IN her filthy and funny solo show Your Sexts Are S**t: Older Better Letters, award-winning theatre-maker Rachel Mars mashes up love letters of long-dead artists with modern-day ‘equivalents’ from Grindr, Whatsapp and b*g-standard texts.
Your Sexts Are S**t is billed as “a gloriously rude show that unearths the hot-as-hell historical letters that make sexts blush”. Equipped with the help of the internet, friends and two sexologists, Mars has unearthed missives dating back centuries.
Triangulating these sex and love letters of long-gone artists and writers with contemporary sexts, coupled with a meditation on the construction of the queer female body, the hour-long show is a tender and surprising hour that asks “How do we write ourselves and for whom?”.
“Bring your lovers, your ex-lovers or your perhaps-future lovers,” reads Mars’s invitation. “Take pleasure in James Joyce’s passion for a*se; find out who sneaked her gay lover into the White House; hear from Frida Kahlo, Georgia O’Keeffe and Mozart and bear witness to the best/worst sexts ever sent.”
Mars is a performance maker and stage and screen writer with a background in theatre, live art and comedy. Her work wrestles with female, Jewish and Queer identities and their intersections in her explorations of the “idiosyncratic cultural and political constructs that inform the way we are together, as people, just trying to figure it all out”.
The intimate, humorous and surprisingly humorous Your Sexts Are S**t is an “erotic archive shot through with Mars’ personal ventures in contemporary Queer kink”. Box office: 01423 502116 or harrogatetheatre.co.uk.Age guidance: 18 plus. Content warning: Sexual themes.
Rory Mulvihill’s Lloyd Dallas, right, casts his dyspeptic directorial eye over his cast for Nothing On, the play-within-the-play in Michael Frayn’s farce Noises Off: Pearl Mollison’s Poppy Norton-Taylor, left, Craig Kirby’s Selsdon Mowbray, Alexandra Mather’s Brooke Ashton, Andrew Isherwood’s Garry Lejeune, Helen Spencer’s Dotty Otley, Adrian Cook’s Frederick Fellowes and Mark Simmonds’ Tim Allgood
MICHAEL Frayn first had the notion to write his play-within-a-play Noises Off while observing his play The Two Of Us from the wings.
A one-act version, Exits, entered the stage in 1977, to be followed by the three-act full-fat farce in February 1982 at the Lyric Theatre, Hammersmith, London, that has never exited ever since.
Now, this week’s Pick Me Up Theatre production will be company founder Robert Readman’s last as director at the Joseph Rowntree Theatre, York, where he has assembled the peachiest of York casts.
Step forward Helen Spencer, Andrew Isherwood, Alexandra Mather, Rory Mulvihill, Pearl Mollison, Mark Simmonds, Craig Kirby, Jessica Hardcastle and Adrian Cook from tonight (6/10/2026) to Saturday.
“Noises Off takes a wicked look at the follies of theatre folk, whose susceptibility to out-of-control egos, memory loss and passionate affairs turn every performance into a high-risk adventure,” says Robert.
“This play-within-a-play captures a touring theatre troupe’s production of Nothing On in three stages: dress rehearsal, the opening performance and a performance towards the end of a debilitating run.”
Robert continues: “Frayn gives us a window into the inner workings of theatre behind the scenes, progressing from flubbed lines and missed cues in the dress rehearsal to mounting friction between cast members in the final performance.
“Noises Off has a great attraction to the public, but it has even more so to actors, who crave playing Frayn’s roles,” says Rory Mulvihill
“Brimming with slapstick comedy, Noises Off is a delightful backstage farce, complete with slamming doors, falling trousers and –of course – sardines.”
Taking the role of Lloyd Dallas, the sarcastic, condescending, egotistical, exasperated, temperamental director of Nothing On, is veteran York actor and erstwhile Leeds solicitor Rory Mulvihill, who turned 70 in June.
“I actually saw Noises Off in the early 1980s, very soon after it first came out, and I was absolutely blown away by it,” he recalls.
“It spoke to me as someone who performs in shows how particular actors react to things going wrong on stage.
“I particularly remember the dizzy blonde character Brooke Ashton (to be played this week by Alexandra Mather), one of those actors who knows she has certain lines to say in a certain order, and whatever happens, she will get them out in that order.
“Noises Off has a great attraction to the public, but it has even more so to actors, who crave playing Frayn’s roles.”
Relishing his latest role, Rory says: “The great thing about my part is that I’m able to reproduce some of the characteristics of the directors I’ve worked with – and Frayn has done that too of course.
Rory Mulvihill’s director, Lloyd Dallas, seeking urgent lubrication as matters off stage start to overwhelm his already catastrophic production of Nothing On in Michael Frayn’s farce Noises Off. Picture: Matthew Warry
“I don’t normally get involved in ‘back stories’, but Frayn has done a spoof biography of each character, and so you get enough clues from his writing in the play and the biog that Lloyd Dallas is a failed director who clearly thinks he’s better than he is. He has a very high opinion of himself.
“He’s a bully, bullying everyone, particularly the gofer, Tim Allgood, [the overworked, exhausted, and easily flustered stage manager, played by Mark Simmonds from tonight], but they all take it, all under that veneer of ‘camp theatre speak’!
“One hundred per cent you play Lloyd ‘up’. How else could you play it? I don’t think it’s possible to play him ‘down’. You couldn’t do it deadpan.”
Noises Off may be 44 years old, but its home truths of the acting world resonant as deeply as ever. “The only way you know it’s a period piece is some of its references, such as to the Queen Mother, and the lack of modern technology, but otherwise it’s timeless. However, I have grown a moustache and sideburns – my partner loathes them! – to be more in keeping with the period,” says Rory. “Fashion-wise it’s a period piece but the humour feels contemporary.”
Describing Frayn’s comedic style, Rory says: “It’s 100 per cent grounded in things he has observed – like [Alan] Ayckbourn too. Their genius is to take what they see and turn it into dialogue, like comedians do, reproducing it in a way that’s funny to the audience.
“What differs from Ayckbourn is how there’s no pathos in Noises Off. In Ayckbourn’s plays, it’s always there somewhere. It’s the same with Alan Bennett – I was lucky enough to do Chip In The Sugar, which was both hilarious and emotionally draining at the same time.”
Should you be wondering if one particular director has had an impact on Rory’s portrayal of Lloyd Dallas, he says: “I did over 40 shows with [the late] Bev Jones – and Lloyd is like him in saying ‘love’ and ‘honey’ – but unlike Lloyd, it was lovely to work with him!”
