Evie Pickerill’s Spirit of the Ring in York Theatre Royal’s Aladdin. Picture: S R Taylor Photography
CBBC host Evie Pickerill is not only dashing around in two roles in Aladdin at York Theatre Royal this festive season, she also is popping up in the CBeebies pantomime, Beauty And The Beast.
“I’m playing the Robin,” she says. Not the first role that springs to mind in that story. “She’s Belle’s best friend, who’s a bird, so I got to fly! I’ve never flown across a stage before, so I was quite nervous about it but I loved it – and the costume was incredible! Now I’d love to do it again, maybe playing Tinkerbell.”
Evie headed up to Edinburgh’s Festival Theatre to record the televised pantomime before starting rehearsals for Aladdin. “We performed it live for two days at this huge, wonderful theatre. It’s been running in cinemas and you can see it on iPlayer in December as well as on CBeebies.”
The Theatre Royal rehearsals reunited Evie with choreographer Hayley Del Harrison, who had choreographed the CBeebies pantomime too. “She worked on my arm movements for the Robin, and it’s been lovely to work with her again in York, and with Juliet [director Juliet Forster] too, after she directed me in CBeebies’ Romeo And Juliet in 2021, when I played Juliet,” she says.
“Working for Evolution Productions at York Theatre Royal is big-boy panto; they’re the king of panto,” says Evie Pickerill
A principal presenter on the children’s television channel since 2018, she is the fourth CBeebies participant in the Theatre Royal and Evolution Productions co-production, following in the steps of Andy Day, Mandy Moate and James “Raven” McKenzie.
“That’s big shoes to fill,” she says. “Playing the Spirit of the Ring and the Genie of the Lamp is my first time on the York stage but I’ve been to York a handful of times and love it here.”
Her previous pantomimes were in her native Midlands. “I played Cinderella at The Grand, Wolverhampton, and Leicester de Montford Hall and Snow White at Wolverhampton, where everything was made locally for the show and we had an eight-piece orchestra and an ice rink with skating, though my Snow White escaped having to skate,” recalls Evie.
“To play the title role in my home town was a pinch-me moment. I’ve been watching shows there since I was young, so I’ve come full circle. I only wish my grandparents could have been there as they used to take me to shows, but my old teachers did come.”
Lift-off: Evie Pickerill’s Genie of the Lamp with the ensemble in Aladdin at York Theatre Royal. Picture: S R Taylor Photography
Aladdin has presented differences aplenty from her past shows, not least “the luxury” of much longer rehearsals. “After doing panto for Imagine at Leicester and in-house at Wolverhampton, working for Evolution at York Theatre Royal is big-boy panto; they’re the king of panto. We’ve done a lot of character work, which is different from the other pantos I’ve done,” says Evie.
“I’m playing a different kind of role too: with the Spirit of the Ring, there’s a bit comedy, a bit of silliness. It’s also been nice to have the ‘safety blanket’ of Juliet and Hayley being there, but everyone has been so inviting.
“Robin [dame Robin Simpson] is so funny and Paul [villain Paul Hawkyard] is a delight to work with. I do lots of scenes with him.”
Evie Pickerill’s Genie of the Lamp with Sario Solomon’s Aladdin in a scene from Aladdin. Picture: S R Taylor Photography
In addition to the CBeebies pantomime, Evie has filmed Dodge’s Christmas Wish at Thursford, the home of the Christmas Spectacular in Norfolk. “It’ll be on CBeebies and iPlayer,” says Evie. “I play myself in this one. The synopsis is that Dodge, the dog in the CBeebies’ house, would like to give Father Christmas a present because no-one ever does that.
“So, we head off to the North Pole, but I won’t reveal who’ll be playing Father Christmas as it’s so exciting!”
Settled into York for the festive season, Evie feels very much at home in pantomime. “I first went when I was seven or eight and straightaway I said to my parents, ‘that’s what I want to do’,” she says. “I left home at 18 to go to drama school in Liverpool, doing the acting course at LIPA, and I’ve never looked back.”
Aladdin runs at York Theatre Royal until January 5 2025. No performances on December 19, Christmas Day and New Year’s Day. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Howl & The Hum’s singular voice, Sam Griffiths. Picture: Stewart Baxter
TONIGHT will be the last time The Howl And The Hum frontman and sublime songwriter Sam Griffiths plays The Crescent in York before packing his bags on Thursday to start a new life in London.
Latterly living in Leeds, but with his band rooted in the York scene since 2017, Sam is to take up a post teaching guitar at a primary school and will live in Walthamstow, home to Europe’s longest street market, by the way.
He hinted at the move south during The Howl & The Hum’s divine set at their traditional Christmas gig at The Crescent last night, a tease greeted with jovial Yorkshire jeers, and then confirmed his exit in conversation with CharlesHutchPress post-show, still dressed as a King from the band’s Nativity play attire for their 17-song set.
Sam will play an intimate, seated solo set under The Howl & The Hum moniker tonight when Diehard Christmas, one of several Scrooge-spirited withering wintry missives he has composed, will definitely feature.
CharlesHutchPress, reviewing elsewhere earlier in the evening, caught the second half of last night’s set, after support spots by Seafarers’ Scottish songwriter and saxophonist Matthew Herd and Leeds musician Marnie Glum.
Herd’s sax and keys have become integral to Griffiths’ new line-up of The Howl And The Hum, also featuring Sam’s Leeds flatmate Naomi McLeod on bass, Dave Hamblett on drums and Arun Thavasothy on guitar.
His King’s crown removed after Echo, Griffiths went into solo mode on guitar for No Calories In Cocaine, Sunny Christmas – written on a cocktail of spite and drink, he said – and Hostages, a trilogy of blissed release from pain marked by a stillness and grace in performance that has come to mark his magnetic stage craft, laced with disarming wit and charm between songs.
