routines.

In the heat of the moment: Kevin Clifton with the Burn The Floor company of international ballroom dancers

The 2022 tour has been rescheduled from spring last year, when it was only a week away from opening until Lockdown 1 cast theatres into darkness.

Clifton joined Strictly Come Dancing in 2013, performing in the final five times, missing out only in 2017 and 2019, and was crowned Strictly champion in 2018 with celebrity partner Stacey Dooley, the BBC documentary filmmaker, presenter and journalist.

A former youth world number one and four-time British Latin Champion, Clifton has won international open titles all over the world. After making his West End musical theatre debut in 2010 in Dirty Dancing, he starred as Robbie Hart in The Wedding Singer at Wembley Troubadour Park Theatre and as rock demigod Stacie Jaxx in the satirical Eighties’ poodle-rock musical Rock Of Ages in the West End, a role that also brought him to Leeds Grand Theatre in August 2019.

Tickets for Burn The Floor are on sale on 0844 871 3024 or at atgtickets.com/york.

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The Divine Comedy’s Neil Hannon to play York Barbican on next spring’s hits tour

The Divine Comedy’s Neil Hannon: Compilation album and greatest hits tour in 2022. Picture: Kevin Westerberg

THE Divine Comedy’s Neil Hannon will play York Barbican on April 30 next spring in 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.

His return to York next spring will follow the February 4 2022 release of Charmed Life – The Best Of The Divine Comedy, marking the completion of the Northern Irish singer, songwriter, musical score composer and cricket enthusiast’s third decade as a recording artist.

This 24-track, career-spanning compilation of hit singles and fan favourites, compiled by Hannon and remastered at Abbey Road Studios, London, takes in such eloquent, often mischievously humoured landmarks as National Express, Something For The Weekend, Songs Of Love, Our Mutual Friend, A Lady Of A Certain Age, To The Rescue and Norman And Norma, complemented by the new composition The Best Mistakes.

“I’ve been luckier than most,” reflects 50-year-old Hannon. “I get to sing songs to people for a living and they almost always applaud. So, when asked what to call this collection I thought of Charmed Life. I like the song and it rather sums up how I feel about my life.”

The career retrospective will be available as a 24-track standard double CD; on double heavyweight black vinyl in a gatefold sleeve; on limited-edition double heavyweight colour vinyl in a gatefold sleeve and as a limited-edition triple CD edition, bolstered a “Super Extra Bonus Album” of new and unreleased recordings.

Discussing the bonus disc, Hannon says: “It felt right to celebrate 30 of The Divine Comedy. I can’t give you an overview of these songs. They’re a crazy mixed-up bunch. Some are strangely seasonal, some relate to what we’ve all been going through recently, some are just nuts. Enjoy!”

The poster for The Divine Comedy’s April and May 2022 tour

Hannon signed his first record deal at 20 in1990, subsequently releasing 12 albums and performing hundreds of shows. He will add to that tally with 19 British and Irish dates next April and May, when he will play a second Yorkshire show at the Victoria Theatre, Halifax, on May 13.

 “I am so looking forward to playing live again,” says Hannon. “The last couple of years have been a reminder of how much it means to me personally. It really is my favourite thing. And it seems fitting that we’ll be coming back with a greatest hits set. You know, in case everyone’s forgotten who I am and what we do!”

 Tickets go on sale at 10am on Friday (10/9/2021) at yorkbarbican.co.uk and victoriatheatre.co.uk.

Track listing for Charmed Life:

Charmed Life; National Express; Norman And Norma; Something For The Weekend; Songs Of Love; The Best Mistakes; At The Indie Disco; Bad Ambassador; A Lady Of A Certain Age; Becoming More Like Alfie; Come Home Billy Bird; Have You Ever Been In Love; Our Mutual Friend; Generation Sex; How Can You Leave Me On My Own; Perfect Lovesong; Your Daddy’s Car; You’ll Never Work In This Town Again; Absent Friends; Everybody Knows (Except You); The Certainty Of Chance; Sunrise; To The Rescue; Tonight We Fly.

Track listing for Bonus deluxe 3CD/deluxe digital disc:

I’ll Take What I Can Get; Don’t Make Me Go Outside; Who Do You Think You Are; The Adventurous Type; When When When; Home For The Holidays; Te Amo España; Perfect Lovesong 2021; Simple Pleasures; Those Pesky Kids.

Did you know?

THE last time Neil Hannon’s compositions were heard on a York stage was in the Theatre Royal’s August 2019 production of Swallows And Amazons, a play with music that affirmed Hannon as a songwriter always ripe for musical theatre in the Flanders & Swann and Stiles & Drewe mode, with even a pinch of Sondheim salt and Randy Newman pepper.

Alex Wingfield (front) with Hanna Khogali, Laura Soper and William Pennington in Swallows And Amazons, featuring music by Neil Hannon, at York Theatre Royal in August 2019. Picture: Anthony Robling
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Back in that small car, big egos running rampant, podcasters Chalmers and Hutch set off to the Edinburgh Film Festival

Sign of the festival times in Edinburgh

GOOD to be back, good to be back. After a summer break, Graham Chalmers and Charles Hutchinson resume their arts chat with reflections on their return to the Edinburgh International Film Festival.

Did Graham’s day out among the 90,000 throng at Leeds Festival pass the test after all that Covid testing?

Verdicts too on Harrogate Theatre’s immersive play, Our Gate, and on British Sea Power’s name change in woke times can be heard in Episode 55 at: https://www.buzzsprout.com/1187561/9127399 .

