Alex Keen and Rachel E Thorn: Improving tonight’s performance of Lying Together at Theatre@41, Monkgate, York
TUCK into a black comedy of sex and deception, improvised completely by award-winning comedians Alex Keen and Rachel E Thorn at Theatre@41 on St Valentine’s night.
“Each performance is inspired by a lie told or a secret kept in a real romantic relationship, submitted by members of the public like you,” say Alex and Rachel, who then explore an anonymous confession chosen by the audience.
“You can submit a secret you’ve kept, a lie someone has told you or something you’ve heard about from a friend, but weren’t personally involved in. All we ask is that you only submit genuine secrets and lies between a couple.”
Previous inspirations include:
Rachel sat in a shepherd’s pie and pretended the dog ate it;
Alex told Rachel he’d been in a car accident;
Rachel hid the fact that the wedding she went to was her ex’s;
Alex told Rachel his mum was dead when she wasn’t.
“Let’s find out why we lie to the people we love,” say Alex and Rachel, who invite submissions via lyingtogether.co.uk. Hurry, hurry!
They first worked together when they co-created Scriptless In Seattle, nominated for Best Improv Show at Leicester Comedy Festival.
They then formed the two-hander improv Between Us, winner of Act of the Year in the Phoenix Remix awards, next made Sex, Lies & Improvisation and now perform Lying Together.
They also co-created and tour the award-winning show MATES: The Improvised ’90s Sitcom with Hugh Clark.
Alex and Rachel have taught improvisation at home and abroad for: Equity UK; Chicago Dramatic Improv Festival; British Improv Project; The Cambridge Impronauts; Nottingham Student Improv Festival; Liverpool Comedy Improv; Sheffield Improv Jam; Making Room at Sheffield Theatres; The Same Faces; The Shrimps and Wayward Souls.
The tour poster image for Lying Together
Alex Keen: the back story
CO-CREATED, coaches and performs with Sturike Comedy, who have made the shows Teen High: An Improvised High School Movie, Story Time and Fan Friction.
Alex co-founded and co-runs the Sheffield Improv Jam, a bi-monthly improv event in Sheffield. He is a welfare officer and teacher at the British Improv Project, a biannual residential retreat in the Midlands. He has performed with The Shrimps, Cambridge Impronauts, The Same Faces, Stealing the Show and Tiny Stories. More information at www.alexrkeen.com.
Rachel E Thorn: the back story
CO-CREATED CSI: Crime Scene Improvisation and performed with Cambridge Impronauts, Upstairs Downton and The Shrimps.
Rachel’s scripted work has been long-listed by the Kenneth Branagh Award, the Female Pilot Club, the Painkiller Prize and Pentabus. She has written for Dead Ringers, The Now Show, DMs Are Open, Newsjack andBreaking The News.
Her sketch comedy has been aired on BBC Radio and she has collaborated with impressionists Alistair McGowan, Charlie Hopkinson and Darren Altman. She trained at Drama Studio London. More information at www.rachelethorn.com.
For tickets for tonight’s improv performance, make a Valentine’s Day date at tickets.41monkgate.co.uk.
Connie Howcroft rehearsing her role as Jo March in Little Women – The Broadway Musical. Picture: Matthew Warry
BURGEONING York company Wharfemede Productions will stage their first solo production, Little Women – The Broadway Musical, at Theatre@41, Monkgate, from February 18 to 22.
Based on Louisa May Alcott’s 1868-1869 semi-autobiographical novel, the American musical focuses on the four March sisters – traditional Meg, wild, aspiring writer Jo, timid Beth and romantic Amy – and their beloved Marmee, at home in Concord, Massachusetts, while their father is away serving as a Union Army chaplain during the American Civil War.
Vignettes wherein their lives unfold are intercut with several re-creations of the melodramatic short stories that Jo writes in her attic studio in a musical featuring a book by Allan Knee, lyrics by Mindi Dickstein and music by Jason Howland.
“Rarely produced in the UK since its Broadway debut in 2005, this is a unique opportunity for musical and literary lovers to see this fabulous adaptation,” says director Helen “Bells” Spencer, Wharfemede Productions’ chief artistic director and co-founder.
“Little Women is a character-driven musical with family and friendship at the heart of this beloved story. I fell in love with the musical the first time I listened to it and having never seen it on stage. The score is beautiful, rousing and reflects the traditional setting of the piece, with spectacular group numbers and heartfelt solos.”
Helen continues: “As Wharfemede’s first independent production, it was the perfect size company and we are incredibly lucky to have some of the best performers in York in our ten-strong cast.
Wharfemede Productions director Helen “Bells” Spencer, centre, rehearsing her role as Marmee in Little Women with Connie Howcroft’s Jo, left, Catherine Foster’s Meg, Rachel Higgs’s Beth and Tess Ellis’s Amy. Picture: Matthew Warry
“Leading our cast as the passionate and fiery Jo March will be the incredible Connie Howcroft. I knew that Connie had sung Astonishing, the most famous song from the show, in her graduation ceremony several years ago so, ‘some things are meant to be’.
“Having performed with Connie several times, there was no doubt in my mind that she was perfect for this challenging role, with her incredible vocals and strength as an actor.”
Connie was familiar with the musical from her student days. “I knew quite a lot about it because I explored it when I was studying for my musical theatre degree at Hull College of Arts [from 2014 to 2017],” she says.
“A friend used one of the songs in her singing assessment, and I thought, ‘ooh, that sounds really nice”! I already knew the book, researched the show and then sang Astonishing, in my degree final ceremony performance – which ‘Bells’ saw on YouTube!”