Griffiths’s fellow Kings and the Virgin Mary (or maybe Naomi was an angel?) returned for a glorious home run of Sweet Fading Silver, Hall Of Fame, second album title track Same Mistake Twice and debut single Godmanchester Chinese Bridge, still arguably the most beautiful song ever written in York.
Herd’s saxophone grows on you, the more it caresses each Griffiths search for beauty in nature or forensic coroner’s inquest into relationship fallouts or navigation through the vulnerabilities of a wasted night.
But that’s the thing with Sam Griffiths: he keeps surpassing that early peak, whether Dirt or first encore The Only Boy Racer Left On The Island, He has even found the perfect finale in the communal balm of the “Everything will be alright’ closing refrain to Everything Is Not On Fire.
After more than 12 years, this eloquent, exquisitely poetic University of York alumnus is returning south, but with the promise of Christmas reunions at The Crescent for years to come.
In the meantime, thank you, Sam, for so many Miserable Disco nights. It’s been emotional, as Vinnie once said. May The Howl & The Hum prosper, wherever the path leads you next.
Gallery owner Terry Brett holding an artwork by Alan Stokes, part of the Deck The Halls 30th anniversary Christmas exhibition at Pyramid Gallery, York
CHRISTMAS may be a time of joy and festivities, but for Terry Brett, curator and owner of Pyramid Gallery in, Stonegate, York, the season is a “strange time”.
“We prepare for it throughout the year from March,” he writes in his latest blog. “By the time we eventually get to the first week of December I am totally washed out by the whole thing.”
Terry goes on to outline the challenges of mounting Pyramid’s 30th anniversary Christmas exhibition, Deck The Halls, featuring minimalist lithographs by Alan Stones, from Cumbria; metal boxes by Marcus Steel, from the North York Moors; hares and foxes by Blandine Anderson, from Bude; ceramics by Craig Underhill, from St Ives, and paintings by Frans Wesselman, from Worcester.
On show too is glass sculpture by David Reekie, from Dickleburgh, Norfolk; ceramics by Ben Arnup, from York; prints by Mychael Barratt, from London, and portrait art by John Wheeler, from Middlesbrough.
Those challenges vary from a lorry hitting the National Trust-owned building on Monday, to the impact of the York Christmas Market, to the vagaries of the artists who exhibit at Pyramid.
Ceramicist Ben Arnup in his York studio
The lorry first. “I came in at 9.30am to see a large gouge in the render under the overhanging bay and Sarah sweeping the pavement,” writes Terry. “The lorry had mounted the pavement in an attempt to get past a van that was parked opposite our building.
“For me, it was a complete waste of half a day, with more time wasted on Tuesday and probably for the next two months.
“The landlord is the National Trust and they are responsible for the structure, but I need to talk to them about it and provide photographs and videos etc, so that they can assess the damage and make a claim from the truck company’s insurance. They have sent two people to inspect. They are very good, but it all takes time!”
Next, York Christmas Market. “I would like to say that the Christmas Market benefits York, but I have nothing but negative thoughts about it,” writes Terry. “Saturdays are ruined. Except for Saturday 7 December, when York was blasted by Storm Darragh. Thank you Storm Darragh for closing down York Christmas Market.
“The closure for one day was announced on the media and in Pyramid Gallery we had our best trading day since the day we sold a large Paul Smith bronze fox in February 2024. For me this just proves my worst fears about having a Christmas Market in York.”
Windswept Oak, lithograph, by Alan Stokes
Terry continues: “It used to be a nice event – a single weekend when everyone dressed up for the Victorian Christmas Fair. Now it is just a calamity with people coming in droves and queuing for sausages or mulled wine, then realising that they need a toilet, so they now have to queue for a cafe (because there are not enough public toilets in York).
“My customers prefer not to come into the city centre on a Saturday afternoon. It’s a disaster. Except when there is a storm – Storm Darragh I Love You! P.S. Sundays are much more pleasant in the city centre and Pyramid will be open between 11am and 5pm this Sunday.”
Thirdly, the artists and makers. “We know certain things will sell well, but we always want to offer something fresh,” writes Terry. “It’s very difficult to know what will work, so we tend to ask too many makers for too many things – and if everything arrives, it is a logistical nightmare!
“The artists may or may not be able to get the work to us in time – for various reasons (e.g. equipment failures, health issues, family issues, production issues due to trying something new), so again we tend to ask for work from more makers than we really need.”
Certain things could be sold over and over again, if Terry were able to acquire them. “Here is an example: Gin Durham,” he writes. “She lives in High Wycombe and in a studio in her house she produces the most delightful ceramic hares and foxes with highlights to the ears in gold lustre.
Paintings by Frans Wesselman and ceramics by Craig Underhill
“This year she had some health issues and needed to take things easy. She wanted to get work to us, but the task of packing it all up for posting was just too much. When she does send it, there is sometimes a casualty or two and this is a massive ‘downer’ for any artist.
“So, even though we have been talking to her since spring, the work was not going to be arriving. So I said, ‘what if I drive down to High Wycombe? Can I collect?’ And that is how I spent a day last week.”
Terry arose at 6am and arrived back home at 8.30pm, having driven 540 miles. “The hares and foxes have nearly all sold within a week,” he writes. “But this is needing a huge amount of my time…
“Even though I managed to also see the brilliant sculptor Jeremy James in Derbyshire (he let me take away 26 pieces which are now part of the Christmas show) and also Alison Vincent, who makes those astonishing waves and icebergs in glass, when she is not diving with sharks or swimming with Orcas! I absolutely love visiting artists and collecting work, but it takes it out of me and prevents me updating the website.”
Terry, nevertheless, ends on a high note: “The gallery is looking its very best. The work that artists have given us is astonishing and I thank everyone who has said this to me over the last four weeks. Thank you!.”
