Annie Cordoni’s Stella and Neal Foster’s Aunt Alberta in Birmingham Stage Company’s Awful Auntie. Picture: Mark Douet
AFTER directing Gangsta Granny, Billionaire Boy and Demon Dentist, Neal Foster is at the helm of his fourth David Walliams stage adaptation and playing the lead too for the first time in Awful Auntie.
As with the previous three children’s plays, and indeed myriad Horrible Histories shows too, Birmingham Stage Company is heading for York, playing the Grand Opera House from today (26/9/2024) to Sunday.
“It’s been ten years since we started working with David, and we’ve done four of his books now,” says Neal, long-standing actor-manager, director and writer/adaptor for the Birmingham company.
“He’s been a brilliant person to work with, so generous, so interested; he’ll do anything to help; he’s there at rehearsals, he’s there on opening night. He looks at my scripts with a really helpful professional colleague’s eye, and it’s been a wonderful ten years.”
Neal continues: “I think he has always appreciated how we capture the tone of his work and how we understand how comedy works on stage. I’ll send him drafts and he’ll send notes. I think it works because I get his humour and I knew it would work on stage from the moment I read the books.”
“We’re both fans of Roald Dahl and heavily influenced by him, and Birmingham Stage Company has done more Dahl shows than any other companies in the world.”
Awful Auntie novelist David Walliams. Picture: Charlie Clift
One David Walliams story had been adapted by another company before the Birmingham bond was forged. “He had not been entirely happy with that show and thought maybe it was not the right road to go down again. When we approached him, he liked our track record with the Horrible Histories shows, and that gave him the confidence to run with us.
“Gangsta Granny was then so successful that David was happy to put his books in our hands and has been delighted with the work we’ve done. The stories are very funny, he has a fantastic, wicked sense of humour, but there’s always something important going on in the stories too. It’s no surprise that you will see adults with tears in their eyes at the end because he writes in that way.
“That’s one of the reasons I wanted to do them, and why they work so well on stage is that David is a performer too and so the stories are naturally theatrical.”
Awful Auntie sends Stella to London with her parents, but she has no idea her life is in danger. When she wakes up three months later, only her Aunt Alberta (Foster’s role) can tell her what has happened, but not everything Alberta says turns out to be true, whereupon Stella discovers she is infor the fight of her life against her very own awful Auntie.
Neal is savouring playing Aunt Alberta. “I’ve been doing it since March,” he says. “One of the first shows I did with Birmingham Stage Company was Roald Dahl’s George’s Marvellous Medicine, where I played Grandma, one of my favourite parts, and there’s a resonance with that role in Alberta because she too loves being wicked and naughty.
“In the end, Grandma was just rather nasty, but in this one, Alberta turns out to be a serial killer, probably psychopathic, but what makes it so wonderful is that she’s not just wicked but very funny too.
Neal Foster: Birmingham Stage Company actor-manager, director and adaptor, now playing Aunt Alberta in Awful Auntie, on tour at Grand Opera House, York
“It’s a great privilege to play one of David’s leads, having adapted and directed the previous shows. It’s been a great joy to play a part this time, knowing I could do it, and though it would be hard to pull it off, I knew it would lend itself to being played by a man, applying the strength of a man, because Alberta is quite brutal.”
Neal “loves the science of comedy in making it work”. “David’s tone is like Chekhov’s comedies: it makes audiences laugh and cry, where you feel sad at some parts, laughing at the characters but at the same time sympathising with them,” he says.
“Here Aunt Alberta is very funny but menacing. She’s entertaining; she’s dangerous, but she’s NOT terrifying. Menacing, yes, but at the same time David is providing children with an adventure.”
That is the key to Birmingham Stage Company welcoming children as young as five to Awful Auntie. “With all those wicked characters in Roald Dahl’s work, for example, we wouldn’t give them thatlabel, but they probably are psychopathic,” he says.
“When you’re playing Alberta, you realise she doesn’t seem to care and is lethal in what she does, having her psychopathic responses, but it’s not something young audiences need to know, whereas as an actor you’re aware that she’s basically an absolute nutter!”
Birmingham Stage Company in David Walliams’s Awful Auntie, Grand Opera House, York, today, 6.30pm; Friday, 10.30am and 6.30pm; Saturday, 2.30pm and 6.30pm; Sunday, 11am. Age guidance: Five upwards. Box office: atgtickets.com/york.
“Marmee is a really fascinating character to play,” says Kate Hampson of her role in Little Women. Picture: Charlie Kirkpatrick
YORK actress Kate Hampson returns to the York Theatre Royal stage on Saturday for the first time since her title role in the August 2022 community play The Coppergate Woman.
She will play Marmee, mother to the March girls, in creative director Juliet Forster’s repertory production of Anne-Marie Casey’s re-telling of Louisa May Alcott’s cherished American novel Little Women, presented in association with Pitlochry Festival Theatre.
She is joined in this coming-of-age story of growing up in New England during the American Civil War by This Town star Freya Parks as headstrong daughter Jo, Ainy Medina as Meg, Helen Chong as Amy and fellow returnee York actress Laura Soper as piano-playing Beth.
“It’s been a really challenging but joyful rehearsal period, working with Juliet again, and I can’t wait to play it to audiences – and I get to walk to work each day!” says Kate in a lunchtime break. “The cast are all fantastic, each bringing something new and unique to their roles. We’re all getting on really well, working with voice coach Yvonne Morley to get the accent right and united, because it’s not only a different [American] accent but an accent from a different time, and we have to sound related to each other.”
Describing Marmee’s matriarchal role, Kate says: “What’s really striking is that for most of the play, she’s a single mother, and that’s a hard task. She’s presented as wholesome and deeply loving, caring for each child equally, encouraging each of them to achieve their full potential, but she’s also Victorian, stiffer, more formal, than today.
“There’s a softness to her but there’s also that Victorian formality, which was the behaviour of the time. So you can’t go too gentle and soft in the role, even though she’s a great mum. It’s the way she gives them their autonomy that’s beautiful to watch. She lets her daughters make up their own minds, not collectively, but individually, seeing them as each being very different with very different needs.”
Kate continues: “Marmee is a really fascinating character to play. She’s a challenge because she’s often portrayed as this warm, kind woman, full of wisdom, the perfect mother, and to some extent she is that, but she’s multi-faceted, and I’m keen to explore that, especially in her relationship with Jo. Like when Jo says, ‘I have this rage’, and Marmee says, ‘I had this rage too and I had to learn to suppress it’.