When “Bells” asked Connie if she would be interested in performing in Little Women, “I said ‘yeah, sure, it’s a great musical’, and so me and Jo March were brought together,” she says.
Did she always have her eyes on that particular role? “Absolutely, 100 per cent, because she’s just a great character! I have many similarities with her, which is helpful in playing a character,” she says.
“She’s so self-aware until she’s not; she knows what she wants until she doesn’t. When something in her life throws her off balance, she always strives to do more. She loves her family, but she wants more than that from her life, so she’s always pulled between her family and what she believes her dreams should lead to. Her passions are always being challenged.”
Rachel Higgs’s Beth March, left, and Connie Howcroft’s Jo March rehearsing a scene for Wharfemede Productions’ Little Women. Picture: Matthew Warry
Connie has to accommodate her acting passions while working full-time as an events lead for an education company, teaching leadership skills to teachers in Westminster and Central Hall, London. “I do the preparatory work from York, sometimes working with people remotely on Zoom, then travel to London to do the events,” she says. “For this show, I did have to miss one rehearsal in late-January for a two-day event.”
She needs the balance of work and play. “Without having some form of performance outlet in my life, I don’t feel happy,” says Connie. “I grew up singing in the Q church in York from the age of 16, putting on Christmas productions too.
“I feel I always need to have singing in my life, but I’m careful about how I spread my time, as I’m a mum as well, to Riley, who’s 13 – and he does lead the life of Riley!
“But when I commit to a performance, I’m 1,000 per cent into it to do everyone proud and to make sure the production is the best it can be.”
Like Connie, “Bells” Spencer has found the balance between her love of performance – once her professional career, running a theatre company – and her work as a doctor in York. “I’m very passionate about the work I do for the NHS but I also get to do the thing I love as a hobby, putting in 100 per cent to make a performance of a standard I would want and expect to see,” she says.
Formed by “Bells” and chief operating officer Nick Sephton, Wharefemede Productions made their debut last October, staging Jason Browne’s The Last Five Years in tandem with fellow York company Black Sheep Theatre Productions.
“The aim of Wharfemede Productions is to have a good time with a good work ethic, where it’s all about being supportive of each other and being a team,” she says.
Joining Connie in Little Women will be Catherine Foster as Meg; Rachel Higgs as Beth; Tess Ellis as Amy; Spencer herself as Marmee; Rosy Rowley as Aunt March; Steven Jobson as Laurie; Nick Sephton as Professor Bhaer; Andrew Roberts as Mr Brooke and Chris Gibson as Mr Lawrence.
“We’ve spent a lot of time working on the rich characters and building a bond in the cast that shines through on stage. I’m so excited for our audiences to see this moving and funny show,” says “Bells”.
Wharfemede Productions present Little Women – The Broadway Musical, Theatre@41, Monkgate, York, February 18 to 22, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
York Settlement Community Players’ Stuart Green’s inspector, Truscott, left, and Miles John’s thief, Dennis, rehearsing a scene from Joe Orton’s Loot
LOOT, Joe Orton’s scandalous first farce, opened at the Cambridge Arts Theatre on February 1 1965 with Kenneth Williams and Geraldine McEwan in the cast.
“The play is a disaster,” the iconoclastic Leicester playwright wrote in a letter to his lover, Kenneth Halliwell. “A very bad play,” sniffed the Cambridge News review. Ouch!
Loot would close after 56 performances and three re-writes, the cast declining the chance to transfer to London, but…Orton’s provocatively controversial, free-wheeling and ferocious dark farce about life’s ultimate taboo – death – is very much alive and kicking up a storm 2025, still suited and booted to shock, amuse and entertain in Orton’s signature scabrous style.
…And still carrying a Content Warning, to be found when booking tickets for Katie Leckey’s production for York Settlement Community Players, running at York Theatre Royal Studio from February 18 to 27.
It reads: “The show contains adult themes and offensive language (including sexism and xenophobia). There are also sexual references and references to sexual assault (including rape and necrophilia) and references to smoking on stage.”
Jack Mackay’s Hal, left, Emily Carhart’s Fay and Miles John’s Dennis in the rehearsal room for York Settlement Community Players’ production of Loot
All this, 60 years since Orton premiered his two-act satire on the Roman Catholic Church, social attitudes to death and the integrity of the police force, wrapped in the story of the fortunes of two thieves, Hal and Dennis, as they navigate the ridiculous farce they find themselves in. Cue such props as rolling eyeballs, flying false teeth and a live actor playing a dead body.
“We made the choice to set the production in the time it was produced, so that audiences can see what has changed about ideas of ‘Britishness’, religion and institutional tyranny since then (if anything) and what still shocks and outrages us today,” says Katie, a Northern Irish actor and director, who completed her Masters degree last year at the University of York, where she set up Griffonage Theatre with co-artistic director Jack Mackay, now cast as Hal in Loot.
“Are we still homophobic, are we less Catholic? The fact that we have to warn people that it’s still a shocking and scandalous play speaks volumes. The thing is this: we do need to give some sort of warning because some of the content is so abhorrent, mostly what Hal says.
“It’s about setting expectations fairly, but I still think the play should be shocking and done as written, so there are insidious lines that I have kept in that I don’t like, but it shows how people were thinking at that time – and still do today, especially men.
Loot director Katie Leckey
“Interestingly, we had 45-50 people auditioning, mostly men wanting to play the inspector, Truscott, although there’s pretty much an equal split of male-female characters in our production.”
