THE deadline to register for auditions for Rowntree Players’ summer production of Grimm Tales is Friday, March 22.
The auditions for the July 11 to 13 run at the Joseph Rowntree Theatre, York, are open to anyone aged 14 or over (on or before the audition date).
Auditions will be held on Sunday (24/3/2024) from 1pm to 4pm at Door 84, Lowther Street, York. To register your interest and to request an audition pack, send an email to info@rowntreeplayers.co.uk.
Adapted by Carol Ann Duffy and dramatised by Tim Supple, Grimm Tales takes a journey through six of the bizarre, whimsical stories collated by the Brothers Grimm: Snow White; The Golden Goose; Ashputtel; The Magic Table, The Good Donkey & The Cudgel In The Sack; Musicians Of Bremman and Hansel & Gretel.
The small cast will play numerous roles, each tale being introduced and linked by the Narrator, who will address the audience directly. Once each story begins, mush of the action will be narrated by the characters themselves, necessitating the performers to be able to deliver narrative clearly as well as perform dialogue and be confident with switching between the two.
All the cast will perform several characters, sometimes even in one story, so versatility and quirkiness are a must.
For the audition day, auditionees will not be required to prepare anything in advance. A script will be provided on the day and everyone will be expected to read a variety of characters, grouping performers in different combinations.
Casting will be for the Narrator, four male and four female roles, in each case one role aged 40 plus, two, 25 to 40, and one under 25.
Tickets for the 7.30pm performances are on sale at rowntreeplayers.co.uk.
Shed Seven: 23 dates in November and December, including Sheffield, Halifax, Hull and Leeds. Picture: Barnaby Fairley
YORK chart toppers Shed Seven will conclude their 30th anniversary celebrations with a 23-date tour – their biggest ever – in November and December.
Yorkshire gigs on their now traditional biennial “Shedcember” itinerary will kick off with the tour-opening Sheffield Octagon on November 14, followed by Victoria Theatre, Halifax, November 18, Hull City Hall, November 19, and Leeds O2 Academy, November 30.
The tour’s closing night will take the Sheds to Brixton O2 Academy, London, on December 14. Keeping it Yorkshire, the support band at all shows will be The Sherlocks, Kiaran & Brandon Crook’s indie band from Bolton upon Dearne, Barnsley, South Yorkshire.
Tickets for the 30th Anniversary Tour will go on general sale on Friday (22/3/2024) at gigst.rs/SS24. Fans who sign up to the Shed Seven mailing list at shedseven.com/signup by 12 noon tomorrow (19/3/2024) can access an exclusive presale on Wednesday.
“The tour promises to be our biggest yet, as we revisit cities and towns that have been instrumental in shaping our journey over the past three decades,” says the Sheds’ website. “Each night will see the band deliver a career-spanning set, as well as featuring tracks from our number one album, A Matter Of Time.”
The poster for Shed Seven’s 30th anniversary tour
“Expect some surprise guest appearances along the way too,” they tease. “This tour will be our way of saying thank-you to our incredible fans, both old and new,” says frontman Rick Witter. “So, whether you’ve been with us from the beginning or are just discovering/re-discovering our music, we would love you to join us for what will be an unforgettable celebration of 30 years of Shed Seven.”
The Sheds now line up with stalwarts Witter on vocals, Paul Banks on guitar and Tom Gladwin on bass, joined by 2022 recruits Tim Wills on keyboards and Rob ‘Maxi’ Maxfield, once a member of Banks’s band The Rising, on drums.
The Sheds’ 30th anniversary celebrations kicked off with the maximum bang when sixth studio album A Matter Of Time topped the official UK album charts in January, a feat matched by latest single Let’s Go Dancing in the vinyl, seven-inch, and Scottish singles charts.
Should you be wondering why York is absent from this winter’s tour, the Sheds will be playing two sold-out home-city gigs in the York Museum Gardens on July 19 as part of Futuresound’s four-night outdoor festival, bookended by Anglo-Italian singer-songwriter Jack Savoretti on July 18 and hit-laden London girl band Sugababes on July 21.
Bass player Kai West’s poster for Bull’s two-day album launch for Engines Of Honey at The Crescent
COMEDY legends and Arthurian tales, Welsh rock firebrands and a bullish album launch, an Italian dance champion and spa town illuminations have Charles Hutchinson reaching for his diary.
York album launch of the week: Bull at The Crescent, March 22 and 23, 7.30pm
BULL, York’s “finest purveyors of jangling indie joy”, launch second album Engines Of Honey with a brace of home-city shows, supported by FEET and Vehicle on Friday, then Fat Spatula and Eugene Gorgeous on Saturday.
Vocalist/songwriter Tom Beer, guitarist Dan Lucas, drummer Tom Gabbatiss, keyboard player Holly Beer and bassist Kai West promise entirely different sets for each night with no repeats. What’s more, they are making a day of it on the Saturday with a free daytime jamboree from 2pm, featuring an art fair, Ben Crosthwaite’s music quiz, bingo with Jade Blood, Bull’s homemade curry and a memoraBullia exhibition, plus post-gig DJs. Box office: thecrescentyork.com.
Rolling out a barrel of laughs: Al Murray at Grand Opera House, York
Comedy at the treble at Grand Opera House, York: Al Murray, Guv Island, Sunday, 7.30pm; An Evening With The Fast Show, Tuesday, 7.30pm; Frank Skinner, 30 Years Of Dirt, Thursday, 7.30pm.
STANDING up so you don’t have to take it lying it down anymore, Al Murray, the Pub Landlord, is back “to make sense of the questions you probably already had the answers to” in Guv Island.
An Evening With The Fast Show sold out suitably fast. Original cast members Simon Day, Charlie Higson, John Thomson, Paul Whitehouse, Mark Williams and Arabella Weir mark their 30th anniversary with behind-the-scenes insights into their television characters and catchphrases, recreating favourite moments too. Two nights later, Brummie comedian and TV and radio presenter Frank Skinner reflects on his own 30-year landmark. Box office: atgtickets.com/york.