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Why Antony Eden keeps coming back to The Woman In Black after 1,000 shows

“You could say, I’m a bit of an old hand! I actually first did The Woman In Black when I was 14,” says Antony Eden, who has returned to the role of The Actor. Picture: Tristram Kenton

AFTER 547 days, the Grand Opera House, York, will step out of the darkness and into The Woman In Black from September 13.

Robert Goodale will play lawyer Arthur Kipps opposite Antony Eden as The Actor in PW Productions’ latest tour of Stephen Mallatratt’s adaptation of Susan Hill’s ghost story.

Neither is a stranger to performing the torrid tale of an elderly lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a “Woman in Black” for 50 years now.

“That is true,” says Antony. “You could say, I’m a bit of an old hand! I actually first did it when I was 14 after I saw it in the West End. I was already acting, and we wrote to PW Productions , director Robin Herford and Susan Hill to ask if we could put it on in the school theatre at Winchester.”

The answer was affirmative. “James Orr was my co-star…and in fact he came to see me in the show in Cambridge this summer with his son. I’d played The Actor when I was 14, and when we met up afterwards, I said, ‘I’m still playing the same part I was at 14, so I haven’t progressed much’!”

Robert Goodale as Arthur Kipps and Antony Eden as The Actor in The Woman In Black, haunting the Grand Opera House, York, from September 13 to 18. Picture: Tristram Kenton

Antony first performed in Robert Herford’s West End production in 2010, followed by a couple of tours, visiting York Theatre Royal in February 2013, a return to the West End in 2016 and a tour of Asia and Singapore. Now both he and The Woman In Black are back on the road again.

Such is his perennial association with PW Productions’ production that he has become associate director Of The Woman In Black. “I’ve worked with Robert Goodale before because, when he and Danny Easton were doing the last tour, part of my job was to go and see them every six weeks or so,” he says.

That tour spooked out York Theatre Royal in November 2019, but after the lockdown hiatus, Easton has gone west. “He decided not to come back into the tour. He does a running podcast now,” says Antony.

And so, while Danny keeps on running, Antony has resumed the role of The Actor from June 21 at Cambridge Arts Theatre, once more under the direction of the ubiquitous Herford, who directed the premiere of Mallatratt’s splendidly theatrical stage adaptation when it began life as a bonus Christmas show at the Stephen Joseph Theatre in 1987 in novelist Susan Hill’s hometown of Scarborough.

Gripping moment: Antony Eden as The Actor with Julian Forsyth as Arthur Kipps at York Theatre Royal in February 2013

“We started working together for The Woman In Black and have done many things together since,” says Antony. “I think we have a shared philosophy of theatre, rooted in that Stephen Joseph Theatre, Alan Ayckbourn, Robin Herford mould. I love that small-scale way of making theatre.

“I’ve been a theatre fan since I was nine and I have to say that The Woman In Black is my favourite play. This piece is all about the audience, just as it is for Alan Ayckbourn, who sees the writing as only part of the process: the blueprint for the performance.”

Antony had the joy of performing in writer-director Ayckbourn’s company for the SJT premiere of A Brief History Of Women and revival of Taking Steps in summer 2018. “I was doing a tour of Relatively Speaking with Liza Goddard and Robert Powell that Alan came to see, and then did Kay Mellor’s A Passionate Woman with Liza and Russell Dixon, one of Alan’s regulars, at Cheltenham,” he recalls.

“When it then came to working with Alan, I’d already got a fair way along that path, as I was in that mindset from working with Robin and I’m naturally inclined to that style of theatre.

Antony Eden as Anthony Spates, Frances Marshall as Lady Caroline Kirkbridge, left, and Louise Shuttleworth as Mrs Reginald ffluke in Alan Ayckbourn’s A Brief History Of Women. Picture: Tony Bartholomew

“Alan would apply the philosophy of painting to setting scenes, with the most details for the central character and then the others would fill in the background. My favourite piece of advice from him was: ‘Do as little as you can and then do even less’.”

“Less is more” applies equally to The Woman In Black, where a cast of only two must do everything and yet Mallatratt’s play and Herford’s direction are rich in detail, drawing in the audience hook by hook.

“You really feel they are connected: the performers and the audience,” says Antony. “This play is a drama, a mystery, a whodunit, even a comedy at times; there’s so much to it and it plays to theatre’s strengths.

“To me, what’s important and fun about theatre is that it’s all about empathy the actors have for each other and the audience, and likewise the audience have for the actors. That’s what makes it special. This circle of empathy is what theatre specialises in; there’s no other artform like it for empathy.”

“I’ve been a theatre fan since I was nine and I have to say that The Woman In Black is my favourite play,” says Antony Eden, right. Picture: Tristram Kenton

Antony had been playing Ron in Harry Potter And The Cursed Child in the West End when Covid shutdown theatres, with 12 weeks still to go on his contract at the Palace Theatre.

“It’s a totally different experience from doing A Woman In Black. You have a staff director re-creating John Tiffany’s original direction, whereas Robin Herford is still directing The Woman In Black, and that’s why actors really want to do it because it’s a different partnership each time, two actors, one script, that’s all.

“Harry Potter And The Cursed Child is 50 actors, a script, pyrotechnics, special effects. It’s filmic in its scope, and that’s different from the theatricality that The Woman In Black is all about.

“I’ve done this play more than 1,000 times now and I’ve never once got bored with it.”

The Woman In Black, Grand Opera House, York, September 13 to 18, 7.30pm; 2.30pm, Wednesday and Saturday matinees. Box office: atgtickets.com/york

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