Song and dance meets English stage humour in Crooners big band show

In the swing of it: Crooners celebrates the golden age of song and dance

CROONERS, a rip-roaring comedy music show with a splendiferous injection of big band swing, charms its way into the Grand Opera House, York, on March 6, at 7.30pm.

On a mission to bring old-school variety back to the theatre with a “quintessentially British twist to the genre symbolised by the crooner”, this new collaboration bonds comedy writer and performer Roman Marek with the outrageous ten-piece swing combo The Mini Big Band.

“I’m a song-and-dance man,” says Marek. “I was brought up on the music of the super-cool crooners, but also on the quintessentially English stage humour of Morecambe and Wise, Bruce Forsyth and Max Bygraves.”

Crooners revels in the songs of the Rat Pack’s Frank Sinatra, Dean Martin and Sammy Davis Jr, together with Tony Bennett, Bobby Darin and Britain’s very own crooner, Matt Monro.

We have a set list of material never before heard in a theatre production,” says Marek. Tickets for this “truly British swingin’ affair” are on sale on 0844 871 3024 or at atgtickets.com/york.

Seeds tells the mothers’ stories on two sides of knife crime at Leeds Playhouse

A scene from Seeds at Leeds Playhouse. All pictures: Wasi Daniju

TWO mothers united in sorrow, unable to escape the tragedy of knife crime, try to protect their sons, one in life, one in death, in Mel Pennant’s new play, Seeds, at Leeds Playhouse.

Running in the Bramall Rock Void until Saturday, it tells the stories of those who fight to keep their children safe from the world they grow up in, when knife-crime offences in England and Wales have reached a record high and hate crimes have more than doubled over a seven-year period.

Shortlisted for the Alfred Fagon Award, Seeds is billed as “a courageous play that looks at difficult subjects of racism, violence, death and grief. It describes a hate crime and uses the N word, all of which may be a trigger for people who have suffered as result of the above and may be difficult for some audience members”.

The setting is Michael Thomas’s birthday, when his cake sits in his mother’s living room, its candles burning undisturbed. Jackie wants to clear her conscience, while Evelyn has a big speech to deliver on the 15th anniversary of Michael’s fatal stabbing. Are some things better left unsaid?

Seeds is presented by Tiata Fahodzi and Wrested Veil in association with Leeds Playhouse, Soho Theatre and Tara Finney Productions.

Here, first, writer Mel Pennant and, then, director Anastasia Osei-Kuffour discuss the play.

“Rollercoaster, awkward, emotional”: Mel Pennant’s play Seeds

How would you describe the play, Mel?

“Two mums, either side of a racist murder, come together and explore what happened to their sons 15 years earlier.  They go to places no-one else would take them to and,, in doing so, come to an agreed truth which is life changing for both of them.” 

How would you sum up Seeds in three words? 

“Rollercoaster, awkward, emotional.”

What inspired you to write the play?

 “In writing the play, I was conscious that we rarely hear, in any depth, the stories of the families of people involved in tragedies and yet as a society we often judge them.

 “I wanted to explore those stories through two mothers on either side of such an event and, in doing so, interrogate the very essence of motherhood.

“Those two women have a conversation that couldn’t happen without the other: they can face the depth of their despair and longing, how they define themselves in a space that is becoming even more limiting.” 

Why is it important we discuss knife crime from the perspective of mothers? 

“Because it’s families, parents, mothers who are left with the aftermath.  When the headlines are over, they are the ones who deal with the reality.  I wanted to explore that reality.”

What do you want audiences to take away from Seeds?

“I hope audiences see my play as the beginning of a conversation.  I hope that it enables audiences to see and engage with the complexities and layers of the issues discussed.”

“Tense, emotive, shattering”: director Anastasia Osei-Kuffour’s summary of Seeds

How would you describe the play, Anastasia?

“Seeds is a tense drama where two mothers fight for their sons, bargaining with each other to get what they desperately need and, in the process, bare their souls, leaving them both changed by the encounter.”

How would you sum up Seeds in three words? 

“Tense, emotive, shattering.”

What initially drew you to the play?

