The then and now and Now And Then of the Bootleg Beatles at York Barbican tomorrow

Bootleg Beatles: Get back to York Barbican tomorrow night

LET’S start at the end: the “final” Beatles song, Now And Then, the Fab Four’s 18th chart topper and first in 54 years since 1969’s The Ballad Of John And Yoko.

Yes, the fastest-selling vinyl single of the 21st century will be incorporated into the Bootleg Beatles’ perfectly timed return to York Barbican tomorrow night (13/12/2023).

“It will feature towards the end of the show, in the section when we’re covering the final years of The Beatles,” says Steve White, who is entering his 12th year as the tribute band’s Paul McCartney.

“We hope people are moved by it, the way we present it with the lighting. I’ve seen a video of our performance and it’s really quite haunting.”

First watching the documentary that accompanied the reawakened ghost of  John Lennon’s ballad, with its combination of Lennon’s original late-1970s’ demo, 1994 guitar lines by George Harrison and new parts by McCartney and Ringo Starr, Steve felt the hair on the back of his neck standing up on encountering Lennon’s vocal, separated through the magic of AI.

“It’s a melancholy song, appropriate for the end of The Beatles, and then having to learn it, I could have broken down in tears when we played it for the first time at The Crown in Melbourne on our Australian tour,” he says. “The moment we started the first chord, the crowd just stood up. It was an amazing feeling.”

The song’s title could not be more apt: the now and the then of The Beatles. “We have lost two already, and there are two to go, so to speak. We’re never gonna see anything like them again. Never ever going to see the real thing again,” says Steve.

“With every year that ticks by, we appreciate more than ever that Paul and Ringo are part of the UK’s fixtures and fittings. I’m dreading when they go. Paul is my absolute hero.

“I don’t know him and yet I feel like I know him, and it will feel like losing a member of the family when the day comes. I just hope that I get the chance to say hello, shake his hand and thank him for all the music he has brought us, telling him ‘you are the most amazing musician there’s ever been’. That’s all I’d want to say. He means so much to me.”

Nottinghamshire musician Steve had first been a member of The Beatles Experience with three friends. “We didn’t set out to be a Beatles band but a Sixties’ covers band, but we were all huge fans of The Beatles and kind of based ourselves on them,” he recalls.

“We used to do a few Beatles songs in the set, and someone asked if we could  play just Beatles songs at their 60th birthday party, then a wedding anniversary, and it began to overshadow our Sixties’ tribute show.”

At the time, Steve was the band’s rhythm guitarist, “effectively John Lennon”, he says. “But people kept saying you have to be Paul, because you look more like him – I’m blessed with the eyebrows! – so me and the bass player switched over.

“That meant I had to learn to play [guitar] left-handed, being a right hander. To get to a very crude level of playing took me three months, playing six to eight hours a day, then gradually getting more professional to fill in the blanks.”

Steve went on to audition for the Bootleg Beatles, first sending in a video, then auditioning in person, the process whittling down the applicants to “serious contenders to play with the rest of the band to see how we gelled”.

White, who had seen the Bootleg Beatles many times, was the right fit and continues to travel the long and winding road through the Fab Four Sixties after more than a decade of Bootleg service.

For the past six years, he has been accompanied on the nostalgia trip by Tyson Kelly’s John, Steve Hill’s George and Gordon Elsmore’s Ringo as they re-create the sound and look of each Beatles’ phase in fastidious detail.

“We always go through the Beatles’ career from start to finish, picking out the key points, and so many are iconic, but you can switch the material, like the choice of psychedelic songs,” says Steve. “This show is markedly different: different costumes, guitars, material – and Now And Then of course.

“As usual, we’ll be travelling with our resident orchestra too, four brass and four string players, and another guy, who plays keys.”

The Beatles are back with Now And Then and expanded reissues of their Red and Blue compilations, just as old rivals The Rolling Stones resurface with Hackney Diamonds, their first album of original material since 2005’s A Bigger Bang.

Steve will always be in the Beatles camp. “The Rolling Stones, no discredit to the Stones, as they’re an incredible, iconic band, but they do have a ‘sound’, more of a blues edge. Early on The Beatles were more popified, the ‘unclean’ Stones were more edgy, still are, but The Beatles went on to be so diverse in such a short time together, spanning pretty much everything,” he says.

“How could you ever pigeonhole The Beatles? You couldn’t. It’s impossible.”

Bootleg Beatles, York Barbican, December 13, 7.30pm. Box office: yorkbarbican.co.uk.

REVIEW: Steve Crowther’s verdict on Baroque In The North, York Early Music Christmas Festival 2023, December 9

Baroque In The North: “Delicious programme”

York Early Music Christmas Festival:  Baroque In The North, National Centre for Early Music, York, last Saturday

THE concert programme description was headed Panettone or Bûche de Noël. Now as we know, the Panettone is an Italian sweet bread or fruitcake and Bûche de Noël (also known as a Yule log) is a traditional French Christmas cake.

The underlying theme of this delicious programme was the creeping influence of the Italian Style sweeping through Europe on a stubbornly resistant French musical style. Very tasty.

The recital opened with Baroque In The North players Amanda Babington (violin), Clare Babington (cello) and David Francis (harpsichord) performing Michel-Richard Delalande’s Or Nous Dites Marie. This is a sweet traditional French Christmas song and proved to be a musically courteous welcome.