The strongest voice of all in Loot belongs to Orton, suggests Katie. “That’s what fascinates me: the more I do the play, the stronger his voice becomes. He’s the most authorial writer. There’s something vicious in everything that is said, but it punches up,” she says.
“Orton was so angry about so many things and that’s why the viciousness is so poignant. Like how he was treated by the police, especially as a gay man who had to adapt. So the play is performative to an extent, but it is situated in lived experience.
“I can’t not speak to my actors about him, I can’t not contextualise, Hal is essentially Halliwell and Dennis is Joe. The more you read about his life, the more you can’t separate it from what he’s written.
“I try to get some distance as a director, but I don’t think you can with this, because of how Orton’s life ended [he was murdered, aged 34, by Halliwell in 1967] and how he wrote.
Paul French’s Mr McLeavy, left, and Stuart Green’s Truscott in rehearsal for Loot
“If you had interviewed Orton in 1965, he would have said Loot is a serious play, why is everyone finding it funny? But it absolutely is a farce, rigid in its form as a farce, going through the motions of a farce, which is funny in itself.”
Katie continues: “But what makes it one of the funniest plays is the language. If he had written it as a ‘normal farce’, it would instead have been a tragedy, but he has this flamboyant way of writing, partly upper class, partly colloquial. Using obtuse language deliberately too, where the rhythms sound so ridiculous.”
Translating Orton’s assertion of Loot’s seriousness to her actors, “everything has to be done with conviction in my direction,” she says. “It has to be done that way, with believability. I’m not into breaking ‘the fourth wall’. The characters have to come across as desperate.
“The only difference between tragedy and farce, Orton, said was the treatment of themes. If you made a play about police brutality and homophobia, you could do that as a tragedy, but what makes it funny here is how Orton has singed those subjects with his fire.”
Katie is delighted to be directing a Settlement show for the first time, having first performed with the company in Government Inspector in October 2023. “I went to the group audition and I was shocked and excited by how talented everyone was! I wheedled my way in and I’ve stayed because there’s something rewarding about working with a long-established company,” says Katie. “I felt I wanted to work with these guys as much as possible.”
On finishing her Masters degree, Katie “needed to do something or I will go bananas”. “I saw that Settlement had put out a call for directors and I thought, ‘it’s my time to do something similarly wacky and wild as Griffonage do, and luckily they said ‘yes’.”
York Settlement Community Players in Loot, York Theatre Royal Studio, 7.45pm nightly, February 18 to 27, except February 23; 2pm matinee, February 22. Age guidance: 16 plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Who’s in York Settlement Community Players’ cast for Loot?
JACK Mackay, as Hal; Miles John, Dennis; Paul French, Mr McLeavy; Caroline Greenwood, Mrs McLeavy; Stuart Green, Truscott; Emily Hansen, Meadows, and Emily Carhart, Fay.
Helen Clarke, Xandra Logan, James Wood, Chris Meadley, Victoria Delaney and Serefina Coupe will feature too in Orton-inspired vignettes before the show and in the interval, penned by James Lee.
Velma Celli: Eyes down, hoping for a full house at her debut Dragamama Bingo evening at Wagamama, York
YORK international vocal drag diva Velma Celli, alias West End musical star Ian Stroughair, turns bingo caller for an evening of camp comedy drag bingo fun and games in Dragamama Bingo at Wagamama, York, tonight.
Eyes down for a full house and a feast of Velma fun and games, running from 7pm to 9pm at the Japanese restaurant in Goodramgate. “Wagamama wants to do community-based stuff on the first-floor mezzanine,” says Ian. “They said they knew who Velma was and asked what could she do for them. I suggested drag bingo for starters.
“So this time it’s bingo and comedy, £8 to join, with a top prize of £100, and Scott Robert will be on the piano to add to the atmosphere. The idea is that I’ll do a Dragamama night either once a month or once every other month with a different theme each time, whether bingo, or a game, or a quiz night.”
How would he rate Velma’s bingo-calling skills? “My mum was the accountant for Holgate Working Men’s Club, so we used to go to the bingo there. I loved it. ‘Thatcher’s House, number 10’. That’s one of mine.”
Velma Celli turns bingo caller at Wagamama, Goodramagate, York, tonight
Looking ahead, Velma’s diary for 2025 is taking shape for nights – and days – of cabaret music, risqué comedy and generally fabulous entertainment. Velma Celli’s Drag Brunch returns to the Impossible York Wonderbar, in St Helen’s Square, from March 8 with further shows booked for April 5, May 3, June 7 (York Pride Bottomless Brunch), July 5 and August 2. Doors open at 3pm. Book by emailing reservations@impossibleyork.com and copy in stroughair2@hotmail.com.
God Save The Queens – Velma’s celebration of British music icons, from Julie Andrews, Cilla Black, Shirley Bassey and Dusty Springfield and Kate Bush to The Spice Girls, Adele, Florence Welsh, Amy Winehouse, Jessie J and Dua Lipa, with room for George Michael and Sinead O’Connor too – will play the Stephen Joseph Theatre, Scarborough, on March 13 at 7.45pm. For tickets, go to: https://tinyurl.com/4z6bvwsy, 01723 370541 or sjt.uk.com.
Velma will head to Skipton Town Hall on March 15 at 7.30pm with Show Queen, where she harks back to Ian’s stellar turns in Cats, Chicago, Fame and Rent in a parade of the best of London’s West End and Broadway musical theatre hits.
“Velma takes you to every corner of the fabulous genre, from Kander & Ebb and Lloyd Webber to Stephen Schwartz’s Wicked and Schönberg’s Les Miserables and many more,” says Ian. “Like, more than Six!” Box office: https://shorturl.at/MJVaO.
