FLYING Ducks Youth Theatre will celebrate 30 years of shows, artistic growth, community connections young talent this weekend at the Joseph Rowntree Theatre, York.
Soaring Through The Years: A 30th Anniversary Celebration will be performed at 1pm and 5pm tomorrow, followed by a 1pm matinee on Sunday.
This milestone event will undertake a captivating journey through three decades of shows, featuring an array of songs and numbers from Return To The Forbidden Planet, West Side Story, Fame The Musical, Grease, Bugsy Malone, High School Musical and more besides that highlight the creativity of the York company’s young performers.
Flying Ducks Youth Theatre’s Quacks performers
“We are ecstatic to welcome past Flying Ducks alumni as guest performers,” says co-director Jenna Dee. “Some graced the stage with us more than 20 years ago, some are back to showcase the lasting impact Flying Ducks has had on their artistic journeys, reminding us all of the community and friendships formed within these walls.”
Among those alumni will be: Sian Walshaw (nee Sian Davies), who joined the group in 1999; Nicola Murray (nee Nicola Elliot), who joined in 1996; Vicky Dambrauskas. (nee Neap); Dan Lawrence; Henry Bird; Alex Deadman (2000); Dan Killen (2002); Hannah King (2006); Eva Howe (2017) and Mollie Surgenor (2018)
Look out too for performances by directors – and past members – Jenna Dee (2001) and her sister, Sara Howlett (2002).
Flying Ducks Youth Theatre on stage
Jenna took the helm of Flying Ducks in 2018 after returning to York from her time as an actor and facilitator in London. Partnering with Sara, who had been choreographing for the company for many years, they directed their first show together, This Is Me, in March 2019.
Their vibrant musical theatre concert, featuring 22 young performers, received support from founder Stephen Outhwaite and a dedicated committee for set, props, and costumes.
Since then, Jenna and Sara have continued to lead the eldest group, Ducks, for ages 11 to 19, now boasting 45 members. They have directed and produced a variety of book musicals, such as Crush The Musical, Shrek The Musical and The Addams Family.
Flying Ducks Youth Theatre’s poster for this weekend’s 30th anniversary celebrations
All of these shows were staged with impressive professional sets designed by founder Stephen Outhwaite, who has still held an incredibly important role within the group.
Excitingly, Flying Ducks are now preparing for their next adventure, Charlie And The Chocolate Factory, already in the diary for February 2027.
The growth of Flying Ducks has exceeded all expectations. Jenna, alongside teaching assistant Keelie Newbold, now oversees two Quacks groups for ages four to six and three Ducklings groups for ages seven to ten, bringing the total membership to 140.
The committee behind the group comprises ten volunteers, and together with treasurer Claire Newbold , they ensure the group continues to go from strength to strength.
Flying Ducks Youth Theatre in The Addams Family
“Join us this weekend as we celebrate the past, embrace the present and look forward to the future in a celebration that promises to be truly memorable,” says Jenna.
“Don’t miss this chance to be part of a community that has nurtured creativity and connection for three decades. We can’t wait to see you there!
“It would be great to reach out especially to anyone who had connections with the group as we are hoping to host a reunion with Stephen Outhwaite and past members after the Sunday afternoon show. They can contact us at flyingducksyork@gmail.com if they’d like to come and be a part of it or to attend the reunion.”
Flying Ducks Youth Theatre in Soaring Through The Years: A 30th Anniversary Celebration, June 28, 1pm and 5pm; June 28, 1pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Rosa Burns’ Marcy Park in a defiant outburst in The 25th Annual Putnam County Spelling Bee
IN a spelling bee competition, contestants are asked to spell words aloud, letter by letter, with no backtracking, one by one, in order, on a loop.
Participants are eliminated if they misspell a word, indicated by the death-knell ding of a bell, and the contest will continue until only one winner is still standing uncorrected.
The word “bee”, by the way, has nothing to do with the honey-making insect. Instead, in American English, the “bee” once referred to a community gathering where neighbours worked together on a specific task.
