Shed Seven, huts five: Scarborough Open Air Theatre awaits the York band this weekend
SHED Seven are off to the Yorkshire coast on Saturday for their “biggest ever headline show in their home county”, a long-overdue debut at Scarborough Open Air Theatre.
Joining York’s Britpop titans at the UK’s largest purpose-built outdoor concert arena will be special guests Jake Bugg and Cast.
“It’s been a dream of ours for some time to head out to the coast to play Scarborough OAT,” said Sheds frontman Rick Witter when tickets went on sale last October. “It’s a stunning and historic venue…Yorkshire’s very own Hollywood Bowl!
“It’s going to be a huge celebration following the success we had in 2024. Expect big hits and huge singalongs. See you down the front.”
In addition, Shed Seven will play either side of the Pennine divide for Sounds Of The City 2025, first at Castlefield Bowl, Manchester, on July 4, followed by a return to Leeds Millennium Square on July 11, having headlined the Sound Of The City bill there on July 15 2023. Ian Broudie’s Lightning Seeds and The Sherlocks will be on support duty on both nights.
The first question to ask Rick, after the annus mirabilis of the Sheds’ 30th anniversary year, is “what have you been up to since the chart-topping highs of 2024”?
“It’s been a bit of a quiet beginning to the year, but then suddenly it’s June!” he says. “I was best man to Paul [guitarist Paul Banks] at his wedding at the start of March, when he married Mel.
Rick Witter and guitarist Paul Banks performing on the first night of Shed Seven’s 30th anniversary celebrations at Live At York Museum Gardens last summer. Picture: David Harrison
“I sorted out his stag do, and then at the wedding I sang Chasing Rainbows, changing the words for the happy couple.”
Already the Sheds have played their first outdoor show of 2025, supporting Sheffield United fan Paul Heaton at his beloved Bramall Lane homecoming on May 25. “It wasn’t our gig, so we just rocked up and did our thing. Playing Chasing Rainbows to 28,000 was great,” says Rick.
Rehearsals for Scarborough and the summer season ahead took place on Monday and Tuesday before the Sheds headed to Norway to play Bergen. “We’re really looking forward to Scarborough. Yes, it’s not before time, but it’s worked in our favour because we could do the end-of-year 30th anniversary tour and then do the festivals this summer, knowing we needed to take a bit of a break in between.
“It’s nice not to have the pressure of having to sell albums this year. It’s more like a victory lap for us. We have some great ideas for the shows, but I can’t reveal them – though it could be in keeping with things like having the kids’ choir from our old school [Huntington School] singing with us in the Museum Gardens last summer. Something like that.”
The Sheds take pride in providing good value in the bills they have put together for Scarborough, Manchester and Leeds. “We always want to create as much value for money as we can get, while keeping prices as low as possible,” says Rick. “We talk with our booking agents and promoters, and thankfully all the acts we asked were more than happy to join the Shed Seven party.”
Shed Seven will be playing 14 festival and open-air shows this summer, not least a “career-spanning set” at Glastonbury festival on June 27. “It’s our first time there in 30 years, when we played possibly the NME stage. There was a huge crowd for us back then, and this time we’ll be on the Woodsies stage, which used to be the John Peel Stage, playing mid-afternoon on the Friday [5.15pm to 6pm to be precise].
“It’s going to be in a tent, which is nice because you know the audience are there for you, and the lighting show can be better.”
Reflecting on the maximum highs of 2024 – the brace of number one albums, the Museum Gardens concerts and 30th anniversary tour – Rick says: “What a year! At the end of the day, you never know what’s coming next with what you do, but we could sense something building over the last few years, and then everything seemed to align for us last year.
Shed Seven’s poster for Live Summer 2025 concerts at Scarborough Open Air Theatre, Manchester Castlefield Bowl and Leeds Millennium Square
“How incredible for it to happen in our 30th year, but the fact we are self-managed now and in control gave us our buzz, and we became the biggest we’d been since the mid-1990s.
“It got to the point in November [when on tour], where I was getting up, cleaning my teeth, looking in the mirror and thinking. ‘oh no, not you again’! But I think we’re very savvy as a band at knowing when to push it and when to step back.”
Rick continues: “I’m very proud that we’re among only 20 acts since 1953 to have two UK number one albums in one year – and no other indie guitar band has done it. It’s an exclusive club!”
Looking ahead, “in the down time, we’ll start writing for the next album for a couple of years’ time, with plans for a Shedcember tour at the back end of 2026”.
Rick finished this interview with a recollection from 1995. “We had nowhere to rehearse in York at the time, but Tom [Gladwin], the bass player, knew the owner of the Cockerill potato plant, on Hull Road, where there was a disused office just collecting dust.
“His son said, ‘if you want to go and write and record there’…and that’s where we put together the ideas for A Maximum High. Then B&Q bought the site, and where they now sell sheds at B&Q is the exact spot where Cockerills had that disused office. It’s like it was meant to be!”
Shed Seven play Scarborough Open Air Theatre, supported by Jake Bugg and Cast, June 14; gates open at 6pm. Box office: scarboroughopenairtheatre.com/shedseven.
The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith
AFTER five hollow weeks in New York, Paul Hendy’s love letter to the quintessentially British – even English – humour of Tommy Cooper, Eric Morecambe and Bob Monkhouse opens its UK tour in old York.
Morecambe & Wise may have appeared on the Ed Sullivan Show 16 times, Cooper on six occasions too, but if ever affirmation were needed that the USA and UK are divided by a common language, then the Big Apple audiences’ bewilderment at their reactivated larks in Hendy’s 90-minute play provided it.
Unlike last summer’s Edinburgh Fringe premiere and February and March’s West End run at the Noel Coward Theatre, it was more a case of ‘no laugh’, rather than ‘last laugh’, judging by the New York recollections of Hendy’s cast at the question-and-answer session that followed Wednesday’s matinee.
Hendy just happened to be there too, adding further insight into his affectionate play, and his hand-picked cast – who first appeared in his 19-minute film version in 2016 – will be on hand after each performance to take more questions. Well worth staying for their banter, nostalgia and comedic camaraderie, prompted by questions deposited in a Cooper fez in the interval.
Damian Williams’s Tommy Cooper, minus trousers, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in a moment of musical camaraderie in The Last Laugh. Picture: Pamela Raith
If Hendy’s name is familiar to you, he is the writer of York Theatre Royal’s pantomimes under the fruitful partnership with his Evolution Productions company since 2020. You will know his style too: meticulous crafting of puns, putdowns and pratfalls, allied to a rebellious streak and a passion for storytelling.