Joseph Bodin de Boismortier’s Trio in E minor (op 37 no.2) is clearly influenced by the ‘Italian’ trio sonatas. I could hear the influence of both Corelli and Vivaldi in the performance. But it is also distinctly French, for example the rich harmonic language and characteristic French melodic lines.

The playing radiated charm as well as displaying considerable Italianate agility. But the performance also hinted at tensions between the instruments and the environment: the tuning, particularly in the closing Allegro, was not always dead centre.

This was to play out quite theatrically when Amanda Babington swapped the violin for the cutest of French bagpipes, the musette, in the performance of Esprit Philippe Chédeville’s Sonatille Galant no.6.

Just as the fortunes of the instrument itself – which had a deliciously spooky nasal quality – rose and fell with the heads of the 17th and 18th century French aristocracy, so too the fortunes of the musette’s intonation seemed to be at the mercy of the environmental conditions.

Remarkably, instead of hurling the thing across the room as most of us might have been tempted to do, Ms Babington incorporated, transformed the tuning adjustments into theatre. And still delivered a tremendous, insightful performance.

Anyway, it was time for Ms Babington to take a well-earned break, which duly arrived in the form of Vivald’s Cello sonata in G minor. Clare Babington (cello) teased out a brooding melancholic quality in the opening Preludio, which then seemed to infuse the following reflective Allemanda.

The emotional core of the Sonata is very much with the Sarabanda, where highly ornamented, expressive melodic lines enriched the engagement. The role of the harpsichord here is to underpin the singing cello with ever-changing harmonic support.

Not so in the concluding Giga, where both performers clearly relished the crisp vitality of the music. The cute, punctuated signing-off was a delight.

Corelli’s Sonata IV op 5 welcomed back Amanda Babington to the stage, this time armed with a well-behaved recorder. Her performance was breath-taking. The Adagio(s) sang beautifully; the Vivace was full of warmth and wit. I particularly liked the charming, crisp musical chat between the instrumentalists in the Allegro(s). But the musical narrative was recorder-driven; exhilarating stuff.

Claude Balbastre’s La Berryer ou La Lamoignon gave harpsichordist David Francis his moment in the spotlight. The music again blended the Italian and French styles but here the brew was a slightly whacky one. Great tunes, tender moments contrasted with sudden explosions of energy and tempo. Dramatic, eccentric, and ever so gently bonkers. The playing was hypnotic.

The concert closed with two works by the Chédeville brothers, Nicholas and Esprit Philippe. Joseph Est Bien Marié (Esprit Philippe) was a lovely finale, not least as it had a fitting retreat from the stage of the truculent musette. But not before leaving a lasting impression of an adolescent rebel refusing to bow to polite performance convention in ‘Scarlatti’s’ Sonates pour les Clavecins.

Despite the repeat retuning, with David Francis ‘taking bets on the outcome’, the performance was terrific. I’m sure Monsieur Chédeville would have agreed; Senior Scarlatti might have been somewhat perplexed.

This was an eventful, brilliant and utterly rewarding concert, and one further enhanced by the quirky, informative insights shared by Amanda Babington throughout the programme.

Review by Steve Crowther

Why Harrogate Theatre makes ‘the best pantomime in the world’, according to Two Big Egos podcasters Chalmers & Hutch

Tim Stedman in Harrogate Theatre’s Dick Whittington

TWO Big Egos In A Small Car podcasters Chalmers & Hutch head home from Dick Whittington to proclaim why Harrogate Theatre’s pantomime is “the best in the world”.

In Episode 159, Graham also discusses Julianne Moore and Natalie Portman’s chemistry and why May December is Todd Haynes’s slipperiest film.

A sombre conclusion follows as the great songwriting talent of The Pogues’ Shane MacGowan is considered after his flame was snuffed out at 65.

Head to: https://www.buzzsprout.com/1187561/14079973

More Things To Do in York and beyond as panto time arrives and Christmas shows abound. Hutch’s List No. 50, from The Press

Me babbies, me bairns, me Berwick: Berwick Kaler’s dame, Dotty Dullaly, in Robinson Crusoe & The Pirates Of The River Ouse, his third Grand Opera House pantomime. Picture: Charlie Kirkpatrick

‘TIS the season for pantomime as three start at the same time amid a glut of Christmas shows, from kitchen disco to classic rock, as Charles Hutchinson reports.  

York pantomimes at the treble: Rowntree Players in Cinderella, Joseph Rowntree Theatre, York, today until next Saturday, except Monday; Jack And The Beanstalk, York Theatre Royal, until January 7 2024; Robinson Crusoe & The Pirates Of The River Ouse, Grand Opera House, tonight until January 6

ROWNTREE Players “rollicking pantomime” director Howard Ella is joined in the writing team for the first time by comic Gemma McDonald, who will be playing Buttons alongside Sara Howlett’s Cinderella, Laura Castle’s Fairy Flo and the baddie trio of Marie-Louise Surgenor’s Wicked Queen, York ghost walk host Jamie McKeller’s Cassandra and Michael Cornell’s Miranda.

James Mackenzie’s Luke Backinanger and Nina Wadia’s Fairy Sugarsnap in Jack And The Beanstalk at York Theatre Royal

York Theatre Royal’s fourth collaboration with Evolution Productions goes green with Nina Wadia’s Fairy Sugarsnap and CBeebies’ James Mackenzie’s villainous Luke Backinanger joining returnee Robin Simpson’s Dame Trott, Anna Soden’s Dave the Cow, Mia Overfield’s Jack and Matthew Curnier’s very silly Billy in Jack And The Beanstalk.