The 25th Annual Putnam County Spelling Bee has been causing a buzz as a Tony and Drama Desk Awards Best Book-winning musical since 2004, a buzz that has spread belatedly to York 22 years later for York Light’s summer production at Theatre@41, Monkgate.
Sweltering in the June heat wave, the John Cooper Studio’s black box theatre has been converted into a school gymnasium with a basketball on the back wall to emphasise the American setting.
James Dickinson’s Chip Tolentino in one of his “over-excited” moments at the microphone in York Light Opera Company’s The 25th Annual Putnam County Spelling Bee
Provided by theatre staff, hand-held fans were being wafted feverishly in the clammy night air by grateful audience members, but Neil Wood’s cast had no such wind assistance on Wednesday, Hannah Shaw’s Olive Ostrovsky gamely wearing a pink jumper throughout. The show must go on, as they say.
Six awkward “mid-pubescent” spelling champions gather for the chance to make the national final, joined at each show by four audience members who volunteer to join the linguistic gymnastics (mirroring the stars of stage and screen being the guest spellers in the latest off-Broadway revival of Rebecca Feldman, William Finn and Rachel Sheinkin’s musical in New York).
Taking part are the geeky one with a health condition (Stephen Wright’s William Barfee); the alpha-male one (James Dickinson’s Chip Tolentino); the zany, off-the-rails one (Daniel Wood’s Leaf Coneybear); the proto-politician one with two pushy dads (Lotty Farmer’s lisping, asthmatic Logainne SchwartzandGrubenniere); the already career-driven future businesswoman one (Rosa Burns’ Marcy Park) and the neglected one, with the adoring but always too busy parents (Shaw’s Olive Ostrovsky).
One by one, we learn their back stories, the home life that shapes them, as we observe the characteristics that will mark them in adulthood and root for their spelling prowess.
To avoid the question-and-answer format of the competition becoming repetitive, the show’s writers find ways to keep it on the move, to build an ever faster pace, both in dialogue and in song, helped hugely by the input of the question master, Neil Foster’s increasingly irascible vice-principal, Douglas Panch, whose past troubles re-surface in his erratic behaviour, expressed in his waspish tongue.
If he is the “bad cop”, the “good cop” is the kind-hearted, beatific contest hostess, Katie Brier’s one-time champion, Rona Lisa Piretti. On hand with a consoling pat on the back and a box of fruit juice for each losing contestant is Mikhail Lim’s scene-stealing “comfort counsellor”, whose manner can be as discomfiting as comforting, closer to intimidating on occasion as he sings of the contest descending into pandemonium.
Lim, Foster and Wright in particular capture the offhand, offbeat humour of Sheinkin’s book, matched by the wit of Finn’s lyrics – typified by the rhyme of ‘protuberance’ with ‘exuberance’ – while the adult cast transforms into sometimes troubled tweens with elan under Wood’s smart direction.
What Spelling Bee lacks is knockout tunes to go with the knockabout laughs and astute social observation, although pianist Martin Lay’s four-piece band plays spiritedly throughout with Katie Maloney on reeds, Rosie Morris on synths and Jez Smith on percussion.
To bee or not to bee? It is always good to check out a “quirky little” musical new to York, and the combination of a snappy script and humorous, heartfelt performances works well, even if the show falls short of being spell-binding.
York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, June 25 to 27, then June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026). Box office: tickets.41monkgate.co.uk.
York Mystery Plays: Reconnecting modern York with medieval drama
THE four-yearly staging of the York Mystery Plays on pageant waggons takes place at four locations across the city on Sunday and July 5 from 10.30am to 4.30pm.
Produced by York Festival Trust, the 2026 production once again will bring medieval drama into the streets and historic spaces of the city, reconnecting modern York with a cycle of plays first performed by its medieval guilds.
Free viewing can be enjoyed at the Minster Refectory Gardens, Deansgate, from 10.30am, King’s Square, from 11.10am, and St Sampson’s Square, from 11.50am. Ticketed seats are available for Dean’s Park from 12.30pm.