Those qualities will be seen again in Sleeping Beauty from December 2 to January 4 2026, and they are writ large in The Last Laugh, his exploration of what makes comedy work, what drives comedians to perform and at what cost, and why the laughs last long after their passing.
Hendy, a jokesmith who lets others do the telling, has chosen his comedians carefully for his study: Cooper and Morecambe, who died within six weeks of each other in 1984, were naturally funny, but whereas Cooper merely had to walk on stage to engender laughs, using silence like no-one else, Morecambe needed partners, whether Ernie Wise on stage, or writers for him to then apply his alchemical gifts of timing, mannerism and mischief.
Hendy, by his own admission, is closer to Monkhouse, the craftsmen who would chisel away at a gag like a sculptor until it had the right balance and comic weight, honed and polished to the last word. He kept his jokes in books; he knew who wrote every famous line; he knew how to deliver a punchline.
After all, it was Monkhouse who quipped: “People used to laugh at me when I said I wanted to be a comedian. Well, they’re not laughing now.”
The Last Laugh writer-director Paul Hendy
You can imagine Hendy applying such fastidious skills when writing The Last Laugh, pulling the strings as a writer must to make a piece of theatre with resonance and meaning, rather than rely on an overload of familiar jokes.
He does so by placing the comedy triumvirate in a dressing room of memories, where one wall is filled with black-and-white portraits of comedians, all dead, from Sid Field to Sid James, with the space for one more. Then he lets them chat, lock horns, reflect, perform to each other, and dress for their next performance.
He entrusts the roles to two of his regular dames, Bob Golding and Sheffield Lyceum’s Daman Williams, and Simon Cartwright, who first made his name as an impressionist. Golding first played Eric 16 years ago in his own Morecambe show; Williams had wanted to follow Cooper on to the stage since childhood days; Cartwright knew Monkhouse, working on his act with him.
Williams’s Cooper enters first, after a spluttering and fizzing of the lights that frame each dressing room mirror and the pre-show ghostly sounds of comedians past. Williams, in his underwear, is wearing huge yellow bird’s legs.
In New York, a woman objected to his lack of trousers. “It was going to be a long night,” Williams shrugged in the Q&A. He goes on to give a towering performance as the play’s fulcrum, not an impression, but a full picture of a giant of comedy, amusingly dismissive of others, a quick thinker, an astute observer and both inventive and re-inventive.
Damian Williams’s Tommy Cooper: Comedy magic in The Last Laugh. Picture: Pamela Raith
Cartwight has the Monkhouse manner and voice off to a T, a man of candour, kindness, precision, admiration for others and forensic knowledge, with Hendy dropping in stories that may not be familiar but make for a rounded portrait.
Golding’s love of Eric is in every moment, every movement, from the pipe smoking to the chirpy demeanour, while resisting too much twitching of the spectacles. Again, as with Cooper and Monkhouse, Hendy judges so well what to include of Morecambe’s life story, in particular his resolute devotion to working with Wise.
Who has The Last Laugh? No, it would be wrong to give away the ending, but let’s say it could not be more moving. Joy and sadness, the two faces of theatre, are never more interlocked than in Hendy’s finale.
We miss these comic titans, the fez, the spectacles and Bob’s books, but you will have the first laugh, the last laugh and so many more in between in their memory.
The Last Laugh, Grand Opera House, York, 7.30pm tonight; 2.30pm and 7.30pm tomorrow. Box office: atgtickets.com/york.
The tour poster for Paul Hendy’s The Last Laugh
The Last Laugh cast and writer visit Borthwick Institute’s archive of Eric Morecambe notebook and diaries
The Last Laugh actors Simon Cartwright (Bob Monkhouse), Damian Williams (Tommy Cooper) and Bob Golding (Eric Morecambe) take a look at the Borthwick Institute comedy archives
THE cast and writer of The Last Laugh undertook an emotional trip to the Borthwick Institute for Archives at the University of York on June 11 to view the notebooks and newly acquired diaries of Eric Morecambe.
Writer-director Paul Hendy and actors Bob Golding, Damian Williams and Simon Cartwright, who play Morecambe. Tommy Cooper and Bob Monkhouse respectively, were joined by the archive team for a private viewing.
The collections include original material for the Morecambe and Wise 1977 Christmas BBC Special, written in Morecambe’s distinctive handwriting, together with notebooks, diaries and jokes owned previously by legends of British comedy.
Gary Brannan, keeper of archives and research collections at the Borthwick Institute, with The Last Laugh actors Damian Williams, Simon Cartwright and Bob Golding
Hendy said: “As a lifelong fan of Eric Morecambe, it’s been absolutely fascinating to visit the archive. To be able to read Eric’s joke books, written in his own hand, is incredible and actually quite emotional”.
The Borthwick Institute’s comedy collections, acquired by the university, provide an insight into the history of British entertainment. Gary Brannan, keeper of archives and research collections, said: “It’s been a delight to welcome the cast of The Last Laugh to Borthwick and we have loved seeing them connect and with our amazing archives.
“We always say that archives aren’t just records of the past; they are a source of modern creativity, so it has been wonderful to see the cast bring this material to life.”
The actors were thrilled to look at the original documents. Cartwright said: “The archive has been an absolute joy to discover. I was particularly thrilled to find two original radio scripts written by Bob Monkhouse and his writing partner, Denis Goodwin. It serves as a reminder of Bob’s longevity in the industry – over 60 years.”
The Last Laugh writer-director Paul Hendy, centre, with Gary Brannan and Simon Cartwright studying documents at the Borthwick Institute
Dame Sarah Connolly and Dame Imogen Cooper: Playing the Olav Arnold Memorial Concert at St Andrew’s Church on June 19
THE 31st edition of the Northern Aldborough Festival, in the North Yorkshire village of Aldborough, near Boroughbridge, opens with this evening’s 6.30pm concert by Fantasia Orchestra, conducted by Tom Fetherstonhaugh, at St Andrew’s Church, fresh from their Proms debut.
Violinist Tamsin Waley-Cohen will be the soloist for Vaughan Williams’s The Lark Ascending and other works include Elgar’s Serenade for Strings and Dvorak’s Nocturne and Serenade for Strings.