 “Its subject matter. It explores racism and motherhood in a way that really resonates with me: placing racism in the context of families, how the ‘seeds’ of racism can grow in families, ‘take root’ and have horrifically dangerous consequences – a point that I feel is so important to highlight.

 “It also considers how far a mother would go to protect her son. Having reached an age where I’m thinking about having children, I worry a lot about how safe the world is, whether I can keep my children safe when I bring them into this world, I think about what I would do to protect them.”

Why is it important we discuss knife crime from the perspective of mothers? 

 “They are left dealing with the shattering aftermath for years and years after; they bring life into the world only to see it cut down. There’s a need to highlight these people so that, as a society, we can think more about how we support them to survive the deepest of tragedies.”

What do you want audiences to take away from Seeds?

I want to inspire greater awareness of the ‘seeds’ of racism in families in the hope they can be rooted out before they cause disaster.

“I believe people can change and grow. People with racist views – if they would allow themselves to see it – can change and help to change others if they choose to take a stand.

“I want people to see the play as a warning that we all need to take xenophobia seriously and act to stamp it out. Discourse-challenging racist and xenophobic rhetoric and events, like this play which allows people from diverse backgrounds to be in the same space to face these issues, will help and play a part in creating change.”

Seeds, Bramall Rock Void, Leeds Playhouse, until Saturday, 8pm plus 2.15pm Thursday, and 2.45pm, Saturday. Box office: 0113 213 7700 or at leedsplayhouse.org.uk. Age guidance: 14 plus.

REVIEW: Michael Ball and Alfie Boe, Leeds First Direct Arena, 25/2/2020

The great showmen: Ball and Boe

Review: Michael Ball and Alfie Boe, Back Together, Leeds  First Direct Arena, February 25 

INDEPENDENTLY, Michael Ball and Alfie Boe are two of the biggest entertainment draws. Together they are a phenomenon.

Three mega-selling albums, imaginatively named Together (2016), Together Again (2017) and Back Together (2019), have established the pair as the UK’s absolute best-selling act of physical CDs.

Regulars of the Leeds First Direct Arena, Messrs Ball and Boe are just so comfortable in their complimentary talents and know exactly how to pick a set list that will enthral their very loyal audience.

Almost predictably, kicking off with a rousing version of The Greatest Show, from the Hugh Jackman film soundtrack, Ball and Boe present consummate covers of famous duets I Knew You Were Waiting For Me (Aretha Franklin and George Michael) and Something’s Gotten Hold Of My Heart (Marc Almond and Gene Pitney).

Other well-chosen covers include Army (The Shires), Labi Siffre’s (Something Inside) So Strong and, most convincingly, John Farnham’s anthem You’re The Voice.

Individually, Ball covered Anthem from Benny, Bjorn and Tim Rice’s Chess while Boe stole the show with his emotive cover of Snow Patrol’s Run, which gave the audience a chance to wave phone torches in the air. What fun!

Of course, Michael and Alfie had to showcase the very best of musical theatre, including Sunrise, Sunset (Fiddler On The Roof) and surprisingly Wishing You Were Somehow Here Again (Christine’s solo from The Phantom Of The Opera).

Hot from their historic engagement for Les Miserables – The Staged Concert, overjoyed fans were treated to Stars, Bring Him Home and One Day More, which felt as if this was the climax of last night’s concert.

This was not the case as the orchestra and choir then launched into a Lion King Medley and a trio of Queen songs, two very fine Freddie Mercury songs, Who Wants to Live Forever and The Show Must Go On, and one of Freddie’s off moments, Friends Will Be Friends. Never mind.

An encore of Paul Anka’s My Way would have kept the audience happy. However, the surprise of the evening was the Grease Mega Mix: Grease,  Greased Lightnin’, You’re The One That I Want and We Go Together. Everyone left elated!

Ian Sime

Winner takes it all at Bjorn Again, karaoke and Silent Abba Disco day at York Races

Super troupers Bjorn Again say thank you for Abba’s music

BJORN Again can pick a host of Abba winners when rounding off the day’s racing at York Racecourse on June 27.

First up, Money, Money, Money will be The Name Of The Game as the runners and riders invite you to Take A Chance On Me and The Winner Takes It All (along with other winning bets too, before pedants start writing in) from the seven-race afternoon card on Summer Music Saturday.