Dowager dame Berwick Kaler tackles Robinson Crusoe for the first time in his 43rd York panto and third at the GOH. Jake Lindsay takes the title role alongside the Ouse crew’s regulars, Martin Barrass, David Leonard, Suzy Cooper and AJ Powell. Box office: josephrowntreetheatre.co.uk or 01904 501935 (last few tickets); yorktheatreroyal.co.uk or 01904 623568; atgtickets.com/york.

Matheea Ellerby: Shining as Sparkle in Pocklington Arts Centre’s The Elves And The Shoemaker Save Christmas

Debut of the week: The Elves And The Shoemaker Save Christmas, Pocklington Arts Centre, until December 16

WRITER Elizabeth Godber and director Jane Thornton are at the helm of Pocklington Arts Centre’s inaugural in-house production: the children’s story of Jingle, Sparkle and Daredevil Dave, who have gingerbread to cook, peas to find and shoes to make. But who gives the Elves their Christmas? Surely they too deserve a break? Dylan Allcock, Jade Farnill and professional debut-making Matheea Ellerby star. Show times and tickets: pocklingtonartscentre.co.uk.

Sophie Ellis-Bextor: Cooking up her hits with Christmas trimmings in her Kitchen Disco at York Barbican

Yuletide on the dancefloor: Sophie Ellis-Bextor’s Christmas Kitchen Disco, York Barbican, Sunday, 7.30pm

WHAT began as a lockdown online sensation from Sophie Ellis Bextor’s kitchen turned into her 2022 Kitchen Disco tour. Now she follows up Cooking Vinyl’s June release of her seventh studio album, Hana, with her Christmas Kitchen Disco tour for 2023. Hits from throughout her career will be combined with festive classics, served in her seasonal disco style. Tickets update: Sold out. Could be murder on the dancefloor to acquire one now. Box office for returns only: yorkbarbican.co.uk.

Mostly Autumn: Christmas classic rock at The Crescent

Homecoming for Christmas: Mostly Autumn Christmas Show!, The Crescent, York, Sunday, 8pm

BEFORE heading off to Belgium and the Netherlands next week, York classic rock band Mostly Autumn play a home-city Christmas show heavily influenced by 1970s’ progressive rock, trad folk and, increasingly, contemporary influences after 28 years together led by guitarist Bryan Josh.

Meanwhile, York folk-covers, busker rock’n’roll troupe Hyde Family Jam have sold out both Thursday and Friday’s Christmas Party gigs, but tickets are available for Tuesday’s 7.30pm double bill of folk trio The Magpies and York singer-songwriter Dan Webster. Box office: thecrescentyork.

Bootleg Beatles: Get back to York Barbican on Wednesday

Tribute show of the week: Bootleg Beatles, York Barbican, Wednesday, 7.30pm

PERFECT timing for the Bootleg Beatles to return to York this Christmas with their nostalgic whirlwind trip through the Fab Four Sixties, after the reissue of the ‘Red’ and ‘Blue’ compilations and especially the chart-topping renaissance of Now And Then.

And yes, that reactivated ghost of a John Lennon song will feature in a set combining the then and the now as Steve White’s Paul, Tyson Kelly’s John, Steve Hill’s George and Gordon Elsmore’s Ringo re-create the sound and look of each Beatles’ phase in fastidious detail, accompanied by a brass and string orchestra. Box office: yorkbarbican.co.uk.

A mouse on skis in A Townmouse Christmas at Fairfax House, York

Mouse in the house: A Townmouse Christmas, Fairfax House, Castlegate, York, until January 7, 10.30am to 4.30pm, last entry 4pm

FAIRFAX House’s 2022 festive exhibition, A Townmouse Christmas, returns this winter with double the magic and double the mice, causing even more mayhem and mischief amid the Georgian Christmas festivities.

Hundreds of merry mouse guests can be spotted swinging from the ceiling and bursting out of drawers as they play among the 18th century décor, festive foliage and displays of Georgian Christmas traditions. Tickets: fairfaxhouse.co.uk.

Hands up who’s coming to town: Santa Claus looks forward to York Stage’s Santa’s Sing-a-Long

Busiest company of the week: York Stage presents Santa’s Sing-a-Long, Wednesday to December 23; Festive Feast, December 15, 16, 19 to 22, 8pm, both at Theatre@41, Monkgate, York

JOIN Mr and Mrs Claus in their busy home as they prepare for the big day, entertaining children with 45 minutes of sing-a-longs, Christmas stories, interactive wonderment and Christmas songs aplenty. Santa has a Christmas book for every child to take away to read on Christmas Eve. Show times and tickets: tickets.41monkgate.co.uk.

At night, York Stage vocal talent, accompanied by Adam Tomlinson and his band, dishes up a Festive Feast of Christmas songs, ranging from the traditional to modern pop, plus lashings of musical theatre favourites.

On song will be Katie Melia, Jess Main, Tracey Rea, Matthew Clarke, Cyanne Unamba-Oparah, Carly Morton, Finn East, Jack Hooper, Hannah Shaw, Stuart Hutchinson and York Stage debutant Jess Parnell. Box office: tickets.41monkgate.co.uk.