Fast talking: An Evening With The Fast Show at Grand Opera House, York, on Tuesday
Please Please You presents: C Duncan, Rise at Bluebird Bakery, Acomb, York, Wednesday, 7.30pm
THE son of two classical musicians, Royal Conservatoire of Scotland-trained multi-instrumentalist and singer-songwriter C Duncan – ‘C’ stands for Christopher – plays solo at Rise.
The Glaswegian musician will be performing songs from his four albums: 2015’s Mercury Prize-nominated Architect, 2016’s The Midnight Sun, 2019’s Health and 2022’s Alluvium, recorded at his home studio at Helensburgh. He is an artist too, painting all the artwork for his Bella Union releases. Box office: bluebirdbakery.co.uk/rise.
Feeder’s poster for their Black/Red tour, visiting York Barbican on Tuesday
Welsh invaders of the week: Feeder, supported by Girlband!, York Barbican, Tuesday, 8pm
ANTHEMIC Newport rock band Feeder mark their 30th anniversary with a spring tour and the April 5 release of a new studio double album, Black/Red, on Big Teeth Music.
Accruing seven million record sales, Grant Nicholas and Take Hirose’s group chalked up 20 Top 40 hits from 1997’s High to 2008’s We Are The People, and the likes of Just The Way I’m Feeling, Buck Rogers, Feeling A Moment, Tumble And Fall, Just A Day, Fear Of Flying and Lost And Found surely will feature in their set. Leeds Brudenell Social Club awaits on April 7 at 8pm. Box office: York, yorkbarbican.co.uk; Leeds, brudenellsocialclub.co.uk.
Leigh Francis: Leeds comedian heads to York on My First Time tour
Yorkshire comedian of the week: Leigh Francis, My First Time, York Barbican, Wednesday, 7.45pm
LEEDS comedian, radio presenter and Bo’ Selecta! sketch show regular Leigh Francis is the scabrous, scatological, sometimes rubber-faced humorist behind the characters Keith Lemon, The Bear, Avid Merrion and Amanda Holden’s ‘gran’, Myrtle, along with celebrity impressions of David Dickinson, Ant and Dec and Louis Theroux.
All feature in Francis’s debut venture into the live environment in a tour show that combines sketches with buckets of audience interaction. “Come see me being other people live for the first time!” he says. Also playing Hull City Hall, March 22; Leeds Grand Theatre, April 6. Box office: York, yorkbarbican.co.uk; Hull, hulltheatres.co.uk; Leeds, leedsheritagetheatres.com.
Giovanni Pernice: Let him entertain you at York Barbican
Dance show of the week: Giovanni Pernice, Let Me Entertain You, York Barbican, Thursday 7.30pm
GIOVANNI Pernice, the Sicilian dancer from Strictly Come Dancing and BAFTA winner, returns to York Barbican on his 2024 tour, Let Me Entertain You.
Pernice, dancer, performer, showman and Guinness World Record holder for jive kicks and flick to boot, will be joined by fellow professional dancers and West End performers in a show of non-stop action. Box office: yorkbarbican.co.uk.
Le Navet Bete: History in the re-making in King Arthur at York Theatre Royal
Legend of the week: Le Navet Bete in King Arthur, York Theatre Royal, Thursday to Saturday, 7.30pm and 2.30pm Saturday matinee
AFTER Treasure Island and Dracula: The Bloody Truth, Le Navet Bete head back to York Theatre Royal for a retelling of the Arthurian legend, King Arthur, in their inimitable comedic style. Camelot is in trouble, and Arthur knows that if he fails to turn things around, this civilisation will be forgotten and be known as nothing more than a rather dull time in British history.
When three hapless squires approach him about changing that legacy, however, a legend is born in a new comedy for the ages, suitable for the whole family. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jamie Cullum: All that jazz at York Barbican in November. Picture: Charles Gall
Yorkgig announcement of the week: Jamie Cullum, York Barbican, November 12
DID you know that Jamie Cullum failed his Grade 4 piano exam and can barely read music? Nevertheless, the Rochford-born pianist, now 44, became the biggest-selling British jazz musician of all time. This autumn he will play 14 British dates, visiting York as his only Yorkshire destination. Tickets will go on sale on March 22 at 10am at axs.com/york.
In Focus: BEAM Light Festival, Harrogate, today, dusk (6.30pm) to 10pm
James Bawn’s light installation at the Cenotaph war memorial in Harrogate for the BEAM Light Festival. Picture: Charlotte Graham
COMMISSIONED by Harrogate International Festivals, Element 3 Design is illuminating Harrogate town centre with a light installation trail of spa-town locations, landmarks and green spaces, some iconic, others unexpected, ten in total.
Visitors and locals alike will see Harrogate in a completely different light in this new festival, as James Bawn follows up his 2019 light show by using lighting beams, projections and soundscapes to animate the likes of the Cenotaph and Crescent Gardens, while Valley Gardens trees will be lit with dancing twinkling lights. No need to book, just show up!
Supported by Future 50, North Yorkshire Council, Visit North Yorkshire and Harrogate Business Improvement District (BID), the Beam Light Festival festival is free: no need to book, just show up!
Business owners and the Harrogate community are encouraged to create their own lights for display in their windows to enhance the trail.
Beam follows on from such Harrogate large-scale outdoor events as the Fire Garden and the post-pandemicFire & Light Festival. Matthew Chapman, Harrogate BID manager, says: “Harrogate BID are thrilled to continue our close partnership with Harrogate International Festivals and Beam will be another fantastic occasion to celebrate this further.
“With anticipated increased footfall and spend for our members, a new and unique Harrogate experience delivering our objective of a ‘Vibrant Town’, we cannot wait to see Beam come to fruition and really put Harrogate on the map.”
Councillor Simon Myers, North Yorkshire Council’s executive member for culture, arts and housing, says: “Beam demonstrates the importance of free-to-attend events to animate our communities and ensure access to the arts for the widest possible audiences.
“Large events like this are an opportunity to celebrate the spaces which we live and work in and enjoy, and Beam is sure to present the town in a brand new light.”
Fiona Movley, chair of the Future 50 Appeal, says: “Harrogate International Festivals’ Future 50 Appeal was created to ensure the widest possible access to the arts for our community, and to develop artists of the future. We are excited to light up our town and shine a light on the creative talent we have in our region.”