Next, the long-running Abba tribute act will take to the stage, notching up another addition to a list of 7,000 shows in 100 countries since forming in Melbourne in 1988 en route to Bjorn Ulvaeus saying the Aussie doppelgangers single-handedly initiated the super-Swedes’ revival.

Bjorn Again’s post-racing set will be preceded earlier in the afternoon by Abba karaoke singing and a Silent Abba Disco.

Prizes will be awarded in the 1970s’ Fancy Dress Contest, for which racegoers are invited to create a stylish look from such fashion favourites as flares, platform boots, 1970s’ jackets and kipper ties. Look out for the “selfie stations”, on hand to help share the good times with the wider world.
 
On the Knavesmire track, £150,000 will be won over the seven races. Tickets for the racing and music double bill are on sale from £25 (for an advance booked group of six), with no booking fees and no parking charges. Under 18s will be admitted free of charge with an accompanying adult.
 
James Brennan, head of marketing and sponsorship at York Racecourse, says: “We wanted to offer people the chance to have fun, we hope in the sun, and what better way than in celebrating all things Abba.

“You only have to remember how popular the Mamma Mia films and Mamma Mia The Party have been to understand the affection across the country for the famous Swedish quartet. Obviously, they aren’t able to join us, but the rave reviews for Bjorn Again demonstrate the show is a great performance.”
 
Brennan continues: “There’s a lot of choice for music events around Yorkshire this summer, so we think this offers something different, a little more relaxed and at a more affordable price.

Of course, we have the additional excitement of Pussycat Dolls and Rick Astley set for late-July, so a little bit of ABBA fun seems a great way to kick off our music events.”
 
The York Racecourse Music Showcase Weekend will bring the re-formed Pussycat Dolls to Knavesmire for the July 24 evening race meeting, followed by Newton-le-Willows crooner Rick Astley at the July 25 afternoon card.

Tickets can be booked at yorkracecourse.co.uk and on 01904 620911.

Gothic terror tales Upon The Stair take over Harrogate Theatre from tonight

Upon The Stair: playing Harrogate Theatre from tonight

HARROGATE Theatre is teaming up with Adam Z Robinson to co-produce his Gothic terror tales Upon The Stair.

Traditional storytelling, live music and fully integrated British Sign Language (BSL) combine to bring three macabre ghost stories to life at Harrogate Theatre tonight until Saturday.

In The Cry Of The Bubák, a haunted man flees to a health facility to escape his past, only to have it catch up with him in a most horrifying way.

In Mirrorman, a family moves to an old house on the edge of town and discovers that the previous owner may not have left after all.

In The Xylotheque, a librarian visits the estate of a doctor with a nefarious reputation and comes face to face with his diabolical practices.

Each tale is scripted by writer/performer Robinson, who was supported by Harrogate Theatre previously when presenting his ghostly tales from The Book Of Darkness & Light.

Adam Z Robinson’s Shivers

Through Robinson working with deaf consultants and linguists Adam Bassett and Brian Duffy, his latest script has been developed and translated into British Sign Language and Visual Vernacular, making Upon The Stair accessible for d/Deaf audiences without the need of an interpreter on stage.

Performed by deaf actor and dancer Raffie Julien, the show is billed as “a truly remarkable gothic performance like never witnessed before”, featuring a live violin score composed and played by Chloe Hayward.

After two national tours of his first show, The Book Of Darkness & Light, and 30-plus dates  for his follow-up, Shivers – both performed in Harrogate Theatre’s Studio – Robinson returns with his “most exciting, ambitious and gripping production yet”, directed by Edinburgh Fringe First Award winner Dick Bonham.

Upon The Stair is a co-production with Harrogate Theatres, Square Chapel Arts Centre, Halifax, and producers LittleMight; the two venues providing support, space and creative input to produce the show.

Robinson’s play premiered at Square Chapel on January 11 and has since played Salisbury Theatre from January 16 to 18. More dates will be announced soon for Autumn 2020. 