2025 sees the festival celebrate the artistry and power of the human voice, centred on the annual nationwide hunt for the UK’s best classical singing talent in the New Voices Singing Competition, now in its third year, with a star-studded judging panel of Sir Thomas Allen, Dame Jane Glover, Sholto Kynoch, festival director Robert Ogden and Sir Andrew Lawson-Tancred.
Fantasia Orchestra with conductor Tom Fetherstonhaugh: Opening the festival this evening at St Andrew’s Church
Semi-finals take place at St Andrew’s Church at 4pm and 6pm on Sunday, followed by the Monday’s final on Monday at 7pm in the 14th century church with a prize fund of £7,000.
Further highlights include jazz vocalist Jacqui Dankworth & Her Trio, at The Old Hall, North Deighton, tomorrow, 7.30pm; opera company Wild Arts, in a semi-staged performance of Donizetti’s The Elixir Of Love, conducted by Orlando Jopling, at St Andrew’s Church, on Sunday, 7pm, and two musical Dames, mezzo soprano Dame Sarah Connolly with Dame Imogen Cooper on piano, at St Andrew’s Church on June 19, 7.30pm.
French horn player Ben Goldscheider: Playing with The Heath Quartet at St Andrew’s Church on June 17
In the programme too will be the Thanda Gumede Trio, (vocals, piano and bass), at The Old Hall, North Deighton, tomorrow, 11am; French horn player Ben Goldscheider, playing with The Heath Quartet, St Andrew’s Church, June 17, 7.30pm; An Evening With Matthew Parris, the journalist and former MP, St Andrew’s Church, June 18, 7.30pm, and Armonico Consort, playing Rachmaninov’s The Vespers, directed by Christopher Monks, St Andrew’s Church, June 20, 7.30pm.
Mezzo-soprano Judith le Breuilly will be accompanied by pianist George Ireland at St Andrew’s Church on June 16 at 11am; the Young Artists Showcase will be held there on June 18 at 11am, and The Asteria Trio (flute, harp and viola) will be led by Harrogate-born harpist Megan Humphries at Farnley Hall, near Otley, on June 19 at 11am.
Vocalist Thanda Gumede: Leading his trio at The Old Hall, North Deighton, tomorrow morning
Aldborough’s late-night venue, The Shed, returns for concertgoers who want to continue festivities after the evening concerts in a relaxed environment, with a variety of live entertainment and refreshments.
The Last Night Outdoor Concert, in the grounds of Aldborough Manor, features The Killerz Tribute, performing the hits of The Killers, supported by singer-songwriter Pearl Natasha, on June 21 when gates open at 6pm.
Running from today to June 21, the full programme, performance times and booking details can be found at aldboroughfestival.co.uk. Box office enquiries can be made to festival@aldborough.com . Tickets are on sale at 01423 900979 too.
Robert Ogden, director of the 31st Northern Aldborough Festival, outside St Andrew’s Church, Aldborough
Christopher Finnegan, Peter Pearson, Tommy Carmichael and Jonny Wakeford in The Growth House’s interactive cabaret Big Strong Man
BIG Strong Man will invite tomorrow’s audience at Bilton Working Men’s Club, Skipton Road, Harrogate, to become part of the action, challenging societal norms and shining a light on the systemic barriers that shape how men’s mental health is addressed.
“This is radical theatre at its most alive: unfiltered, unafraid and unmistakably northern,” says The Growth House, as this surrealist comedy theatre company mounts its boldest tour yet, “setting a new standard for socially driven, interactive performance”.
Mentored by Emma Rice’s Wise Children company, The Growth House is on a 12-venue tour with its groundbreaking flagship production. As associate artists at CAST in Doncaster, the company continues to seek to push boundaries with its unapologetically working-class, socially conscious theatre.
Part party, part protest, Big Strong Man is a riotous, high-energy cabaret where four northern lads blend fast-paced improv, physical comedy and the aforementioned audience participation to tackle men’s mental health.
The lads are given the impossible task of deconstructing and rebuilding manhood in one night. Bonj reckons we should get rid of this outdated concept forever; Winston thinks we should listen to King Charlie; Gaz knows all we need is work, women, food and the gym; Timternet thinks they’re all idiots and would rather play Pokemon Go
“Only one of them can become the Big Strong Man to save us all. Which one?!” Find out as The Growth House probes men’s mental health
They have some big decisions to make, but every time they do, something happens: a game, a song, a scene or a mysterious feeling they cannot quite describe. They need help to get the job done…and that’s where you, the audience, comes in, because only one of them can become the Big Strong Man to save us all. Which one?!
“Big Strong Man puts the power in your hands by letting you choose what parts of the show you want to see,” says The Growth House. “What elements of masculinity do you love? Let’s celebrate it. What aspects do you hate? Let’s talk about it. And what is it missing? Let’s find out!
“This show is a celebration of northern culture and community spirit. A unique experience with all the remarkable features of a cabaret or gig.”
Created in response to the disproportionately high rates of suicide and depression among working-class men in the North, this urgent, electrifying, interactive cabaret show will be performed by Christopher Finnegan (Winston), Peter Pearson (Bonj), Tommy Carmichael (Timternet) and Jonny Wakeford (Gaz).
Cue alternative comedy, storytelling, song, dance, improvisation, ladders, competition, boy band parodies, lip syncs, placards, blocks, charity-shop suits, a bear and “Poundland-level extravagance”, plus the content warning of “strong language and references to suicide, mental health conditions, infant death, domestic violence and karaoke”.
Big Strong Man: “A celebration of northern culture and community spirit with all the remarkable features of a cabaret or gig”
“Male identity is no longer as rigid and homogenous as it once was,” says The Growth House. “Industry, politics and society are moving away from a single culture. Big Strong Man looks at the current state of masculinity to attempt to understand the soaring depression and suicide rates facing men across the north of England.
“What are the rules to being a male? What are the expectations of men in the 21st century? What can we do to develop male culture in order to make the world a better place to live in?”
The Growth House was founded by directors Finnegan, Pearson and Sam Dunstan, who have been collaborating for five years on works that combine movement, voice, song, contemporary creative writing and sweat aplenty from the performers.
Co-writer, choreographer and performer Finnegan is an actor, director, writer, lecturer, physical theatre practitioner and tutor; Pearson is a Geordie actor and performer who specialises in devised and improvised theatre, working with social theatre companies that combine activism with art; director and co-writer Dunstan is a creative director, producer and educator, born and bred in Yorkshire.