Velma Celli’s Show Queen: Heading for Skipton Town Hall, Cardiff, Millom, Southampton, Cowes, London and Dudley
Last year, Velma’s global travels with A Brief History Of Drag took in Australia, where she won the Best Cabaret prize at Perth Fringeworld 2024, 54 Below in New York City and a sell-out UK tour that culminated in a hit run at the Edinburgh Fringe Festival.
Now she brings the show to The Playhouse, Sheffield, on April 4 (7pm) and Hull Truck Theatre on June 13 (7.30pm) for a diva dive into the most iconic drag moments in music, theatre, movies and popular culture.
“From Hedwig to Kinky Boots, Rent to Priscilla Queen Of The Desert, Boy George to Freddie Mercury, no stone is left unturned in this electrifying beast of a performance,” says Ian. Box office: Sheffield, https://shorturl.at/hDDiv; Hull,https://shorturl.at/2saW5.
Farther afield, Velma’s Show Queen plays Welsh Millennium Centre, Cardiff, March 29; The Beggar’s Theatre, Millom, Cumbria, April 18; The Stage Door, Southampton, May 23; Cowes Fringe, Cowes, Isle of Wight, May 24; The Duchess Theatre, West End, London, June 2, and Dudley Town Hall, June 20.
“The idea is that I’ll do a Dragamama night either once a month or once every other month with a different theme each time,” says Velma Celli
Before then, her new show, Rock Queen, will be making its debut at Crazy Coqs, the Art Deco cabaret, jazz, theatre and comedy space at Brasserie Zedel, in Soho, London, on March 20 at 9.15pm (tickets: https://tinyurl.com/yc2wur77).
“It will be all the rock classics, like Cher, Bon Jovi and Nirvana, but with a twist, so Velma will do rock songs in a musical theatre style and vice versa,” says Ian. “From Queen to Heart and every Gun N’ Rose in between, she will, she will, rock you!” Watch this space for news of a York performance in 2025.
One more York show definitely in the diary is Velma’s Pride Cabaret at Impossible York on June 6 from 7pm to 11pm (doors 6pm) in a special event to herald York Pride on June 7. Tickets: https://tinyurl.com/ucky9emr
Velma Celli’s Dragamama Bingo, Wagamama, Goodramgate, York, February 13, doors 6.30pm. Tickets: https://tinyurl.com/4hmukk69.
Mark Reynolds’s tour poster illustration for Stewart Lee Vs The Man-Wulf, playing York Theatre Royal until Saturday
CONTRARIAN comedian Stewart Lee enjoys turning convention on its head.
Swimming like the Canute of comedy against the tide, he likes to heckle his audience, restlessly and constantly throughout his latest acerbic, acid-witted show, especially here in York, where he has never forgotten the flattest night of a previous tour being the Theatre Royal one he happened to be filming for TV and DVD release. “You ruined it,” he says.
Six nights into cutting his lupine teeth on a new tour, he opened a five-night run of Stewart Lee Vs The Man-Wulf at the Theatre Royal on Tuesday, “the worst night of the week for comedy in the dullest town”, as he put it.
It was not so much Stewart Lee Vs The Man-Wulf as Stewart Lee Vs Everything – a false start, a Tuesday night, an “indifferent York audience”, the erratic theatre dry ice machine – but also Everything Vs Stewart Lee.
Everything! Theatre Royal technology; the high-speed turnover of topicality (Gregg Wallace, Toby Young); the dull efficiency of the new Labour Government limiting political content; a button coming off his jacket-coat; the heat emanating from, spoiler alert, his second-half £6,000 werewolf coat.
All that, and his indecision over what this nascent show is about; the purpose, the place, the point of comedy after 36 years on the billboards, now in a world of Trump, Musk and Gervais.
“We’d all love not to care and be off the hook,” he speculates. “To not be accountable.” Like how a werewolf or vampire thinks. Except that Lee holds everything to be accountable.
Stewart Lee: Comic in werewolf’s clothing as he delivers “reactionary material in a reactionary way” in Stewart Lee Vs The Man-Wulf. Picture: Steve Ullathorne
Especially Everything Vs Stewart Lee, and above all, everything about this audience. “It’s not me who’s the problem, it’s you,” he says, berating a lack of sophistication when we should surely be above “entry-level comedy” by this juncture and castigating us for not appreciating his “toppers”, when a run of three of punchlines should each be greeted with a louder laugh, but not so tonight! Not once, not twice, but thrice.
Dear Reader, I should point out that the audience – on first impression, BBC Radio 4-listening, Observer-reading, more men than women – are lapping up his cajoling. They love being worked over by the deadpan grilling of Lee, who makes you work harder than any other comic on the crowded British circuit.
No comedian reflects on comedy in motion and commotion more than Lee, a lover of Sixties’ experimental jazz who brings that avant-garde, deconstructive, unconventional modus operandi to the craft of telling and not telling jokes.
He is constantly thinking on the hoof; you must do so too, amid the rhythmic rat-a-tat-tat of repetition, the teasing and hectoring, to keep up with storytelling that functions like SatNav on the blink, suddenly taking you back to where he’s been before.
Repetition, one of Lee’s trademarks, takes a different form here, where he announces he will play the same material three ways in this age of his bug bear: the comedy of offence perpetrated by Netflix-marketed, 60-million dollar, right-leaning stand-up comedians.
First up, he will tell liberal jokes in a liberal way, then, after a screaming transformation into the Man-Wulf in the first half’s denouement, reactionary jokes in a reactionary way post-interval and, finally, wolf’s head and distracting miniature penile appendage removed, reactionary jokes in a liberal, left-leaning way.