Upon The Stair, Harrogate Theatre, February 25 to 29, 7.30pm nightly and 2.30pm Saturday matinee. Box office: 01423 502116 or at harrogatetheatre.co.uk

A short trailer can be found at https://www.youtube.com/watch?v=7yrMBi-0_OU&feature=youtu.be

Octopus unmasked, Katherine Jenkins returns with cinema album and York Barbican gig

Katherine Jenkins: from The Masked Singer’s Octopus to a cinematic new album and 2021 tour

KATHERINE Jenkins, the biggest-selling classical artist of the century, will return to York Barbican on February 5 next year.

The Welsh mezzo-soprano, 39, will be showcasing her 14th studio album, Cinema Paradiso, set for release on Decca Reecords on April 17 this spring.

Tickets go on sale on Friday (February 28) at 10am on 0203 356 5441, at yorkbarbican.co.uk or in person from the Barbican box office.

Sharing its name with Giuseppe Tornatore’s 1988 Italian film, Cinema Paradiso is a collection of “unforgettable songs from some of the world’s best-loved movie moments”, such as Moon River, from Breakfast At Tiffany’s;  Pinocchio’sWhen You Wish Upon A Star; a duet of Tonight, from West Side Story, with Welsh singer and actor Luke Evans, plus themes from Schindler’s List, The Lord Of The Rings and Dances With Wolves.

“I’ve always loved movie soundtracks,” says Katherine, who turns 40 on June 29. “I wanted to create an iconic movie moment with this record: all the best film musical themes that we know and love, all together on one album.

“The last few albums I’ve made have been inspired by what’s happening in my own world. This one, in particular, was inspired by the things that were going on around me. Having played my first movie role last year, it felt like a natural transition for me.”

The poster for Katherine Jenkins’ 2021 tour

Katherine’s endeavours in the world of film have been a huge inspiration in the making of Cinema Paradiso, especially her role in the upcoming Minamata, directed by her husband, Andrew Levitas.

Katherine not only makes her film debut, performing alongside Johnny Depp and Bill Nighy, but also she co-wrote the title track with Eminem’s right-hand woman, Skylar Grey, and performed on the film score written by Sakamoto, the Academy Award-winning singer, songwriter, record producer, activist and actor.

Minamata will be released later this year, having received its world premiere at this month’s Berlin International Film Festival with Katherine in attendance, amid glowing reviews from the film industry and fans alike.

Returning to discussing the album tracks, Katherine says: “West Side Story has always been up there for me in terms of musical films. Somewhere has been specially recorded for this album – minus the Octopus mask [from the ITV series The Masked Singer] and I’m thrilled to have Luke Evans join me on Tonight. I loved seeing some of his TV performances last year and it was great fun to create an all-Welsh version of the duet!”

Another pick for Cinema Paradiso, I’ll Never Love Again, from A Star Is Born, has been released as a single, going straight to the top of the iTunes Classical Chart.

I’ll Never Love Again also kick-started Katherine’s journey on The Masked Singer in the guise of The Octopus, en route to finishing third. “My job can be quite serious at times, but I have a four-year-old daughter who absolutely loves Blue Planet, so I created ‘The Octopus’ character for her,” she says.

“The hope with this album is that each song conjures up an iconic image from cinema,” says Katherine Jenkins

“Her favourite colours are pink and purple with sparkles and I thought it would be something to allow her to understand more about what mummy does. I can’t think of a better reason to do the show”.

Katherine adds: “The hope with this album is that each song conjures up an iconic image from cinema. A Star Is Born is quite a recent film, but the scene where Lady Gaga sings I’ll Never Love Again is so touching and memorable that it felt completely right to include it as one of my favourite movie musical moments.

“In a bid to disguise my voice on The Masked Singer, I chose songs that weren’t the norm for me, and so this track is a happy experiment for me, and after Ken [judge Ken Jeong] said it was the performance of the season, I felt it deserved a place on the album.”

In 2017, Katherine was crowned the number one-selling Classical Music Artist of the Last 25 Years by Classic FM and she made chart history in 2018 when Guiding Light became her 13th UK classical number one album.

Katherine last performed at York Barbican in May 2019, having previously sung there in February 2012 and February 2015.