Pyramid Gallery, Stonegate, York, is open every weekday, 10am to 5pm; Saturday, 10am to 5pm; Sunday, 11am to 5pm; Christmas Eve, 10am to 3.30pm or 4pm; closed Christmas Day and Boxing Day; December 27, 11am to 4pm; closed New Year’s Day.
The poster for Deck The Halls at Pyramid Gallery, York
Helen Spencer’s Fagin in Pick Me Up Theatre’s production of Deborah McAndrew’s Oliver Twist at Theatre@41, Monkgate, York
THE myriad delights of Christmas entertainment shine through Charles Hutchinson’s tips to vacate the festive fireside.
Dickens at Christmas, but not A Christmas Carol: Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, until December 30. 7.30pm performances on December 18 to 21, 27, 28 and 30, plus 2.30pm Saturday and Sunday matinees. No performances on December 23 to 26
HELEN Spencer takes the director’s reins and plays Fagin in York company Pick Me Up Theatre’s staging of Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, described as a “a new version of Oliver with a festive twist”.
Not to be confused with Lionel Bart’s musical Oliver!, it does feature musical arrangements by John Biddle to to complement Dickens’s tale of Oliver Twist being brought up in a workhouse, sold into an apprenticeship and recruited by Fagin’s band of pickpockets and thieves as he sinks into London’s grimy underworld in his search for a home, a family and love. Box office: tickets.41monkgate.co.uk.
Northern Ballet in A Christmas Carol: Festive favourite makes its return to Leeds Grand Theatre
Christmas ballet of the week: Northern Ballet in A Christmas Carol, Leeds Grand Theatre, until January 4 2025
FIRST choreographed by Massimo Morricone and directed by Christopher Gable in 1992, Northern Ballet’s retired landmark production of A Christmas Carol is being revisited by director Federico Bonelli to the glee of longtime supporters and new audiences alike.
“Charles Dickens’s classic Victorian tale of redemption, with its message of human kindness and compassion, is something that resonates with us all, especially at this time of year,” says Bonelli. “Its iconic characters lend themselves so well to ballet”, complemented by Lez Brotherston’s colourful sets and costumes and Carl Davis’s festive score. Box office: 0113 243 0808 or leedsheritagetheatres.com.
The poster for HAC Around The Tree, the last show of 2024 at Helmsley Arts Centre
Festive celebration of the week: HAC Around The Tree, Helmsley Arts Centre, tomorrow, 7.30pm
JOIN the Helmsley Arts Centre Singers, 1812 Theatre Company, 1812 Youth Theatre, Ryedale Writers and invited guests for an evening of theatre, music, poetry and prose around the Christmas tree. The bar will be serving mulled wine and mince pies to spark up the festive spirit in Helmsley Arts Centre’s last event of 2024. Box office: 01439 771700 or helmsleyarts.co.uk.
Step Into Christmas: Festive hit after festive hit at York Barbican
Christmas songs galore: Step Into Christmas, York Barbican, tomorrow, 7.30pm
THIS feel-good Christmas show brings all the magic of the season to musical life with favourite festive songs, from All I Want For Christmas Is You, Last Christmas, Jingle Bell Rock, Stay Another Day and Let It Snow to White Christmas, Do They Know It’s Christmas, A Winter’s Tale and Merry Xmas Everybody. Box office: yorkbarbican.co.uk.
Chapter House Choir: Choral music old and new in the Nave of York Minster
Carol concert of the week: Chapter House Choir, Carols By Candlelight, York Minster Nave, Friday, 7.30pm, doors 6.45pm
THE Chapter House Choir, directed by musical director Benjamin Morris, combine with the Chapter House Youth Choir, directed by Charlie Gower-Smith, for this ever-popular candle-lit concert, first performed in 1965 and now held in the Nave. In addition to traditional choral music old and new, festive music will be played by the chamber choir’s Handbell Ringers. For returned tickets only, check yorkminster.org/whats-on/event/carols-by-candlelight/or contact 01904 557256.
Gary Stewart: Presenting tributes to Fleetwood Mac’s Rumours and Paul Simon’s Graceland at York Barbican
Tribute gig of the week: Gary Stewart presents Fleetwood Mac’s Rumours and Paul Simon’s Graceland, York Barbican, Friday, 8pm
SCOTTISH-BORN Easingwold musician Gary Stewart presents Weetwood Mac and his Graceland band in a celebration of two career-defining works, Fleetwood Mac’s Rumours, from 1977, and Paul Simon’s Graceland, from 1986. “With combined sales of more than 50 million worldwide, both albums have stood the test of time and are cherished to this day,” says Stewart.
“Littered with gossip and controversy, Rumours and Graceland elevated their artists to new heights of popularity, inspiring the popular music canon for decades to come. This evening celebrates a time of artistic discovery and re-creates the excitement of the era, with these seminal albums lovingly interpreted by some of today’s finest touring musicians.” Box office: yorkbarbican.co.uk.
Mike Newall: Laidback storytelling at York Barbican
Comedy gig of the week: Laugh Out Loud Comedy Club Christmas Special, York Barbican, featuring Mike Newall, Friday, 8pm
MANCUNIAN Mike Newall, who appeared on Britain’s Got Talent, takes top billing on with his laidback storytelling, Swiss clock timing and tack-sharp turn of phrase. “He’s like your best, most humorous friend – only funnier,” says promoter and master of ceremonies Damion Larkin. Two support acts feature too. Box office: lolcomedyclubs.co.uk or yorkbarbican.co.uk.
Holly Cassidy with the puppet of Cracker in A Christmas Cracker at Friargate Theatre, York. Picture: Tom Jackson
Alternative Nativity play of the week: Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, York, December 21 to 24, 11am and 1.30pm each day; 6pm, first three days; 4pm, last day
IN Paul Birch’s first play as artistic director of Riding Lights, world-famous storyteller Ebenezer Sneezer is lost, with snow in her wellies and faithful canine companion Cracker full of strange ideas about Christmas.