He chides the York audience for not laughing loudest at the American-accented reactionary joker in wolf’s clothing – unlike previous audiences, he says – but he knows only too well he is playing to a liberal crowd who will refract everything through that prism.
Stewart Lee telling “reactionary jokes in a liberal, left-leaning way” against a New York skyline in Stewart Lee Vs The Man-Wulf. Picture: Steve Ullathorne
Along the way, he takes digs at Jimmy Carr, Ricky Gervais, Noel Fielding, Laura Kuenssberg (“if she leans any more to the right, she’ll need scaffolding”), even slyly at erstwhile double-act partner Richard Herring, without naming him.
He gives off a shambling, even shambolic air, and yet a shard-sharp intellect always pierces that front, whether revelling in syntactic pedantry or parading his knowledge of the Ripon curio, the watch-setting Hornblower (although he did say 9.30pm, when 9pm is the precise custom!).
Lee is a cracking mimic too, sending up money-fixated Yorkshiremen and a topical, balladeering Bob Dylan on acoustic guitar, revealing a Dylanesque poetic turn of phrase in his lyrics.
He fires off pot shots aplenty, not only at all around him, but self-deprecatingly at himself too, reeling off a list of Lee lookalikes (from Mark Lamarr and Terry Christian to UB40’s Ali Campbell and Showaddywaddy in 2025) and commenting on how he bores even himself sometimes by knowing exactly what he is going to say next. Yet surprise, unpredictability, is one of his best assets.
Favourite line? “Mark Twain said tragedy plus time equals comedy,” says Lee. “Tragedy plus time equals Morrissey.” Now that’s a topper.
“I’m not a stand-up,” he says. “I’m more of a literary artist. The equivalent of a James Joyce novel.” Only much funnier, if perennially disappointed in humanity at large and York’s Tuesday audience in particular.
Stewart Lee Vs The Man-Wulf, York Theatre Royal, until February 1, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. The Shed presents Indeterminacy, featuring Stewart Lee and pianists Tania Caroline Chen and Steve Beresford, National Centre for Early Music, York, February 1, 3.30pm. Tickets update on 31/1/20025: Indeterminacy, SOLD OUT. Box office for returns only: 01904 658338 or ncem.co.uk.
Stewart Lee, narrator, Tania Caroline Chen, piano, and and Steve Beresford, piano and objects, in Saturday afternoon’s performance of John Cage’s Indeterminacy at the NCEM, York
Ric Liptrot: Exhibiting in The Other Collective exhibition at Bluebird Bakery, Acomb
FROM dollops of Dolly Parton advice to Stewart Lee’s werewolf encounter, devilish storytelling to a Cinderella prequel, Charles Hutchinson, cherry picks highlights for the days ahead.
Exhibition of the week: The Other Collective, Bluebird Bakery, Acomb, York, until March 13
CURATED by Bluebird Bakery, The Other Collective brings together the work of Lu Mason, Ric Liptrot, Rob Burton, Liz Foster and Jill Tattersall.
“These wonderful artists were all missed off the billing for York Open Studios 2025 and we felt that was a real shame,” says Bluebird boss Nicky Kippax. “So The Other Collective was born and we hope the work will get a lot of interest from our customers.”
Mark Reynolds’ tour poster illustration for Stewart Lee Vs The Man-Wulf, playing York Theatre Royal until Saturday
Comedy gigs of the week: Stewart Lee Vs The Man-Wulf, York Theatre Royal, until Saturday, 7.30pm
IN Stewart Lee Vs The Man-Wulf, Lee shares the stage with a tough-talking werewolf comedian from the dark forests of the subconscious who hates humanity. The Man-Wulf lays down a ferocious comedy challenge to the “culturally irrelevant and physically enfeebled Lee”: can the beast inside us all be silenced by the silver bullet of Lee’s deadpan stand-up? Tickets advice: Hurry, hurry as all shows are closing in on selling out; 01904 623568 or yorktheatreroyal.co.uk.
Tricia Paoluccio’s Dolly Parton and Stevie Webb’s Kevin in Here You Come Again at Grand Opera House, York
Musical of the week: Here You Come Again, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Wednesday and Saturday matinees
SIMON Friend Entertainment and Leeds Playhouse team up for the tour of Here You Come Again, starring and co-written by Broadway actress Tricia Paoluccio, who visits York for the first time in the guise of a fantasy vision of country icon Dolly Parton.
Gimme Gimme Gimme writer Jonathan Harvey has put a British spin on Bruce Vilanch, director Gabriel Barre and Paoluccio’s story of diehard Dolly devotee Kevin (Steven Webb) needing dollops of Dolly advice on life and love in trying times. Parton hits galore help too! Box office: atgtickets.com/york.
Hayden Thorpe: Performing Ness with Propellor Ensemble members at the NCEM, York, tonight
Arthouse gig of the week: Hayden Thorpe & Propellor Ensemble, National Centre for Early Music, York, tonight, doors 7pm for 7.30pm start
PLEASE Please You and Brudenell Presents bring Hayden Thorpe & Propellor Ensemble to the NCEM to perform Ness, with the promise of a “sonically spectacular and transformational live show”.
Thorpe, former frontman and chief songwriter of Kendal band Wild Beasts, promotes his September 2024 album. Using a process of redaction, Thorpe brought songs to life from nature writer Robert Macfarlane’s book Ness, inspired by Suffolk’s Orford Ness, the former Ministry of Defence weapons development site during both World Wars and the Cold War. Box office: 01904 658338 or ncem.co.uk.