The Growth House, in association with Harrogate Theatre, presents Big Strong Man at Bilton Working Men’s Club, Skipton Road, Harrogate, tomorrow (13/6/2025), 7.30pm. Further tour dates include Slung Low, The Warehouse, Crosby Street, Holbeck, Leeds, on July 12, 7.30pm. Box office: Harrogate, harrogatetheatre.co.uk/events/big-strong-man/; Leeds, ticketsource.co.uk/booking/select/emyxmqvaznlp.
The Growth House’s poster artwork for Big Strong Man, heading for Harrogate tomorow and Holbeck, Leeds, on July 12. The 12-date tour already has played The Carriageworks Theatre, Leeds, on May 23 and 24 and Hull Truck Theatre on May 29
Blackpool Tower Ballroom here they come: Chloe McDonald’s Nat, left, Martha Godber’s Sally and Emilio Encinoso-Gil’s Kyle keep the faith in John Godber’s hymn to Northern Soul, Do I Love You?
JOHN Godber has a new play on its way this autumn: Black Tie Ball, a tale of hotel upstairs and downstairs, bow ties and fake tans, jealousies and avarice, divorces and affairs, told by staff at breakneck speed from arrival at seven to carriages at midnight. Harrogate Theatre, from September 10 to 13, and Stephen Joseph Theatre, Scarborough, from November 12 to 15, await.
There is a Godber house style, billed as his “signature visceral style”, one that applies as much to his hymn to Northern Soul, Do I Love You?, as it will to Black Tie Ball. Ever since Bouncers and Teechers, less has been more in Godber plays: compact casts, concise scenes, minimal props and space aplenty for combative or compatible movement.
No-nonsense Yorkshireman Godber has been writing plays since 1977, the year of punk at its scratchy apex, and likewise he tore up the rule book to write working-class dramas, economical but full of home truths, albeit with a nod to Bertolt Brecht in breaking down theatre’s fourth wall to favour direct address.
Do I Love You? is up there with his best works, visiting York Theatre Royal in the concluding week of its third tour since its 2023 debut, still with the same fresh-faced cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil, who are in the groove not only of the sublime underground Sixties and Seventies music, but also of working together regularly, like the comic interplay of a well-oiled TV comedy series.
Frank exchange: Martha Godber’s Sally makes her point to Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in Do I Love You?
Godber is always at his best when his fractious comedies are fired by both love and anger, ideally backed by a pulsating soundtrack too. The love here is for Northern Soul from his own days of going to all-nighters and weekenders across the north, and he writes with passion, Record Collector levels of knowledge, not so much nostalgia, but more a lament for what we have lost.
Qualities of authenticity, truth, pride: all values he attributes to Northern Soul, music of pain and sorrow and ecstatic release; music of and for the working classes.
He places his drama in the hands of what he calls the lost generation, the twenty-something post-Covid generation stuck in the sludge of working at drive-through fried chicken counters.
Meet Martha Godber’s Sally, who looks after her ailing Irish-born grandma (played with a scarf, a fag and a hacking cough by McDonald), neglected by her drunkard mother. Meet Encinoso-Gil’s Kyle, her best mate, from Spanish stock, but the timing has never been right for it to be anything more than that. Meet McDonald’s Nat (or ‘Natalie’, she insists), their friend since schooldays, who has a crush on Kyle too and likes a spliff or two.
The anger lies in Godber surveying how little has changed between Britain in 1973 and 2023, the year in which the play is still set with Rishi Sunak as Prime Minister, “looking 11 years old” as he puts it.
Do I Love You? writer-director John Godber: Keeping the faith in Northern Soul when losing the faith in everything else
Godber writes of rising costs and prices, unemployment and small-town blues; of pubs closing, hospitality venues going; strikes on-going. Plus ca change.
He writes too of the everyday difficulties of young lives, as they fall out with each other, while facing mounting problems at home. What is left but to find a love, something to believe in, to keep the faith?
Godber interweaves the trio’s trials and tribulations with their initiation into Northern Soul, brilliantly described in Sally’s account of their first visit to a Cleethorpes all-nighter: £3 for eight hours. Soul devotees on the dancefloor, sliding, gliding, kicking, making her cry, although she doesn’t know why, but the way Godber writes, we do.
He takes us there with a sense of poetic wonder, just as he captures the tedium of taking fried chicken orders by reducing the experience to the fewest words possible for the maximum comical impact.
Emilio Encinoso-Gil’s Kyle tentatively shows off his dancefloor moves in Do I Love You?, to the scornful amusement of Chloe McDonald’s Nat and Martha Godber’s Sally
The songs can be played only in snippets that have to stop all too quickly, but Godber evokes Northern Soul by mentioning all the landmark songs and locations and by the power of his pen.
Best of all is the fulminating speech by Encinoso-Gil’s hunched-up Keith, a soul veteran with a criminal past and fingers in every pie, who is Do I Love You’s version of Lucky Eric in Bouncers, except that he squeezes all he has to say into one impassioned yet beautiful rant-cum-lament, whereas Eric has four bites at the sour cherry.
All three performances are terrific, Martha Godber especially so, and if no moment that follows Keith’s speech quite matches it, Do I Love You? packs an emotional punch, full of northern wit, grit and soul power hits.
John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm matinee tomorrow (12/6/2025) and 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Making her point: Martha Godber’s Sally, left, in a contretemps with Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in John Godber’s Do I Love You?
CELEBRATIONS of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.
Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13
THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.
Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Blackpool Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh, on tour at the Grand Opera House, York
Comedy legends of the week: The Last Laugh, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinees today, tomorrow and Saturday
WHO will have The Last Laugh at the Grand Opera House when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?
Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.
One of the Famous Faces on show in the Artistic Spectrum exhibition at Pocklington Arts Centre
Exhibition of the week: Artistic Spectrum: Famous Faces, Pocklington Arts Centre, on show until June 27
BOLD artworks feature in Famous Faces, a powerful, large-scale portrait project from Artistic Spectrum, co-created with more than 100 neuro-divergent and Special Educational Needs children and adults across East and South Yorkshire to challenge perceptions, champion inclusivity and put the power of representation into the hands of those too often left out of the frame.
Developed in group workshops over several weeks, participants created striking portraits of people who inspired them, from musicians and sports stars to activists and screen icons, using collage, found materials and personal objects to make works rich with texture, colour and personal meaning.