Pick Me Up Theatre in Noises Off, Joseph Rowntree Theatre, York, October 6 to 10, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Pick Me Up Theatre’s poster for this week’s production of Michael Frayn’s theatrical farce Noises Off
Tracy-Ann Oberman’s Geri Essendine and Seb Carrington’s David Stillington in Present Laughter, on tour at Grand Opera House, York. Picture Simon Annand
THEATRE Royal Bath Productions and Augusta Productions re-present Noël Coward’s provocative comedy Present Laughter in a new version, re-imagined by actress, playwright and columnist Tracy-Ann Oberman, at the Grand Opera House, York, from tomorrow (6/10/2026).
Last seen in York as Shylock in her revamp of The Merchant Of Venice 1936 at the Theatre Royal in November 2023, on her return she is playing Geri Essendine: the first time the character has been performed by a female lead, after being originated on stage by Coward himself in 1939 and traditionally being portrayed as Garry Essendine.
Andrew Scott played self-obsessed actor Essendine as a gay man at the Old Vic, London, in North Yorkshireman Matthew Warchus’s 2019 production. Now comes EastEnders, Friday Night Dinner, Royal Shakespeare Company and National Theatre actress Oberman’s reinvention of Coward’s study of the temptations and pitfalls of theatrical celebrity in a reflection on fame, desire and loneliness, spun inside a “chaotic whirlwind of love, sex, panic and soul-searching” (as the Old Vic publicity put it).
Re-located from London to 1970s’ New York, Oberman’s Geri Essendine is a hugely successful actress who has been 39 for the best part of a decade. Her personality, wit and charm have earned her a legion of devoted fans, young and old, and a coterie of friends, acquaintances and hangers-on.
Set and costume designer Peter McKintosh’s design for Geri Essendine’s apartment in 1977 New York, featuring pastiche “Andy Warhol” portraits of actress Geri. Picture: Simon Annand
On the cusp of departing for a tour of Africa, Geri finds herself besieged by a bevy of would-be lovers, her long-suffering secretary, estranged husband and an obsessed young playwright. Will she ever disentangle herself from their tightening clutches and incessant demands? What’s more, deep down, does she really want to?
“Present Laughter has always been one of my favourite plays,” said Oberman, when announcing the tour in June. “But when I looked at it more closely, I saw something beyond the sparkling comedy. I saw a portrait of the cost of celebrity — of a fragile ego trapped inside a gilded cage, desperately trying to hold back the one thing that catches up with every icon: time, and the fear of becoming irrelevant.”
“The moment I flipped the gender, the stakes suddenly became even more fascinating,” noted Oberman, who is working with director Lindsay Posner for the third time, having played Belinda Blair alongside Felicity Kendal’s Dotty Otley in the 40th anniversary production of Michael Frayn’s farce Noises Off at the Phoenix Theatre, London, in 2022-2023 and appeared in Ryan Craig’s The Holy Rosenbergs at the Renier Chocolate Factory, London, from late-February to early-May this year.
“I think hopefully Tracy trusts the fact I can bring out her full potential as an actress, and we have that ‘shorthand’ between us that means we don’t have to tread as carefully as you would with anyone you don’t know already,” says Lindsay, whose directorial skills will be familiar to York audiences from his 2018 pop-up Elizabethan theatre productions of Richard III and Romeo And Juliet, set in 1980s’ Italy, for Shakespeare’s Rose Theatre at the Eye of York.
Present Laughter director Lindsay Posner
“I know how to connect with her and work with her big personality,” he adds. “Tracy approached me and floated her concept, asking me if I thought it would work – and I did. One of the reasons I hadn’t done Present Laughter before was because the play had started to feel politically dodgy, watching an older man seducing women in their 20s. That would now be creepy and tedious.
“Tracy’s idea liberated the play and allowed it to be performed again with a whole new resonance, just as the Old Vic liberated it by making Essendine a gay man, where Andrew Scott played him.”
Lindsay continues: “Updating it to the 1970s and setting it in New York liberates it from people’s preconceptions of Coward being all about mahogany furniture and people wafting cigarette holders around.
“Now, Geri is living in a New York apartment opposite Studio 54, where Andy Warhol has become a friend and has painted her portraits on the apartment walls. In some ways, Geri feels more isolated and in some ways she’s trying to blend in. It’s made her more hedonistic and sexually promiscuous.”
The poster for Present Laughter starring Tracy-Ann Oberman
In Lindsay’s verdict, Oberman’s take on Present Laughter is “still 96 per cent Coward”. “We’ve been faithful to Coward but changed certain names, place names and settings,, but the structure is still totally Coward and most of the language too,” he says.
“I do feel that if you just still set it in the 1930s with a woman as the lead, it wouldn’t have worked. You have to update it. I think it now gives it a slightly more substantial resonance in terms of sexual politics.”
The play’s profusion of “talking in the first half before becoming a farce in the second” makes Present Laughter “very difficult to direct”. “Structurally it’s not as adept as some of Coward’s other plays,” says Lindsay. “You have to find the balance to keep it funny and interesting while sticking to the structure.
“The interesting thing about the play existing in the Thirties and well as the Seventies is that it allows you to question boundaries between people, to think about truth telling, and for Geri it’s about identity and identifying true feelings from false, both as an actor and in real life.
“Present Laughter has always been one of my favourite plays,” says Tracy-Ann Oberman. Picture: Simon Annand
“In this play, there are people who are performing all the time. Geri is forced to perform [off stage] as she’s a celebrity and is expected to do that, which makes her more lonely, and that’s enhanced by bringing it into the 1970s.”
Theatre Royal Bath Productions and Augusta Productions present Noël Coward’s Present Laughter, Grand Opera House, York, October 6 to 10, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.
Did you know:
LINDSAY Posner is at the helm of Present Laughter after his West End triumphs directing Noises Off, starring Felicity Kendal, A View From The Bridge, starring Dominic West, and The Deep Blue Sea, starring Tamsin Greig.
Posner is directing the world premiere of Park Myung-Sung and Seensee Company’s production of Nero (book and lyrics by Steven Sater and music by Duncan Sheik, the Tony Award-winning team behind Spring Awakening) at Southwark Playhouse Elephant, London, from November 2 to December 5
Power, fame and excess combine in this new musical that reimagines the notorious figure of Nero for the modern age. Andrew Barth Feldman will play the Roman emperor who changed history forever. ruling from AD54 until his suicide in AD68.
Tracy-Ann Oberman’s Geri Essendine and James Dreyfus’s Monty in a publicity shot for Present Laughter
Who will be joining Tracy-Ann Oberman in Lindsay Posner’s cast for Present Laughter?
JAMES Dreyfus will play Monty. Dreyfus is known for major roles in television sitcoms Gimme Gimme Gimme and The Thin Blue Line, as well as Mount Pleasant, more recently. He won the 1998 Olivier Award for Best Supporting Performance in a musical for Lady In The Dark at the National Theatre; other notable stage roles include The Producers and Cabaret.