The ten locations for the BEAM Light Fesival
1. Valley Gardens
WORKING with sound artist Dan Fox, the Elgar Walk within the Valley Gardens will be transformed with a Glittering Grove. Thousands of specks of light dance across trees and paths creating a sparkling path as you head towards the sculpture that will have a single light beam hitting the clouds above.
2. Crescent Gardens
USING searchlights to cast patterns across the sky, the lights and soundscape will create a magical spectacle. At the heart of the installation is the iconic Cupid and Psyche statue from Ovid’s Metamorphoses, which brings the timeless tale of love and transformation to life.
3. Picture Frame/Montpellier Hill
SEE yourself in a different light as the Picture Frame is picked out in different colours to accentuate the design. Strike a pose!
4. Cenotaph & Field of Light
THE Cenotaph war memorial will be illuminated with narrow beams of light to make a solemn and dignified artwork paying tribute to the sacrifices of those who served.
A field of light created by solar jars will glow in the darkness. As the sun sets and the jars come to life, the area will be transformed into a magical sea of twinkling lights.
5. St Peter’s Church
SUBTLE lighting to highlight the beautiful architecture will provide a serene and contemplative atmosphere for visitors to reflect and find solace in this tranquil space among the illuminated surroundings.
6. Jubilee Memorial
SEE Queen Victoria bathed in colour to accentuate the architecture of this memorial commemorating the 1887 Golden Jubilee of Queen Victoria.
7. Victoria Shopping Centre
A DYNAMIC lighting design, complemented by a carefully curated soundscape, will elevate the architecture of this building inspired by the work of Palladio in Italy 450 years ago.
8. The Exchange Building
THE central stairwell of The Exchange will be illuminated to be seen from miles around. Searchlights on the roof will cast beams of light into the night sky, further accentuating the impact the building has had on the townscape.
9. Library Gardens & Library
THE Library Gardens will be lit carefully, playing with light and shadow, whilst the Carnegie Library will tell stories through light projection on the front of the building.
10. Cedar Court Hotel
A COLOURFUL animated light will wash the building in colour, illuminating the beautiful architecture.
Lit up in words: James Bawn’s Harrogate 1571 sculpture, created in 2019 and now part of the BEAM festival. Picture: Celestine Dubruel
Table service: Sophie Bullivant, left Laura Castle and Abi Carter in Shakers
DEATHLY ghost tour host Jamie McKeller picked John Godber’s Teechers Leavers ’22 for his return to directing after 15 years last March.
Fresh from playing an Ugly Sister in panto, McKeller heads back to the Jo Ro with another rotten state-of the-nation Godber comedy, this one a husband-and-wife collaboration with Jane Thornton.
Two cast members from McKeller’s 2023 production return to the Rowntree Players ranks for Shakers, his pantomime co-stars Sophie Bullivant and Laura Castle now being joined by Abi Carter and Holly Smith.
McKeller has plumped for the 1987 version, not the 1994 musical with 50 per cent new material, nor the 2010 edition with a cast of five, nor the 2022 remix, Shakers: Under New Management!.
In the mix: Holly Smith, Sophie Bullivant, Abi Carter and Laura Castle making cocktails in a promotional shot for Rowntree Players’ Shakers
This is Shakers at its most raw, showing its dark Eighties’ roots like a bleach blonde hairdo, but resonating all the more in our age of zero hours contracts and #MeToo.
Like now, Thatcher’s Britain was an era of fears over losing your job and a them-and-us culture of division. Furthermore, some things never change, whether men treating women as meat or the boss demanding his cocktail waitresses show ever more leg.
In this unruly sister to Godber’s boisterous Bouncers, the multi-role-playing template turns the northern nightlife focus from the nightclub door staff to the cocktail bar shakers and stirrers: overworked, underpaid and prone to squabbling in a whirlwind of sticky floors and sticky situations.
Bullivant’s feminist Carol, Castle’s volatile Mel, Carter’s working mum Adele and company newcomer Smith’s brash Niki face the Saturday night shift from hell: seven hours beneath the neon lights, in shirts tied at the waist, black trousers and white pumps.
Laura Castle in a phone conversation in Rowntree Players’ Shakers
Fast, fizzing physical theatre, with minimal props and a minimalist set design of only four bar seats and four mini-bars on wheels in matching colours, is the performance style.
Another Godber trademark is omnipresent too: plenty of direct address to the audience, here concentrated in the stalls seats nearest the stage to lend McKeller’s production an intimate, studio atmosphere.
Mirroring Bouncers, the quartet plays myriad Shakers clientele: four lasses on a 21st birthday bender; leery lads on the pull; two bragging, misogynist TV producers; frantic kitchen staff; the jobsworth loo attendant.
Quick costume changes, jackets on, jackets off, sunglasses, handbags and a multitude of voices delineate characters that tend towards the caricature and the stereotype, especially in the yuppies and the luvvies.
Holly Smith and Sophie Bullivantin multi-role playing mode in Shakers
Like the waitresses’ shift, the workload and the pace is restless, exacerbated by McKeller’s decision to forego an interval, but there is stillness too in the monologues, one for each waitress, more serious in tone each time, culminating in a shuddering finale as downbeat as Teechers’ end-of-term despair.
Teamwork in movement and dialogue is impressively slick under McKeller’s direction, typified by that closing scene, while high energy bursts through individual performances, Castle the pick, as strong and supportive as that name would suggest.
The audience rarely laughs out loud en masse, which could be unnerving for the cast, but McKeller’s company resists trying to force the humour. Good decision.
Instead, Shakers’ poignancy and awkward, sobering truths hit home harder, shaking and stirring us all the more.
Rowntree Players in Shakers, Joseph Rowntree Theatre, York, tonight, 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Moya Brennan: Playing Pocklington Arts Centre for the first time next Tuesday
IN the words of Bono, Moya Brennan has “one of the greatest voices the human ear has ever experienced”.
In the wake of her Celtic family band Clannad calling time on 50 years together in 2023 after a farewell tour spread over two years, the Irish singer is picking up the reins of her solo career once more at 71.