Comedian Scott Bennett and his daughter in the promotional picture for Blood Sugar Baby, on tour in York and Pocklington
Storyteller of the week: Scott Bennett, Blood Sugar Baby, Theatre@41, Monkgate, York, tonight, 8pm; Pocklington Arts Centre, August 6, 8pm
ONE family, one condition, one hell of a hairy baby: Scott Bennett, from The News Quiz, relates how his daughter fell ill with a rare genetic condition, congenital hyperinsulinism (CHI).
Never heard of it? Neither have new parents Scott and Jemma as they fight to achieve the right diagnosis for their daughter and are plunged into months of bewildering treatment, sleepless nights, celebrity encounters and bizarre side effects, but a happy ending ensues. Box office: York, tickets.41monkgate.co.uk; Pocklington, 01759 301547 or pocklingtonartscentre.co.uk.
Shed Seven: Off to the Yorkshire coast on Saturday to play Scarborough Open Air Theatre
Coastal gigs of the week: The Corrs and Natalie Imbruglia, tonight; Gary Barlow and Beverley Knight, Friday; Shed Seven, Jake Bugg and Cast, Saturday, all at Scarborough Open Air Theatre; gates open at 6pm
THE 2025 season of Cuffe & Taylor concerts in the bracing sea air of Scarborough opens tonight with the Irish band The Corrs and Australian singer and Neighbours actress Natalie Imbruglia, followed by Take That and solo songwriter and The X Factor and Let It Shine judge Gary Barlow on his Songbook Tour 2025 on Friday, when Beverley Knight supports. Expect hits from both his band and Barlow back catalogues.
After two chart-topping 2024 albums in their 30th anniversary year, York band Shed Seven make their belated Scarborough Open Air Theatre debut on Saturday, supported by Jake Bugg and Cast. Box office: scarboroughopenairtheatre.com.
Henry Blofeld: Wickets and wit in cricket chat at Helmsley Arts Centre
The sound of reporting on leather on willow: An Audience With Henry Blofeld, Sharing My Love Of Cricket, Helmsley Arts Centre, tomorrow, 7.30pm, rearranged from March 21
LEGENDARY BBC broadcaster and journalist, Henry Blofeld, former stalwart of the BBC’s Test Match Special commentary box, takes a journey through modern cricket, while looking back at the great games of yesteryear.
Blowers reflects on how cricket used to be and where it is headed: the theme of his September 2024 book Sharing My Love Of Cricket: Playing The Game And Spreading The Word, wherein he explores the big shifts, innovations and challenges facing the game. Box office: helmsleyarts.co.uk.
Saul Henry: On the Funny Fridays bill at Patch at the Bonding Warehouse, York
York comedy bill of the week: Funny Fridays at Patch, Bonding Warehouse, Terry Avenue, York, Friday, 7.30pm
THE second Funny Fridays comedy night at Patch features Saul Henry, Gemma Day, Ethan Formstone, Lucy Buckley and headliner Jack Wilson, hosted by founder and comedian Katie Lingo.
Formstone’s profile reveals he is a bricklayer from York, who grew bored and now, “using his natural stage presence and wild imagination, lays surreal stories that will delight you and leave you slightly confused”. Tickets: eventbrite.co.uk/e/funny-fridays-at-patch-tickets-1353208666549?aff=oddtdtcreator.
The poster for the SatchVai Band’s Surfing With The Hydra Tour, visiting York Barbican on Friday
Rock gig of the week: SatchVai Band, Surfing With The Hydra Tour 2025, York Barbican, Friday, doors 7pm
FOR the first time in nigh on 50 years of playing rock, guitarists and friends Joe Satriani and Steve Vai have united to tour as the SatchVai Band, opening their European travels in York before heading to London, Paris, Copenhagen, Amsterdam, Istanbul and Athens.
Powerhouse drummer Kenny Aronoff, bassist Marco Mendoza and virtuoso guitarist Pete Thorn complete the stellar quintet. Box office: for returns only, yorkbarbican.co.uk.
Alex telling her story in EGO Arts’ You Know My Mum at Theatre@41, Monkgate, York, on Friday
Cheeky comedy of life, loss and love for all the family:EGO Arts in You Know My Mum, Theatre@41, Monkgate, York, Friday, 7.30pm.
LEADING EGO Midlands Creative Academy’s disabled and neuro-divergent cast, Alex is a 25-year-old woman with Down’s syndrome struggling with the death of her mum. One day, she discovers Bluey, a baby Blue Tit, in her garden.
While Bluey learns about fried chicken factories and joins a boot camp for birds, Alex battles Harry Potter monsters and dreams about life after death. As her wild imagination comes to life, she learns that the love she thought she lost is all around her. Box office: tickets.41monkgate.co.uk.
Paul Engers, left, and Tom Wilson outside York Theatre Royal
COULD silence become golden in theatres once more in this auditorium age of crisp- packet crunching, omnipresent phones and boisterous behaviour?
York theatremaker, filmmaker, director and artist Tom Wilson and Londoner Paul Engers have been working on an initiative with third partner Dr Austen Jones to pilot a product that could “transform the behavioural standards of patrons”.
“We hope our system will revolutionise front-of-house protocol and address the deleterious impact of mobile phone technology on theatre etiquette,” says Tom. “We’re at an advanced stage with the technology, seeking to initiate a trial run at an auditorium in the next few months at venues interested in piloting our system.”
“We’ve known each other for 28 years,” says Paul, by way of introduction. “We met at Dartington College of Arts, in Totnes, where I’d done a degree in theatre and visual arts, and Tom came down to do a degree in theatre and performance writing,” recalls Paul.
“I’m now based in West London, out near Brentford, but I’ve worked in Leeds, among other places, setting up activity camps for pre-school and primary schoolchildren in West Yorkshire and North Yorkshire too.”
Tom has lived and worked in York for 18 years, writing and directing the anarchic farce The Local Authority at the Joseph Rowntree Theatre in August 2021 and presenting his punk expressionist exhibitions at St Bede’s, in Blossom Street, in September 2022 and City Screen Picturehouse in July 2023, as well as making the film Copraphagia with Paul.
Through all these years, they have shared a passion for theatre. “We both appreciate theatre in our own ways but we share a belief that there has to be an understanding of a collective or shared protocol for attending live performances,” says Paul.