When caught taking shelter in Mrs McGinty’s barn, she allows them to stay on the condition that Ebenezer brings her glad tidings with her stories. If so, a hot supper awaits. If not, exit pronto. Ebenezer must triumph over not only Mrs McGinty’s frozen heart but also Deadly, a dastardly donkey ready to kick comfort and joy out of his stable. Box office: 01904 613000 or ticketsource.co.uk/ridinglights.
The Snowman: Two screenings with a live orchestra at York Barbican
Christmas film event of the week: The Snowman with Live Orchestra, York Barbican, Sunday, 1pm and 4pm
CARROT Productions presents two screenings of Dianne Jackson and Jimmy T Murakami’s animated 1982 film with the accompaniment of a live orchestra of professional musicians.
Raymond Briggs’s story of a young boy’s Christmas snowman magically coming to life for a journey to meet Santa Claus will be shown with The Snowman And The Snowdog at 1pm and The Bear, The Piano, The Dog And The Fiddle at 4pm. Each show includes a fun introduction to the orchestra and a visit from the Snowman himself. Box office: yorkbarbican.co.uk.
ART Sung, created by pianist Elizabeth Mucha, is a variable group that unites song and narrative.
In this incarnation, they were two singers, two pianists, a dancer and a videographer, all focused on the life of Edith Sitwell, Behind Her Façade – who can lay claim to be Scarborough’s most famous daughter.
Young William Walton – “Willy” as she called him – knew the Sitwell family better than most, having encountered them at Oxford and lodged with them in London for more than a decade.
His decision to set Edith’s Façade poems thrust him onto the musical map; its success can be said to have benefited her equally. Neither looked back thereafter and, by the time of her death in 1964, she had become the grande dame of English poetry.
Art Sung made numbers from Façade the backbone of its exploration of Sitwell’s life, with mezzo Lucy Stevens inhabiting the role to her fingertips, dressed all in black, including gloves and turban-style hat.
Realism was enhanced with the very curtain used in the work’s 1923 premiere, from behind which she had projected her poetry through a megaphone. James Symonds contrived a video backdrop here with animated sketches intensifying her reminiscences.
During a potpourri of some 30 items, other composers had a welcome look-in. There was a surprising song from Michael Head, The King O China’s Daughter’ and two Ned Rorem settings of Sitwell too.
Two settings of Olivia Diamond’s Sitwell-related poetry by Hayley Jenkins made an impact, the one with exciting speech-song, the other involving tenor Michael Gibson in a solemn line, which he controlled smoothly.
He also offered an all-too-brief extract from Still Falls The Rain, Sitwell’s meditation on the raids of 1940, which Britten set as his Canticle III. It deserved more, but since this was mainly a frolic it may not have seemed to fit.
An opportunity was certainly missed to look into The Heart Of The Matter, a Sitwell programme devised especially for the Aldeburgh Festival in 1956, with Britten’s music.
Three extracts from Satie’s ballet Parade, played with considerable panache by pianists Elizabeth Mucha and Nigel Foster, either or both of whom were present throughout the evening, offered an opportunity for dancer Roxani Eleni Garefalaki to evoke the spirit that led to the Roaring Twenties. She reappeared in a fragment from West Side Story, recalling Sitwell’s visit to the USA.
A Joseph Horovitz setting of Out, Out Damned Spot (Macbeth) near the end accurately encapsulated the mixture of enthusiasm and derangement that Stevens had so vividly painted in this wide-ranging programme.
Helen Spencer’s Fagin in Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate, York
IN a new twist, the opening of Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate, York, is being delayed by a day through cast illness.
All being well, the curtain will now rise on the York company’s winter production on Wednesday night.
At the show’s helm both on stage and off is Helen “Bells” Spencer, who is not only playing Fagin in Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, but also has taken over the director’s seat from producer and designer Robert Readman five weeks ago.
“Robert started rehearsals while I was still rehearsing Last Five Years [Black Sheep Theatre Productions and Wharfemede Productions’ November musical at the NCEM], so I wasn’t available until that was over, and then, after a while, he asked me to step in, taking over his vision.
“I’ve worked with Robert a lot over the last couple of years, so I know how his mind works. When Pick Me Up had to pull the original dates for Young Frankenstein, I took over the reins with Andrew Isherwood to re-mount the production, but this is a slightly different situation from that one, as we’re still working to Robert’s ideas.
Playwright Deborah McAndrew
“We have a lot of mutual respect, so I can crack on, but it’s certainly a challenge that so many young people are in it. We have two ‘teams’: two Olivers, two Dodgers, two Roses, two Bets and ‘Children’s’ roles too; there are about 12 young people in all, ranging from eight to 17, so I’m working with a big age differences in the young cast.”
Not to be confused with Lionel Bart’s musical Oliver!, McAndrew’s stage adaptation “on the surface looks like an easy show, but it’s definitely not,” says Helen. “It’s incredibly complex, and one of the things that makes it harder is that no-one knows the songs in the way they do with Oliver! – and there are no recordings, bar for one song.”
Devised at the Bolton Octagon and staged at Hull Truck Theatre in December 2018 as “a new version of Oliver with a festive twist!”, McAndrew’s adaptation is an ensemble piece. “There’s a Greek-style chorus commenting on what’s happening and actors taking on different roles, so it’s quite a different way of working to what most people are used to in musical theatre,” says Helen.
“It’s not like coming on, singing a solo and going off, so the logistics have been more complex, especially when you have no familiarity with the score. I feel like what we got was the script and the basic score and we’ve tried to create our version with the actors we have and the musicians we have.
“I’m really glad I haven’t seen it before as we just want to do a version that makes sense to us, with the core adult cast pulling together to create the ensemble, and some of the adversity we’ve experienced has worked to our advantage.”