Promoting her new album, Voices & Harps IV, her 12-date English, Welsh and Scottish tour opened last night (14/3/2024), arriving at Pocklington Arts Centre on March 19 for her only Yorkshire show.
This will be Dubliner Moya’s first appearance in The Press territory since Clannad’s November 3 2021 concert at York Barbican on their valedictory In A Lifetime travels. “That was a great night,” she recalls. “It was fantastic to include York in our farewell tour as we hung up Clannad’s touring boots for good.
“It was nice to finalise everything. I love my brothers to death but when you travel with them for 50 years, it can be trying! But I like touring and I enjoy doing it under my name, because it’s done on a different level, much more relaxed, without loads of crew and big tour buses. Not that I didn’t enjoy everything with Clannad.”
Joining Moya in Pocklington will be daughter Aisling Jarvis, on guitar, bouzouki and vocals, and son Paul Jarvis, on keyboards, percussion and vocals, after performing on the last Clannad tour.
Alongside them will be fiddler and whistle player Cathal O’Currain and harpist Cormac De Barra, her accompanist on the latest album. “He’s one of the finest harp players in Ireland,” says Moya, who is well placed to make that judgement as a harp player (and pianist) herself.
“We’ve done our own tours together and recorded several albums under the Voices & Harps banner. We have the new one for this tour, recorded as a tribute to the great Mary O’Hara, who was huge in the Fifties and Sixties, playing the Royal Albert Hall, Sydney Opera House and Carnegie Hall in New York.
“The first well-known band to come out of Ireland were The Clancy Brothers, and she was as popular as them, performing these beautiful Irish Gaelic and English songs, with over 20 albums to her name.”
Voices & Harps IV is available on Moya and Cormac’s own label, BEO Records, ‘beo’ being the Gaelic word for ‘alive’. “There were times when I was busy with Clannad so I didn’t have time to record my own albums,” she says. “But Cormac has been playing with me for 19/20 years, so we’ve done four records now – and we have the best of fun on stage together.”
“I feel blessed that I can sing,” says Moya Brennan. Picture: Tim Jarvis
Moya has released nine solo albums in all. “There’ll be a lot of those songs within the show but because people know me as ‘Moya from Clannad’, there’ll be a couple of well-known Clannad songs, without the big drum sound, but if you like the harp and vocal harmonies, you’ll like it.”
The intimate scale of this month’s shows brings its own pleasure. “People love hearing the different ways you sing, how you share the singing, and they enjoy you telling stories about the songs,” she says.”More and more people are attending concerts again after Covid, and it wasn’t until the lockdowns that they realised how much they’d miss them.”
Moya, native Irish Gaeilge language speaker, ambassador for Irish culture and “the First Lady of Celtic music”, has garnered such honours as the RTE Radio Folk Awards Lifetime Achievement award, presented to her in October 2019 by Irish president Michael D Higgins, who said that “her name would be forever etched in the history of Irish music”.
When she was conferred with an Honorary Doctorate from Dublin City University, her citation at the May 2022 award ceremony read: “Moya has an innate ability to find the heart of music, to reach the essence of a song or a tune, and to make the ordinary extraordinary.”
“It was an extraordinary day. Being acknowledged in that way was very humbling. My whole family was there; I’m the eldest of nine siblings, and my mother was able to go too,” she says. “That honour is something you don’t expect because it’s so removed from what you do on stage. I didn’t even go to university, but here I am, a doctor!”
In her 50 years as the voice of Clannad, the band achieved 15 million record sales worldwide and a string of awards, a BAFTA, Ivor Novello, and Grammy among them. And yet… “It took me ages to realise that I enjoyed my own voice, as I’m not really a rock’n’roll singer, which I would have liked to have been,” says Moya.
That voice, “quiet and breathy” in her own description, continues to connect through the years: a magical power that had her thoughts turning to her fellow Dubliner, the late Sinead O’Connor.
“I knew Sinead well,” she says. “She was so shy, but once she was on stage, she could feel the audience’s presence inside her. When you sing, you find you find yourself enjoying giving pleasure – a transcendent feeling, where music makes people feel alive and puts a smile on everyone’s face.
“They leave their troubles at the door, and for two hours you can bring joy to them. I feel blessed that I can sing. Singing makes you feel so well afterwards, it takes ages to come down from that high as it’s such a lovely feeling.”
Long may that feeling continue, as the honours roll on too. Next up, Moya will be attending a gala ball in April to receive the honour of Donegal Person of the Year for 2023. Irish tour dates will follow in the autumn, that voice conjuring magic once more.
Moya Brennan, Pocklington Arts Centre, March 19, 8pm.Box office: 01759 301547 orpocklingtonartscentre.co.uk.
Maxwell String Quartet: George Smith, violin, Colin Scobie, violin, Elliott Perks, viola, and Duncan Strachan, cello
Maxwell String Quartet, BMS York Concerts, Sir Jack Lyons Concert Hall, University of York, March 8
WELL, the performance of Haydn’s iconic Quartet in E-flat major (Op.20 No.1) was breathtaking in its flawless technique, balance and engagement.
The opening lengthy Allegro seemed almost effortless in both the technical demands and instrumental interplay. The music is so intelligent, radically so, and the Maxwell String Quartet’s playing reflected and thrived on this.
The minuet (placed second), with its enigmatic trio, was thoroughly enjoyable. I loved the viola’s role in joining the party late and harmonically directing the listener back to the minuet via the back door of F minor. The Presto finale was bristling with vitality, rhythmic syncopations and rolling modulations. A great signing off.
But it was the Affettuoso e sostenuto which lingered. This is a quite extraordinary movement of real emotional depth and the performance delivered.
Quite extraordinary too, were the Quartet’s wonderful transcriptions or ‘impressionistic and sensitive reworkings’ of traditional Scottish Folk Worksongs. These were drawn from and inspired by explorations of traditional music drawn from “Scotland’s hardworking societies”: fishing, tweed and wool making and so forth.
The Quartet played these with as much care to detail – nuanced phrasing and insight – as they had brought to the Haydn. I liked the democratic reversal of violin leads too.
These were prefaced by a Scottish tune underpinned by a bagpipe cello drone aimed at irritating the ghost of Mendelssohn. The great man evidently disliked the traditional instrument. A nice touch.