Adrian Lukis will play Len. Screen credits include Pride And Prejudice, The Crown, Judge John Deed, Peak Practice, and Black Mirror. His theatre work includes The Price in the West End, Orson’s Shadow at Southwark Playhouse, Being Mr Wickham – which he co-wrote and has performed in London, New York and on tour, with Original Theatre Company, playing the Haunted Season at York Theatre Royal in October in October 2021.
From February 27 to May 2 this year, he appeared in Lindsay Posner’s production of The Holy Rosenbergs at the Menier Chocolate Factory. Luk
In the company too will be Richenda Carey as Lady Saltburn, Seb Carrington as David Stillington, Eva Feiler as Rosina Maule, Gabriella Foley as Miss Erikson, Charlotte Randle as Henrietta, Jonathan Tafler as Morris, Perry Williams as Fred and Kit Youngas Johannes.
Tracy-Ann Oberman on ‘flipping the gender’from Garry to Geri Essendine in Noël Coward’s comedy Present Laughter
Tracy-Ann Oberman’s Geri Essendine in Present Laughter: “For stars like Geri and her gang, the party is never just a party,” she says. Picture: Simon Annand
“THERE is a beautifully preserved myth surrounding Noël Coward. For many, he exists in a world of silk dressing gowns, perfectly enunciated vowels and silver cigarette cases.
“Present Laughter has always been one of my favourite plays. But when I looked at it more closely, I saw something beyond the sparkling comedy.
“I saw a portrait of the cost of celebrity — of a fragile ego trapped inside a gilded cage, desperately trying to hold back the one thing that catches up with every icon: time, and the fear of becoming irrelevant.
“In Coward’s original 1939 play, Garry Essendine is an ageing stage idol, prone to theatrical tantrums and ill-advised affairs, while those around him manage his chaos. But the moment I flipped the gender, the stakes suddenly became even more fascinating.
“Enter Geri Essendine – who has been thirty-nine for the best part of a decade. The idea of a badly behaved middle-aged actress, conducting herself every bit as outrageously as her male counterparts, immediately intrigued me.
“I thought of Mae West, who wrote and produced her own work and famously enjoyed the company of many of her leading men. Ithought of Joan Collins and her uniquely British glamour, of Elizabeth Taylor and Liza Minnelli. Women with agency, self-belief, power and unafraid to use their glamour and influence.
“But would it work in pre-war London? Or could another setting honour Coward’s original while allowing us to look at it through a different lens, without losing any of its wit, farce and brilliance?
“I found myself drawn to New York in 1977, at the height of Studio 54. The endless queues outside, the celebrities gliding into those hallowed VIP spaces (sometimes on horseback), where strong charismatic women were centre stage in a world of glamour, excess and an intoxicating sense of belonging to ‘the in crowd’. Where bad behaviour and egotismwas rife across all genders.
“And I began to wonder: what if Geri were an expatriate British actress? A hugely successful West End star who had arrived in America 15 years earlier with her chosen family – her dashing ex-husband, her fiercely loyal secretary and her producers – all determined that she would conquer Broadway and make all their fortunes.
“Geri needs them desperately, and they need her. Without each other, can they even exist? Can Monty, Len, Henrietta, Morris – and Geri herself – survive the arrival of the handsome Johannes, whose presence threatens to blow “the firm” apart?
“Get close to Geri and you enter the inner sanctum. Here is a woman who knows minor royalty, whose intelligence and talent have made her irresistible to everyone around her, and whose star power still burns brightly.
“Huge thanks must go to Alan Brodie and the Noël Coward Estate for giving me permission to explore the idea, and to Lindsay Posner, Danny Moar and Simon Beresford for encouraging me to see whether it might work.
“Setting Present Laughter in the world of Studio 54 throws a fresh light on questions that feel surprisingly contemporary. In an industry that has so often been harsher on women than men, ageing and relevance are notsimply matters of vanity. For performers whose lives have been shaped by applause and attention, the fear of losing the spotlight can feel overwhelming.
“But we haven’t broken Noël Coward’s masterpiece. Quite the opposite. Beneath the mirrored disco ball, Present Laughter remains what it has always been: a dazzling comedy about love, vanity, friendship and thestrange business of being adored.
“Because for stars like Geri and her gang, the party is never just a party.”
Angela Hall’s artwork from York Created at Pyramid Gallery
FROM classic Coward in Present Laughter to Frayn’s finest farce, Noises Off, York’s unlocked buildings to Joe Jackson’s hope and fury, Charles Hutchinson piles up the good stuff for the week ahead.
Exhibition opening of the week: York Created: Paint-Clay-Print-Collage From The Heart Of The City, Pyramid Gallery, Stonegate, York, until November 14
YORK Created: Paint-Clay-Print-Collage From The Heart Of The City features a “collection of talented artists from across our fair city”. “Some have exhibited with us before, others are new to us,” says Pyramid Gallery manager Fiona Macfarlane. “All the works are for sale.”
Taking part are potters Danny Aitkin, Chiu-i Wu, Loretta Braganza, Ben Arnup, Emily Stubbs, Jessica Jenyns and Ruth King, painters Rory Barke, Carolyn Coles, Jill Tattersall, Ric Liptrot, Lesley Birch, Mick Leach, Lesley Shaw and Angela Hall and stained glass artist Helen Bower. Opening hours are 10am to 5pm, Monday to Saturday.
Dennis Rollins: Delivering Funky-Funk! to YorkJazzFest’s Bishopthorpe Road Car park Finale tomorrow
Festival of the week: YorkJazzFest, today and tomorrow
TODAY, Beppe Lombardo’s inaugural YorkJazzFest features: 6pm, Flowerden, The Winning Post; 6pm, Mutant DJ Jazz, Angel On The Green; 6.30pm, Emma Foulds Quintet, York Arts Barge; 7pm, SwanNek, Young Thugs Studios; 8.30pm, Al Morrison Quartet, The Winning Post; 8.30pm, Olivia Cuttill, York Arts Barge; 9pm, Borgia, Angel On The Green, and 9pm, Lovedancin’ DJ, Young Thugs Studios. For tickets, go to: yorkjazzfestival.com.
Tomorrow, the Bishopthorpe Road Car Park Finale runs from midday with free entry and no ticket required. On the bill are: 12 noon, YorkJazzFest Orchestra; 1pm, Vipertime; 2.15pm, Big Bamboo; 4.15pm, Fergus Quill Sextet, and 6pm, Dennis Rollins’ Funky-Funk! Ian Chalk concludes the event at The Phoenix Inn at 8pm; free entry.