“She’s very pragmatic, she knows the limitations, and yet she wants her daughters to ‘dream big’, but she had that rage and sadness that she couldn’t do the things she wanted to do. She is both very loving and good at imparting knowledge, getting her daughters to solve their problems themselves, rather than spoon-feeding them.”
Kate has enjoyed shaping her interpretation of Marmee’s role in the rehearsal room. “You get this thing with character development where you start in one place, take it to another place, and then you have to bring it back to what feels the right place, pulling it back by thinking ‘would I be standing like this?’ or ‘would I be so affectionate at this point?’,” says Kate.
“It’s lovely to have had the time to do that, and I feel that on the first night, it’ll be where I want it to be, but characters always develop further in the run, when you find new things and the relationships develop too.”
Reflecting on the abiding popularity of Louisa Alcott’s story, Kate says: “I think she was so progressive as a writer. You only have to look at her own life, how she lived it, her relationship with her parents. She was progressive, she was feminist and she was brave.
“People can still identify with that. There are still the same issues on life’s journey; the ups and downs of family relationships in that world still prevail. There’s also the challenge to modern audiences, where they have to think: how can we continue to strive to be better and strive for more equality, especially in societies where there is still none. Both remain relevant goals, because it’s not finished, it’s not done.”
Urging York audiences to attend Little Women, Kate says: “Come and sit in a beautiful space and be entertained by a classic play told in a new way. You want people to enjoy it but to go away with questions to answer because the story still resonates.
“It deals with universal themes of family, love and loyalty, the good times and the bad times, so though it’s historical, you can make it relevant to today, resonating with the experiences we have to deal with or might yet have to face.”
Little Women, York Theatre Royal, September 21 to October 12. Performances: 7.30pm, September 21, 24 to 28, October 1, 3, 5 and 8 to 12; 2pm, September 25 and 26, October 2, 3 and 10; 2.30pm, September 28, October 5 and 12; 6.30pm, October 4 and 7, and 7pm, October 2 (fundraising gala). Post-show discussion: October 11. Box office: 01904 623568 or yorktheatreroyal.co.uk.
* The special fundraising gala performance on October 2 will raise vital funds for York Theatre Royal’s continued work as a producing theatre and for the development of future community projects.
Lauren Robinson in the role of Labour MP Jennie Lee in MIkron Theatre’s world premiere of Lindsay Rodden’s Jennie Lee. Picture: Robling Photography
JENNIE LEE is “the radical MP you have never heard of”, until you venture out to Mikron Theatre Company’s world premiere of Lindsay Rodden’s play at Clements Hall, Nunthorpe Road, York, on Sunday afternoon.
Marianne McNamara directs a cast of actor-musicians Eddie Ahrens and Marsden company debutants Georgina Liley, Lauren Robinson, and Mark Emmons in Jennie Lee, a play with original songs, wherein writer-lyricist Rodden charts the extraordinary life of the groundbreaking Scottish politician, Westminster’s youngest MP at 24, so young that, as a woman aged under 30 in 1929, she could not even vote herself.
Tenacious, bold and rebellious, Lee left her coal-mining family in Cowdenbeath and fought with her every breath as the Labour MP for North Lanarkshire for the betterment of all lives, for wages, health and housing, and for art and education too, as the first Minister for the Arts and founder of the Open University. Oh, and she was the wife of NHS founder Nye Bevan, but Jennie is no footnote in someone else’s past.
Alongside this formidable couple, Sunday’s audiences will meet Winston Churchill, Harold Wilson, Margaret Thatcher and a whole host of other characters in a typically entertaining, enlightening and educational show by Mikron, peppered with songs by Sonum Batra in the music hall and Twenties’ Flappers style.
Jennie Lee: Labour MP for North Lanarkshire at 24. Picture: Open University Archive
Introducing her premiere, Lindsay Rodden says: “When I first decided to find out about the remarkable life of Jennie Lee, I knew very little about her. I knew about her commitment to bettering the lives of her class, how striking and fascinating she seemed, and that she was usually known, if she was known at all, as the wife of Aneurin Bevan.
“What I didn’t know then was that this daughter of a coalminer, who became an MP at an age when, as a woman, she couldn’t even vote herself, lived a long and fascinating life, bore witness to all the horror and pride of the 20th century, and made history herself.”
Lindsay continues: “Her life was full of drama and theatre, and I knew I had to put it on the stage. In fact, I could have written three plays from her 88 years of struggle and triumph, and telling her story with a cast of just four – luckily supremely talented! – actors has been quite the challenge.
“Jennie faced down Churchill in the Commons on her first appearance, she travelled all over the world, and she gave us the Arts Council and the Open University as we know them. She was clever, erudite, stylish and funny, stubborn and sharp too. I wish I had known her. Putting her on the stage is the next best thing.”
Jennie Lee playwright Lindsay Rodden
Lindsay was delighted to be invited to write a second play for Mikron after her evocation of the wild and wonderful world of the weather, Red Sky At Night, toured nationwide in 2022.
“It was about six months after the tour that Marianne and I were talking about ideas for the future, and I said I’d love to do another play but with a different approach as one of the things that Mikron is really good at is shining a light on the corners of history that have been ignored,” she says.
Jennie Lee would be that subject, by chance coinciding with Tim Price’s premiere of Nye, the story of Nye Bevan’s dream of the NHS, at the National Theatre, London. “And apparently there’s also going to be another play about Jennie Lee in Scotland towards the end of the year [Matthew Knights’ Jennie Lee: Tomorrow Is A New Day, produced by Knights Theatre]. It’s fantastic that she’s featuring in three plays in one year – and about time too. Her life was so long and so eventful, she really needs three plays to even scratch the surface.”
Mikron is a suitable vehicle for telling Jennie’s story, she says. “There’s something about the Mikron performance style that realty lends itself to leaping on this rollercoaster ride through 80 years, the incredible unfolding of the 20th century, with such zip and music too.
Mikron Theatre Company’s cast of Eddie Ahrens, Georgina Liley, Lauren Robinson and Mark Emmons in Jennie Lee. Picture: Robling Photography
“But there’s no way we could tell every aspect of her life, but one thing I decided not to do was concentrate on her relationship with Nye – they married when she was 24 and he was 31 – though he is in the play.”
Lindsay notes how Jennie was encouraged to become involved in politics through her education. “Her parents decided to set her free from housework and the kitchen to go to university, so that nurturing of her mind began very early on. I could see where the roots everything she achieved came from.
“She grew up with poverty all around her, seeing the treatment of women around her, the terrible health problems that arose from that and the terrible difficulties in finding medicine to deal with those problems. We should all be proud of what Jennie achieved for better health and education.”