Mendelssohn’s magnificent Quartet No.6 in F minor (Op.80) was written in response to the death of his beloved sister Fanny in May 1847. The choice of key here, F minor, deliberately reinforces the emotional tension since there will be greater tension on the strings.
This was helpfully explained by cellist Duncan Strachan, whose engaging, informative vocal commentary throughput the concert added a welcome layer of inclusivity and engagement.
The raw emotion was evident from the start of the Allegro vivace assai. The musical narrative was convincingly propelled forwards (echoes of late Beethoven Op.95) and right on the edge, leaving this listener feeling unsettled yet gripped.
The Allegro assai exploded in the same dramatically driven, angst-ridden direction. Not sure why, but I heard pre-echoes of Tippett, maybe the String Quartet No.2. Anyway, the stabbing, brutal syncopations here reinforced the mood of anger and despair; the dramatic shock being even greater as this is not what we expect in a civilised, traditional scherzo. Whilst in the contrasting trio section, the violins play a haunting, ethereal melody over cello and viola octaves.
Mercifully there was some respite in the form of the poignant Adagio. Here the playing captured the mood of tenderness, sadness and loss. But it is the calm before the musical storm and the closing Finale once again ripped forwards. The movement culminates in the first violin ratcheting up the already palpable tension to a thrilling, if decidedly defeated, conclusion. Quite something.
And that should have been that. Just spontaneous appreciation in the form of loud applause. But no, the Maxwell Quartet gave us an encore, two in fact. Back to Scottish folksong. Both beautifully played and very well received. It’s just that they unnecessarily diminished my experience of their remarkable performance of the Mendelssohn.
Weapons at the ready in Cluedo 2: from left, Ellie Leach’s Annabel Scarlett (with the candlestick); Edward Howells’ Professor Plum (spanner); Gabriel Paul’s Reverend Hal Green (lead piping); Hanah Boyce’s Lady Celestine Peacock (rope); Dawn Buckland’s Mrs White (dagger) and Jason Durr’s Colonel Eugene Mustard (gun). Picture: Dave Hogan
CLUEDO 2 is far outselling last week’s remarkable York Theatre Royal touring show, Blue Beard, despite a raft of five-star reviews for Emma Rice’s feminist wonder tale for those regular York visitors Wise Children.
So much so, you might have to kill for a ticket for Cluedo 2, whether with a candlestick, lead piping, revolver, dagger, rope or spanner, in the box office.
Cluedo 2 is the sequel to, surprise, surprise, Cluedo, the stage revamp of Jonathan Lynn’s 1985 film Clue, based once more on the ever-popular Hasbro board game, whose familiar board design forms the backdrop to David Farley’s witty set to mark the game’s 75th anniversary.
Cut-outs of the board design’s borders form a picture framework within the Theatre Royal’s proscenium arch structure, while a doll’s house of Graveny House is a regular reminder of the new play’s setting. As ever, the whodunit will play out in the kitchen, conservatory, dining room, ballroom, study, hall, lounge, library and billiard room.
Red alert: Ellie Leach’s Miss Scarlett, Bloody Mary cocktail et al, in Cluedo 2. Picture: Dave Hogan
This new “game for a laugh” whodunit takes the form of a broad comedy, one that brings together veteran Birds Of A Feather and Goodnight Sweetheart screen and stage-writing joke factory Laurence Marks and Maurice Gran, teamed with Mark Bell, the director of Mischief Theatre’s catastrophe-defying physical theatre capers The Play That Goes Wrong and The Comedy About A Bank Robbery.
Then add the social media intrigue of seeing 2023 Strictly Come Dancing champion Ellie Leach in her “stage theatre debut” after 13 years as Faye Windass in Coronation Street, replacing the originally announced fellow former Corrie star Helen Flanagan.
Her white boots and mini-dress affirm the Swinging Sixties’ setting for a Cluedo tale of murder, mystery and secret passageways with a “new house, new bodies, new suspects”. Or, more precisely, all the usual suspects, gathered one dark and stormy evening in 1968.
Faded rock’n’roll legend Rick Black (Liam Horrigan) will do anything to regain his fame and fortune, especially now he has newly acquired a country manor house, not too far from London.
What did the butler see? Hannah Boyce’s Lady Celestine Peacock, left, Jack Bennett’s Wadsworth, Edward Howells’ Professor Plum, Ellie Leach’s Annabel Scarlett and Jason Durr’s Colonel Eugene Mustard in Cluedo 2. Picture: Alastair Muir
A long-awaited new album is his last hope, and so he has assembled the familiar names to pass judgement: his supermodel wife, the Honourable Celestine Peacock (Hannah Boyce); his nod-to-Colonel Parker American South manager, Colonel Eugene Mustard (Jason Durr, from Heartbeat and Casualty); long-time roadie “Professor” Alex Plum (Edward Howells) and blossoming northern interior designer Annabel Scarlett(Leach).
Blunt-speaking housekeeper Mrs White (Audrey Anderson, understudying ably for Dawn Buckland) comes with the house and knows all its secrets. Enter the butler, or rather a very, very thespian actor, Wadsworth (Jack Bennett), who has arrived a day early for filming for his role as a butler in a film that will star Rick Black, setting in motion a running gag about being/not being the butler.
Making a late entry is Black’s former song-writing partner “The Reverend” Hal Green (Gabriel Paul, from The Play That Goes Wrong and Northern Broadsides’ Quality Street)), not to be mistaken for soul singer the Reverend Al Green, but you know that gag will be played more than once. Green had disappeared mysteriously just as Black’s career went pear-shaped.
In further roles for Horrigan, film director Mr Grey and an easily distracted detective, plus Tiwai Muza’s PC Silver, will play their part two in a play that is done and dusted in two hours with an interval.
The comedy has two opposing forces: Marks and Gran’s humour is more laboured, slower to click, clunkier, than the fast pace that Bell favours from his Mischief exploits. The gap between the two styles is too big in Act One, but gradually they elide in the far superior Act Two, where the physical comedy, knowing nods to Cluedo’s conventions and even a pantomimic set-piece involving Mrs White’s assorted pastries reap rewards.