Federico Pendenza: Two world premieres at this afternoon’s York Late Music concert
Season finale of the week: York Late Music presents Federico Pendenza, Folk Roots To Classical Form, Unitarian Chapel, St Saviouragte, York, today, 1pm
UNIVERSITY of York guitarist Federico Pendenza concludes York Late Music’s concert season with Folk Roots To Classical Form, featuring William Walton’s only piece written for guitar (following a persuasive word from Julian Bream!), two intimate pieces by the “Chopin of the guitar”, Agustín Barrios, and two world premieres, Macey Collins’s Impressions Of Tension and Noor Hingorani’s Pomegranates On My Altar, which draws on the Persian Sofreh wedding ceremony, where pomegranates represent joy, passion and strength. Box office: latemusic.org/federico-pendoza-guitar or on the door.
York Unlocked: Unlocking York’s significant, hidden and secret buildings
Free discoveries of the week: York Unlocked, today and tomorrow
YORK Unlocked opens York’s most interesting, significant, even hidden and secret buildings to the public completely for free, although some buildings require free pre-booked tickets. This weekend’s festival enables residents and visitors alike to see York in a new way and aims to educate and inspire a love of architecture this weekend. To download the full programme, go to: https://www.york-unlocked.org.uk/_files/ugd/972e50_ba8593730b26433e8b060829ff5bd5ac.pdf.
Michael Shafar: Headlining Laugh Out Loud Comedy Club at The Basement
Comedy gigs of the week: Laugh Out Loud Comedy Club, The Basement, City Screen Picturehouse, York, today, 4pm and 8pm
LAUGH Out Loud promoter Damion Larkin has added an extra show at 4pm in response to ticket demand for tonight’s 8pm bill of Michael Shafar, Ant Dewson, Mike Carter and Gary Jennison.
Former lawyer Shafar left Australia to ply his comedy trade over here. Dewson is a comedian, mediocre piano player and singer of silly songs, many of them rude. Carter covers everything from living with your nan in your 30s to the realities of engaging in “kinky stuff” when you have a coordination disorder. Jennison promises dance-offs, game shows, magic and unbridled chaos. Box office: lolcomedyclubs.co.uk.
Brian Bilston: Poetic words at Milton Rooms, Malton
Poet of the week: Brian Bilston, How To Lay An Egg With A Horse Inside, Milton Rooms, Malton, tomorrow, 7.30pm
BRIAN Bilston, a poet with more than 500,000 followers on social media, returns to the stage this autumn with his latest book, How To Lay An Egg With A Horse Inside, as he takes a journey through the hows, whys and whats of reading, writing and enjoying poetry every day.
Bilston has published such collections as You Took The Last Bus Home, Alexa, What Is There To Know About Love? and Days Like These, along with debut novel Diary Of A Somebody, poetry for younger readers and his 2025 album of poetry set to music, Sounds Made By Humans, recorded with The Catenary Wires. Box office: 01653 696240 or themiltonrooms.com.
Tracy-Ann Oberman’s Geri Essendine and Seb Carrington’s David Stillington in Present Laughter. Picture: Simon Annand
Coward classic of the week: Theatre Royal Bath Productions and Augusta Productions present Present Laughter, Grand Opera House, York, October 6 to 10, 7.30pm plus 2.30pm Wednesday and Saturday matinees
TRACY-ANN Oberman stars as hugely successful actress Geri Essendine – who has been 39 for the best part of a decade – in Lindsay Posner’s new touring production of Noel Coward’s celebrated portrayal of the temptations and pitfalls of theatrical celebrity.
On the cusp of departing for a tour of Africa, Geri finds herself besieged by a bevy of would-be lovers, her long-suffering secretary, estranged husband and an obsessed young playwright. Will she ever disentangle herself from their tightening clutches and incessant demands? Then again, deep down, does she really want to? Box office: atgtickets.com/york.
Pick Me Up Theatre cast members Pearl Mollison, left, Craig Kirby, Alexandra Mather, Andrew Isherwood, Helen Spencer, Adrian Cook and Mark Simmonds, under the withering eye of Rory Mulvihill, right, director of the play-within-the-play in Michael Frayn’s Noises Off
Slamming doors, falling trousers and flying sardines of the week: Pick Me Up Theatre in Noises Off, Joseph Rowntree Theatre, York, October 6 to 10, 7.30pm plus 2.30pm Saturday matinee
MICHAEL Frayn’s backstage farce Noises Off takes a wicked look at the follies of theatre folk, whose susceptibility to out-of-control egos, memory loss and passionate affairs turns every performance into a high-risk adventure.
This play-within-a-play captures a touring theatre troupe’s production of Nothing On in three stages: dress rehearsal, the opening performance and a performance towards the end of a debilitating run. Robert Readman directs a stellar York cast of Helen Spencer, Andrew Isherwood, Alexandra Mather, Rory Mulvihill, Pearl Mollison, Mark Simmonds, Craig Kirby, Jessica Hardcastle and Adrian Cook. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Joe Jackson: Returning to York Barbican
Gig of the week: Joe Jackson + Band, Hope And Fury Tour 2026, York Barbican, October 7, doors 7pm
JOE Jackson played York for only the second time at York Barbican on July 29 2022 as part of his Sing, You Sinners! Tour, having first shared a bill with Todd Rundgren and improvisational string quartet Ethel at the Grand Opera House in June 2005.
Now, the Portsmouth-raised singer, musician, songwriter, bandleader, producer, author and campaigner, 72, returns with his regular band to perform work from throughout his career and to showcase his 23rd studio album Hope And Fury, released in April. Conner Youngblood supports. Box office: yorkbarbican.co.uk.
Acosta Danza in Andonis Foniadakis’s new work Pearls. Picture: Charlie Kirkpatrick
In Focus: Carlos Acosta’s Acosta Danza in Cuban Baroque, York Theatre Royal, October 3, 2.30pm and 7.30pm
IN this new double bill from Acosta Danza, the lush artistry of the Baroque period intersects with the energy, creativity and vibrancy of Cuban dance. Emerging from the 17th and 18th centuries, the creative movement was characterised by deep colour, elaborate detail and intricate decoration.
Produced by Valid Productions in collaboration with York Theatre Royal, Cuban Baroque opens with the world premiere of Andonis Foniadakis’s new work Pearls, a journey to the rhythmic heart of Baroque, followed by choreographer and set designer Goyo Montero’s 2011 work Chacona.
Artistic director Carlos Acosta says: “I am very excited about this programme which will encapsulate the essence of Acosta Danza, fusing as it will, classical, Cuban and contemporary vocabularies and styles.
“I am, of course, a big fan of both choreographers and am delighted that Andonis will create a brand-new piece on my dancers. I look forward to seeing how that develops over the coming months.
“The flavour of the evening is summarised neatly by the title Cuban Baroque, but essentially this is a programme that anyone interested in any kind of dance can enjoy. I look forward, as always, to seeing how audiences react to the atmosphere this programme will create at its premiere in our first-ever visit to the wonderful York Theatre Royal.”