Sylvie (Aileen Hall), centre, demonstrates her skills to friends Amelie (Perri Ann Barley), left, and Helene (Devon Wells), right, in rehearsal for Blue Light Theatre Company’s Where The Magic Begins!
Premiere of the week: Blue Light Theatre Company in Where The Magic Begins!, Acomb Working Men’s Club, York, tonight to Friday, 7.30pm; Saturday, 2pm matinee
BLUE Light Theatre Company stage York playwright and actress Perri Ann Barley’s new play Where The Magic Begins!, a prequel to Cinderella based on characters from the original Charles Perrault version.
“We meet many beloved characters in their younger days, such as a young Fairy Godmother, who is about to discover her ‘gift’. We follow her journey as she struggles with a secret that could put her life, and that of her family, in grave danger,” says director Craig Barley. Box office: 07933 329654, at bluelight-theatre.co.uk or on the door.
Hannah Rowe: Performing in the cabaret setting of The Old Paint Shop at York Theatre Royal Studio
Cabaret night of the week: CPWM Presents An Evening With Hannah Rowe, The Old Paint Shop, York Theatre Royal Studio, tomorrow, 8pm
YORK promoters Come Play With Me (CPWM) welcome Hannah Rowe to The Old Paint Shop’s winter season. This young singer writes of experiences and shifts in life, offering a sense of reflection within her rich, authentic, jazz-infused sound. Friday’s 8pm show by upstanding York pianist Karl Mullen has sold out. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Adderstone’s Cath Heinemeyer and Gemma McDermott
Devilish delight of the week: Tim Ralphs and Adderstone, Infernal Delights, Rise@Bluebird Bakery, Acomb, York, Friday, doors 7.30pm
TIM Ralphs and York alt-folk storytellers Adderstone serve up a winter night’s double bill of dark delights. Let Adderstone’s Cath Heinemeyer and Gemma McDermott lead you down the steps to the underworld with story-songs from wild places in their Songs To Meet The Darkness set.
In Beelzebub Rebranded, Tim Ralphs’s stand-up storytelling exhumes the bones of ancient Devil stories and stitches them into new skins for fresh consumption in his wild reimagining of folktale, fairytale and urban legend. Box office: ticketsource.co.uk/adderstone/infernal-delights/e-xjjber.
Saxophonist Snake Davis, right, double bassist Don Richardson, left, and concertina player Alistair Anderson: Playing together at Helmsley Arts Centre on Sunday
Trio of the week: Snake Davis, saxophones, Don Richardson, double bass, and Alistair Anderson, concertina and Northumbrian pipes, Helmsley Arts Centre, Sunday, 7.30pm
ADD an old mucker to a new pal, whereupon saxophonist to the stars Snake Davis sounds excited. Snake and Don Richardson go back decades, too many gigs and shows to remember. Lulu and Paul Carrack were particularly memorable. Snake and Alistair Anderson met at a wonderfully quirky Northumberland venue in late 2023 and decided to make music together. Here comes folk, jazz, world, pop and more. Box office: 01439 771700 or helmsleyarts.co.uk.
Craig David: Combining his singing, master of ceremonies and DJ skills at Scarborough Open Air Theatre this summer
Gig announcement of the week: Craig David Presents TS5, TK Maxx Presents Scarborough Open Air Theatre, July 19
SOUTHAMPTON rhythm & blues musician Craig David parades his triple threat as singer, MC and DJ at his TS5 party night – patented at his Miami penthouse – on the East Coast this summer. Expect a set combining old skool anthems from R&B to Swing Beat, Garage to Bashment, while merging chart-topping House hits too.
“I cannot wait to bring my TS5 show to Scarborough and the beautiful Yorkshire coast in July,” enthuses David, 43. “2025 is a massive year for me as it’s the 25th anniversary of my debut album [Born To Do It] and my debut number one single (Fill Me In]. What better way to celebrate than bringing the party to Scarborough this summer.” Tickets go on sale at 10am on Friday at scarboroughopenairtheatre.com.
PLEASE Please You and Brudenell Presents bring Hayden Thorpe & Propellor Ensemble to the NCEM to perform Ness tonight, with the promise of a “sonically spectacular and transformational live show”.
Thorpe, 39-year-old former frontman and chief songwriter of Kendal and Leeds band Wild Beasts, promotes his September 2024 album, Ness, released on Domino Records.
Using a process of redaction, Thorpe brought songs to life from nature writer Robert Macfarlane’s book Ness, inspired by Orford Ness, a ten-mile long shingle spit on the coast of Suffolk that housed the former Ministry of Defence weapons development site during both World Wars and the Cold War.
Acquired by the National Trustin 1993 and left to re-wild, to this day it remains a place of paradox, mystery and constant evolution.
Thorpe’s ode to Orford Ness, the physical place and the book, features Macfarlane’s words and illustrations by Stanley Donwood. He premiered Ness with fellow Cumbrian musicians from Propellor Ensemble at Orford Ness on September 28 and 29 last year.
Here Hayden discusses working with Robert Macfarlane and Propellor Ensemble, the Cold War, nature and past York experiences with CharlesHutchPress.
Do you have any past experiences of York, whether on a school visit or whatever, Hayden?
“My parents used to take us to the Jorvik Viking Museum when me and my siblings were young. I was always amazed by the fake open sewer smell they would pump into the space.”
The album cover artwork for Hayden Thorpe’s Ness
When did you last play in York, either solo or with Wild Beasts?
“I believe it was in 2006 or 2007. A rather long time ago. In any case, it’s been too long. It was somewhere quite familiar to me when Wild Beasts were coming up in Leeds. We’d make a regular dash across.”