Come and see beauty in Chin We’s Nigerian portraits at Fossgate and Micklegate Social

Photographer Chin We at the launch of her Ife Nkili exhibition of Nigerian portraiture, running at Micklegate Social and Fossgate Social, York. Pictures: Mike Stubbs

PHOTOGRAPHY and dance artist Chin We is the first beneficiary of Foto/Grafic At The Social, a new bi-monthly, dual-venue initiative for emerging talent in York.

 “At Fossgate Social, we’ve been supporting local artists for five years with monthly exhibitions, but we’d like to up our game and include our sister venue, the Micklegate Social,” says bar owner, general manager and urban designer Sarah Lakin.

 “To this end, we’re developing a programme of exhibitions of original artwork for display and sale.”

 Explaining her reasoning, Sarah says: “We live in a society drenched in imagery, but where can we find social spaces to connect and discuss what images are relevant and why?

Two of Chin We’s Nigerian portraits at Micklegate Social, York

 “There is no dedicated photographic gallery in York since Impressions moved to Bradford in 2007, but we hope to plug that gap with artwork that is strong and meaningful covering graphics, photography, print and electronic art.”

Noting how Micklegate is at present playing host to Chin We’s photos at Micklegate Social, Lesley Birch’s Marks & Moments at Partisan and Jonny Hannah’s Songs For Darktown Lovers at FortyFive Vinyl Café, Sarah continues: “As York develops its contemporary visual art scene, the Social hopes to feed that cultural ecology, helping to raise the bar – pun  intended – and encourage cutting-edge contemporary work that explores new narratives, forms and politics.”

First into the spotlight is Chin We, a Fellow of the Royal Society of Arts, who was born in Manchester and spent her formative years in Nsukka, eastern Nigeria, and her adolescence in London, where she started her photography through a lifestyle blog.

I found a creative outlet to share candid conversations on pop culture, art, fashion, travel, food, sex and lifestyle,” she says. “As the photography requests and referrals grew, I knew straightaway that my passion was photography. That was when I learnt that documentary photography was my calling and leapt fully into documentary photography in January 2018.”

The launch night of Chin We’s exhibition at Micklegate Social

Chin We is “fascinated by portraiture, capturing people’s essence and visual storytelling”, leading to her work exploring themes of identity, culture, representation and heritage.

At Fossgate Social and Micklegate Social, this is represented by her Ife Nkili photographs, Ife Nkili being a phrase from the Igbo tribe in Nigeria that means “Come and see; come and see beauty”. 

 Her series of portraits was captured during Chin We’s journey through Nigeria in West Africa; they speak to ideas of representation and identity through their unequivocal depiction of her sitters, spanning northern, south-western and south-eastern Nigeria.

Chin We’s photographic style is described as “direct, raw and unique in its all-embracing sweep, from different walks of life and social circles” as she documents her fellow men and women.

One of Chin We’s Nigerian portraits

“Some live as Christians, others are Muslims or pagans; some are urban socialites, others provincial farmers, traders, warriors and local chiefs,” says her exhibition briefing. “And, of course, there are queens and kings. These compelling portraits betray intimate expressions and tender exchanges. They invariably bring us closer to this diverse culture through their visual storytelling.” 

Chin We’s photography has been published widely and she was featured on CNN as a leading African woman photographer to follow. She was nominated for RPS 100 Heroines by the Royal Photographic Society and won an honourable mention award in the People-Portrait Category in the 2018 International Photography Awards. 

Later this year, the British Museum, in London, will present her new exhibition celebrating the presence of Nigerians in the UK, marking 60 years of Nigerian independence from Great Britain.

 Welcoming Chin We to York, Sarah says: “Still in her twenties, she is a young woman to watch and we’re privileged she has agreed to exhibit with us.

“Her black-and-white photographic portraiture is strong and meaningful; the portraits are direct and challenging, covering topics such as religion, class, work and child brides.

“Through presenting the work of Chin We, we want to increase the diversity of artists’ work, locally and further afield, and provide what we can for arts to gain greater exposure and engagement in a social setting.”

Chin We’s Ife Nkili exhibition runs at Micklegate Social, Micklegate, and Fossgate Social, Fossgate, York, until March 31.