Into the dark: James Willstrop’s Bill Sikes
Readman has designed the set with a bridge across the stage. “We’ve been lucky to get into the theatre early enough to work on the show with the set in place. It will look fantastic, very atmospheric, and not what people might expect at all,” says Helen.
“The show will have Christmassy moments but it will have a darkness to it too to allow characters like James Willstrop’s Bill Sikes to be really horrible, which has been a real joy in rehearsals.
“When you think of actors like James, Jennie Wogan-Wells [who plays Nancy] and me, we’re very happy to do musical theatre, with James as the classic leading man, Jennie as the bright-eyed leading lady, and me doing comic parts, so I think people will be surprised to see us in these darker roles – though I used to do straight acting roles before musical theatre and I always enjoyed playing serious parts.”
Helen will play Fagin, who runs a band of pickpockets and thieves in London’s grimy Victorian underworld, where Oliver is the new recruit in his search for a home, family and love. “I suppose the most obvious thing to say is that I’m a female and the original was not,” she says.
“We had a discussion about whether I should play it as a woman, or a women playing a man, and we decided to lean into being a female taking on a male part, so all the references are still to ‘he’ and ‘him’. I’m playing him as an old man.
Tracey Rea’s Widow Corney and Nick Sephton’s Mr Bumble in a scene from Pick Me Up Theatre’s Oliver Twist
“We decided to see how it would feel, and it does feel right. The way the script has been written, it is right to do it this way, rather than make it wholly appropriate to a woman. It’s so exciting to play a male character, which I would never do normally.
“To have the chance to do that, having a face-off and a bit of fisticuffs with Sikes, it’s so liberating, even though he’s an older, frailer man, because if you were an older woman you wouldn’t deliver it that way.”
Describing the music, Helen says: “What strikes me is that they’re not conventional songs; they are more conversational songs, no big numbers, but there are a couple of fun chorus bits. It’s very much about creating the atmosphere in the scenes, rather than through big numbers and big choreography.
“What we need is the actors’ expertise because the songs are difficult and the text is difficult, and that’s been a challenge for even our most experienced cast members, but everyone has risen to it.”
Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, December 18 to 30, 7.30pm, except December 23 to 26 and 29; Saturday and Sunday matinees, 2.30pm. Box office: tickets.41monkgate.co.uk.
Who’s in Pick Me Up Theatre’s cast for Oliver Twist?
Frankie Whitford: Playing Oliver Twist in Oliver Twist at Theatre@41, Monkgate, York
Oliver Twist – Frankie Whitford/Logan Willstrop; Fagin – Helen Spencer; Mr Bumble – Nick Sephton; Widow Corney – Tracey Rea; Mr Sowerberry and Mr Brownlow – Neil Foster; Mrs Sowerberry and Mrs Bedwin – Rhian Wells; Noah Claypole – Matthew Warry; Charlotte Sowerberry – Ruby Salter; Artful Dodger – Libby Greenhill/Reuben Baines; Nancy – Jennie Wogan-Wells; Bill Sikes – James Willstrop; Bet – Rosie Musk/Tempi Singhateh; Rose – Isla Whitford/Rosie Musk; Dr Grimwig – Rich Musk; Children – Lao Singhateh, Matilda Foster, Tempi Singhateh and Bea Wells.
Ensemble Augelletti, The Morning Star, National Centre for Early Music, York, December 13
IT didn’t take me long to work out that the Morning Star in question was not “the only English-language socialist daily newspaper in the world” (Wikki), but also the name for the planet Venus when it appears in the east before sunrise.
Indeed, Ensemble Augelletti’s inspirational programme “celebrating star-gazers across the centuries” was itself inspired by one Edward Piggott who, in a letter dated 23 December 1784, “recounted his discovery of variable stars and made York the centre of the astronomical world”, where it has remained ever since.
The cosmic journey began with Sonata a Tre Pastorale by Johann Heinrich Schmelzer (a contemporary of the Austrian Jesuit astronomer Johann Grüber). I found the performance was simply charming, particularly the opening courteous exchanges between Olwen Foulkes (recorder) and Ellen Bundy (violin).
The two instrumentalists maintained their musical conversation throughout Giovanni Battista Fontana’s Sonata in D major no. 8. The virtuosic and rhythmic shifts enhanced the vibrancy of the performance. It’s worth noting, maybe, that both Fontana and Biagio Marini were composing during an era of remarkable astronomical advancements.
Benedict Williams performed Marini’s Sonata Sopra La Monica à 3, op. 8 no. 45, on the harpsichord instead of the organ. This change provided richer support for the violin and recorder. However, the performance of the piece, originally written for two violins and basso continuo, once again highlighted the soloist’s exchanges.
They appeared to be engaged in a musical competition, a musical one-upmanship (if I may be so bold), alternating florid, ornamented passages with homophonic textures. I particularly enjoyed the ending.
La Monica was a popular song that had been used by other composers to create sets of variations. Therefore, it was fitting that Olwen Foulkes prefaced the Marini with a beautiful performance of the Christmas tune Unto Us A Son Is Born by Jacob van Eyck.
With Henry Purcell’s Sonata No. 9 in F major, Z.810, affectionately known as the “Golden” Sonata, the programme transitioned into the distinctive Baroque style. The opening Allegro once again showcased the lively, intricate conversations between the two soloists.
The melancholic Largo, filled with the poignant imagery of “dying falls”, evoked profound emotions, but mercifully, it was lifted by a spirited contrapuntal Canzona. Once more, after a contemplative yet sombre reflection (Grave), the work concluded with a joyous dance, brimming with vitality. The knowing cadence is always guaranteed to bring a smile to your face, and it certainly did.
Handel’s A Flight Of Angels in C major, HWV600, was composed for a musical clock with a tiny organ inside, crafted by Charles Clay. I found the title, the concept and the performance delightful.