How did the Ness project come about with Robert Macfarlane?
“In a really old fashioned manner. I fan-mailed Rob and he wrote back with all the generosity and open heartedness of his books. He’s as good as his word in the truest sense.
“Rob and I decided to perform some improvised music to his reading of Ness. It was a Eureka moment. The atmosphere and drama of the sound we made demanded that we commit to expanding it.”
Did you visit Orford Ness, now the Orford Ness National Nature Reserve, for research purposes?
“Yes. Orford Ness is an astonishing place. It’s a monument to rejuvenation and a monument to destruction. The very best and the very worst of us.”
By the way, Hayden, York has a Cold War Bunker Museum, in Monument Close, Holgate: a two-storey, semi-subterranean bunker built in 1961 to monitor nuclear explosions and fallout in Yorkshire, in the event of nuclear war.
“I had no idea that a Cold War museum existed in York. That’s fabulous. Bizarrely, I’ve developed a Cold War romance. I guess the conflicts and hostilities we face today have brought these conversations back into our everyday consciousness.”
The Black Beacon at Orford Ness. Picture: Arnhel de Serra, National Trust Images
How have you turned the album into a concert performance?
“The album is very much made of sounds we’ve made with our hands and lungs, so with enough pairs of those it actually translates in a very true way. The unusual instrumentation, with orchestral percussion and clarinet foregrounded alongside me, creates a very distinct ‘Ness’ sound. The shows have been really emotional as a result.”
Were you tempted to feature strings in the Ness project for their emotional heft?
“We deliberately did not use strings. We opted to use the elemental forces at my play at Orford Ness: wind and resistant materials like metal and wood. It creates a haunted, volatile soundscape.”
Which Propellor Ensemble members will play in York?
“Jack McNeill plays clarinet and Delia Stevens plays orchestral percussion. Molly Gromadzki performs the spoken-word parts and sings in the choir. Brigitte Hart and Helen Ganya make up the choral section. It’s been a joy to work with such expressive and capable performers.”
What does a “sonically spectacular and transformational live show” entail?
“Something which is sonically ambitious and immersive. Once we start the show we don’t stop, it’s the album in full back to front. We want to take the audience to Ness, have them come face to face with the monster.”
The full Propellor Ensemble line-up. Percussionist Delia Stevens, right, and clarinet and bass clarinet player Jack McNeill, third from right, will be among the performers at the NCEM tonight. Picture: Propellor Ensemble
Why was the National Centre for Early Music, in the former St Margaret’s Church in Walmgate, chosen for the York gig rather than The Crescent community venue, a classic working men’s club design?
“We’ve heard such great things about NCEM. Much of the story of Ness takes place ‘In The Green Chapel’, so the work lends itself to a space of worship.”
What is your own relationship with nature? Wild Beasts hailed originally from Kendal, with all that Lake District beauty around you…
“Nature has become increasingly important to my life and work. As artists we’re forced to ask what side of the conversation we sit on, one which acknowledges the existential crisis facing us or one which excuses it. Music can carry non-human voices really effectively. Ness is very much a meditation on that.”
What will be your next project?
“Good question. Ness has certainly expanded my palette. I’ve come to feel maybe my strength is in making strange and ambitious works which would otherwise not get made. It’s crucial to keep the flame burning on works of exploration and oddity in an industry which increasingly incentivises conformity.”
Hayden Thorpe & Propellor Ensemble, National Centre for Early Music, York, tonight (29/1/2025), doors 7pm, start 7.30pm. Box office: 01904 658338 or ncem.co.uk.
Black Sheep Theatre Productions’ poster for The Tempest at Theatre@41, Monkgate
YORK company Black Sheep Theatre Productions are to present The Tempest with live music at Theatre@41, Monkgate, York, from March 26 to 29.
William Shakespeare’s timeless tale of power, love and redemption will be directed by company founder and composer Matthew Peter Clare in an innovative adaptation that blends traditional Shakespearean drama with a dynamic theatrical approach.
Known for bold and impactful storytelling, Black Sheep will seek to bring an exciting new vision to Shakespeare’s melting pot of mistaken identity, magic, intrigue, murderous schemes, comedy and romance.
“The Tempest is famously Shakespeare’s last play, focusing on family and love, subjugation and bloody plots, reconciliation and forgiveness, euphoria and despair,” says Matthew.
“It is a play that has been performed numerous times in as many ways. With Black Sheep Theatre Productions’ version at Theatre@41, we aim to marry a more Brechtian theatre style for some of our more absurd characters with a grounded, naturalistic approach for the more plot-driven characters.”
Director and composer Matthew Peter Clare
Matthew continues: “We have also utilised my musical background, alongside the incredible talent of Gregory Harper, to create a musical score for a live six-piece band, featuring strings, guitar, and harp, that will accompany the show and highlight the characters and their choices throughout.
“This will perfectly complement the singing of the island spirits, as well as our featured leading singers, such as Gemma-Louise Keane as Ariel and Josh Woodgate as Caliban.”
Both are well-known figures in York’s theatre and music scene, with Gemma-Louise being the lead singer of KissKissKill and Josh regularly performing with Inspired By Theatre, starring in Green Day’s American Idiot last year and now rehearsing for Rent.
“The strength of this production lies in the juxtaposition of absurd comedy and serious drama,” Matthew says. “The comedic energy of Charlie Clarke as Trincula, Molly Whitehouse as Stephana, Dan Poppitt as Alonso and Rocks Smith as Francisca is sharply contrasted against the more sinister and thought-provoking portrayal of Mark Simmonds’s Prospero.”