Mike Paul-Smith: Musical director of Down For The Count at the Royal Hall, Harrogate

Christmas in full swing: Down For The Count, Swing Into Christmas, Royal Hall, Harrogate, December 16, 7.30pm

MIKE Paul-Smith trained as a doctor but is now principal conductor of London vintage orchestra Down For The Count, specialists in bringing jazz’s Swing Era back to life, in this case with a festive focus.

Paul-Smith and arranger Simon Joyner re-create the music of Nat King Cole, Billie Holiday, Ella Fitzgerald, Frank Sinatra and many more in a luscious 30-piece orchestral setting, evoking Capitol Studios recordings. Cue original arrangements of The Christmas Song (Chestnuts Roasting) and It’s Beginning To Look A Lot Like Christmas, alongside Let’s Face The Music And Dance and S’Wonderful. Box office: 01423 50211 or harrogatetheatre.co.uk.

Reopening of the week: Victorian Christmas at York Castle Museum, Eye of York, until January 7 2024

Story Craft Theatre’s Cassie Vallance and Jane Bruce with their Museum Mice at York Castle Museum

YORK Castle Museum’s Victorian Kirkgate street has reopened for a magical Yuletide experience full of activities and performances for all ages.

Highlights include Chris Cade’s Scrooge shows; a Victorian green-clad Father Christmas; carol singing on Sundays, and Janet Bruce and Cassie Vallance’s Story Craft Theatre bringing cute Museum Mice to life with puppets, games and family fun, followed by a craft activity on several weekdays. To book tickets: https://beta.yorkmuseumstrust.org.uk/york-castle-museum/admission-tickets

REVIEW: Martin Dreyer’s verdict on Danny Driver, Sir Jack Lyons Concert Hall, University of York, November 29

Danny Driver: “Did not hold back from giving it the full tour-de-force treatment”

IT was testament to his versatility that no fewer than ten different composers featured in Danny Driver’s piano recital.

A first half concentrating on music for evening and night centred on Beethoven and Schumann. Thereafter music of the last 50 years included several living composers, though one suspects this was more challenging for him than for his audience.

Beethoven’s ‘Moonlight’ Sonata, Op 27 No 1 in C sharp minor, was ushered in by the gentle lilt of Schumann’s Des Abends, its unsettled accompaniment suggesting that all was not quite well with the composer’s evening.

The Beethoven was allowed to speak for itself, its opening melody strongly outlined, while menace remained in the dotted rhythms of the left hand. In a controlled scherzo, he neatly differentiated the two halves of the opening phrase – so important for what follows – into legato (first four notes) and staccato (the remaining four). Clarity was the watchword here.

So too in the finale, which was properly agitato and taken at a tremendous lick. Beethoven’s anger here was never in doubt and Driver did not hold back from giving it the full tour-de-force treatment, with heavily percussive accents like rifle shots.

Danny Driver: Virtuosity in a daring programme. Picture: Kaupo Kikkas

In contrast, Schumann’s ‘Ghost’ Variations remained intimate (‘innig’ as he marks the theme), reflecting a moment of rare calm at a time when the composer’s mental health was precarious. There was a pleasing flow to the melody. Even in the minor key variation (the fourth), we were kept in touch with the theme by its rhythm.

After a brief journey with Debussy to the swaying dances of a Grenada evening came total change in Scriabin’s ‘Black Mass’ Sonata, No 9, which bubbled up repeatedly like a witches’ cauldron. Driver perfectly reflected the score’s volatility, almost a bacchanalian orgy, which died with exhaustion in the closing bars.

After the interval we were on much newer ground. Five Ligeti Études acted as template for a series of 21st century reactions in very similar vein. With few exceptions, the later versions were pale reflections of the original.

All but two used rapid staccato figures, hovering much of the time in the very upper reaches of the keyboard with minimalist intent. At least Martin Suckling’s Orrery (with the composer present) had a distinctive bell-like underlay and grew in intensity, thereby engaging the attention.

One could only marvel at Driver’s virtuosity and wonder how he was able to memorise such similar works. It was a daring programme, but it needed something meatier at the centre of its second half.

Review by Martin Dreyer

Nina Wadia finds the kooky in Fairy Sugarsnap in Jack And The Beanstalk pantomime at York Theatre Royal

Wanderful: Nina Wadia’s Fairy Sugarsnap with her arty joke of an artichoke wand in York Theatre Royal’s pantomime, Jack And The Beanstalk

NINA Wadia was confused. Growing up in India and Hong Kong, pantomime was a foreign country to her.

“When I came to the UK from Honk Kong to study classical theatre at the London Theatre School in Wandsworth, I was new to this country,” recalls the EastEnders and Good Gracious Me star.

“I went for an audition for my first ever professional job in Robin Hood at Theatre Royal Stratford East, but I thought pantomime was some form of mime! I auditioned like all the other actors, and when they said, ‘have you got a song?’, I blagged it and said ‘of course’. ‘Do you dance?’. ‘Yes, I tap,’ I said, but I was thinking, ‘why do I need to do this when it’s a mime show?’, as I just didn’t know the pantomime tradition.”

Song and dance? “What kind of mime is that,” she asked. Explanation forthcoming, she was cast as Friar Tuck, and now, more than 30 years later, she will be making her York Theatre Royal tonight (8/12/2023) as the poster face of Jack And The Beanstalk, playing Fairy Sugarsnap.