Acosta Danza in Goyo Montero’s 2011 workChacona at York Theatre Royal. Picture: Charlie Kirkpatrick
Theatre Royal chief executive Paul Crewes says: “It is truly wonderful that York audiences will be the first to experience this phenomenally exciting dance programme on our stage and we are really looking forward to working in collaboration with Carlos Acosta and his company on the show.”
Set to Esteban Sallas’s Salve Regina, the work explores the classic chaconne-looping structure that circles through phases of acceleration, fracture and rebound. As the score shifts from Baroque lyricism toward Cuban drive, Foniadakis showcases the fusion between memory and contemporary.
Andonis Foniadakis says: “The piece is being built as a chaconne in the broadest sense: a looping architecture that keeps circling back to the same theme like a mantra, each return opening a new variation in colour, density and impulse.
Cuban rhythmic principles will seep into the texture (clave, layered pulses, dance-derived momentum) and begin to tilt the baroque theme from within — bringing Sallas’s music fully into the present.
“In this dialogue, contrast becomes fusion: baroque memory meets Cuban propulsion; choral breath meets percussive drive; live sound meets a discreet electronic halo — shaping a single energetic trajectory that stays clear, intense, and emotionally resonant.”
Acosta Danza in Goyo Montero’s Chacona. Picture: Charlie Kirkpatrick
Closing the 1hr 20 min programme is Goyo Montero’s powerful Chacona, a piece that originally was created for the Staatstheater Nürnberg Ballett during Montero’s 17-year tenure as director. Chacona is the final movement of Bach’s masterwork Partita No.2 in D Minor for violin, accompanied in this performance by guitar and piano. Physically and musically demanding, classical in sound and contemporary in heart, it requires total cohesion from the ensemble of 16 dancers.
Goyo Montero says: “This is going to be my fourth collaboration with Acosta Danza since 2015. To bring this work to them and adapt it to their fearless and exceptional dancers is something I am looking forward to very much. To restage this early work and revisit it for them will develop the work further and keep it alive, relevant and ever changing, a choreographer’s dream!”
In addition, Acosta Danza will hold an Open Class today (3/10/2026) at 10am on the Theatre Royal stage in an exclusive opportunity to watch how the dancers warm up and prepare ahead of a performance. This non-participatory event is open to all ages.
The York Theatre Royal premiere of Cuban Baroque will be followed by performances at Sadler’s Wells in London and Norwich Theatre Royal with further 2027 dates to be added. Box office for shows and Open Class: 01904 623568 or yorktheatreroyal.co.uk.
Did you know?
ACOSTA Danza performed Carlos Acosta’s Nutcracker In Havana at the Grand Opera House, York, in January 2026.
Acosta Danza in Pearls at York Theatre Royal. Picture: Charlie Kirkpatrick
SINGER, songwriter and guitarist Rachel Croft returns in force to her musical home ground of York as part of her UK and Europe-wide tour marking the emergence of an exciting and powerful new direction in her music.
Once a busker on York’s streets, later a fixture alongside jazz pianist Karl Mullen at The Phoenix Inn, Rachel is now based in London and has become an internationally recognised musician and multidisciplinary artist, with works featured on Netflix and BBC Two.
Rachel has performed from Europe to Central America, been honoured as Caffè Nero’s Artist of the Month and released music from Abbey Road Studios.
On support duty will be dream grunge artist KAYE, who moved from York to London in 2024. Blending heavy, textured instrumentals with ethereal vocal melodies, her haunting, immersive songs draw inspiration from alt rock, shoegaze, indie and folk, influenced by Jeff Buckley, Daughter and Mary In The Junkyard.
KAYE has established herself on London’s live music scene, performing at the George Tavern, the Ivy House, the Finsbury, and New Cross Inn. On Sunday, she will perform a stripped-back, offering a more intimate and delicate side to her music. Box office: https://thecrescentyork.com/events/rachel-croft-5/.
Totally Tom Allen: “Totalling up what life is all about” on his 2027-2028 tour
SMART comedian Tom Allen has gone from Completely to Totally in picking his tour titles. Tickets go on general sale at https://tomindeed.com/ at 11am today for his 2027-2028 itinerary that will take in five Yorkshire gigs.
On his Totally travels, Allen, 43, will play York Barbican on December 11 2027, along with Halifax Victoria Theatre, November 25, Hull Connexin Live, November 26, Scarborough Spa Grand Hall, December 10 and Sheffield City Hall as far away as April 28 2028.
In Totally, Allen is totalling up what life is all about. Told to live in the moment, he is distracted by old women on the bus listening to music without earphones. Annoying influencers show him how his house should look, but his kitchen has just flooded and the plumber wants to fit a ‘fanny trap’.
He knows he should be enjoying things, but he still feels that he never quite fits in. Maybe he has been getting life just ever so slightly…wrong?
Bromley-born stand-up comedian, actor, author, TV and presenter and podcaster Allen co-hosts ITV’s Cooking With The Stars and the Like-Minded Friends podcast and hosts gardening visualised podcast Pottering.
He has appeared on The Great British Bake Off: An Extra Slice, Last One Laughing: Halloween Special, Apprentice You’re Fired, 8 Out of 10 Cats , 8 Out Of 10 Cats Does Countdown, Would I Lie To You? and QI.
He starred in the hit musical Titanique in the West End, playing Ruth, Rose’s mother, at the Criterion Theatre, London, from March 4 to April 12 this year. “The laughs and camp spoofing are addictive and exactly what the world needs right now,” he said ahead of his six-week stint.
Allen is the author of two memoirs, No Shame and Too Much, and his debut novel, Common Decency, was published by Hodder & Stoughton on May 21.
On the fence: Pip Cook’s Biddy, left, and Ellen Carnazza’s Buff in Badapple Theatre’s revival of Back To The Land Girls. Picture: Karl Andre Photography
BADAPPLE Theatre, purveyors of theatre on your doorstep near and not so near, are half way through a revival of one of the Green Hammerton company’s best-loved plays from its 28-year track record of original and humorous stories.
Company founder and artistic director Kate Bramley’s Back To The Land Girls is playing 16 rural locations across Yorkshire as part of a wider itinerary featuring a cast of Ellen Carnazza and Pip Cook.
“The show was inspired by interviews with a number of incredible women from Yorkshire who worked on the land during the Second World War,” says Kate. “Their comic and poignant reminiscences led me to create the heart-warming journey of Liverpudlian Buff (Carnazza) and Yorkshire lass Biddy (Cook), who arrive in the countryside not knowing one end of a cow from the other. That soon changes!
“Their camaraderie and friendship sustain them on a journey of back-breaking work, but also one of delightful independence, of dreams of fame and romance and always the hope that the end of the war is just around the corner.”
Kate reflects on a play she first staged in 2009 with music by Sony Award-winning songwriter and BBC Radio 4 host Jez Lowe. “Back To The Land Girls is such a hopeful story, inspired by the interviews I recorded with these women. It was such a privilege to speak with them, and it’s a great joy to share these tall tales once more.”