Corelli’s Sonata in F major, op. 5 no. 3 had so much going for it: the highly virtuosic opening Allegro with cadenza windows, as well as the driving energy and shaping of the concluding Allegro. But it was the tenderest of harpsichord and recorder duets in the central Adagio which moved me the most.
Telemann’s Trio Sonata in A minor commenced with the most enchanting violin playing in the opening Affetuoso. It was a delicate, persuasive and tender performance. The unaccompanied duet between the recorder and violin in the closing Menuet was equally impressive, showcasing the profound musical understanding between the two players.
The performance was preceded by the composer’s Wie Schön Leucht Uns der Morgenstern (How Lovely Shines The Morning Star), a Chorale Prelude for solo organ. Benedict Williams’s rendition of this piece, based on a Lutheran hymn by Philipp Nicolai, was a delight.
It was an intimate and almost hypnotic experience, listening to the performer skilfully weaving the composer’s diverse contrapuntal textures around the cantus firmus (fixed melody).
The Toccata Seconda & Canario by Giovanni Kapsberger were performed by Toby Carr on the theorbo. The opening Toccata is titled Arpeggiata, which is quite fitting. The playing was impeccable, showcasing the perfect technique. However, it sounded like Spanish music played on a guitar to me.
Well, the planets were certainly aligned in Mr Carr’s performance of this simple yet utterly seductive Canario. It essentially has a simple ground bass in 6/8 time with metric shifts (3/4), accompanied by the cosiest of melodies. The playing had a musical chocolatey comfort about it, so incredibly satisfying.
Heinrich Ignaz Franz von Biber’s Sonata in A major, La Pastorella, C.106, for violin and theorbo, is a virtuosic tour de force for the violin. While it may not possess the explosive fireworks of some of the more renowned sonatas, Ellen Bundy’s absolute mastery of the technical demands ensured an exhilarating performance experience. The piece also features moments of genuine charm.
For the final performance of this immensely gratifying concert, it was back to the ground bass, accompanied by the two instrumental protagonists, the recorder and the violin. They engaged in initial exchanges that escalated into rapid-fire volleys of melodic ideas, as if they were playing a game of musical tennis.
I would have appreciated hearing more from Benedict Williams (organ/harpsichord) as a solo contributor, but that’s a minor nitpick. Ensemble Augelletti is an incredibly impressive ensemble with a profound understanding of their innovative repertoire. They clearly enjoy playing together, and this joy was infectious.
P.S. I found the themed astronomy thread that runs throughout the entire programme to be delightfully bonkers. The example below is (meant to be) gently satirical…
Jeremy Paxman: “University of York, your starter for ten. What is the astronomical connection between composers George Frideric Handel and Arcangelo Corelli?”
University of York: “Corelli performed regularly in the Cardinal’s Monday evening concert series and benefited from his extensive music library, presided over by librarian and astronomer Francesco Bianchini (1662-1729).
“Both [composers] were members of the literary society Accademia dell’Arcadia and engaged in an exhilarating exchange of artistic and scientific research. Whilst Corelli became famous for his use of a new style of harmony that operates around the tension and release of diatonic dissonance and resolution, Biancini is remembered for research that includes…his study of Venus, the morning star.” (Olwen Foulkes)
IN the tradition of Charles Dickens himself, solo storytelling performances of his festive fable A Christmas Carol abound on the Yorkshire winter calendar.
After York Gothic actor James Swanton’s annual return to York Medical Society and doyen of the one-man show Guy Masterson’s spellbinding account with music by Robb Williams at Kirk Theatre, Pickering, Bedfordshire actor Mat Jones visits Friargate Theatre for two nights.
Into the black-box theatre setting Jones places a black lectern and a single smidgeon of a candle, as stingy as miserly Scrooge would allow Bob Cratchit.
Heralded from the dark by a plaintive violin, Jones arrives on stage in white shirt, brocade waistcoat, flourishing bow tie, dark trousers and polished black leather shoes. He will not add a single prop, relying entirely on variety of voice and storytelling powers, complemented by occasional sound effects for a banging door, church bells and graveyard crows.
Five months of preparation have gone into this two-act presentation built around Dickens’s own original performance text condensing the ghost story into 90 minutes. Dickens gave 127 “lively and emotional” public readings of this work from 1853 to 1870, noted for his “altering of expression, accent and gesture to play the characters”.
Jones follows that template in his meticulous, measured, authentic account, as strong on movement as characterisation as he conducts the seamless flow between narrator and Scrooge’s troubled yet redemptive night of haunting encounters with Jacob Marley and the Spirits of Christmas Past, Present and Yet To Come.
From the Fezziwigs to the Cratchits, he conjures the Victorian world, the grief-stricken Bob returning from his son Tiny Tim’s grave being a particularly affecting moment.
Humour plays its part too, both in description and mannerism, in a performance that testifies to the power of kindness as a heart is transformed from cold to warm and spirits bring out the best in the human spirit. God bless us, every one, that Dickens’s story comes alive anew, as resonant as ever, every Christmas.
Mat Jones: A Christmas Carol, Friargate Theatre, Lower Friargate, York, tonight at 7.30pm.Box office: 01904 613000 or friargatetheatre.co.uk.
It’s a Cracker:Holly Cassidy with the puppet dog in A Christmas Cracker. Picture: Tom Jackson
WRITER and artistic director Paul Birch is staging his first play since taking the reins of Riding Lights Theatre Company at Friargate Theatre, York, in July.
On tour from November 25 to December 18, A Christmas Cracker will conclude its travels with a home run in York from December 21 to 24.
Introducing a magical show packed with comedy, puppetry and seasonal storytelling for all the family, Paul says: “Things are not going well for world-famous storyteller Ebenezer Sneezer. She’s lost. There is snow in her wellies and her wise and faithful dog, Cracker, has some strange ideas about Christmas.