Murder most foul: Who could have killed rock star Rick Black (Liam Horrigan, second from right)? Ellie Leach’s Annabel Scarlett, left, Edward Howells’s Professor Plum, Dawn Buckland’s Mrs White, Hannah Boyce’s Lady Celestine Peacock and Jason Durr’s Colonel Eugene Mustard are all in the frame. Picture: Dave Hogan
Durr’s Colonel is mustard throughout; Leach grows into her on-trend Sixties’ role with its sudden twist, vibes of The Persuaders! and a couple of Strictly dance steps, matched by Lady Peacock’s shock revelation. All the while, Paul revels in Reverend Green’s American bafflement at English ways.
Nevertheless, the verbal humour remains a touch heavy handed and obvious, by way of contrast with the swift-moving set changes engineered by the cast on a set cleverly devoid of walls, but with a labyrinth of improvised manor-house corridors and secret passageways instead.
Bell’s direction is rooted in telling the story as much in pictures as words, and his mission is aided considerably by the show’s prize asset: the stylish movement direction of Anna Healey, which puts the ‘swing’ into the Swinging Sixties and makes amusing play of picture frames.
Not a patch on Blue Beard, but Cluedo 2 does improve as the bodies pile up.
JAS Theatricals in Cluedo 2, York Theatre Royal, today, 2pm, 7.30pm; tomorrow, 7.30pm; Saturday, 2.30pm, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
History with a comical twist: Le Navet Bete in King Arthur at York Theatre Royal
COMEDY legends and Arthurian tales, Welsh rock firebrands and an Italian dance champion, a Scottish folk queen and a school talent troop have Charles Hutchinson reaching for his diary.
Legend of the week: Le Navet Bete in King Arthur, York Theatre Royal, March 21 to 23, 7.30pm and 2.30pm Saturday matinee
AFTER Treasure Island and Dracula: The Bloody Truth, Le Navet Bete head back to York Theatre Royal for a retelling of the Arthurian legend, King Arthur, in their inimitable comedic style. Camelot is in trouble, and Arthur knows that if he fails to turn things around, this civilisation will be forgotten and be known as nothing more than a rather dull time in British history.
When three hapless squires approach him about changing that legacy, however, a legend is born in a new comedy for the ages, suitable for the whole family. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The poster for Feeder’s Black/Red Tour 2024, playing York and Leeds
York gig of the week: Feeder, supported by Girlband!, York Barbican, March 19, 8pm
ANTHEMIC Newport rock band Feeder mark their 30th anniversary with a spring tour and the April 5 release of a new studio double album, Black/Red, on Big Teeth Music.
Accruing seven million record sales, Grant Nicholas and Take Hirose’s group chalked up 20 Top 40 hits from 1997’s High to 2008’s We Are The People, and the likes of Just The Way I’m Feeling, Buck Rogers, Feeling A Moment, Tumble And Fall, Just A Day, Fear Of Flying and Lost And Found will surely feature in their set. Leeds Brudenell Social Club awaits on April 7 at 8pm. Box office: York, yorkbarbican.co.uk; Leeds, brudenellsocialclub.co.uk.
The Talent Troop from Welburn Hall School, performing at Helmsley Arts Centre tomorrow
Community show of the week: Welburn Hall presents The Talent Troop, Helmsley Arts Centre, tomorrow (14/3/2024), 7pm
A SELECTION of students from Welburn Hall School, near York, takes to the stage once more for a variety performance. Prepare to be amazed by The Talent Troop in a fun-filled evening of music and dancing guaranteed to bring out the smiles. Look out for a fund-raising raffle and cake stall too. Box office: 01439 771700 or helmsleyarts.co.uk.
The Pink’un: Vicky Jackson’s tribute show to an American pop icon at the Milton Rooms, Malton
Tribute show of the week: Vicky Jackson: Pink!, Milton Rooms, Malton, Friday, 8pm
VICKY Jackson has been wowing audiences with her energetic portrayal of Pink, the Grammy-winning singer and songwriter from Doylestown, Pennsylvania, for more than a decade.
In bespoke costumes and accompanied by her five-piece touring band, Jackson presents all of Pink’s major hits from her 24-year career. Box office: 01653 696240 or themiltonrooms.com.
Roll out the barrel of laughs: Al Murray, the Pub Landlord, at Grand Opera House, York
Comedy at the treble at the Grand Opera House, York: Al Murray, Guv Island, Sunday, 7.30pm; An Evening With The Fast Show, March 19, 7.30pm; Frank Skinner, 30 Years Of Dirt, March 21, 7.30pm.
STANDING up so you don’t have to take it lying it down anymore, Al Murray, the Pub Landlord, is back “to make sense of the questions you probably already had the answers to” in Guv Island.
An Evening With The Fast Show sold out suitably fast. Original cast members Simon Day, Charlie Higson, John Thomson, Paul Whitehouse, Mark Williams and Arabella Weir mark their 30th anniversary with behind-the-scenes insights into their television characters and catchphrases, recreating favourite moments too. Two nights later, Brummie comedian and TV and radio presenter Frank Skinner reflects on his own 30-year landmark. Box office: atgtickets.com/york.
Beneath The Layers: A work by Anne-Marie Magson from her Helmsley Arts Centre exhibition
Exhibition of the week: Anna-Marie Magson, Beneath The Layers, Helmsley Arts Centre, until May 3
FROM her home studio in York, Anna-Marie Magson creates ceramics and artworks. Trained in fine art painting at Liverpool College of Art, she worked initially with clay, exploring surface decoration and textured pattern on tiles and panels.
Latterly, she has returned her focus to two-dimensional work, expanding her practice to encompass abstract collages, printmaking and painting to reflect her long-standing love of printed textiles and quilt designs and mid-20th century art.
The poster for Leigh Francis’s debut tour, My First Time
Yorkshire comedian of the week: Leigh Francis, My First Time, York Barbican, March 20, 7.45pm
LEEDS comedian, radio presenter and Bo’ Selecta! sketch show regular Leigh Francis is the scabrous, scatological, sometimes rubber-faced humorist behind the characters Keith Lemon, The Bear, Avid Merrion and Amanda Holden’s ‘gran’, Myrtle, along with celebrity impressions of David Dickinson, Ant and Dec and Louis Theroux.