Kate Bramley: Badapple Theatre’s artistic director and writer
Extracts from three of those stories, by Pauline Dawson, Biddy Cust and Marjorie Waterhouse, can found in the official programme, by the way.
“We did four tours of the play between 2009 and 2011 and now we’re bringing it back after 15 years,” says Kate, whose company is this year’s Associate Company at York Theatre Royal. “I then wrote Lights Out Land Girls in 2013, set between VE Day and VJ Day, where they go on another adventure, trying to get to Blackpool.”
Back To The Land Girls brings together life on the farm, with American airmen and prisoners of war nearby, a brother overseas in the Royal Navy, hopes of Vera Lynn coming to town to sing, a trip to a cinema curtailed by an air raid and the prospect of a visit to the dance hall.
“They’re focused on cows, sowing onions, trying to get the mangle harvest in, with Biddy being distracted by any animal intervention,” says Pip.
“Buff pretty much gets distracted by herself – and boys,” says Ellen. “She’s a bit boy crazy, especially with the Italian prisoner of war, Giovanni.”
Ellen Carnazza’s Buff looking for an elusive mouse in Back To The Land Girls. Picture: Karl Andre Photography
“Biddy is as scared of boys as much as Buff is not enamoured of frogs in the story,” says Pip. “But I love frogs,” says Ellen. “My gran’s house was covered in a collection of frogs, bronze ones, ceramic ones. Anything frog related, she had it! I’ve inherited some of the frogs; some were donated to charity, but there are still plenty of frogs left.”
Pip chips in: “I’m probably a bit more indifferent about frogs. They’re more of a five out of ten creature for me! But one of my best friends is a dairy farmer, Harry. We spent New Year’s Eve at their place, where a calf had just been born.”
Born and bred in Leeds, Ellen has visited a few farms. “I like them,” she says. “I haven’t milked a real cow, but I remember ‘milking’ a fake one in Ripley!”
Pip says: “I feel that Biddy getting distracted by animals is exactly what would happen to me, like when Biddy is waving at a cow but it turns out to be a bull.”
Ellen adds: “I like animals more than Buff does. She likes to think she knows more than she does, but she does get stuck in on the farm and I would do that too.
Ellen Carnazza’s Buff, left, and Pip Cook’s Biddy enjoying rare access to lipstick in wartime in Back To The Land Girls. Picture: Karl Andre Photography
“In the play, the Land Girls have to cling on to the small things, rather than thinking about the future, so the dance becomes a really big thing for them. There’s an element of them being removed from the war in Yorkshire, apart from the air raid. It’s not like being in the Blitz in London.”
Pip rejoins: “But their rural world is interrupted every so often by events in the outside world, so it’s not all just farming.
“What’s really interesting is how they don’t have access to the news that we do now, so they were reliant on word of mouth and the radio, whose information was official and factual.”
Singing features prominently in the show. “In this show, it’s all happening for real, rather than having a song break to heighten the emotion in the tradition of musicals,” says Pip. “Instead, when they sing a song in the air raid, it’s to make themselves feel brave. Or later, when Buff, who has always wanted to be a singer like Vera Lynn, chickens out of performing at the hall, Biddy does it instead.”
Ellen and Pip have been on the road with stage manager and lighting designer Duncan Hands on hand since September 9, continuing their association with Badapple after Ellen appeared most recently as hot and flustered TV baking queen Petronella Parfait, disgraced and on the rapidly downward spiral in Bramley’s one-woman-but-many-parts play Crumbs and Pip toured in The Thankful Village, the pantomime mash-up Sleeping Beauty And The Beast and The Regalettes.
On song: Pip Cook’s Biddy takes to the microphone in Back To The Land Girls. Picture: Karl Andre Photography
They are into week four of the Land Girls tour. “We’ve always come away from performances thinking ‘that was a really warm audience’, with a lot of chat afterwards, like recalling how women would draw lines on their legs to mimic stockings and talking about Land Girls in their families,” says Ellen.
“They feel comfortable watching these two Land Girls, feeling they’re going on a journey with them,” says Pip. “It’s very wholesome.”
Badapple Theatre in Back To The Land Girls, on tour until October 25, including Yorkshire shows at Settle Victoria Hall, October 6, 7pm (tickets: 01729 825718); Eggborough Methodist Chapel , October 8, 7.30pm, sold out; St Joseph’s Church Hall, Wetherby, October 9, 7.30pm, for Wetherby Arts Festival (tickets: wetherbyfestival.co.uk) and Hampsthwaite Memorial Hall, near Harrogate, October 21, 7.45pm (tickets: 01423 331304). For the full itinerary and ticket information, go to: https://www.badappletheatre.co.uk/show/back-to-the-land-girls/.
Did you know?
ELLEN Carnazza will play the Ellen will play the Wicked Fairy, Carabosse, in Harrogate Theatre’s pantomime, Sleeping Beauty, from November 25 to January 17.
Pip Cook launches her own company, Paper Mouse Theatre, with the festive favourite A Christmas Carol at Micklegate Social, Micklegate, York, on December 12 and 13 at 2pm and 7.30pm.
Whichever way the cook crumbles:Ellen Carnazza’s disgraced TV baking queen Petronella Parfait falls apart in Badapple Theatre’s Crumbs
Bread & Circuses, board, house paint, acrylic and metal leaf on plywood, the title piece from Sarah Hall Baqai’s exhibition. Note the harlequin balancing the letter ‘S’ on his foot
IN the words of Juvenal, the Roman poet circa 100AD, “give them bread and circuses and they will never revolt”.
Roll forward to Autumn 2026AD when York mixed-media, multi-disciplinary artist Sarah Hall Baqai adapted that title for her Bread & Circuses exhibition at where else but the Bluebird Bakery in Acomb Lane, Acomb, York.
As chance had it, Russells International Circus pitched up on Knavesmire in the week when she launched her show.
Sarah Hall Baqai assembling her Bread & Circuses exhibition at Bluebird Bakery, Acomb
“My work is inspired by traditional folk art and popular art forms, which include theatre and street performance, stories and decorative arts,” says Sarah, whose playful artworks draw on exuberant festivals and fiestas that bring people together with the aim of “delighting the senses and adding colour to life”.
Noted for her papier-mâché sculptures, paintings, collage and illuminated willow lanterns, Sarah has a particular interest in circus and fairground and folk traditions from around the world.
This has led to her, making lanterns and installations for Giffords Circus in Gloucestershire, as well as the Royal Botanic Gardens Kew (Wakehurst), and making props and developing her sign-writing skills, along with behind-the-scenes painting and drawing the performers, at Fools Delight Circus, Lil Rice and Dave Cross’s dinner cabaret circus at Ham Court, Bampton, Oxfordshire.