Mikron Theatre Company in Jennie Lee, Clements Hall, Nunthorpe Road, York, Sunday, 4pm to 6pm. Box office: mikron.org.uk/show/jennie-lee-clements-hall.
Jim Moir at RedHouse Originals Gallery in Harrogate
“PEOPLE think that I am a comedian, but art comes first,” says Jim Moir, as he mounts his second exhibition at RedHouse Originals, Harrogate.
“This one is ‘Birdland’ because of my love of birds,” he told the crowded preview gathering that spilled out of the gallery doors. “I spend most of my days bird watching and painting.
“My mother said to me, ‘are you going to retire?’. I said I retired at 21 when I was never going to work for anyone again. I wanted to be an artist and then took a diversion into acting and comedy, and this is now the third act, doing what I was doing at 12. I’m 65 now, and I’m loving it.
“Back in Yorkshire, where I was born, for this exhibition. I’ve been all over the world, but I never get a reaction like I do in Yorkshire – and people buy paintings here!”
Black Cap, watercolour on paper,by Jim Moir
On show – and for sale – until September 28 is an exclusive collection of 50 new paintings celebrating his favourite subject ahead of the October 24 release of his second bird book, More Birds, Paintings Of British Birds, published by Unbound.
“I’m a big wildlife fan,” says Leeds-born Moir, alias comedian Vic Reeves. “When I started birding, I was very young. I remember all I had was natural history books. I’d just look at them on me bed, all day, all night, and then if it wasn’t that, I’d be looking at birds.
“I loved bird watching as a kid and I could probably tell you what any bird was, to this day. It’s really important.”
Birdland marks Moir’s return to RedHouse, having first exhibited there in 2022 when Yorkshire Rocks & Dinghy Fights captivated visitors and featured in the first season of Sky Arts’ Painting Birds With Jim & Nancy Moir. Two paintings that featured in the documentary are now on show in the new collection, by the way.
Pigeon Mob, watercolour on paper, by Jim Moir
Described as “the Warhol of bird painting” by the Guardian art critic Jonathan Jones, Moir’s enduring fascination and wonder at nature is expressed through his depictions of peregrine falcons, lapwings, curlews, barn owls and ospreys, even elevating the pigeon to iconic status. “To paint a bird and put it in its environment gives a bit more of a clue about its life and its personality,” he says.
Why birds, Jim? “It’s what I grew up doing: I was bird watching because I grew up before tablets and mobile phones,” he says. “Birds. That’s what I liked looking at. I liked outdoor pursuits. Nature. I still do.”
What is his favourite bird and why? “It’s always the one I see that day, and if I have to make a special trip, it definitely will be that one,” he says.
Jim Moir: Birdland, on show at RedHouse Originals Gallery, Cheltenham Mount, Harrogate, until September 28. Opening hours: Monday to Saturday, 10am to 5pm; Sundays by appointment. Free entry.
Barn Owl, watercolour on paper, by Jim Moir
Jim Moir: the back story
BORN James Roderick Moir in Leeds on January 24 1959.
First came to prominence as a comedian, actor, and musician with the stage alias of Vic Reeves, writing TV sketches with long-term writing partner Bob Mortimer.
Long before the rise of Reeves, Moir was a practising artist. “Painting is what I always liked doing and if you can get the opportunity to live your life doing what you like doing, then grasp it,” he advises.
After completing an engineering apprenticeship, he studied Fine Art Foundation at Sir John Cass College in 1983, leading to a curator position at The Gardner Gallery and his first exhibition in 1985.
Moir had applied to Goldsmiths but was rejected on the grounds of being “too accomplished” already. “I wanted to go to Goldsmiths but they wouldn’t let me in, so I just walked in and started using the facilities and went to the lectures,” he recalls.” I did that for three years.”
Roc, mixed media on canvas, by Jim Moir
The influence of Pop Art giants from the 1960s such as Gilbert and George, Andy Warhol and Peter Blake, is evident within his paintings, both thematically and stylistically. Often dreamlike and peppered with satirical humour, Moir’s fantastical compositions have been likened to the Surrealist and Dadaist movements of the late 1910s and early 1920s.
Moir’s passion for image-making and sculpture has been integral to his career, through set design and props on such shows as Vic Reeves Big Night Out, The Smell Of Reeves And Mortimer and Shooting Stars, His artwork has remained ever present on television screens as the backdrop to his comedic vision.
Since presenting Turner Prize Moments in 2011, he has tipped the balance of focus from performance towards visual art.
“When I started doing comedy, it was kind of a side-line to my artwork,” he says. “I’ve never not painted. Now I’ve got to a stage where I thought, I’ve done the comedy. I’ve done the TV. I’ll just do bits on TV and film if I want to do it. But all day long I’m going to paint pictures. That’s what I like doing.”
From October 31 to November 3 2012, he transformed the botanical York Museum Gardens into a “magical wonderland” for the Illuminating York festival, lighting up the ruins of St Mary’s Abbey, the Yorkshire Museum and the inners wall of the city’s bar walls with three large-scale, psychedelic, audio-visual projections as part of the York 800 celebrations.
Vic Reeves’ Purple man having a fight with green elephant seal in his Wonderland projections for Illuminating York in 2012. Copyright: The Press, York
Given “free rein to unleash his absurd and magical creations” and inspired by absurdist works such as Lewis Carroll’s Alice’s Adventures In Wonderland, Reeves and partners Bright White Ltd, Bar Lane Studios, Chetwoods and Arup created “a new world that turns the expected upside down and revels in the beauty of the unexpected” at a cost of £500,000.
Organisers invited the public to take part in a projection of dancing figures on St Mary’s Abbey or to power bicycles with wings of light. Among the surreal visions in Reeves’ Wonderland were a bright red elephant, standing on tiptoe while wearing a fez, and a lurid green giant elephant seal fighting a man in purple, while the entire facade of the Yorkshire Museum was transformed into a moving projection of music, pictures and colour.
The third display, beamed onto the city walls behind the bowling green, featured Reeves trapped in a surreal landscape, desperately trying to escape by swallowing blue or red pills to shrink or grow in size.
“Art should be fun,” Reeves told The York Press. “I have ideas and if I think they are funny or peculiar I draw them. I draw because I get a kick out of it. It’s my drug. I’m just doing what I do and it’s projected onto a building that is Georgian.”
Lives and works in converted Georgian schoolhouse in Charring, Ashford, Kent.