All feature in Francis’s debut venture into the live environment in a tour show that combines sketches with buckets of audience interaction. “Come see me being other people live for the first time!” he says. Box office: yorkbarbican.co.uk.
Giovanni Pernice: Let him entertain you at York Barbican
Dance show of the week: Giovanni Pernice, Let Me Entertain You, York Barbican, March 21, 7.30pm
GIOVANNI Pernice, the Sicilian dancer from Strictly Come Dancing and BAFTA winner, returns to York Barbican on his 2024 tour, Let Me Entertain You.
Pernice, dancer, performer, showman and Guinness World Record holder for jive kicks and flick to boot, will be joined by fellow professional dancers and West End performers in a show of non-stop action. Box office: yorkbarbican.co.uk.
Barbara Dickson: All Saints Church autumn concert with Nick Holland in Pocklington
Gig announcement of the week: Barbara Dickson & Nick Holland, All Saints Church, Pocklington, October 4, 7.30pm
IN this special acoustic performance, Scottish folk singer Barbara Dickson and her pianist Nick Holland will explore her catalogue of songs in the intimate and historic setting of All Saints Church.
The pair let the words and melodies take centre stage as they perform material drawing on Dickson’s folk roots, contemporary greats and her classic hits, Answer Me, Another Suitcase In Another Hall, Caravan and I Know Him So Well. Box office: barbaradickson.net.
Beth Stones and Dan Murphy of Flutes & Frets: Heading out on Explore York library mini-tour
MUSICAL duo Flutes & Frets embark on a mini-tour of three York community libraries tomorrow (14/3/2024) in a National Centre for Early Music cultural wellbeing initiative.
Working in partnership with Explore York Libraries and Archives, flautist Beth Stones and frets player Dan Murphy are taking Baroque Around The Books to Tang Hall Explore Library at 11am tomorrow morning; Clifton Library at 3pm tomorrow afternoon, and Explore: Acomb Library Learning Centre at 11am on Friday. Pre-booking is advised for the Acomb performance at http://ncem.co.uk/baroque-around-the-books/
The tour will continue with an invitation-only concert for NCEM members tomorrow at 2.30pm at Fairfax House, to be recorded for online viewing on March 21 as part of the NCEM’s Early Music Day celebrations.
Tickets are free for these informal concerts under a new NCEM initiative in tandem with Explore York, supported by the Mayfield Valley Arts Trust, in a project that illustrates the NCEM’s ongoing commitment to support, encourage and nurture the skills of emerging artists in the UK and beyond.
To conclude the tour, Flutes & Frets will head to the NCEM, at St Margaret’s Church, Walmgate, later on Friday to work on Italian baroque repertoire with The Minster Minstrels, an ensemble that provides musical opportunities for children from across York, supported by the Mayfield Valley Arts Trust and York Music Hub in partnership with York Arts Education.
Delighted to invite Flutes & Frets to York for a residency, library tour and children’s NCEM workshops, NCEM director Delma Tomlin says: “We’re thrilled to be able to be working with the wonderful Flutes & Frets, who appeared in York last December at the York Early Music Christmas Festival.
“Baroque Around The Books will give the people of York the chance to enjoy these fabulous concerts completely free of charge, as we work to share the joy of music making with our partners at Explore York.”
Dave Fleming, Explore York’s innovation, creativity and learning service developer, says: “The initiative emerged from Explore York’s longstanding working relationship with the NCEM, which has been developed over many years. We’ve worked collaboratively with NCEM on successful projects and initiatives over the years, such as Cuppa And A Chorus and now this.”
Assessing the role of music in libraries, Dave says: “Music contributes to Explore York’s commitment of bringing high-quality cultural experiences into our libraries for York residents to enjoy within their communities and right on their doorstep.
“York’s network of community libraries are trusted spaces: safe, creative environments, welcoming to everyone. We have developed out network of libraries as cultural spaces in the heart of communities.”
Crucially too, Explore York is now a National Portfolio Organisation (NPOs), designated by Arts Council England. “NPO recognises Explore’s cultural contribution in creating and promoting artistic experiences, supporting artists, and engaging communities. Opportunities to bring musical experiences into our libraries contributes to what we are as an NPO,” he says.
“Bringing such experiences into libraries aligns with Explore York’s status as an NPO and enhances its cultural offerings. Therefore, the role of music in libraries is seen as integral to fulfilling Explore York’s mission and enriching the cultural experiences available to residents.”
Stone and Murphy’s repertoire spans the medieval to the contemporary, backed by a passion to use instruments from throughout history to create a story that both enthrals and educate. “The educational element of these concerts lies in the opportunity for the audience to experience high-quality classical music performed by internationally renowned musicians,” says Dave.
“In addition to the performances, the musicians will engage the audience by discussing the history and background of the music being played. This approach allows the audience to deepen their understanding and appreciation of classical music, turning the concert into an enriching educational experience.”
Beth and Dan say: “We’re always keen to educate and inform through our performances and so in this programme, we focus on taking the audience on a chronological journey of some of our favourite pieces: a chocolate-box selection of almost 500 years of music.”
Here Flutes & Frets’ Beth Stones and Dan Murphy discuss libraries, music and books with CharlesHutchPress.
“We’re always keen to educate and inform through our performances,” say Flutes & Frets’ Beth Stones and Dan Murphy
When did you form your partnership, where and why?
“Interestingly, Covid helped form the duo. We met while studying at the Royal College of Music, in London, and after collaborating on modern flute and guitar, we realised the potential that our specialisation in historical performance might bring our combination of instruments.
“Beth had been very keen to try playing with lute compared to harpsichord, and Covid brought out a renewed sense of need for chamber music.”
What was the highlight of your York Early Music Christmas Festival concert last December?
“The previous night to our 11am concert, we had a chaotic journey up to York due to train cancellations, meaning we arrived at the hotel at 4am, so to wake up to a cold, frosty morning but have a sold-out audience that had many warm comments to make afterwards made it all worthwhile!”
How did the Baroque Around The Books mini-tour come about?