Roll Up Roll Up…for Sarah Hall Baqai’s Bread & Circuses exhibition at Bluebird Bakery
“The slim format of many of the paintings echoes the traditional circus poster format,” says Sarah of her Bread & Circuses works, created at her home studio in Main Street, Fulford. “Also, the paintings are done on plywood, cut to size and then prepped for painting. I hand-build the boards on the workmate outside – part of my set-building skill set.”
Lettering echoing the Art Deco and Jazz Age of the Twenties and Thirties, graphic work celebrating York Minster and large willow lanterns in the shape of jugglers’ sticks are prominent in the new show too.
Raised in North Yorkshire, Sarah completed an art foundation course at Harrogate College of Art before training as a graphic designer at London College of Printing, graduating in 1989.
TA-DA!, by Sarah Hall Baqai, house paint and metal leaf on MDF
Composition, design, typography and letter forms have always significant in much of her work, but after a period of working in Andalucia, Spain, in the 1990s she began experimenting with working in papier-mâché to create sculptural forms inspired by the many fiestas held throughout the year.
Her years of working in Shoreditch and Amsterdam, along with travel to far-off places, inspired her work too, where paper, wire, found objects and other things, together with folklore and a desire to make you smile at the familiar or ordinary made different, have been central to her creativity.
Exhibitions and major commissions for large-scale installations in London and Paris fashion stores came her way, while her work has been commissioned widely and exhibited in the UK, France, the Netherlands and the United States.
Artist Sarah Hall Baqai, in harlequinesque attire, stands beneath her willow lantern juggling sticks as she raises a glass to the launch of her Bread & Circuses exhibition
Sarah, who moved back to Yorkshire in 2010 and last took part in York Open Studios in 2025, is exhibiting at Rise@Bluebird Bakery for the first time. Among the exhibits is the Cabaret series. “Recent travels to Berlin gave me food for thought,” says Sarah.”I’ve included a four-part Cabaret series which relates to the themes of escapism in challenging times.
“The opening lyrics of the musical Cabaret welcome an international audience to the Kit Kat Klub with signs in three languages, Wilkommen, Bienvenue, Welcome and Fremde, Etranger, Stranger, painted in waxed gesso – a very opaque chalk point – on grey board, which mirror the Bauhaus designs.”
Look out for Box Act (acrylic on plywood). “It’s based on a contemporary contortionist performer, Bendy Em, from Australia, who squeezes herself into a tiny 40cm Perspex cube, the same dimensions as my painting,” says Sarah.
Box Act, by Sarah Hall Baqai, compressing Australian contortionist Bendy Em into a 40cm by 40cm painting, replicating the dimensions of the box into which she squeezes in her act
Twin Towers Of Human Endeavour (Anniversary Edition) is available in a limited edition of ten pairs. “In 2027 York Minster celebrates the 1,400th anniversary of its founding, dating back to the baptism of King Edwin of Northumbria in 627AD,” says Sarah.
“Inspired by the mass-produced ‘New York’ poster, I took ten of the posters, cut up and collaged, to create one ‘York’ poster. The similarities in the name and the architectural status and function of the buildings reflect the shift from religious to commercial power over the 450 years which separate their construction.
“Both cities are impressive, historic monuments of human endeavour in different ways and both are magnets of mass tourism, defined by their iconic buildings.”
Twin Towers Of Human Endeavour (Anniversary Edition), by Sarah Hall Baqai, available in a limited edition of ten
Sarah has printed an unlimited anniversary edition of Blue York too. “It’s a nod to Bluebird Bakery and Blue Note Records,which gave musicians complete artistic autonomy to rehearse, experiment and play what they wanted,” she says.
Summing up an exhibition rooted in Juvenal’s assertion that bread and circuses would provide distraction from more grave matters to prevent unrest and revolution, Sarah says: “Bread & Circuses represents glamour laced with all sorts of other elements, seeking escapism while Rome burns, which is where we are now.”
Fellow Yorkshire artist David Hockney passed away [on June 11], while Sarah was working on the title work, Bread & Circuses. “I was painting the legs when I heard the news, and I wanted to do an homage, so I painted the harlequin figure, without being too specific,” she says.
Wilkommen, waxed gesso on board, from Sarah Hall Baqai’s four-part Cabaret series on show at Bluebird Bakery
As for her love of circus and festivals, Sarah says: “There’s something about being in a muddy field, with the lights and the sequins, or watching a village pilgrimage in Spain or a fire festival in Valencia, where it’s all over in a blink of an eye. I’m so absorbed by it. Rather like ballet, circus skills can make something look effortless despite all the hours that go into it.”
Sarah concludes: “The circus theme is a fixture with me now. The day this exhibition comes down I’m back at the circus, at Giffords’ winter show at Fennells Farm, Lypiatt, just outside Stroud.”
Sarah Hall Baqai, Bread & Circuses, Rise@Bluebird Bakery, Acomb Road, Acomb, York, until November 19
On terror alert to the max: James Bye’s James and Hannah Sinclair Robinson’s Lou in Paranormal Activity. Picture: Johan Persson
WHEN Paranormal Activity premiered at Leeds Playhouse in August 2024, the Playhouse website stated: “American couple James and Lou move to London to escape their past…we can’t say anything else.”
Obviously, a review has to say rather more than that, but the Playhouse poster’s instruction of “Shhh! No spoilers” remains pertinent two years later, even if Punchdrunk theatre director Felix Barrett’s immersive account of American playwright Levi Holloway’s self-contained offshoot from the movie franchise has since enjoyed a hit West End run at the Ambassadors Theatre.
Now the Melting Pot, Simon Friend and Hanna Osnolska touring production is in its early weeks, visiting York, the city that trades as the most haunted in Europe.
“Good horror is personal,” reads the headline in blood-red capitals to introduce writer Holloway’s programme note. “Good horror doesn’t rob you of your sleep, it rules it,” he writes. When the house lights go out, there are people waiting for you in the dark, he declares. “Later, when you try to bed down, when you close your eyes and the dark comes again, you know who to blame.”
Rest far from assured, when your reviewer wended his way to bedfordshire, the landing light remained on all night and no internal doors were closed.
The senses had been scrambled and fried by encountering Paranormal Activity, whose late opening – delayed by 15 minutes on opening night – only heightened the tension. Once Nirvana’s Lithium kicked in at deafening decibels, there would be no escape from sound designer Gareth Fry’s aural assaults, Barrett’s directorial sleights of hand, Anna Watson’s restless lighting and the tricks of the eye of Chris Fisher’s illusion designs that not even the interval could assuage.
The audience is cast into deepest darkness before that Lithium cacophony, an instantly unsettling feeling, whereupon we are invited to take in the full scope of Fly Davis’s two-storey house design: downstairs, an open-plan kitchen-cum-sitting room and dining area; upstairs, the main bedroom, a bathroom, and in between another bedroom, bare now, but potentially a child’s room, should newly-weds James (James Bye) and Lou (Hannah Sinclair Robinson), newly arrived in London from Chicago, make plans.