In the box seating: Nina Wadia at York Theatre Royal

She is forever grateful to Theatre Royal Stratford East, in particular Philip Hedley, artistic director from 1979 to 2004, and his associate director, Jeff Teare. “It’s the most incredible theatre that opens the door for ethnic actors,” says Nina, who will turn 55 during the panto run on December 18.

“It was very hard being an ethnic actor, and if you think of pantomime, I don’t think you’d go to a brown actor in those days. I loved that it was such an open theatre to look at actors regardless of their colour and think if you have potential, they will help develop that.

“Jeff saw something in me, the kind of thing that has made my career: the kind of energy I have, but also the willingness to learn, which I still have, whereas a lot of young actors seem overly confident now.

“I really want to express that to young people coming into the business, where they can stand out at drama school and think they know it all, by I always find that by the end of playing a role I know more than when I started.”

Nina Wadia: Mother, actress, comedian, producer, presenter and charity campaigner

Nina points to her role as Zainab Masood in the BBC’s London soap opera EastEnders from 2007 to February 2013. “I never watched EastEnders before being in it,” she admits. “I signed up for six months but ended up staying on and on, and I got to knowZainab over those six and a half years – and I really liked her.

“They hired me to bring some comedy to EastEnders, and I was the first actor to win an award for best comedy performance in EastEnders. What was really interesting was I was told they wanted me to create a character like Wendy Richards’ Pauline Fowler but funny, so I watched her, and she was so grumpy that I found her funny! Anyway, I found the way to make Zainab funny was to make her very blunt.”

Nina’s gift for her comedy had marked her out from her pantomime bow as Friar Tuck, the beginning of a seven-year involvement with Theatre Royal Stratford East.  “The show was brilliant and the writer Patrick Prior was the real thing. Playing Friar Tuck, I was one of the four ‘merry men’, with a pillow at the front, a pillow at the back and a skull cap put on top of my very long hair. Very glamorous!” she says.

“I had the best actresses to work with straightaway, sharing the dressing room with all the ‘merry men’, all played by women.”

Fairy versus villain: Nina Wadia’s Fairy Sugarsnap with pantomime baddie James Mackenzie’s Luke Backinanger in Jack And The Beanstalk

She loved the pantomime humour. “I laughed so much, having grown up with British humour in Hong Kong: Blackadder, Morecambe & Wise and Some Mothers Do ’Ave ’Em. On. On the American side, there was the stand-up of Joan Rivers, Robin Williams and Eddie Murphy, so I was drawn to the combination of crazy antics and really raw, rude comedy that I wasn’t supposed to watch but I loved, especially Eddie Murphy.”

Nina’s subsequent career has embraced everything, from radio drama company regular to soap opera , BBC Asian sketch comedy in Goodness Gracious Me to 2021 Strictly Come Dancing contestant, TV roles as Aunty Noor in Citizen Khan and Mrs Hussein in Still Open All Hours to video game voiceover artist and narrator for the animated series Tweedy And Fluff on Channel 5’s Milkshake. Charity campaigner too, honoured with an OBE.

Profiling herself on social media as Mother, Actress, Producer and Presenter, Nina loves to embrace every medium, her latest addition being her online satirical political character, the Conservative councillor and constituency candidate Annie Stone. “She’s a mixture of Suella Braverman and Priti Patel: vile but believable. She’s on TikTok, Instagram and X and she now has proper followers at #VoteAnnieStone!”

From tonight, Nina will be delivering rhymes, mirth and magic as Fairy Sugarsnap in Jack And The Beanstalk. “I was expecting a silly costume. I described it to my husband [Raimond Mirza] and said they’ve dressed me as an aubergine pretending to be an artichoke,” she says. “I’ve made her more kooky than usual, given her more depth, as much as you can give her depth!”

Nina Wadia waves a wand over Jack And The Beanstalk at York Theatre Royal from today (8/12/2023) until January 7 2024. Box office: 01904 623568 or yorktheatreroyal.co.uk.

York Castle Museum reopens Kirkgate and Period Rooms today for Victorian Christmas season of activities and performances

Kirkgate at York Castle Museum: Reopening today for Victorian Christmas season. Picture: Anthony Chappel-Ross

YORK Castle Museum’s Victorian Kirkgate and Period Rooms reopen today with a fanfare to celebrate Christmas 2023.

The magical Yuletide experience promises activities for all ages, with “something to get everyone into the festive spirit”. 

Wandering through the Victorian street of Kirkgate as Christmas arrives with a sprinkling of festive snow on the historic cobbles, visitors can enjoy the street’s charming period trimmings and peek at historical decorations and objects from the museum’s collection in the shopfronts. 

On selected dates throughout the holiday season Chris Cade’s Ebenezer Scrooge will appear on Kirkgate. A family-friendly re-telling of Charles Dickens’s festive novel A Christmas Carol is included in the general admission ticket, while an after-hours Scrooge will return for adult-only evening performances at an additional cost.  

Chris Cade’s Ebenezer Scrooge: Performing A Christmas Carol during York Castle Museum’s Victorian Christmas season. Picture: Charlotte Graham

Look out too for Cade in An Evening With Scrooge at The Hospitium, Museum Gardens, York, from 6pm to 9pm on December 21, when a finger buffet will be followed by his one-man performance of Dickens’s Christmas tale of redemption, generosity and warm-hearted joy at 7.30pm, concluding with mulled wine and mince pies. Box office: tickettailor.com/events/scroogeyorkvenues/1016640?.