“Delma has been incredibly supportive of us as an ensemble and believed that we would be appropriate for the intimate setting of libraries. We’re enthusiastic to make the most of our portability and enjoy performing in the types of venues that are harder to accommodate live music.”
Libraries are associated with silence, peace and calm! Does that add to the joy of making music there?
“Every venue has its charm. Libraries in particular tend to bring people that weren’t expecting to find music, especially children and families. As the Italian 15th century philosopher Marsilio Ficino wrote, music is ‘nothing but the decoration of silence’.”
How did you put together the programme for Baroque Around The Books?
“We’re always keen to educate and inform through our performances and so, in this programme, we focus on taking the audience on a chronological journey of some of our favourite pieces: a chocolate-box selection of almost 500 years of music.”
How have books had an impact on your musical selections?
“They haven’t had a direct impact on the programme we’re performing but musical treaties inform the way we play and so affect our approach to all our concerts.”
In what way is the concert educational?
“We encourage our audience to see a bigger picture and think about the changes that instruments and compositional styles have undergone throughout the history of music. Similarly to how a documentary might try to capture hundreds of years in a short space of time.”
The poster for Flutes & Frets’ Baroque Around The Books mini-tour of York libraries
Do you have a target audience?
“Not particularly! We appreciate the attention of anyone and everyone.”
What will Friday’s workshop session with The Minster Minstrels involve?
“We’ll be spending some time working with them on Italian baroque repertoire that they’re currently exploring and hopefully sharing some insight in how to approach and interpret early music.”
In a nutshell, what is the relationship between music and books?
“Both are expressions of thoughts, emotions, creativity and storytelling.”
If you could recommend one book each, what would it be?
Beth: “No book means more to me than the Bible, so that’s an easy choice.”
Dan: “It was The Name Of The Wind by Patrick Rothfuss that first inspired me to develop an interest in lute playing, so that’s always my first recommendation.”
When you arrive home, what do you reach for first: music or a book?!
The Bloody Tour of York guide Alicia Stabler with her award at the ceremony in Berlin
YORK tour guide Alicia “Mad Alice” Stabler has won the 2024 European Arival TourReview Spotlight Award for Best Sightseeing Tour within One City.
Alicia, who takes visitors to the site of hangings, beheadings and hauntings on The Bloody Tour of York, run by Alicia Stabler, competed in the medium category against nine other European tours based in Krakow, Munich, Prague and Budapest as the sole British entry.
“This award means so much as it comes from people’s experiences of the tour and how engaged they are,” says Alicia. “It’s amazing to think that people have been recommended or recommend my tour to others around the world.”
The awards ceremony in Berlin, Germany, coincided with the three-day Arival 360 Tourism Conference that brought together the ‘best of the best’ in tours, activities, attractions and experiences in Europe.
The awards were awarded to businesses based on their online customer reviews. The winners were chosen through a data-driven, independent and impartial analysis of reviews across multiple review sites, online travel agencies and millions of customer reviews, powered by review management platform TourReview.
Alicia Stabler, front left, with fellow award winners in Berlin
By aggregating customer data from various platforms, TourReview identified the tour operators consistently wowing customers. Other winners included Prague City Adventures for Culinary Tours and Experiences and the Basilica de la Sagrada Familia, the Barcelona cathedral, for Best Visitor Attraction.
Alicia has run The Bloody Tour of York since 2013 in the guise of the colourful costumed character of Mad Alice, who leads visitors on a journey around the city centre, regaling them with tales of 2,000 years of gruesome, macabre and supernatural history.
In “the city of a thousand ghosts”, Mad Alice combines entertainment and education in her tour of sites associated with famous characters, such as Guy Fawkes, who was born in York in 1570, and Dick Turpin, the notorious highwayman executed at the Three-Legged Mare gallows at York Tyburn on April 7 1739.
Run as an independent business, the tour began as a “small idea” when Alicia left university 18 years ago. “Having worked at various museums within the city, I wanted to focus on the stories I was brought up on as a child in York to teach people about the darker side of history,” she says.
“History can be immensely fun if presented the right way, and that’s where the character of Mad Alice comes in handy,” says Alicia
“We’re so fortunate that York has hundreds and hundreds of years of history – much of it soaked in blood. History can be immensely fun if presented the right way, and that’s where the character of Mad Alice comes in handy.
“Mad Alice is one of our local legends; there’s a street called Mad Alice Lane and supposedly in the 19th century Alice Smith lived there, who unfortunately went mad and began to confess to crimes she didn’t commit.
“The story goes she was hanged for nothing more than being insane. However, there is no evidence she actually existed. As my real name is a variation of Alice, it seemed only natural to adopt the persona.”
Receiving more than 2,000 five-star reviews across TripAdvisor, Viator, Google and Facebook, The Bloody Tour of York has won the Visit York Tourism Award for Best Experience three times and was awarded Bronze in the Welcome to Yorkshire White Rose Awards for Best Experience in Yorkshire.
Tomorrow, Alicia will find out if her tour has won 2024 Visit York Tourism Awards for Best Experience and Best of York.
Tour guide Alicia “Mad Alice” Stabler in the shadow of Clifford’s Tower, York
Since the pandemic lockdowns, The Bloody Tour of York has built up an online presence across social media, leading to a surge in visitors, who praise the tour for its interactive experience.
“I strive to make everyone on the tour feel included by learning everyone’s names and where they are from and drawing them into the stories,” says Alicia. “I think that why it’s had such a positive response because everyone feels engaged in the history that has shaped our amazing city.”
Mad Alice has even had a limited-edition York Gin made in her name, the “scarily delicious” Mad Alice’s Bloody Orange Gin. Launched last September for Halloween, it has since sold out.
Created in collaboration with Alicia, this citrus gin was described as “bursting with fresh blood oranges and classic oranges, with a subtle syrup to finish,” while its “mix of classic botancials ensure complexity and depth”.
The gin came in a blood-red bottle with a ‘blood-splattered’ label featuring a drawing of Mad Alice herself. Each bottle was accompanied by a pamphlet detailing a selection of Mad Alice’s legends and stories, plus serving suggestions for the gin.
Alicia “Mad Alice” Stabler collaborating in creating Mad Alice’s Bloody Orange Gin in the York Gin “laboratory”