Mikhail Lim: Collaborating with Matthew Peter Clare in the Black Sheep Theatre production team for a second show in succession
The cast comprises: Mark Simmonds as Propsero; Freya McIntosh, Miranda; Gemma-Louise Keane, Ariel; Dan Poppitt, Alonso, Spirit; Megan Conway, Antonia; Chloe Pearson, Ferdinanda; Isaac McAndrews, Gonzalo; Rosie Stirling, Sebastian: Josh Woodgate, Caliban; Charlie Clarke, Trinculo; Molly Whitehouse, Stephano: Mickey Moran, Adrian, Spirit; Ellie Carrier, Francisco, Juno, Spirit; Rocks Smith, Boatswain, Ceres, Spirit, and Justine Hughes, Master of Ship, Iris and Spirit.
Matthew will be joined in the production team by Mikhail Lim, as he was for Black Sheep’s production of Jason Robert Brown’s Songs For A New World at the National Centre for Early Music, York, last October.
“Our adaptation of The Tempest is set to be an unmissable experience, blending Shakespeare’s genius, innovative staging and an evocative live musical score to bring the story to life in a bold, fresh, and deeply engaging way,” concludes Matthew.
Black Sheep Theatre Productions in The Tempest, Theatre@41, Monkgate, York, March 26 to 29, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
After playing Forest Live at Dalby Forest last June, Nile Rodgers will return to the great Yorkshire outdoors to headline Live At York Museum Gardens in July
NILE Rodgers & CHIC is the second headliner to be confirmed for Futuresound’s summer concert series Live At York Museum Gardens.
The trail-blazing New York-born disco musician, songwriter, guitarist and record producer, 72, will be joined on the July 4 bill by special guest Jalen Ngonda, the American soul, hip hop and jazz singer and songwriter who found his voice in Liverpool.
As a founding member of CHIC, Rodgers is responsible for such hits as Everybody Dance, I Want Your Love and Good Times and as a producer he has collaborated with David Bowie, Madonna, Coldplay, Beyoncé and Daft Punk.
Elbow: Live At York Museum Gardens concert on July 3 has sold out
Futuresound Group’s first show confirmed for 2025, featuring Mercury Prize winners Elbow on July 3, has sold out already and further shows are set to be announced imminently for July 5 and 6.
Presented in tandem with York Museums Trust, the Leeds-based promoter’s inaugural July 2024 weekend drew 12,000 music fans to a brace of 30th anniversary home-city gigs by Shed Seven, with special guest Peter Doherty, preceded by Anglo-Italian singer-songwriter Jack Savoretti the previous night.
Rachel Hill, Futuresound Group’s project manager, says: “We’re incredibly excited to be working with York Museums Trust for our second year on Live at York Museums Gardens. Announcing the one and only Nile Rodgers and CHIC performing in the gardens is just surreal, especially off the back of Elbow selling out! 2025’s Live at York Museum Gardens series is shaping up to be an unmissable addition to the city’s summer calendar.”
Richard Saward, head of operations at York Museums Trust, says: “We are beyond delighted to welcome Nile Rogers and CHIC to York Museum Gardens this summer. With the band’s unbelievable repertoire and legendary live reputation, we’re already looking forward to a fantastic evening with everyone in full boogie mode.”
Founded in the 1830s, York Museum Gardens comprise ten acres of botanic gardens set against the backdrop of the ruins of St Mary’s Abbey and are the home to the Yorkshire Museum too. The gardens welcome around 1.3 million visitors a year.
Shed Seven’s Paul Banks, left, and Rick Witter performing at Live At York Museum Gardens last July. Picture: David Harrison
Jools Holland: Heading for York Barbican once more in December
JOOLS Holland and His Rhythm & Blues Orchestra will be joined by Irish singer Imelda May at York Barbican on December 17 as part of their 30-date autumn and winter tour.
Tickets go on sale on Friday at 10am via yorkbarbican.co.ukfor boogie-woogie pianist Holland’s annual visit to York, where he was joined by Soft Cell vocalist Marc Almond and blues guitar prodigy Toby Lee on December 11 last year.
Dublin singer-songwriter and poet Imelda May has chalked up a hat-trick of headline shows at York Barbican in November 2011, May 2017 and April 2022 with her dynamic blend of blues, rock, soul, gospel and jazz .
Her career has taken in collaborations with Jeff Beck and performing with Lou Reed, Bono, Tom Jones, Noel Gallagher, Robert Plant and now Jools.
Imelda May: Playing York Barbican for a fourth time on December 17
“From the moment I first heard and saw Imelda, I realised that she is one of the true greats of music who understands old and new music,” he enthuses. “Her ravishing voice can illuminate both ballads and boogie-woogie like no-one else.”’
Ed Richardson settled into the drummer’s seat on the 2024 tour, following the retirement of the legendary Gilson Lavis. After starting out together in Squeeze, Gilson became a cornerstone of Jools’s Rhythm & Blues Orchestra, keeping the beat over a span of several decades.
Reflecting on his new role, Ed says: “I’ve been a fan of Gilson since my dad first sat me down in front of the Hootenanny. His iconic style left an indelible mark on me. To now step into his shoes is both a challenge and an honour. I’ll do my utmost to continue his legacy and keep the drum chair as exciting as he made it!”
Once again, the 2025 tour will feature the vocal talents of Queen of Boogie-Woogie Ruby Turner, Louise Marshall and Sumudu Jayatilaka as Later… With Jools Holland host Jools performs songs and instrumentals from throughout his career.