A Victorian green-clad Father Christmas will be on Kirkgate welcoming visitors every weekend throughout December until Christmas. The Father Christmas of that time was known for bringing jollity, talking of food, feasting, games, dancing and songs. Visitors will be welcome to join in and to make their own Christmas card. 

On Sundays, including Christmas Eve, the cobbles will ring to the sound of carol singers singing traditional songs to “bring smiles and warm hearts even on the coldest of days”. 

As well as experiencing the Christmas cheer on Kirkgate, visitors can step back in time as they stroll through the Period Rooms, from a 17th century dining room to a Victorian worker’s cottage. 

Story Craft Theatre’s Cassie Vallance, left, and Jane Bruce with their Museum Mice at York Castle Museum. Picture: Anthony Chappel-Ross

For younger children, Janet Bruce and Cassie Vallance’s Story Craft Theatre will bring cute Museum Mice to life with puppets, games and family fun, followed by a craft activity on several weekdays. 

The 2023 festive season will continue into “Betwixtmas’” with events running between December 27 and January 6 2024, when performances will share New Year traditions and there will be the opportunity to make a New Year’s card ready to welcome in 2024. 

This year’s Christmas offer is part of general admission to York Castle Museum, giving access to the museum, at the Eye of York, for 12 months.  

Victorian Christmas at York Castle Museum runs from today until January 7 2024, included in general admission. To book tickets: https://beta.yorkmuseumstrust.org.uk/york-castle-museum/admission-tickets

Scrooge performances (A Christmas Carol):
December 9, 10, 16, 17, 18 and 23, four shows throughout the day, included in general admission.

A Christmas Carol, adult-only evening shows:

December 19, additional cost.

Father Christmas in Victorian green outside York Castle Museum. Picture: Anthony Chappel-Ross

Green-clad Father Christmas:
December 9, 10, 16, 17, 23 and 24, four times a day. 

Story Craft Theatre’s Christmas tails from the Museum Mice and craft activities:
December 11, 13 and 20, 11am and 1pm.

Carol singers:
December 10, 17 and 24, several times throughout the day. 

Betwixtmas activities:
December 28, 30 and 31; January 2, 4 and 6, four times a day. 

York Castle Museum will close early at 3 pm on Christmas Eve and will be closed on December 25 and 26 December and January 1 2024, reopening on January 2. 

A festive scene in Kirkgate at York Castle Museum. Picture: Anthony Chappel-Ross

Why the north side of York Castle Museum was closed temporarily: the back story

YORK Museums Trust closed Kirkgate, the Period Rooms and Shaping the Body at York Castle Museum in September after RAAC (reinforced autoclaved aerated concrete) was found in parts of the roofing.

To meet government guidelines, specialist inspections had to be conducted. Now completed, they report the RAAC to be in good condition throughout the site and extra supports have been fitted to meet building regulations.

From today, only Shaping the Body will remain closed for the time being while further work is carried out.

The Prison Cells, the Sixties Gallery and the First World War Gallery were able to remain open.

REVIEW: Martin Dreyer’s verdict on The Harmonious Society of Tickle-Fiddle Gentlemen, NCEM, York, December 3

The Harmonious Society of Tickle-Fiddle Gentlemen poster for December 3’s York Early Music Christmas Festival concert

York Early Music Christmas Festival: The Harmonious Society of Tickle-Fiddle Gentlemen, National Centre for Early Music, York

IT did not take the festival long to find a proper Christmas theme. On this second evening, “To Bethlehem in haste!” was the banner proclaiming some unusual fare. Two brief anthems by the Czech composer Šimon Brixi and an anonymous English Messiah of 1720 – the bulk of the evening – were topped off by familiar Purcell.

The Harmonious Society consisted here of a quartet of singers and ten players, a string quintet with trumpet, flutes, oboe and keyboard. There was no conductor, except in the Purcell, which was led by the group’s bassist and director Robert Rawson. It was a happy experience, even if much of the music was less than completely satisfying.

Brixi, who operated during the first third of the 18th century, was the best known of a family of musicians in Prague. He was the first to use the Czech language in church music, where Latin was the norm.

An offertory with an alto aria at its centre, in Latin, was followed by a gradual in Czech, which somehow felt more authentically joyful about the holy birth than its predecessor had done. Perhaps Brixi was happier in the vernacular.

Neither, however, offered any threat to the greater names of the era. Nor did Messiah: A Christ-Mass Song, which is based on a libretto by the Oxford tutor Anthony Alsop, although its composer remains in decent anonymity. The score was presented to Durham Cathedral in 1720, the only clue to its date. Its value may lie in Charles Jennens, librettist of Handel’s Messiah (1742), having heard it in Oxford and then had ideas of his own.

After ‘borrowing’ its overture (from Corelli’s ‘Christmas’ concerto) – a not uncommon practice, which Handel regularly espoused – it deals with the Christmas story in two main scenes: the shepherds in the fields, who include the Arcadian archetypes Corydon and Lycidas, and the Magi with the subsequent gathering at the manger.

The bass soloist’s narration is closer to arioso than recitative. There are strong grounds for claiming this as the first English oratorio, with its mix of choruses, recitatives and arias.

The composer was clearly influenced by Venetian style, especially in the use of trumpet and oboe, and understood how to handle instruments. His/her writing for voices is less clever and treats them instrumentally, which means that there are few memorable melodies, apart from a jaunty “alternate pastoral for shepherd boys” in rhyming couplets given to soprano and alto.