Long Tailed Tits, watercolour on paper, by Jim Moir
Naturalist, nature photographer, television presenter and author Chris Packham on Jim Moir
“JIM doesn’t just see birds, he looks at them, so intensely that he understands them. Not just anatomically or behaviourally – he knows how they feel. That transcends painting or art – that is using a brush and pigment to make a future.
“Jim has imbued the bird with imagination. You can’t do this just because you can paint beautifully; it’s not about reproduction, it’s about translation. About being able to speak bird with paint.
“To me, Jim’s process actually appears more instinctive than constructed, which in turn makes it far more admirable and valuable than ‘clever’. There are plenty of clever artists; sometimes I enjoy unravelling their art, but I prefer art that talks to me, talks straight. Art made from love.”
Special event: Jim Moir In Conversation With Tony Pitts
When: September 27. Doors open at 6pm; talk starts at 7pm.
John Hegley: Two poetry peformances at Helmsley Literary Festival. Picture: Jackie di Stefano
HELMSLEY Literary Festival leads off Charles Hutchinson’s recommendations to fill the cultural diary, joined by drag, folk and blues acts and an American coming-of-age classic.
Festival of the week highlight: Helmsley Literary Festival, Helmsley Arts Centre, John Hegley, New & Selected Potatoes, Saturday, 7pm to 8pm; I Am A Poetato, Sunday, 11am to 12 noon
POET, comic, singer, songwriter and spectacles wearer John Hegley heads to Helmsley with two shows, the first being his seriously funny, cleverly comic “best of golden oldies compilation with some new stuff” about love, family, France, art, the sea, dogs, dads, gods, taxidermy, carrots, glasses and…potatoes.
Second gig I Am A Poetato features An A-Z of Poems about People, Pets and other Creatures! Spelling it out for Helmsley, he promises Hedgehogs. Elephants. Laughing. Mandolin. Singing. Luton. Even a cardboard camel with moving parts. Yo! For full details of two days of talks, signings, readings, open mic and a quiz, with Hegley, Anne Fine, Joanne Harris, Harriet Constable and The Chase’s Paul Sinha, visit helmsleyarts.co.uk. Box office: 01439 771700.
Bianca Del Rio: Discussing politics, pop culture and political correctness at York Barbican
Drag show of the week: Bianca Del Rio, York Barbican, tonight, doors 7pm
COMEDY drag queen and RuPaul’s Drag Race champion Bianca Del Rio heads to York on her 11-date stand-up tour. Up for irreverent discussion will be politics, pop culture, political correctness, current events, cancel culture and everyday life, as observed through the eyes of a “clown in the gown”, who will be “coming out of my crypt and hitting the road again to remind everyone that I’m still dead inside”. Box office: yorkbarbican.co.uk.
Ryan Adams: Heading back to York Barbican on Friday
Return of the week: Ryan Adams, Solo 2024, York Barbican, Friday, doors 7pm
NORTH Carolina singer-songwriter Ryan Adams returns to York Barbican next week after playing a very long, career-spanning set there with no stage lighting – only his own side lamps – in April last year. This time he will be marking the 20th anniversary of 2004’s Love Is Hell and tenth anniversary of 2014’s self-titled album, complemented by Adams classics and favourites. Adams, who visited the Grand Opera House in 2007 and 2011, will be performing on acoustic guitar and piano. Box office: yorkbarbican.co.uk.
Harp & A Monkey: Songs of everyday life, love and remembrance at Kirk Theatre, Pickering
Folk gig of the week: Friday Folk presents Harp & A Monkey, Kirk Theatre, Pickering, Friday, 7.30pm
GREATER Manchester song-and-storytelling trio Harp & A Monkey specialise in poignant, uplifting and melodic short stories, both original and traditional, about everyday life, love and remembrance. In a nutshell, the extraordinary ordinary, from cuckolded molecatchers and a lone English oak tree that grows at Gallipoli to care in the community, medieval pilgrims and Victorian bare-knuckle boxers.
This versatile collective of artists, animators, storytellers and multi-instrumentalists has undertaken bespoke songwriting for soundtrack, film and art projects for the likes of Sky Arts and the Department of Sport, Media and Culture. Fylingdales Folk Choir will perform too. Box office: 01751 474833 or kirktheatre.co.uk.
York actress Kate Hampson in the matriarchal role of Marmee in Little Women at York Theatre Royal. Picture: Charlie Kirkpatrick
Play of the week: Little Women, York Theatre Royal, Saturday to October 12
CREATIVE director Juliet Forster directs York Theatre Royal’s new production of Louisa May Alcott’s coming-of-age story of headstrong Jo March and her sisters Meg, Beth and Amy as they grow up in New England during the American Civil War.
Adapted by Anne-Marie Casey, the production features Freya Parks, from BBC1’s This Town, as Jo, Ainy Medina as Meg, Helen Chong as Amy and York actress Laura Soper as Beth. Kate Hampson returns to the Theatre Royal to play Marmee after leading the community cast in The Coppergate Woman. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Seedling, by Sarah Sharpe, on show in Leeds Fine Artists’ 150th anniversary show at Blossom Street Gallery
Exhibition of the week: Leeds Fine Artists Celebrating 150 Years, Blossom Street Gallery, York, until October 31
LEEDS Fine Artists is celebrating its 150th anniversary with an exhibition at its regular York host, Blossom Street Gallery, featuring an inspirational collection of work demonstrating a wide range of styles and different media.
Taking part are: Sharron Astbury-Petit; Dawn Broughton; Jane Burgess; Mark Butler; Pete Donnelly; Alison Flowers; Roger Gardner; Margarita Godgelf; Dan Harnett; Peter Heaton; Nicholas Jagger; Michael Curgenven; Catherine Morris; Martin Pearson; Clare Phelan; Trevor Pittaway; Neil Pittaway; Annie Robinson; Annie Roche; Sarah Sharpe and John Sherwood. Opening hours: Thursdays, Fridays and Saturdays, 10am to 4pm; Sundays, 10am to 3pm.
Tim Peake: Exploring the evolution of space travel at York Barbican
Travel show of the week: Tim Peake, Astronauts: The Quest To Explore Space, York Barbican, September 25, 7.30pm
BRITISH astronaut Tim Peake is among only 610 people to have travelled beyond Earth’s orbit. After multiple My Journey To Space tours of his own story, he makes a return voyage with his stellar new show, sharing the collected stories of fellow astronauts as he explores the evolution of space travel.