Each Sunday, ten core plays will be complemented by further extracts to tell the story from The War In Heaven to Doomsday. For full details, go to: yorkmysteryplays.co.uk.
Special midsummer performances of five of this summer’s plays will be presented in Sunset In The Shambles Market on June 30 and July 1, introduced by the York Waits musicians before Pageant Master Dr Alan Heaven guides the audience through each play, from the Creation sequence to the End of Days in the interactive show Doomsday. These shows begin at 7.45pm and end as the dusk is deepening before 10pm. For tickets, go to: ticketsource.com/york-festival-trust.
Alan brings considerable experience to his role. “I staged my first Mystery Plays in 1989 and my first in this [pageant waggon] festival in 2006 with the Potters’ Pageant,” he says.
“After that, I adapted all 48 into a two-hour production, then was asked by the Merchant Adventurers in 2010 to bring forth their play Doomsday. This summer will be the fifth time I’ve ‘ended the world’ for them, each time building the play afresh. It takes nine months to develop each one.”
Alan’s vision as Pageant Master has been two-fold. “First, to help groups deliver exciting street theatre through the choice of plays and through having support materials available,” he says.
“Second, to lift the event, making it bigger and more inclusive; returning to the keyword ‘festival’ by extending the period of engagement from two days to two weeks and in some cases two months, and by expanding the social media presence.
“In addition, there is a legacy programme of audio recordings and podcasts, plus much closer links with the York Mystery Plays Supporters’ Trust and their ongoing events. Overall I want to increase the range of opportunities for local people and visitors to engage with the plays.”
The cornerstone of presenting the York Mystery Plays in 2026 on the streets is the people, says Alan. “This is a massive community event, which exists because of the passion and commitment of the groups, directors, designers, musicians and the wonderful volunteers,” he reasons. “From the very start of the process nearly two years ago, I have been deeply touched by the warmth and support received for the new-look event.”
Dr Alan Heaven: Pageant Master for 2026 York Mystery Plays
Explaining how this summer’s plays were chosen from the 48 that make up the York Cycle of Mystery Plays, Alan says: “The plays selected fall into three groups. First, the ones that are connected to specially designed waggons. These are The Creation – which has the fantastic pop-up Victorian-style waggon by the Guild of Building – and the Butchers’ iconic Crucifixion waggon.
“Second are the plays that are integral to the Christian story arc. These are the Fall of Adam and Eve, Resurrection and the end play, Doomsday, and the multi-faith spectacle of The Deluge.
“That makes six plays. Last time there were eight. The final group contains The Creation of Adam and Eve, The Journey to Calvary, The Shepherds, The Massacre of the Innocents and the remaining section of The Coronation of Mary, which makes 11 plays, all selected because of the opportunity for visual emphasis that they bring.”
Among the new participants will be Pip Cook, directing The Shepherds, Lions and Dragons Theatre Co, staging The Resurrection, and DSpace Ukrainian Theatre, founded in York by director and actress Dara Klymenko, who will perform The Massacre of the Innocents.
Asked how he chose a theme for the sunset midweek performances, Alan says: “The only theme there need ever be is the York Mystery Plays. There’s also the practical reality of which groups are willing to do it.”
The Mystery Plays will be complemented by the York Mystery Plays Fringe. “Everything in the Fringe is a highlight,” says Alan. “Everyone connected has worked very hard and very creatively to enable more people to find their best way of connecting with the plays.
“Key events running now are The Deluge art exhibition of finalists from the national competition, curated by Megan kathryn Heywood, with many works for sale, at Bedern Hall, in Bartle Garth, St Andrewgate, until July 3, and Women of the Mystery Plays, an exhibition at the Bar Convent Living Heritage Centre, highlighting the contributions of women past and present, curated by Diane Heaven.
“The York Mystery Plays Sound and Memory exhibition, using images from the Mystery Plays archive, is on show at Holy Trinity, Micklegate, until August 29, curated by Molly Jervis, while the York Mystery Plays shop is running in High Petergate.”