“Over the last couple of years, we’ve both found it’s becoming impossible to enjoy going to the cinema, and we’ve also noticed poor protocol in theatres, with fights and people relieving themselves in the auditorium; the constant rustling of sweet wrappers; people talking into their phones during performances, and the distraction of lights from phones.”
Decrying the lack of intervention, Tom adds: “People have stopped going to the theatre because of this. And when you consider the demographic of who works as ushers, or front-of-house, they tend to be the younger demographic…and now venue managers want to protect young staff.”
When Tom and Paul saw Mark Rylance in Sean O’Casey’s Juno And The Paycock and Steve Coogan in Dr Strangelove in the West End, “we were disappointed how lacklustre front-of-house staff were to stop the use of phones, though they put up these cards saying ‘No vaping, no smoking, no mobile phones’,” says Tom.
“On my journey back , I was thinking ‘wouldn’t it be great if you could put a camera on as a monitor to capture when people vape or film the show when they’re not supposed to, and you know their seat number. My George Orwell thinking was: could they be filmed and fined?’”
Paul rejoins: “This idea has now gone through a few iterations, looking initially at the idea of having a device at the back of each level of the auditorium that can record and identify any individuals who are infringing the established protocol of each theatre or a group of theatres.”
Paul and Tom ran their idea by Dr Austen Jones at me-too.net, specialists in performance improvement, based at Tingley, near Wakefield. “He liked the idea and wanted a slice of it,” says Tom.
“He’s provided the technical expertise,” says Paul. “That’s been the main benefit of his input to go with our initial creative idea to use infrared cameras, either to record all the time or to react to movements.
“But over many conversations, we looked at the best equipment and Austen has shown there are better ways than infrared. The key is that he’s developed this software that’s contained in an app, rather than motion-activated cameras.
“This makes it easier in terms of GDPR (General Data Protection Regulation), so venues can sign up to the system, and there will be no recorded data unless someone’s phone lights up with a message.”
Paul continues: “The Silence Is Golden system will be bespoke. The app has been tested by Austen and his me-too.net team in different iterations, and we now need a decent-sized venue to pilot it.
“No-one would be filmed. For each venue, we would need to map out the grid of the auditorium, and then the app would be able, by area, to identify the seat from the level of illumination.”
The system would be linked to the theatre box office. “If theatre groups embrace the idea, they will be able to monitor it from either the management office or from front of house, with management being in radio contact with front of house,” says Tom. “The flexibility in the system is that theatres can choose how they use it.”
Rather than “filming and fining, what we want is a deterrent”, says Tom, but is this a case of creeping authoritarianism? “We want to initiate a debate: how do people feel about this idea,” says Tom.
“Creeping authoritarianism? No,” says Paul. “The beauty of it is that people will not be filmed, Instead it’s the perfect interface of modern digital technology with AI and a good, well balanced protocol for theatre audiences moving forward.
“We want to encourage greater attendance through eradicating poor protocol. We’ve always been about attracting greater audiences.”
Tom adds: “We don’t want it to be an elitist thing that shuts people out. We’re not asking people to sit quietly; we want them to engage with a show but there has been behaviour that has had a negative impact. That’s why we want to put out a call to theatres to test the Silence Is Golden app.”
“The key thing is that Austen has been running the testing of the app for a more than a few weeks now and the simulations work,” says Paul. “Now we need to pilot it, do a test run and take it to the next level.”
A sneak peek of Art Of Protest Project’s North Street Gardens mural in honour of the Rowntree family’s legacy
ART Of Protest Projects is creating a bold new mural in celebration of the life and legacy of the Rowntree family in York.
Work on the installation began on June 2 in North Street Gardens, one of York’s most central – yet sometimes overlooked – green spaces.
York street art collective Art of Protest Projects is known for creating meaningful public art that connects people and place. The latest artwork marks the centenary of Joseph Rowntree’s passing and honours his lasting contributions to the city, particularly the gift of North Street Gardens by the Joseph Rowntree Village Trust in April 1959.
The mural has been commissioned by York BID [Business Improvement District] in partnership with York Cares, the City of York Council, Nestlé, Joseph Rowntree Foundation and the Rowntree Society, supported by generous funding by Nestlé.
The project will become part of the York Art Trail, launched by York BID in 2024 to enrich the city with public art that celebrates York’s culture, history and people.
Rowntree’s Chocolates: Picture copyright of Joseph Rowntree Foundation Heritage Library
York BID project manager Rachel Bean says: “This mural is a celebration of everything Joseph Rowntree stood for: community, education and innovation. North Street Gardens is a hidden gem in our city, and we’re excited to see it revitalised through this artwork. I’d like to sincerely thank the project partners for helping to bring this exciting and important project to life.”
The mural will re-imagine the space with a 46ft typography mural and imagery inspired by Rowntree’s values and legacy. The installation is part of a wider initiative to enhance the gardens that began with the York Cares Big Community Challenge last autumn.
Jeff Clark, of Art of Protest Projects, says: “We are excited to be working on this project to help tell the Rowntree’s story through art. We hope the mural invites people to pause, explore and connect with the deeper history and purpose behind North Street Gardens.”
Leanne Cooper, market procurement manager at Nestlé UK and Ireland, says: “We are so pleased to be part of this project that honours the work of Joseph Rowntree and the profound impact he had on the place that Nestlé Confectionery calls its home: York.
“Our communities are what make Nestlé what it is, and we hope that this vibrant mural will bring joy to those who pass by. We are very proud to have supported this project and the vitality of North Street Gardens.”
Emilio Encinoso-Gil, Martha Godber, centre, and Chloe McDonald on the dancefloor in John Godber’s Do I Love You?
THE John Godber Company is on its third tour of Do I Love You?, John Godber’s hymn to keeping the faith in Northern Soul. Next stop, York Theatre Royal, from June 10 to 14.
In the cast, as they have been since the start, are Martha Godber (John’s daughter), Chloe McDonald and Emilio Encinoso-Gil, a part-Spanish actor, born in Hull, who is an inaugural member of the Godber Theatre Foundation.
Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of fried chicken drive-through counter jobs – Martha’s Sally, Chloe’s Natalie and Emilio’s Kyle – as they develop a love for the uplifting escape of the soulful music of Frank Wilson and co.
What began as a college project grows into a passion, but the dance steps are exhausting. Far beyond their home city of Hull, they find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Tower Ballroom, Chesterfield to Stoke.