Among its best moments was an early bass aria with trumpet obbligato (Will Russell), which was given zesty treatment by Edward Grint. The Magi were bass, alto and tenor respectively, with the latter’s aria notable for telling pauses and well handled by Nicholas Mulroy; all three then chorused joyfully.

The arias for Corydon and Lycidas were oddly allotted to the same singer, soprano Philippa Hyde, whose overall projection improved considerably when she actually faced her audience after the interval. The alto Ciara Hendrick, by comparison, brought real charisma to her diction.

The band clearly relished the score which, while unexceptionable, always displayed a certain charm. That said, it does not challenge Handel at any level. Purcell’s cantata Behold, I Bring You Glad Tidings brought us back to safer ground, if with only strings and organ in support, and received the respect it deserved.

Review by Martin Dreyer

York Early Music Christmas Festival continues until December 9; www.ncem/yemcf/

Dame Berwick ready to set sail on his first ever Robinson Crusoe pantomime crusade

Name that dame: Berwick Kaler will play Dotty Dullaly in his 43rd York pantomime. Picture: Charlie Kirkpatrick

BERWICK Kaler first performed in a York pantomime in 1977. Now he is 77.

“I feel fit,” says the grand dame, ahead of Robinson Crusoe & The Pirates Of The River Ouse setting sail on Saturday with the usual crew on board.  “When I get on stage, I don’t feel any different. I’ve just been doing the flying sequence, and they worry for me, but I was fine. I didn’t think twice about doing it. It felt the same as ever.

“Yes, I do see changes in my dame, but it’s only age.” Physically, however, Dame Berwick has shrunk from his prime panto fighting weight of 11 stone, thinner in the face and legs, wiry of frame, eyes as big as a spaniel’s, as he sits in Dressing Room One at the Grand Opera House for this lunchtime chat.

He breakfasts on porridge, smoked salmon and two poached eggs, but has not recovered any of the two and a half stone he lost in a year when his long-time partner, David Norton, died.

“The doctors have checked me over, and no-one can find anything wrong with me. It’s driving me mad,” says Dame Berwick, who had a double heart bypass operation six years and relies on “Gerry”, his pacemaker, to keep him ticking over.

Not only does he feel fit, but he feels Robinson Crusoe & The Pirates Of The River Ouse is fit too for its public bow this weekend – even if Daniel Defoe’s 1719 tale of adventure and survival is not the easiest fit for pantomime service.

“I’ve never done Robinson Crusoe before,” says writer-director Dame Berwick, who will be appearing in his 43rd year York panto. “It’s not a pantomime; it never has been! But now, yes, it is a pantomime, but I’ve had to mix a lot of ingredients into it because it’s essentially a one-man story – and Man Friday has had to go.

“What was I on to have made that decision to do it,” he asks himself. “But I do like picking at bones to make a show.”

Robinson Crusoe does have York links: born in the city in 1632 to a middle-class upbringing, he set out from here on his travels. That fact alone gave Dame Berwick the bones on which to flesh out his script. “I blame Martin Dodd for the title!” he says, referring to the managing director of UK Productions, producers of the Grand Opera House pantomime for a second year. “He suggested pirates for the show, and so we have the Pirates Of The River Ouse.”

Those pirates will be played by the dance ensemble, while Jake Lindsay, so often the butt of Kaler’s jesting in his gradual graduation from ensemble to character parts over the past decade, will take the title role. “Every year I tell him, ‘go and get another career’ and he never listens,” says Dame Berwick. “Anyway, it’s a while before you see him!”

As ever, Dame Berwick’s regular partners in pantomime are reassembling. “I’m playing Dotty Dullaly, and we’re getting very modernistic as she was married before, to Mr Crusoe. Robinson is her son,” he explains.

“She was going to go on a cruise with Mr Crusoe and Robinson, but at the last minute she was taken ill and it was the last time she saw them. Then she got married to Mr Dullaly, and they had two children: 18-year-old Suzy Cooper [Polly Dullaly] and 16-year-old Martin Barrass [Willy Dullaly]!

The Ouse crew’s regular front five: David Leonard, left, Martin Barrass, Suzy Cooper, Berwick Kaler and A J Powell. Picture: Charlie Kirkpatrick
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AJ Powell will be appearing in trademark Brummie mode as Luvverly Jubberly, while inveterate villain David Leonard will revel in the vainglorious name of Narcissus. “He has to come to York to acquire half an amulet before sailing to the Island of Destiny – it’s not called that in the book! – to extract the other half from around Robinson’s neck,” says Dame Berwick.

“You can’t do anything with the real story of Robinson Crusoe, so I’ve introduced magical elements, like a book of spells that Robinson is in control of. Since he was shipwrecked on the island, he’s been made into an idol, but Narcissus, whose mother was a good witch, who never wanted him to get his hands on that book, is determined to force Robinson into the Tomb of Destiny to retrieve it.”

Echoes of Aladdin’s Cave and the arch antagonist Abanazar in Aladdin, you ask. “There are hints of Aladdin, hints of Sinbad The Sailor, in there, but it’s not a copy of them. It’s my new twist on them,” he says.