The stairway will be in constant use in horror movie tradition, and the profusion of doors may be more befitting of a farce, but Paranormal Activity is no laughing matter, albeit it that it starts that way with James (or Jimmy as everyone calls him) and Lou in playful mood, captured in the freedom of movement given to the actors by the director deliberately not “blocking” the opening scenes in rehearsal.
However, we know that the couple have left the USA to “escape their past”, and already the pipes are making funny noises, the lights and the television are playing up, and soon we learn that Lou is on medication for depression. The laughter starts to look nervously over its shoulder.
Each scene ends with being plunged into darkness, the black-out accompanied by the screech or hiss of distorted industrial sound, as deliberately disorientating as interrogation techniques, before the next scene opens with a heightened sense of blind terror,
Bye is appearing in his second psychological thriller of the year at the Grand Opera House after playing opinionated scientist Sam in Danny Robins’s 2:22 A Ghost Story in April. If that play was as much a commentary on the changing culture of living in modern-day London as a ghost story, booted with telegraphed jump scares, Paranormal Activity is not as socially savvy or quick-witted, but it lays its traps with greater subtlety, cranking up the nerve-shredding with delicious timing while consistently adding new layers of mystery, then shredding them before the devastating final revelations.
Jo Castleton’s spiritualist, Etheline Cotgrave, and Caroline Faber’s Carolanne, James’s hyper-religious mother, add to the intrigue, and as the surprises and the scares mount up, Bye and Sinclair Robinson (last seen in York in Frantic Assembly’s Lost Atoms last October) fray at the edges as the couple disintegrates. The truth will out, the theatrical magic will ramp up, and you won’t experience a louder play in York this year.
One word of warning: it has come to your reviewer’s attention that according to one colleague “visibility was heavily restricted from further back in the Grand Circle, where the overhang from the ceilings on the set meant that you couldn’t see the actors’ faces unless they were in the front half of the set”. Bear that in mind when booking.
Paranormal Activity, Grand Opera House, York, no sleep until Saturday; performances at 7.30pm plus 2.30pm Saturday matinee. Box office: atgtickets.com/york.
Beth Hart: Returning to York Barbican on 2027 tour. Picture: Roxanne de Roode
CALIFORNIAN singer-songwriter Beth Hart will play York Barbican on September 23 as one of only four dates on her 2027 British tour. Tickets go on general sale at 10am on Friday, October 2 at https://www.yorkbarbican.co.uk/whats-on/beth-hart-2027/.
Multi-award-winning and Grammy-nominated Hart, 54, plays by her own rules. She has collaborated with legends such as Jeff Beck, Guns N’ Roses’ Slash and Joe Bonamassa, traversed the globe, topped the Billboard Blues charts six times, gone double platinum and had a string of Top Ten- charting albums across Europe and Top 30 Official Billboard US-charting albums, while surpassing 600 million streaming figures and counting.
Infusing her music with raw, soulful energy, Hart has played Nashville’s Ryman Auditorium, Amsterdam’s Ziggo Dome and London’s Royal Albert Hall.
Los Angeleno Hart released her latest album, You Still Got Me, on October 25 2024 on Provogue/Mascot, followed by an expanded digital deluxe edition on June 17 2026. Watch the official lyric video for latest single Mean Ole Man of Mine on YouTube at https://www.youtube.com/watch?v=BPY6FDOhjwA.
In the wake of 2019’s War in My Mind and 2022’s A Tribute To Led Zeppelin, she recorded You Still Got Me with producer Kevin Shirley at Ocean Way Studios in Nashville, Tennessee, housed in a 100-year-old Gothic revival grey-stoned church in the heart of Music Row.
“When I write, it’s always for the joy of writing or for the challenge of writing, to seek what’s going on,” says Beth Hart. Picture: Mal Whichelow
Hart says of You Still Got Me’s title track: “This is a true story. I had a moment where I wasn’t in a positive mood, and I was hanging out on the couch, crying pretty hard, and Scott [her husband] said, ‘Hey, do you need a hug?’. I said, ‘I’ve got nothing inside left to love’, and he said, ‘you still got me’. I said, ‘hang on a minute; I’ll be right back’.
“I went downstairs and used those words and how he said it. You say something like that, and someone you love says back, but you’ve still got me. It’s true. If I’ve still got him, I’ve still got everything.”
Reflecting on her songwriting process over three decades, she says: “I never write in terms of thinking it’s going to be an album or go to people. When I write, it’s always for the joy of writing or for the challenge of writing, to seek what’s going on.
“Sometimes, I go just when I’m sad or scared. If I check in on the piano, it sometimes reveals itself. Sometimes a song comes, and sometimes one doesn’t. Either way, there’s comfort there.”
Explaining the messaging within her songs, she says: “I leave that up to the listener to decide. Personally, I know what it is for right now. One of the beautiful things I love about songs and albums is that over time, that meaning changes.
“I like to keep that open because there’s a lot I can learn from it. Often, when I write a song, I know what that means to me at that moment. But a year will go by, and it means something totally different.”
“I’m always very controlling and protective of the songs,” says Beth Hart. Picture: Ali Burnam
Producer Kevin Shirley calls Hart a “diamond, a living contradiction”. “She is rough and hard at the core – shining, sophisticated and polished at presentation,” he says. “Beth is one of the most formidable musicians I’ve ever worked with. Immensely talented and gifted.
“This album shows all the facets of the giant gem that is Beth Hart. Razor-edged tracks that have a samurai sword edge, soft and sultry ballads and heartfelt emotional messages just made recording this album one of the most special I’ve ever done. You have to love her. There is nobody else like her. She is the best.”
Hart responds: “I’m always very controlling and protective of the songs. One of the things Kevin told me was, ‘You gotta make sure to keep in mind that this is going to be really fun. Have fun. Let it go. Don’t be so momma-bear protective of these songs’. I really had to meditate on that, but I did let go and thank God I did.”
You Still Got Me’s soaring rocker Savior With A Razor features Slash on guitar. “Beth Hart is one of my favourite artists to work with. She is an incredible singer/lyricist on many levels. Beth’s also as sincere and genuine a friend. She’s amazing.”
Hart last played York Barbican on October 31 2021 on her Thankful tour, when her set list comprised: Isolation: Boogieman; House Of Sin; Spirit Of God; Swing My Thing Back Around; Bottle Of Jesus; Easy; Rub Me For Luck; Picture In A Frame; Good As It Gets; Waterfalls; Saved; Without Words In The Way; Sugar Shack; Can’t Let Go; Spanish Lullabies; Good Day To Cry; Caught Out In The Rain; encores, Trouble, Chocolate Jesus, Leave The Light On, Thankful and War In My Mind.