Finally, Alan, why should someone see the Mystery Plays if they have never done so before? “You should attend because this is a world-famous celebration of local heritage in one of the world’s leading tourist destinations: the most beautiful city in England.
“It is unique and only appears every four years; its connections with the city give it roots and authenticity. It might be a medieval Christian story but it is played by and watched by people of all faiths and none.”
The York Mystery Plays, streets of York, June 28 and July 5, 10.30am to 4.50pm; Sunset In The Shambles Market, June 30 and July 1, 7.45pm.
The Plays on June 28 and July 5
The Fall of Adam and Eve: The Lords of Misrule’s play
The War In Heaven: Brought forth by Laura-Elizabeth Rice and HIDden Theatre with the cast of volunteers, all working with and on behalf of Gild of Freemen. To find out more about the play, the guild and the stagecraft, visit: https://www.yorkmysteryplays.co.uk/introducing-war-heaven/.
The Creation: Brought forth by York Guild of Building, directed by Janice Barnes-Newton.
The Fall of Adam and Eve: Brought forth by The Lords of Misrule for the Company of Merchant Taylors, directed by Thomasina Cass.
Noah and the Flood: Brought forth by St. Luke’s Church, directed by Mike Tyler and Lynn Comer.
Doomsday: Performed by Ravens Morris and Haigha
The Shepherds: Directed by Pip Cook with cast of Waifs and Strays for the Company of Cordwainers.
The Massacre of the Innocents: Brought forth by DSpace Ukrainian Theatre Company for the Guild of Scriveners.
The Crucifixion: Brought forth by York Settlement Community Players on behalf of the Company of Butchers, directed by Maurice Crichton.
The Journey to Calvary: Brought forth by York Mystery Plays Supporters’ Trust, directed by Paul Toy.
The Resurrection: The Quem Quaeritis: Brought forth by Lions & Dragons Theatre Co.
The Coronation of Mary: A fragment
Doomsday: Brought forth by Ravens Morris and Haigha for the Company of Merchant Adventurers, directed by Pageant Master Dr Alan Heaven.
In focus: York Settlement Community Players in The Crucifixion, for the Company of Butchers, on return after 12 years
Thom Feeney in rehearsal for his role as Jesus of Nazareth with three of the Workmen in York Settlement Community Players’ play The Crucifixion. Picture: John Saunders
“YORK has the only cycle of Mystery Plays to make a separate episode of the stretching, nailing and raising of Jesus,” says Settlement director Maurice Crichton. “The four crucifiers are an all-banging, shouting and bantering gang of workmen. But you, the audience, hold the knowledge that this is no ordinary job. What impact will Jesus have?”
Settlement Players’ pageant waggon was designed and built by Tony Wright in 2006 to make sense of the physical action implied in the script. “Waggon master Richard Hampton has worked wonders to bring this now 20-year-old warhorse of a vehicle back into repair (based at Murton Park),” says Maurice, as Settlement Players return to the festival for the first time since 2014.
“The action of the play is a real physical challenge, requiring considerable nerve all round. None of the cast was familiar with the play or the waggon and only one has been part of this event before. I give my thanks to them for their courage and effort.”
York Settlement Community Players is one of the oldest amateur drama groups in the city. “The seed event for our group was an evening of Nativity Mystery Plays at The York Settlement in 1917,” says Maurice. “We’ve missed out on this event in 2018 and 2022, so we’re excited to be back.”
Looking ahead to Settlement Players’ upcoming activities, Maurice says: “In September, we’ll have our New Writing for New Directors initiative coming up at the Black Swan Inn, in Peasholme Green, and from October 13 to 17 we’ll be staging Underdog: The Other Other Brontë, by Sarah Gordon, starring Lara Stafford as Charlotte Bronte, at Theatre@41, Monkgate.
“Each month our improv group, Unsettled, meets at Southlands Methodist Church, Bishopthorpe Road, and we host a play-reading at the Royal Oak, Goodramgate. If interested, contact: yorksettlementcommunityplayers@gmail.com.”