From the first forays into the vast potential of space in the 1950s and beyond, to the first human missions to Mars, Peake will traverse the final frontier with tales of the experience of spaceflight, living in weightlessness, the dangers and unexpected moments of humour and the years of training and psychological and physical pressures that an astronaut faces. Box office: yorkbarbican.co.uk.
Lightning Threads: Showcasing their debut album, Off That Lonely Road, at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club, Lightning Threads, Milton Rooms, Malton, September 26, 8pm
SHEFFIELD blues-rock trio Lightning Threads are influenced by the great rock musicians of another time, drawing comparisons with The Black Keys, Gary Clark Jr, Cream and The Doors.
Tom Jane, guitar and vocals, Sam Burgum, bass and vocals, and Hugh Butler, drums and keyboards, have been nominated for Best Album in the 2024 Blues Awards for their November 2023 debut, Off That Lonely Road, recorded with Andrew Banfield, of Superfly Studios, and graced by Kelly Michaeli’s gospel vocals. Box office: 01653 696240 or themiltonrooms.com.
Points Of View, stainless steel, 2018, by Tony Cragg, at Castle Howard. Picture: Nick Howard
TONY Cragg’s landmark sculpture exhibition at Castle Howard, near York, closes on Sunday after a successful staging in the country house and grounds since May 3.
The first major exhibition by a leading contemporary artist to be held across the North Yorkshire estate has featured large-scale bronze sculptures in the gardens, some up to six metres tall, plus works in wood, glass sculptures and works on paper, some on display in the UK for the first time.
Germany-based Cragg’s five-metre-wide sculpture Over The Earth (2015) has been set on a plinth in the middle of the Ray Wood reservoir, the first time it has been shown outside.
Eroded Landscape (1999) has been displayed inside the Temple of the Four Winds. Other works on show in the grounds include Senders (2018), Points Of View (2018) and Versus (2012). Inside the house, work is on display in the Great Hall, the Colonnade and the Long Gallery Octagon.
Runner, bronze, 2015, by Tony Cragg, at Castle Howard. Picture: Nick Howard
Hon. Nick Howard and Victoria Howard OBE say: “The exhibition has had a fantastic impact on Castle Howard. We have seen a 12 per cent increase in visitors from May to August 2024, compared to the same period in 2023, an increase in international visitors and impressive national and international press coverage.
“We are proud to have brought such a high-profile artist’s work to North Yorkshire and to have contributed to the artistic and cultural offers in the North of England over the summer.”
To celebrate the exhibition, Cragg has created a bespoke limited-edition print, Bluescape, exclusive to Castle Howard, with each one of only 50 signed and numbered. Prints can be bought from the gift shop or from Castle Howard’s online shop at castlehoward.co.uk, with delivery available to the UK, Europe and the USA.
Opening hours: grounds, 10am to 5pm, last entry 4pm; house, 10am to 3pm. Tickets: 01653 648333 or castlehoward.co.uk.
Sir Tony Cragg: the back story
Sculptor Tony Cragg in the Great Hall of Castle Howard with his 2018 bronze work Outspan. Picture: Charlotte Graham
Born: Liverpool in 1949.
Home: Lived and worked in Wuppertal, Germany, since 1977.
Education: BA from Wimbledon School of Art, 1973; MA from Royal College of Art, London,1977.
Career: Working as a sculptor and exhibiting since 1969. Participated in documenta 7 and 8 and represented Britain at 1988 Biennale in Venice. Awarded Turner Prize in 1988; Praemium Imperiale Award, Tokyo, in 2007; Lifetime Achievement in Contemporary Sculpture Award in 2017.
Professorships: Akademie der Künste in Berlin and Kunstakademie Düsseldorf, where he was director from 2009 to 2013.
Exhibitions in museums worldwide: Tate Gallery, London (1988); Stedelijk Van Abbemuseum, Eindhoven, and Kunstsammlung Nordrhein-Westfalen,Düsseldorf (1989); Scottish National Gallery of Modern Art, Edinburgh, and Musée du Louvre, Paris (2011); Lehmbruck Museum, Duisburg (2013); Von der Heydt-Museum, Wuppertal, and Hermitage Museum, St Petersburg (2016), and Boboli Gardens, Florence (2019).
Knighted in 2016 for service to visual arts and Anglo-German relations.
Runner, bronze, 2015, by Tony Cragg, at Castle Howard. Picture: Nick Howard
Authors Ajay Chowdhury, left, and Luca Veste, right, at the Theakston Old Peculier Crime Writing Festival in Harrogate. Picture: Andrew Stevens
THE North’s biggest book club, The Big Read, returns from September 23 to 25, travelling to libraries across the North of England. First up will be Acomb Explore Library, Front Street, York, next Monday from 11.30am to 12.30pm.
Produced by Harrogate International Festivals and sponsored by the Inn Collection Group and Vintage Publishing, this free event is part of the Theakston Old Peculier Crime Writing Festival and is designed to celebrate and create awareness of literacy, while paying homage to the legacy of crime fiction’s greatest writers.
Visitors will have the opportunity to meet the festival’s reader-in-residence, Luca Veste, and fellow novelist Ajay Chowdhury, winner of The Sunday Times and The Times Crime Book of the Year, who will travel to seven libraries from Merseyside to Teesside, discussing Chowdhury’s The Detective, as they take the festival on tour.
More than 1,000 free copies of tech entrepreneur, writer and Rented Space Theatre Company artistic director Ajay Chowdhury’s 2023 novel will be distributed across the participating libraries.
Luca Veste is the author of numerous crime novels, such as You Never Said Goodbye and The Bone Keeper. As well as hosting of the Two Crime Writers And A Microphone podcast and co-founding the Locked In Festival, he plays bass guitar in the band of authors, The Fun Lovin’ Crime Writers.
The cover artwork for Ajay Chowdhury’s novel The Detective
Sharon Canavar, chief executive of Harrogate International Festivals, says: “We know that reading stimulates the brain, reduces stress and helps us relax, and the aim of the Big Read is to bring people together from all walks of life through their shared passion for reading.
“This event is also a brilliant opportunity to raise awareness of local library services, which really are at the heart of our communities.
“The Detective is a cracking read and illustrates the rich variety that can be found in the crime-writing genre, and I’m sure it will encourage readers to explore the rest of Ajay Chowdhury’s books.”
Chowdhury’s latest novel in his Detective Kamil Rahman series, The Spy, was published by Harvill Sacker/Penguin Books in April, preceded by last year’s The Detective, The Cook in 2022 and The Waiter in 2021. First came his children’s novel, Ayesha And The Firefish, in 2016.