“Caught taking shelter in Mrs McGinty’s barn, she allows them to stay on condition that Ebenezer warm up her Christmas with some of her seasonal stories. If they bring her enough glad tidings, there’s a hot supper on the cards. If not, they will be thrown back out into the storm.
“With Mrs McGinty’s frozen heart in need of a magnificent miracle and Deadly the dastardly donkey ready to kick comfort and joy out of his stable, will Ebenezer triumph? Despite turbulent turkeys and hysterical hay fights, she has a plan and some tremendous tales to turn things around.”
Full of Birch’s trademark humour, “it’s kind of an alternative, unusual way into the Nativity story,” he says. “I would say it’s like a cross between Wallace & Gromit and Chicken Run in its tone, and hopefully it pulls off that Pixar trick, where the whole family can sit down and enjoy it together.
Riding Lights artistic director Paul Birch, right, with executive director Oliver Brown outside Friargate Theatre
“It’s a play about communicating the importance of love, the importance of perseverance and the wonder and power of storytelling.
“So it’s a re-working of the Christmas story that also recognises that the act of storytelling itself has such a powerful effect on people. Part of the play shows how stories can be harmful too, where we have the ‘villains of the piece’ not actually being villains but playing out roles when they’ve been treated as villains, but then they discover that’s not the true story at all.”
Paul continues: “Stories are not just something we tell to each other but they also shape us. It’s about re-discovering the stories we tell and how we tell them to each other.
“It’s very difficult to live with the cynicism of our age. One of the things I think about the Creation story, whether you think the story is true or not, is that people can be transformed for the better and there is hope in that.
“Christian stories or stories of other faiths have hope embedded in them, and we have to come back to the hope that we can be better, we can make things better. What links His Last Report [next summer’s community play about the life and legacy of Seebohm Rowntree that Riding Lights will be doing with York Theatre Royal] and A Christmas Cracker is the common theme of the power of human beings to change things for the better.
“Maybe that is the case with all theatre: that thing of what happens as a result of that change into a new story. It’s not that stories simply go, ‘here is the message’, but that it is a point of connection between audience members and connection between theatre-makers and their audience.
Grace Hussey-Burd and Holly Cassidy in a scene in Riding Lights Theatre Company’s winter show A Christmas Cracker. Picture: Tom Jackson
“We’re trying to make sense of the world, not providing answers, but seeing new opportunities through new ideas.”
Paul points to the ever-changing shape of theatre being one of its prime strengths. “The difference between film or other recorded media and theatre is that they cannot be changed, but theatre can do that with each performance. It will change and shift, and not only the performers, but the audience too – and when theatre is good, it’s a dialogue between the two. That’s not to say it might not have clear provocations within it, but it always needs to be responsive.”
Paul first wrote A Christmas Cracker more than a decade ago. “I did re-write it for this production and even now I would re-work it again. We are always re-tuning. Watching with a young audience is always really interesting because they will tell you when it’s working and when it’s not.”
Paul’s hour-long play is directed by Erin Burbridge, retaining the Burbridge family involvement in Christian theatre company Riding Lights after the death of company founder Paul in May 2023. Her cast features Grace Hussey-Burd as Ebeneezer Sneezer and Holly Cassidy as Cracker and Mrs McGinty, with York actress Claire Morley on understudy duty.
Time to get cracking to secure tickets.
Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, Lower Friargate, York, December 21 to 24. Performances: 11am, 1.30pm and 6pm, December 21 to 23; 11am, 1.30pm and 4pm, December 24. Box office: 01904 655317or ridinglights.org/achristmascracker.
Pocklington Arts Centre cast members Levi Payne, left, Caitlin Townend and Dylan Allcock in Jack Frost’s Christmas Wish
CHRISTMAS shows dominate Charles Hutchinson’s recommendations but there is still room to fit in comedy and a homeward-bound singer-songwriter too.
East Riding Christmas play of the week: Jack Frost’s Christmas Wish, Pocklington Arts Centre, until December 24
ELIZABETH Godber’s second Christmas show for Pocklington Arts Centre invites everyone aged three to 103 to join Jack Frost (Levi Payne) and his friends Oslo the Rabbit (Dylan Allcock) and Blue the Winter Sprite (Caitlin Townend) as they race across the world to make his one wish come true: to be home for Christmas. Could that home be in East Yorkshire?
Wrap up warm for a frosty adventure from the team who delivered The Elves And The Shoemaker: Save Christmas last winter, steered by director Jane Thornton. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Saving Scarborough:Stephen Brailsford’s Captain Cliff in Captain Cliff & The Seagull Squad at the SJT. Picture: Tony Bartholomew
Coastal children’s play of the week: Captain Cliff & The Seagull Squad, The McCarthy, Stephen Joseph Theatre, Scarborough, until December 21
ON a busy day at Scarborough’s South Bay, judges from Britain’s Best Beach are soon to arrive, but after a big rush of tourists, the bins are overflowing with rubbish in a play for children aged up to six, written and directed by Rob Salmon for the SJT and CU (Coventry University), Scarborough.
Faced by litter everywhere and a pile of something sticky by the rock shop, who can save Scarborough? Step forward Captain Cliff and the Seagull Squad, who must complete four missions, one for each season. Cue a rescue adventure full of songs, silliness and festive fun. Box office: 01723 370541 or sjt.uk.com.
Mike Newall: Laidback storytelling at Laugh Out Loud Comedy Club
Comedy gigs of the week: Laugh Out Loud Comedy Club Christmas Specials, York Barbican, Michael Legge, tonight; Mike Newall, December 20, both 8pm
TONIGHT’S headliner, Michael Legge, combines improvised irreverence with spiky tongue-in-cheek antics. “This livewire performer has ‘funny’ popping out of him at every opportunity,” says promoter and master of ceremonies Damion Larkin.