“This is Northern Soul for a new generation, but with rising costs, unemployment and small-town blues, has anything really changed?” asks Godber’s pulsating play. “Is this England 1975 or 2025? The pubs are closing, hospitality has gone, and strikes are everywhere; but when you’re out on the floor…”
Out on that floor in York next week, spreading the talc and grabbing his loafers, will be Emilio Encinoso-Gil, who last appeared at the Theatre Royal in the lead role of highwayman John Swift in Godber’s premiere of The Highwayman in the Studio last November.
Do I Love You? playwright and Northern Soul devotee John Godber
“Whether you’re there for John’s comedy, the dancing or the music, it’s really relatable,” says Emilio. “It’s not only brought people in for different reasons, but they come back too.
“You’ve got this coalition of Godber fans, Northern Soul fans and theatre fans in the audience, and it’s also a show where you’re going to get people coming who don’t normally come to theatre, which is cool, as we all want people to do that, and they give you an honest response, that instinctual reaction, which gives the play an authentic sign-off.”
Such authenticity is vital to Godber’s play. “So many people went to the Wigan Casino; it was like the Mecca of Northern Soul,” says Emilio. “It could be intimidating for us, as it’s like a pride thing: when you’re faced by those who go to the all-nighters, you want to get it right for them.
“But they’re not sitting there thinking ‘this is going to be terrible; go on, get it wrong’. It’s more like, ‘right, go on, prove it’. They’re supportive.
“I remember getting goosebumps in Barnsely when Kyle does his speech about what Northern Soul means and afterwards this guy said ‘Spot on’! That made me feel so good.”
Emilio describes Do I Love You? as a “love letter to Northern Soul”. “You can see that in the writing, where you know it will be witty and have social comments to make, but John also feels a responsibility to get it right – and the reactions we’ve had show that he’s hit the nail on the head,” he says.
In the spotlight: Emilio Encinoso-Gil’s Kyle shows off his moves in John Godber’s Do I Love You?
He is delighted that writer-director Godber has retained the same cast. “We were thinking about this the other day, how we’re very lucky and grateful to be able to do it again, as it’s a show we care about so much, and with each show, that only grows,” says Emilio.
“I knew Martha and Martha knew Chloe before we started doing this play, and we’ve grown as friends over the three tours. We’ve all lived lives over that time [since September 2023], like Chloe has had a baby girl. She was pregnant during one tour – and you can already tell her baby is going to be a soul dancer!”
Emilio continues: “We trust each other as performers and I think our characters have got deeper. John said that you will get to the end of a run and think ‘ah, I think I got it’ but you will wish you could do it one more time.
“What’s lucky for us is that we do come back to do it again, but it’s also nice to have the gaps in between and then come back with fresh ideas.
“When we first did it in 2023, we didn’t know how it would go down, whereas now it feels surreal! Last year there were some minor tweaks because John knew he’d hit the nail on the head but wanted to make sure the screws were as tight as possible too! That version has stayed in place for this year’s tour. If it ain’t broke, don’t fix it.”
John Godber Company in Do I Love You?, York Theatre Royal, June 10 to 14, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Post-show discussion on June 13. Age guidance: 14 plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Angels Of The North: Headlining the main stage on Knavesmire at York Pride 2025
YORK Pride and celebrations of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.
Festival of the week: York Pride, Parliament Street to Knavesmire, York, 12 noon to 6pm
NORTH Yorkshire’s largest LGBT+ celebration and York’s biggest free one-day festival, York Pride 2025, takes to the streets for its biggest, boldest and most fabulous event yet today, led off by the Pride Parade that will follow a new path through the streets from Parliament Street at midday.
On Knavesmire, the festival’s main stage will be headlined by Angels Of The North (6pm) and on the bill too will be Ryan Petitjean (1.10pm), tribute act Pet Shop Boys, Actually (1.35pm), Marcus Collins (2pm), Eva Iglesias (2.30pm), York drag superstar Janice D (3.35pm), La Voix (4pm), West End queen Kerry Ellis (5.15pm), The Cheeky Girls (5.35pm) and plenty more. Find the full line-up at yorkpride.org.uk/line-up.
Duncan Honeybourne: Performing the last concert of York Late Music’s 2024-2025 series this afternoon
Season’s finale: York Late Music presents Duncan Honeybourne, piano, Unitarian Chapel, St Saviourgate, York, today, 1pm
PIANIST Duncan Honeybourne performs new commissions commemorating the 100th anniversary of the death of the influential French composer Erik Satie, written especially for this afternoon’s programme by Philip Grange, Fred Viner, Sarah Dacey, Andrew Hugill, Steve Plews, Sarah Thomas, Simon Hopkins, Jenny Jackson and others, some of whom will be heard at Late Music for the first time.
Each composer has been asked to provide a new miniature piano solo influenced or inspired in some way by Satie and their works will be interspersed with a selection of Satie’s own pieces, such as Gnossiennes and Gympnopédies. Box office: latemusic.org/duncan-honeybourne-piano/ or on the door.
Film event of the week: John Barry From York With Love, Everyman York, York, today at 2.30pm and 4pm
JOHN Barry From York With Love, Sean Parkin’s unauthorised documentary of the early career of the York-born film composer, will have two private screenings at Everyman York this afternoon.
Private, yes, but tickets are available, although for copyright reasons, those tickets are for the after-viewing party at The Crescent community venue. The film viewing is free but there will be no entry without an after-show ticket. Doors open at Everyman at 2pm; the after-view party is at 3.45pm. All profits go to the Future Talent charity. A further screening follows at 4pm. Tickets: fienta.com.
Lady Nade: Paying tribute to Nina Simone at Helmsley Arts Centre
Celebration of a legacy: Lady Nade Sings Nina Simone, Helmsley Arts Centre, tonight, 7.30pm,
KNOWN for paying homage to those who have influenced her journey profoundly, Lady Nade holds Nina Simone in high regard for leaving behind a legacy of liberation, empowerment, passion and love through her extraordinary body of work.
As a black woman, Lady Nade acknowledges Simone’s trailblazing role in paving the way for artists of her generation. Her high-energy performance is a heartfelt dedication to recreating the transformative sound that blended popular tunes of the era into a distinctive fusion of jazz, blues, gospel, and folk music. Box office: 01439 771700 or helmsleyarts.co.uk.
The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith
Comedy legends of the week: The Last Laugh, Grand Opera House, York, June 10 to 14,7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
WHO will have The Last Laugh at the Grand Opera House, York, when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?
Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.
Keeping the faith in Northern Soul: Chloe McDonald, left, and Martha Godber in John Godber’s Do I Love You?, on the dancefloor at York Theatre Royalfrom June 10
Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, June 10 to 14, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13
THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.
Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk
Making a last stand: Pickering Musical Society bids farewell to musicals in Hello, Dolly!Picture: Robert David Photography
Goodbye to musicals: Pickering Musical Society in Hello, Dolly!, Kirk Theatre, Pickering, June 10 to 14, 7.30pm plus 2.30pm Saturday matinee
PICKERING Musical Society is preparing to raise the curtain on its final full-scale musical production, after more than a century, citing rising production costs and falling membership.
Set in the energetic bustle of 1890s’ New York, Jerry Herman’s Hello, Dolly! follows the irrepressible Dolly Gallagher Levi (society favourite Rachel Anderson) – a witty matchmaker, meddler and “arranger of things” – as she decides to find a match for herself. Box office: 01751 474833 or kirktheatre.co.uk or in person from the box office on Tuesdays, 11am to 1pm.
Podcaster Blindboy Boatclub
Podcaster of the week: The Blindboy Podcast Live, York Barbican, June 10, 7.30pm
POLYMATH, author, screenwriter, songwriter, musician, producer and academic Blindboy Boatclub is on the biggest tour yet of his storytelling podcast, wherein he follows the Irish tradition of the Seanchaí, intertwining history, fiction, cultural critique and politics.
Drawing on his knowledge and chronic curiosity to democratise topics such as art, psychology, politics, science and music, Blindboy gives his insight into complex issues. Look out for a surprise special guest too. Box office: yorkbarbican.co.uk.
The invitation to Mark Hearld’s book signing on Thursday at Janette Ray Booksellers
Book signing of the week: Mark Hearld at Janette Ray Booksellers, 8, Bootham, York, June 12, from 4.30pm
YORK artist, ceramicist and York Open Studios stalwart Mark Heard will be signing copies of his book, Raucous Invention, The Joy Of Making, published in a beautiful new edition by Thames & Hudson. Mark will be on hand from 4.30pm to 7.30pm.
Released on June 5,the newly expanded edition of Hearld’s monograph bursts with more than 400 colour illustrations and fresh insights in a vivid journey into the heart of his creativity and love of the animal world.
Christopher Simon Sykes’s photograph of Mick Jagger in concert on the Rolling Stones’ Tour of the Americas in 1975, on show at Sledmere House from June 13
Exhibition launch of the week: On Tour With The Rolling Stones 1975, A 50th Anniversary Exhibition of Photographs by Christopher Simon Sykes, Sledmere House, Sledmere, near Driffield, June 13 to July 6, except Mondays and Tuesdays, 10am to 5pm
IN June 1975, Christopher Sykes, of Sledmere House, joined the Rolling Stones Tour of the Americas, known as T.O.T.A ’75: his first rock’n’roll itinerary as a snapper after specialising in photographing stately home interiors.
“You know going on tour is not like country life, Chrissie,” advised Mick Jagger on his first day of accompanying the Stones on their three-month tour of North America and Canada, playing 40 shows in 27 cities. The photos were used in a tour diary published the following year, and this exhibition showcases a selection of the best of the behind-the-scenes and stage pictures in the Courtyard Room. Tickets: sledmerehouse.com.
In Focus: Chalky The Yorkie at No 84 Sandwich Bar, Micklegate Arts Trail, York
Artist Chalky The Yorkie stands behind his Tiki bar at No 84 Sandwich Bar, created for the Micklegate Arts Trail
ROVING, rock’n’roll-loving York artist Chalky The Yorkie has always had a canny eye for spotting locations for his installation pieces.
Raise a glass to his latest artwork, the outdoor, Polynesian-style Tiki bar at No 84 Sandwich Bar, Julian Smith’s deli and cafe in Micklegate, created for the 2025 Micklegate Arts Trail but destined to remain in place after the festival ends on June 15.
“Last year Julian had a conversation with me about how it would be great to have a bar out here, at the back, which was full of bins at the time,” recalls Chalky. “So the bar was the first idea, but then, when we were thinking about the Arts Trail, two friends had suggested I should incorporate bikes, and another said it would be great to do something for the environment, repurposing things out of skips and the old bicycles.
Chalky The Yorkie’s Tiki bar installation poem on the plight of cyclists
“So what I’ve come up with is a bar built with scrap wood and salvaged wood after I was donated some leftovers by a builder to create the Re-Cycle Tiki Bar, to give something back to the planet. David Burton gave me one bike, along with one from his childhood and another was provided by Recycle York, in Walmgate.
“I thought I should create a memorial, taking the term ‘Re-cycle’ to highlight the plight of cyclists who lose their lives in accidents or come off their bikes and get injured in cycle lanes.”
Artist Chalky The Yorkie with No 84 owner Julian Smith at the Tiki bar
Originally Chalky considered designing a 1950s’ bar but then settled on a colourful Tiki bar. “The primary colours are there to match traffic lights, with red, amber, though it’s more yellow than amber, and green. I went for yellow, because it’s a more definitive colour,” he says. “The blues I use signify the pain of loss in a cycling accident.”
Incorporated in the installation too are Beaumont ceramics of exotic birds and figures, acquired from York Catering Supplies, in Walmgate, butterfly motifs, floral decorations and tinkling bells. “I like the Buddhist convention of chiming bells in remembrance of people as part of their memorial ceremonies,” says Chalky.
Welcoming Chalky’s installation, Julian says. “Chalky is part of the fixtures and fittings here. He even came around for our Christmas dinner!
It Can Happen To You – Take Care:Chalky The Yorkie’s Re-cycle memorial to cyclists
“We’re taking part in the Micklegate Arts Trail because it’s all about traders promoting local artists whose work they like, with Navigators Art giving us a platform to do that. Jasmine Foo has never exhibited before, and we picked her crochet work because my wife is a knitter. We’re delighted to be showing Sinead Corkery and Jude Redpath too – and Chalky’s cheeky Tiki bar is the icing on the cake.”
Inside the deli, look out too for Chalky’s day and night paintings of No 84, both featuring the family pet, Sid the dog, in the upstairs window.
Chalky The Yorkie’s painting of No 84 Sandwich Bar, Walmgate, York, at night