After Dick Turpin Rides Again and The Adventures Of Old Granny Goose, Dame Berwick is enjoying creating his third Grand Opera House panto. “Why keep doing it? I don’t need to do it, and I’ve told my agent I don’t want do to TV, films and stage shows any more. I’ve done all that. Just panto,” he says.

“I’m not a writer but I have to say I quite like the process of writing. Would I miss panto? Yes. I’d just be sitting at home with the dogs watching rubbish TV, which would be bliss, but I prefer to be doing this.”

Familiarity breeds content that suits long-serving company and York Pantomime (Berwick Kaler) Appreciation Society devotees alike. “It’s the only pantomime where you can get away with in-jokes, as it’s the audience that laughs, not the actors, because they’ve been following us for so long,” says Dame Berwick.

“We are five performers who know each other inside out; we can talk on common ground; we know how to work together; I know what to write for them all, though it gets more difficult over the years! I could bring others into the cast but no, this is a staunchly loyal group that has served York so well, doing great deeds in the world of panto.”

The core team remains intact, but Dame Berwick has had to adapt to the age of cancel culture. “Up to the last couple of years I wrote with a sense of humour that we’d had since I can remember, where nothing was taken as an insult to anyone,” he says. “But lately, if anyone said, ‘oh that’s a bit naughty’, I’d have to say, ‘no, I wrote it in innocence’.

“The last two years I’ve learned that it’s a lot safer if we laugh at ourselves on stage, taking the mickey out of each other, but that does take away from a lot of things that worked before and that’s a shame. There still has to be a shock element to comedy.

“I’ve always found that people come away from our shows saying, ‘I didn’t expect your panto to be so different from all the others’. You still have to have ‘he’s behind you’ in there, but come on, let’s keep surprising people.”

Contemplating the future, Dame Berwick says: “I’m not going to announce my retirement. I’ll just go quietly, whenever. I’ve had my big send-off already [after 40 years at the Theatre Royal]

“When they announce the next Grand Opera House pantomime, it will either be with us or without us.”

Robinson Crusoe & The Pirates Of The River Ouse, Grand Opera House, York, December 9 to January 6 2024. Box office: atgtickets.com/york.

Copyright of The Press, York

REVIEW: Steve Crowther’s verdict on The 24, Sir Jack Lyons Concert Hall, University of York, November 22

Conductor Sarah Latto

THE core of this wonderfully programmed concert was the sensuous, perhaps even erotic text of the Song Of Solomon.

The poem celebrates love in an invitational courtship: two lovers singing to each other, desiring each other. They are in harmony in a God-free narrative that celebrates humanity.

This was particularly striking in Raffaella Aleotti’s setting of Ergo flos campi where the two lovers take the form of two unequal choirs. The energetic antiphonal exchanges were beautifully delivered by the singers.

The24’s concert opened with Flemish composer Clemens non Papa’s setting of the same text. This was a refined, controlled performance where the weaving of the seven-part setting was delightful. The balance was impeccably judged.

I was going to mention the striking high versus low setting of the ‘lily between thorns’, but as it was highlighted in the programme notes I’ve decided not to bother. I really enjoyed the ebb and flow of Hildegard of Bingen’s Flos Campi. The musical experience was undoubtedly spiritual.

James MacMillan’s setting of Robert Burns’ The Gallant Weaver was a secular musical match made in heaven. The work is brimming with the distinctive influence of Scottish folk music – the rich ornamental inflections or decoration was delightfully executed, as well as Gaelic Psalmody.

The overall effect was generally peaceful; the voicing was inspired with triple soprano divisions and gentle hanging dissonances that were exquisite. The only issue I had was the exposed bass and tenor setting of the words ‘the gallant weaver’, which jarred. Sir James, I suspect, not the choir.

The 24: “Radiating warmth and joy”

I personally find Morrissey a charmless, narcissistic individual, but there is no doubting his ability as a songwriter and performer. I really like The Smiths’ There Is A Light That Never Goes Out (written by him and guitarist Johnny Marr), and I found this arrangement by Sarah Latto and the performance itself quite sublime. It was so touching, tender and respectful.

There is much to admire in John Barber’s Song Of Songs (commissioned by The Sixteen); the intricate weaving of the musical lines, lovely ornamentation and music that rhythmically danced. But I failed to engage with the work. Not even the funky ostinato of Love Is As Strong As Death or the splendid singing in By Night could revitalise that movement’s blandness.

Unlike Judith Weir’s Vertue; a very fine performance of a very fine work. Weir’s music always shines brightly, and this was no exception. Alex Kyle made a guest appearance to conduct Schütz’ Ego Dormio; the direction was assured and the performance highly rewarding.

Kerry Andrew’s CoMa Blues was a welcome change of musical gear. The composer has forged her own clearly distinctive voice, and this short theatrical performance was spot-on.

One of the concert highlights was Victoria’s Trahe Me Post Te. It is such a delight to immerse oneself into this velvety chocolatey sound world of absolute luxury. Especially when the performance, under the inspirational direction of conductor Sarah Latto, is as polished as this.

The programme concluded with Philip Glass’s Quand Les Hommes Vivront d’Amour. This attractive work is a hymn to universal love and the responsibility that goes with it, a somewhat timely message needed right here and right now.

It had all the hallmarks of Glass’s radical, and it is indeed radical, style: effective, almost hypnotically driven motor rhythms, repetitive patterns, breathing dynamic phrasing. The performance radiated warmth and joy, a great way to sign off, to say goodnight.

Review by Steve Crowther