Here come the boys as Weller, Manford, Dommett, Sloss and Aljaz’s dance crew head for York Barbican

Looking ecstatic to be back at York Barbican: Paul Weller , booked in for November 3

YORK Barbican has a fistful of new shows going on sale on Friday: Modfather Paul Weller, comedians Jason Manford, Joel Dommett and Daniel Sloss and the dance extravaganza Here Come The Boys.

Weller, 61, has sold out his May tour and will go back out on the road for 19 British and Irish dates in October and November, playing York on November 3.

Jason Manford: seeking approval at York Barbican next February

Weller will play an acoustic set for the Teenage Cancer Trust at the Royal Albert Hall, London, on March 25 as a special guest of The Stereophonics and his new album, On Sunset, will be released on June 12 on Polydor, his new label.

He performed previously at York Barbican in March 2015 and August 2018 and his last North Yorkshire gig was at Dalby Forest, near Pickering, last June.

Joel Dommett: new show in December

His autumn travels also will take in further Yorkshire dates at Hull Bonus Arena on November 2 and Bradford St George’s Hall on November 17.

Jason Manford, who reached the final of ITV’s The Masked Singer this winter, will return to York Barbican in almost a year’s time, on February 17 2021, with his new stand-up show, Like Me.

Expect “observational comedy mixed with comic gold” from the Salford comedian, presenter and actor who chalked up three Barbican performances of his Muddle Class show in October 2018 and March 2019.

Smoke alarm: Daniel Sloss will be full of Hubris on October 3

Rockhampton comedian, actor and presenter Joel Dommett, host of The Masked Singer, will play York on December 11, delivering a new show after this 2016 I’m A Celebrity, Get Me Out Of Here runner-up brought his Live 2018 tour to the Barbican in February that year.

Scottish comic Daniel Sloss will follow up his X show – taken to 40 countries, including Russia – with his new solo outing, Hubris, booked in for his Barbican bow on October 3.

Here come Michael, Aljaz, Pasha and Sam on June 24

Strictly Come Dancing’s Aljaž Škorjanec sold out his last appearance at York Barbican and will return on June 24, joined in the Here Come The Boys line-up by former Strictly favourite Pasha Kovalev, West End ballet star Sam Salter and NBC World Of Dance champion and Broadway star Michael Dameski, from Australia.

Ballroom, Latin, commercial, contemporary, ballet, acro and tap all will feature in a show where the Boys will perform alongside dancers, gymnasts, tap dancers and more.

Tickets can be booked from 10am on Friday (February 28) at 10am on 0203 356 5441, at yorkbarbican.co.uk or in person from Barbican box office.

REVIEW: Anything’s possible in a one-liner when Milton Jones spies a gag

Hair-raising: Milton Jones on a spying mission at York Barbican

REVIEW: Milton Jones: Milton Impossible, York Barbican, February 22

THE whole point of camouflage is not to be spotted, but in his new guise as an ex-MI5 spy, Milton Jones’s gaudy military fatigues looked like they hadn’t slept for days.

As for his fuchsia, frilly dress shirt, it would have guaranteed he had absolutely no fuchsia in spying, if blending into the background were a requirement. Definitely a case of Milton Impossible.

Mind you, Jones’s attire was not the only sartorial talking point of Saturday’s triple bill. Support act Tom Houghton was gently settling into revelations of being the Honourable Tom – now that his ex-Army chief father, General Sir Nicholas Houghton, was a Lord and the Constable of the Tower of London – when he was distracted by a Technicolor nightmare of a shirt making an even louder exit down the stairs.

“You’ve missed nothing,” said Houghton, lobbing a comedy bomb after the escapee. “Except fashion”. Boom, off went the bomb, as if he were sentencing him to the Tower for a fashion crime.

Cheeky, charming, posh-boy fledgling comic Houghton went on to define the rules of rugby – a game of backs and forwards and going backwards and forwards – with a wit that outwitted the well-worn tea towel trying to explain the laws of cricket.

Tom, a hawk: Tom Houghton was quick to spot fashion crimes in the York Barbican audience

“I always love to help underprivileged children,” said Jones drily later, but Houghton, one quarter of the improv comedy troupe The Noise Next Door, needs no leg-up through entitlement. Check out his upcoming tour at The Basement, City Screen, York, on June 12 or The Carriageworks, Leeds, the next night.  