“I am both honoured and humbled that The Detective has been selected for this year’s Big Read,” he says. “I’m excited to join Luca on the road and looking forward to meeting readers across the North of England.”
The Harrogate Inn general manager Daniel Marshall, with a copy of The Detective, as staff member Lawrence Rhodes-Ibarra looks on from behind the bar. Picture: Andrew Stevens
Andrew Robson, of The Inn Collection Group, says: “The Big Read is a great way of supporting our libraries and bringing local communities together. Reading is one of life’s great pleasures and books have the ability to inspire us and show the world in a fresh light, which is why it’s a genuine pleasure for us to be involved in such a wonderful and rewarding project.”
Reader-in-residence Luca Veste says: “I’m delighted once again to be able to take the Theakston Old Peculier Crime Writing Festival on tour with the Big Read. Local libraries are a cornerstone of our communities and have been an important part of my own life from an early age. I’m really looking forward to discussing this brilliant book with crime writing fans new and old.”
Crime novel devotees can head to a choice of seven participating libraries in York, Harrogate, Bradford, Formby (Liverpool), Stockport, Hexham and Stockton-on-Tees (Billingham) to collect a free copy of The Detective and sign up for the North’s biggest book club.
The Big Read 2024 schedule in Yorkshire:
Monday, September 23: Acomb Explore Library, Front Street, Acom, York, 1.30am to 12.30pm. The Harrogate Inn, Ripon Rd, Harrogate, 2.30pm to 3.30pm. Bradford City Library, Centenary Square, Aldermanbury, Bradford, 6.30pm to 7.30pm. Entry is free.
Tim Lowe: York Chamber Music Festival artistic director and cellist
THERE was much to admire in the performance of the opening Haydn’s String Quartet in C major Op 33, No. 3 (The Bird) and why wouldn’t there be: excellent players and one of Haydn’s finest Quartets.
The nickname, The Bird, is derived from the early first violin chirping calls, acciaccaturas (very short, crisp notes), which convincingly transformed into haunting passages, sequences of very quiet, gently clashing suspensions.
The second movement Scherzo was, for the most part, hymn-like, the playing (on the lower strings) genuinely touching. The bird calling card did make an unexpected appearance in the central Trio section. Humorous and so Haydnesque.
The ‘authentic’ Adagio was effectively and poignantly delivered. The Rondo finale is ever-so-gently bonkers. Folk music, Hungarian gypsy energy, crazy batting of the theme between the violins and viola plus cello with the ending vanishing into a wisp of smoke.
But there were issues too. Intonation was not always dead centre – the high violin passage at the very opening and again in the Trio reappearance (second movement) with the two violins playing on their upper strings.
Sometimes the cello too wasn’t quite on pitch. But these were rare, and this is a technically demanding work with no places to hide. Another issue was balance.
Matters improved with the instrumental changing of the guard. The ever-excellent Tim Lowe’s (cello) insight and technical assurance was immediately self-evident in the following Tchaikovsky (String Quartet No.1 in D major, Op 11), but it was the introduction of Gary Pomeroy (viola) that seemed to be critical.
As the second half Dvořák clearly demonstrated, Simone van der Giessen is an excellent viola player, but in the Haydn the viola contributions were less prominent. Hence the balance issue, but why this was so I couldn’t honestly say.
Viola player Gary Pomeroy. Picture: York Chamber Music Festival
It is perhaps worth noting that Tchaikovsky’s D major Quartet is less technically demanding than the Haydn. It was still a terrific performance though.
The rising and falling chords of the opening Moderato have been likened to the playing of an accordion. For me, it created an image of a gorgeous sunrise. Well, each to their own.
The rich textures and contrapuntal dialogue were very well delivered, contributing to a highly enjoyable, generous (eight-nine minutes?) opening movement. The outstanding movement was the folk-inspired Andante cantabile. It is just so poignant, so beautiful. The balance, the shape and the playing were quite delightful. At times I thought the first violin sounded like a cor anglais or soprano saxophone.
The energetic peasant dance-like Scherzo was rhythmically tight, the accents crisply delivered and confident playing throughout.
Much the same could be said of the closing Allegro finale. The performance was tight, crisp, with a fine viola solo and a razor-sharp signing-off.
The second half belonged to Dvořák’s String Quintet in Eb Major, Op 97. The opening Allegro came across as a generous, giving performance. The reappearance of the main theme – fortissimo and in octaves was decidedly emphatic and the quiet sense of return, of coming full circle, was very effective.
As was the second movement Scherzo. The drumbeat rhythm is tapped out on the second viola whilst the real melodic focus belongs to the first viola (Dvořák was himself a viola player).
The musical soul of the work is in the third movement Larghetto, and that is precisely what came across. There were notably fine contributions from Gary Pomeroy (first viola), Tim Lowe (cello) and Ben Hancox (first violin) – intricate, ornamented pizzicato playing. The Rondo finale was full of zest whilst generating an infectious love for the music itself.
“I don’t see this show as a stodgy reading or as a random selection of songs but, rather, a tiny play of sorts,” says Los Angelean musician and author Steve Wynn.Picture: Guy Kokken
ON his first UK solo tour in more than a decade, The Dream Syndicate founder and leader Steve Wynn visits Rise@Bluebird Bakery, Acomb, York, on Saturday night.
The Paisley Underground legend will be promoting his first solo album since 2010, Make It Right (Fire Records), along with his new memoir, I Wouldn’t Say It If It Wasn’t True (Jawbone Press), both released on August 30.
Wynn’s one-man show blends songs from and inspired by the book with a narrative structure of readings and storytelling. Expect evergreens and rarities from The Dream Syndicate’s 1980s’ catalogue, coupled with illuminating covers and reflective numbers from the new record, adding up to a show of a past revisited.
His debut book details the winding path from growing up as music fan and pre-teen bandleader in Los Angeles, through the formation and ultimate dissolution of The Dream Syndicate at the end of their first era in 1988.
Stops along the way make room for tales of cross-country Greyhound trips to track down Alex Chilton to wild, off-the-rails tours with U2 and R.E.M. and the epic heart-of-darkness making of his Californian indie-rock band’s controversial second album, Medicine Show, and plenty more.
The new album is a similarly reflective and intimately revealing collection, written and recorded in tandem with the writing of I Wouldn’t Say It If It Wasn’t True, featuring contributions from R.E.M.’s Mike Mills, The Bangles’ Vicki Peterson, Psychic Temple’s Chris Schlarb, Serena Maneesh’s Emil Nikolaisen, The Baseball Project’s Linda Pitmon and a cast of dozens.