Mancunian Mike Newall, who appeared on Britain’s Got Talent, takes top billing on Friday with his laidback storytelling, Swiss clock timing and tack-sharp turn of phrase. “He’s like your best, most humorous friend – only funnier,” says Larkin. Both nights will feature two support acts too. Box office: lolcomedyclubs.co.uk or yorkbarbican.co.uk.
Ian Stroughair: Performing at York’s Annual Community Carol Concert
York’s Annual Community Carol Concert, York Barbican, Sunday 2pm
YORK RI Golden Rail Band, Knavesmire Primary School, Heworth Community Choir and Ian Stroughair, York’s West End showman behind drag diva Velma Celli, join forces for an afternoon of Christmas carols and songs.
Regular participant Steve Cassidy will sing with the ensemble, while the community singing will be led by musical director Mike Pratt. Proceeds go to the Lord Mayor and Sheriff of York’s Christmas Cheer Fund and York Hospital Radio. Box office: yorkbarbican.co.uk.
Snow queen of folk:Kate Rusby’s Winter Light tour arrives at York Barbican on December 17
Christmas folk concert of the week: Kate Rusby, Winter Light Tour, York Barbican, December 17, 7pm
BARNSLEY folk songstress Kate Rusby draws on her seven Christmas albums – she released her latest, Light Years, in 2023 – for her annual celebration of South Yorkshire carols sung in pubs through the winter months.
Spreading Yuletide joy, Kate will be joined by her regular band, featuring her husband, producer, guitarist and banjo player Damien O’Kane, bolstered by the Brass Boys quintet. Look out for the fancy-dress finale. Box office: yorkbarbican.co.uk.
Sam Griffiths: Singer, songwriter and frontman of The Howl And The Hum. Picture: Stewart Baxter
Christmas double joy of the week: Please Please You & Brudenell Presents present The Howl & The Hum, The Crescent, York, full band band show, December 17, 7.30pm; solo show, December 18, 7pm
IN the wake of a sublime sold-out gig at Leeds Irish Centre on November 15 and the autumn release of second album Same Mistake Twice, York band The Howl & The Hum end the year with their now obligatory festive celebrations at The Crescent.
Frontman and songwriter Sam Griffiths will be joined by his full band – saxophonist and keyboard player Matthew Herd, drummer Dave Hamblett, guitarist Arun Thavasothy and bass player Naomi McLeod – on Tuesday night and will then play an intimate, stripped-back, seated solo show on Wednesday. Box office: thecrescentyork.com.
The poster for Step Into Christmas at York Barbican
Christmas songs galore: Step Into Christmas, York Barbican, December 19, 7.30pm
THIS feel-good Christmas show brings all the magic of the season to musical life with favourite festive songs, from All I Want For Christmas Is You, Last Christmas, Jingle Bell Rock, Stay Another Day and Let it Snow to White Christmas, Do They Know It’s Christmas, A Winter’s Tale and Merry Xmas Everybody.
Meanwhile, the Barbican’s 7.30pm screening of the Christmas rom-com The Holiday with a live orchestra on December 16 has sold out. Box office: yorkbarbican.co.uk.
Homeward bound: Benjamin Francis Leftwich will make a sold-out return to York on December 19
Homecoming of the week: The Crescent & Brudenell presents Benjamin Francis Leftwich, National Centre for Early Music, York, December 19, 7.30pm
“I FEEL like there’s nowhere for me to hide on this record,” says York-born singer-songwriter Benjamin Francis Leftwich of Some Things Break, his fifth album, released in February. “I’m proud of so much of my earlier work, but trying to replicate that now would feel very obsequious and fake. I’m proud of this – it’s from the heart.”
Now living in London, Leftwich heads back to his home city for a sold-out show in the quietude of St Margaret’s Church, Walmgate. Nadia Kadek supports. Box office for returns only: 01904 658338 or ncem.co.uk.
Chapter House Choir: Choral music old and new in Carols By Candlelight
Carol concert of the week: Chapter House Choir, Carols By Candlelight, York Minster Nave, December 20, 7.30pm, doors 6.45pm
THE Chapter House Choir, directed by musical director Benjamin Morris, combine with the Chapter House Youth Choir, directed by Charlie Gower-Smith, for this ever-popular candle-lit concert, first performed in 1965 and now held in the Nave. In addition to traditional choral music old and new, festive music will be played by the chamber choir’s Handbell Ringers. For returned tickets only, check yorkminster.org/whats-on/event/carols-by-candlelight/or contact 01904 557256.
Holly Cassidy with the puppet of Cracker in A Christmas Cracker at Friargate Theatre
Alternative Nativity play of the week: Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, York, December 21 to 24, 11am and 1.30pm each day; 6pm, first three days; 4pm, last day
IN Paul Birch’s first play as artistic director of Riding Lights, world-famous storyteller Ebenezer Sneezer is lost, with snow in her wellies and faithful canine companion Cracker full of strange ideas about Christmas.
When caught taking shelter in Mrs McGinty’s barn, she allows them to stay on the condition that Ebenezer brings her glad tidings with her stories. If so, a hot supper awaits. If not, exit pronto. Ebenezer must triumph over not only Mrs McGinty’s frozen heart but also Deadly, a dastardly donkey ready to kick comfort and joy out of his stable. Box office: 01904 613000 or ticketsource.co.uk/ridinglights.
The Corrs: Heading to the Scarborough coast next summer
Gig announcement of the week: The Corrs and Natalie Imbruglia, TK Maxx presents Scarborough Open Air Theatre, June 11 2025
THE Corrs, Irish sibling purveyors of sleek pop rock, lush harmonies and Celtic folk trimmings, will line up as ever with Andrea on lead vocals, piano and tin whistle, Sharon on violin, piano and vocals, Caroline, on drums, piano and vocals, and Jim on guitar, keyboards and vocals.
Former Neighbours soap actress, Torn hit-maker and The Masked Singer 2022 winner Natalie Imbruglia will support. Box office: ticketmaster.co.uk.