Before Hon Tom, Milton’s waspish “grandfather” had opened the show, entering with a trampoline as his mobility aide, and combining a flat cap with a dressing gown for a dressing down on the real meaning of assorted familiar road signs.

If you could imagine a hopelessly ill-prepared learner driver trying to wing his written test with wild guesswork, Milton’s grandad goes even further. Rather than being merely daft or surrealist, however, the new meanings actually make weird sense, and the world would be a happier place if they were true.

Although, in this city of cycling, cyclists might not have enjoyed his dig at them not recognising the meaning of a red light.

Post-interval, Jones returned, his shock of hair madder than ever at 55, to go with the aforementioned psychedelic dress code. Seventy-five minutes of the matador of piercing one-liners ensued, ostensibly on his spying past, but ranging far and wide, his timing deadly, his manner deadpan. (Ideal qualities for a spy, you might say).

From his last tour, the Kew comedian revived his droll Brexit commentary through the novel format of national flags engaging in sparring conversations, each seeking the last word, and no Jones show would be complete without a run of “my other grandfather” gags.

Before the tour, Jones joked: “At a difficult time for our country, I believe there’s a chance this show could unite the nation. Admittedly quite a small chance.” True, but Milton is comedy paradise found, and you wish more could see the world through his eyes. It is a lovely place to be, warmly knowing but not devoid of a child’s sense of wonder, playful, not cynical, absurd yet spot on.

If you missed Milton Impossible in York, your next mission, and you really should accept it, is to make it to Hull City Hall on March 18 or Leeds Town Hall the next night, 19.30 on the dot. Box office: hulltheatres.co.uk; leedstownhall.co.uk.

Charles Hutchinson

“Who we think we are is not who we are,” says Mark Thomas in national identity show

Opinions this way: Mark Thomas welcomes you to his 50 Things About Us show

IN his new tour show, mischief-making activist comedian Mark Thomas is pondering “how we have come to inhabit this divided wasteland that some of us call the United Kingdom”.

On the road since January 23, the South London satirical writer, political agent provocateur, TV and radio presenter, journalist and podcaster is bringing 50 Things About Us: Work In Progress to The Crescent, York, on March 4.

“The Crescent has a certain ramshackle charm, and it’s run with absolute integrity,” says Mark, breaking away from cooking up a pot of a very British winter warmer, leek and potato soup, to take this interview call.

Introducing the show’s theme, he explains: “I was really struck by one thought: how on earth did we get to the point we’ve got to, and part of the answer is that we’ve never come to terms with who we are.”

Was he referring to the English or the British here? “Well, Great Britain is England, Scotland and Wales; the United Kingdom includes Northern Ireland too, and it’s been England that’s driven the creation of the union,” says Mark, whose show combines storytelling, stand-up, mischief and typically well-researched material.

“All these places have a very distinctive identity and culture, and it defies this binary, simplistic definition.

“The Irish language was kept alive by Presbyterians when the English buried it, and now the Irish language is being taught by Unionist women on the Falls Road [in Belfast], so it’s a fascinating place that defies your normal expectations.”

“People say, ‘can’t you say something positive?’, but there’s a load of positives in there ,” says Mark Thomas of his new show

Mark notes how “English culture is seen as part of the British empire, when Britain was ruling the world with this bombast, without understanding the implications of that”.

So, it may be a generalisation, Mark, but why is that people think the abiding negative aspects of the British empire are defined by Little Englander characteristics, not British ones?

“That’s the weird thing. Scotland joined England in the union in a time of fantastic prosperity, so Scotland doesn’t get out of its role in the empire,” he says.  “It’s fascinating that it’s about England adopting the empire as its nationalist cause, with everyone else slipping off.”

50 Things About Us is billed as “a show about money, history, identity, art, tradition, songs, gongs, wigs, guns, bungs, sods of soil and rich people”, as Thomas picks through the myths, facts and figures of our national identities to ask how we have so much feeling for such a hollow land”.