Wynn says: “I don’t see this show as a stodgy reading or as a random selection of songs but, rather, a tiny play of sorts, a way of giving a flesh-and-blood companion to the book. I’m looking for that magic place where, say, Lenny Bruce and Spalding Grey and Ray Davies and Bob Dylan and maybe Hedwig might meet in a dimly lit cabernet on the back streets of Hollywood. I’ve never done this kind of show before but if I can hit all those markers, I’ll be happy.”
Steve Wynn, I Wouldn’t Say It If It Wasn’t True, A Night Of Songs And Stories, Rise@Bluebird Bakery, Acomb, York, September 21, 7.30pm. Box office: Box office: bluebirdbakery.co.uk/rise. Wynn will be selling and signing copies of I Wouldn’t Say It If It Wasn’t True (book) and Make It Right (CD/LP) after the show. Further Yorkshire gig on Wynn’s eight-date tour at The Greystones, Sheffield, September 18, 8pm.
The poster for Steve Wynn’s show at The Greystones, Sheffield
Steve Wynn: the back story
Founder, singer and guitarist of The Dream Syndicate, revered 1980s’ Los Angeles indie-rock band. 1982 debut The Days Of Wine And Roses is regarded as cornerstone of indie/alternative rock scene.
Prolific solo career, touring the world and recording on regular basis and touring/performing in indie supergroup Gutterball, Danny And Dusty and The Baseball Project (also featuring R.E.M. founders Mike Mills and Peter Buck).
Wrote scores for two hit Norwegian TV shows, Dag and Exit.
His songs have been covered by Luna, Yo La Tengo and Concrete Blonde among others
Lives in New York City.
I Wouldn’t Say It If It Wasn’t True in a nutshell:
A TALE of writing songs and playing in bands as a conduit to a world its author could once have barely imagine: a world of major labels, luxury tour buses and sold-out theatres, but also oneof alcohol, drugs and a low-level rock’n’roll Babylon. Ultimately, a tale of redemption, with music as a vehicle for artistic and personal transformation and transcendence.
Steve Wynn on Make It Right
The artwork for Steve Wynn’s new album, Make It Right
“I WROTE and recorded these songs in tandem with working on I Wouldn’t Say It If It Wasn’t True, my memoir, which comes out on Jawbone Press the same week as Make It Right, my first solo album since 2010.
“With each chapter, I would get ideas for songs inspired by the deep dive into my past and vice versa. The reflections became intertwined after a while, a mutual commentary between literal and metaphorical ruminating.
“The songs here aren’t directly autobiographical although the album does start with Santa Monica, the city and boulevard where I was born, and concludes with Roosevelt Avenue, the main thoroughfare of the Queens neighbourhood in New York City that I call home today.
“You write what you know – even when you’re not aware it’s what you’re writing about at the time.
“If the book recounted a tale of trepidation and dread and questionable choices, then that tale would turn into a song of similar intent like What Were You Expecting. A step back for perspective and positivity, in turn, found its way into a song like You’re Halfway There.
“The cataclysmic ‘one big open drain’ of Simpler Than The Rain was resolved by the resolute ‘I’m just trying to make it right’ on the title track. A gauzy and melancholy where-did-it-go-wrong Southern California flashback on the Long Beach-inspired Cherry Avenue would steer me towards a steelier determination and reset on Making Good On My Promises.
“It was a dialogue between the memoirist and the musician, a one-man Q&A, a gentle volley in the tennis court of my mind. 40-love, game, set and match.
“As I’ve found the melodies and words to stir and simmer with the stories I told in the book, I’ve simultaneously brought friends and collaborators from my recent and distant past to help flesh them out on the record. The likes of Vicki Peterson, Mike Mills, Stephen McCarthy, Scott McCaughey, Jason Victor, Dennis Duck and Mark Walton and my wife Linda Pitmon are all in the book and – look! – there they are on the record as well!
“And much like life itself, new faces and hit-and-run collaborators would pass my radar during the sessions and provide new light as well. Chris Schlarb, from California dream pop ensemble Psychic Temple, added his cinematic touch; Emil Nikolaisen, of Norway psych-grunge combo Serena Maneesh, chimed in with his trademark sonic anarchy and then Eric “Roscoe” Ambel (Del Lords, Joan Jett) used his studio savvy producer chops to tie it all together at the end.
“It feels perfect and very appropriate that the book and record came out in the same week. Not that one is needed to understand the other. Hey, you can just put on Make It Right and use it as the catalyst to create your own life story, dig into your own past. It belongs to you now. Let it tell your own tale while I tell mine. We’re all just trying to make it right.”
Make It Right track listing:
1. Santa Monica. 2. Make It Right. 3. What Were You Expecting. 4. You’re Halfway There. 5. Making Good On My Promises. 6. Cherry Avenue. 7. Then Again. 8. Madly. 9. Simpler Than The Rain. 10. Roosevelt Avenue.
Josh Widdicombe: “Taking stock of the little things that niggle me” in Not My Cup Of Tea. Picture: Jiksaw
PARENTING Hell podcaster, game show panellist and comedian Josh Widdicombe will play York Barbican on February 28 2026, the opening night of the second leg of his Not My Cup Of Tea stand-up tour.
London-born Widdicombe’s 58-date itinerary in 2025-2026 will take in further Yorkshire gigs at Hull City Hall on October 2, CAST, Doncaster, on October 4, and Victoria Theatre, Halifax, on November 1 2025. Tickets go on general sale at 11am on Friday at www.joshwiddicombe.com.
In the words of his tour announcement: “Josh Widdicombe is back on tour, not again! By now he has almost certainly mastered the art of stand-up. Either that or he has wasted the last 15 years of his life. Come along and decide for yourself. Expect it to be shorter and with lower production values than Taylor Swift’s Eras Tour, but funnier and with more references to tea.”
Widdicombe, 41, co-hosts the Parenting Hell podcast with fellow comedian Rob Beckett, spawning an arena tour and a Sunday Times Bestseller Chart-topping book, Parenting Hell, How To Cope (Or Not) With Being A Parent, in 2023.
Widdicombe has co-hosted more than 30 series of multi-award-winning Channel 4 series The Last Leg, is a team captain on Sky Max’s Rob Beckett’s Smart TV and co-hosts Sky’s Hold The Front Page. The Plymouth Argyle supporter and former sports journalist has an almost complete collection of Panini football sticker books.