Summing up his night of story-telling, stand-up and subversion as a “sort of funny national edition of Who Do You Think You Are?”, Thomas says: ” It’s another slightly odd show, a sort of sweary, History Channel with laughs and creative mischief. If you’ve seen my shows before, this one’s in the vein of 100 Acts Of Minor Dissent.”

As a work in progress, the list of 50 Things is not set in stone. “It’s always being added to. You always do that. You keep going ‘b****y hell’ when you discover new things,” says Mark. “I found out the other day we’re the only nation that doesn’t have its name on its stamps.

“We have a picture of The Queen, not even a picture, but a silhouette, and there’s a certain weirdness about that. We won’t even say where we are! We say, ‘here’s The Queen, we’re better than everyone else’.”

Thomas, 56, has made his mark down the years by stopping arms deals; creating a manifesto and bringing the winning policy to parliament; walking the entire length of the Israeli wall in the West Bank and setting up a comedy club in the Palestinian city of Jenin.

“Just looking at who we think we are, this idea we can stand alone is completely myopic,” says Mark Thomas.

He has hosted six series on Channel 4, alongside several television documentaries and radio series; written books; grabbed a Guinness World Record; sold out numerous tours; won awards aplenty; nabbed himself a Medal of Honour and succeeded in changing some laws along the way. 

In other words, he is a man of both action and words. How are his latest words going down on tour? “People say, ‘can’t you say something positive?’, but there’s a load of positives in there, like Britain being one of only five countries that doesn’t have a [codified] written constitution. New Zealand is one other, Canada another,” says Mark.

“We have the Charter of the Forest, our economic charter that came in in 2017, which recognises that idea of shared assets of the country [the charter re-established for free men rights of access to the royal forest that had been eroded by William the Conqueror and his heirs] .

“It was there for our mutual benefit and no-one else has ever produced anything like it. It used to be read out four times a year in church, when the squirearchy were at the front, the peasants at the back.

“It was the statute that remained longest in force in England, but they just got rid of it in 1971 [when it was superseded by the Wild Creatures and Forest Laws Act]. But it’s something to be proud of as part of our history; there’s an historic part of our character that, since 1217, says we have the right to run things for our common benefit.”

Where does Brexit fit into Mark’s exploration of who we are? “I think that notion that we are a country that can go it alone is really that characteristic of English exceptionalism, where we believe we’re different, we’re superior, because we’re the cleverer than anyone else, reckoning we won two World Wars and a World Cup by playing fair, which is nonsense,” he says. “Just looking at who we think we are, this idea we can stand alone is completely myopic.

“I’m not a great supporter of the European Union, but I did vote Remain reluctantly, as I don’t want a move to the far right, which is what we’ve ended up with.”

Mark Thomas’s Gilbert & George-style poster for his 50 Things About Us tour

Mark continues: “I’m a Socialist and I think massive changes are needed but when you ignore democracy [the Brexit referendum vote], it will bite you on the backside. If I were a Leave voter, I’d be b****y angry. This idea that people got it wrong, and we should vote again and again until we get it right is extremely patronising. The way they’ve been treated is pretty awful, though I’m not defending the far right.”

Why does Mark call Britain “a hollow land”? “The fact that masses of our history is ignored at the expense of our identity, like the history of the NHS…that sense of absence, because we don’t tell parts of our history, is wrong,” he says.

And now for the big question, after all Mark’s research, can he define who we are? “It’s an important question to answer, because we’re changing all the time, as a collective, as individuals, as parents, grandparents, how we see ourselves,” he says.

“Though interestingly, who we think we are is not who we are.” Let’s leave that thought hanging in the air, the perfect enticement to find out more at The Crescent on March 4.

Mark Thomas’s 50 Things About Us: Work In Progress tour also takes in further Yorkshire gigs at Sheffield Memorial Hall, March 1; Wakefield Theatre Royal, March 5, and Leeds City Varieties Music Hall, April 9.

Box office: York, 01904 622510 or at thecrescent.com; Sheffield, 0114 278 9789 or sheffieldcityhall.co.uk; Wakefield, 01924 211311; Leeds, 0845 644 1881 or cityvarieties.co.uk.

Did you know?

Mark Thomas also broadcasts 50 Things About Us as a podcast.