As well as three seasons of his Josh sitcom from 2014 to 2017, Widdicombe has chalked up multiple TV appearances on Hypothetical, QI, Live At The Apollo, A League Of Their Own, Insert Name Here, Have I Got News For You and Taskmaster, and he has performed at the Royal Albert Hall in a Royal Variety Performance.
He hosted the cult 1990s’ podcast Quickly Kevin: Will He Score?, playing multiple live shows, culminating in a final event at the London Palladium in May 2024.
In 2021, he released his first book, Watching Neighbours Twice a Day…How ’90’s TV (Almost) Prepared Me For Life, a childhood memoir of growing up on a diet of consuming far too much television in the 1990s.
This perennially frustrated observer of life’s foibles last visited York Barbican on October 3 2019 on his Bit Much stand-up tour: a night of grumbles and jokes in which Widdicombe “finally tackled the hot comedy topics of Advent calendars, pesto and the closing time of his local park”. Bit Much is now available on Sky and NowTV.
Here Josh Widdicombe discusses bringing his keen eye for the absurd side of the mundane to his new show, Not My Cup Of Tea, wherein he will take stock of the little things that niggle him, from motorway hotels to children’s parties, and explain why he has finally decided to embrace middle age, hot drinks and doing the school run.
How is the preparation for the tour going?
“It’s going way better than I thought. To the point where I could probably get away with doing it in the spring, but I didn’t want to put any pressure on myself. I want to enjoy it because in the past I was so busy with Mock The Week and Live At The Apollo and stuff, I was chasing my tail and desperately trying to have enough material for each tour. This time I’m able to enjoy the process of creating the stand-up.”
How have you found the experience of returning to tiny clubs to road-test material after doing Parenting Hell arena gigs in 2023?
“I’ve been doing 20-minute sets and it’s almost divorced from the fact that I’m going on tour, which I think is the best way to write a tour; like you’re just doing it for the sake of it, in the same way I suppose it must be nicest for a musician to just write songs for the sake of writing songs.
“I’m doing stand-up for the sake of doing stand-up at the moment. I love the experience of coming up with ideas and just being able to go and do them.”
Why have you called your new show Not My Cup Of Tea?
“Because I like the phrase. And since I gave up alcohol in 2023, I drink a lot of tea. As you get older, you realise who you are a bit more and I’ve realised that the things I love are like parochially British things, like Martin Parr’s photography or Blur or Alan Bennett.”
Is there a theme?
“If there is a theme, it’s probably about accepting that I prefer being at home and not having to deal with any other human beings. Which is a weird way to approach a tour show where you have to travel around the country talking to thousands of people!”
Are you more of an introvert comedian than a show-off comedian?
“When I stopped drinking, I realised how much the reason I drank was really for social situations because I didn’t feel comfortable in them. I grew up in Devon [in the tiny Dartmoor village of Haytor Vale], I was an only child in a small school and watched TV for hours a day, so I was quite introverted.
“Here’s a good example. I’m currently doing The Last Leg every day in Paris and everyone’s like, ‘do you want to meet up in the morning?’, and I’m like, ‘no, I’m spending ten hours a day working with you, I want the morning to myself so I can read a book in bed’.
“And there’s something about observational comedy; it’s about watching from the outside, so I wonder whether that is part of why I do comedy.”
As your comedic style is not topical, you don’t have to worry about writing political jokes now, and then the Prime Minister changing by the time the tour starts…
“That’s right. My last tour straddled Covid and when I came back to do the rescheduled dates, all of the stuff was still relevant. For me, it’s always where I just say something and I think ‘that would be fun for stand-up’. I’ll note that in my phone and work that up at a gig.
“Like I thought about talking about giving up drinking but realised that was never going to be as funny as talking about Inside The Factory with Gregg Wallace.”
You joke about everyday frustrations. Do you still have the same frustrations, now that you have had so much success with The Last Leg and Parenting Hell?
“I live a very mundane life and I really like that. I like leaning into the fact that I like doing the school run or the big shop. I suppose I’ve finally become comfortable with that. After years of not knowing who I was, I’m quite happy being middle-aged. I’ve made my peace with the fact that I like putting my kids to bed and watching a Netflix documentary about basketball even though I don’t like basketball.”
Do you expect you will draw a Parenting Hell audience on this tour?
“That’s interesting. Obviously, there’s people that won’t be there for Parenting Hell, so I’m not going to do loads of parenting stuff. There’s a bit about my family but not a huge amount. Sometimes an anecdote that works on the podcast doesn’t work as stand-up.
“There was a saga on the podcast about my number plate being cloned that I have turned into a routine, but stand-up isn’t just telling an anecdote like you would on the podcast. There have to be observations and jokes around the story.”
Are there any other new routines you think will make the finished show?
“There is a bit about children’s parties and party bags, so, as you can see, I’m dealing with the big issues! I take a huge pride in the banality of the topics I talk about. I think that’s my favourite type of stand-up: really niche observations about silly little things that you wouldn’t think about. I’ve got no interest in the big topics.”
Has Parenting Hell’s massive success changed your stand-up style?
“I think the podcast has had a huge impact on how I understand myself as a comedian. I spent years terrified of letting the audience know who I was, and then we did Parenting Hell and I suddenly saw that the more I showed myself, the funnier I am. So I think it will almost certainly be the case that I’ve changed, but I wouldn’t ever do it consciously.
“I saw Ed Gamble at the Hackney Empire recently and – I’d hate him to know this – I found it incredibly inspiring because he was funny every 20 seconds for an hour and 10 minutes, and that is everything I want to be. Just be as funny as possible.”
Did you find it easy to give up drinking?
“I gave up in April 2023 and I found gigs to be quite easy because you just enjoy the bands. Or going to a football match, I find that easy, but I wouldn’t find going to a party or a stag do easy because if I drink, I really drink. When I drank, it was a laugh until it was not a laugh.”
You have been so busy with TV, such as The Last Leg, have you missed stand-up?
“It took a while for me to think I wanted to do stand-up again after the pandemic. I think I got really used to being at home. I hadn’t had evenings off for 12 years, and for the first time I got my evenings back and I was like, ‘oh this is what it’s like and it’s really nice’. But now I’m really loving it again.”
Do you ever worry about how long success will last?
“It’s the curse of the freelance. You can go up and down in terms of venue size; I don’t know where I am on that graph. I’d rather work really hard and take the opportunities while they’re here now. One day they might not be here.
“People ask ‘why did you do that show?’ and you’re like, ‘because it’s fun, because I love it and I get paid really well to do what I love, so why wouldn’t I do it?’ I can’t believe that I got paid to go to the Paralympics. This is my hobby that got out of hand!”