Settlement Players’ cast for The Crucifixion: Workman 1, the Foreman, James Wood; Workman 2, Andrew Wrenn; Workman 3, Liam Godfrey; Workman 4, Michael Maybridge; Jesus of Nazareth, Thom Feeney.
Cross to bear: Thom Feeney’s Jesus of Nazareth. Picture; John Saunders
York Mystery Plays 2026 Festival
Voices of the Plays: A Celebration of York Mystery Plays in Poetry and Prose. Merchant Taylors’ Hall, June 25, 6.30pm for 7pm start
WRITERS of all ages have responded to the themes, stories and characters of the York Mystery Plays, submitting nearly 50 original poems and prose pieces for inclusion in a new anthology. This event brings together those voices for an evening of readings, reflection and celebration in the Merchant Taylors’ Hall.
Young writers will open the evening, sharing their work with the audience after an optional pre-event performance workshop. Shortlisted adult writers will then present their selected pieces, showcasing a rich variety of responses to one of York’s most treasured cultural traditions.
The evening will celebrate the forthcoming publication of the anthology, featuring all shortlisted and winning entries, to be released later this summer. Whether you are a lover of literature, a supporter of the York Mystery Plays, or curious to hear new writing inspired by ancient stories, this promises to be an uplifting event. Bookings: https://www.ticketsource.com/booking/select/gmxmmrejjann.
Paul Toy: Giving a talk on Music of The Mysteries on Friday
Expert Talks
JOIN leading historians, artists and practitioners as they explore the York Mystery Plays from new angles. These engaging talks offer insight, context and lively discussion. Delivered for York Festival Trust by Paul Toy, Dr Alan Heaven & Roger Lee and Maurice Crichton.
Friday, June 26, 2.30pm, Holy Trinity, Goodramgate, Music of The Mysteries: How music has always been central to the plays, from original performance traditions to modern interpretation. Talk by Paul Toy, Pageant Master 2010, musician, dramatist and theatre director.
Monday, June 29, 2pm, Holy Trinity Micklegate, Bring the Plays to Life: How do you bring one of York’s oldest and most cherished traditions to life for a modern audience? Join Pageant Master 2026 Dr Alan Heaven and York Festival Trust chair and producer Roger Lee for an exclusive behind-the-scenes look at York Mystery Plays 2026.
Friday, July 3, 2pm, Holy Trinity Micklegate, Being Noah. Actor and director Maurice Crichton givers an illustrated talk on the Noah Plays and their presentation. Bookings: https://www.ticketsource.com/york-festival-trust.
Podcasts: Voices of the York Mystery Plays, streaming online
EXPERIENCE the drama through sound alone. These specially created audio plays retell the plays in full, inviting you to engage your imagination wherever you are. York Festival Trust has begun the task of recording all 48 original plays over the next three years. If you would like to take part, get in touch. You can listen via Spotify at https://open.spotify.com/show/2Aiin7sBQ6JPjErSoC9ezD and Souncloud at https://soundcloud.com/yorkmysteryplays.
Film
UNIVERSITY of York students have created a short film responding to the Noah plays. Watch for our launch on YouTube and in person. Look out for the launch on YouTube.
Sound and Memory in the York Mystery Plays: Free archive exhibition, Holy Trinity Church, Micklegate, until August 29
USING archive materials from the National Centre for Early Music, curator Molly Jervis invites you to respond to an immersive exhibition exploring how sound and music evoke memory within the York Mystery Plays, past and present. Come along to share your memories. Holy Trinity is also the starting point for the Original Stations Trail and only a short walk from the Women in the Mysteries exhibition at Bar Convent Living Heritage Centre.
Cathy Sara and Thomas Frere in Riding Lights Theatre Company’s Mistero Buffo at Friargate Theatre, York. Picture: John Shepherdson
Fringe play of the week: Riding Lights Theatre Company in Mistero Buffo, Friargate Theatre, Lower Friargate, York, June 27 and 28, July 1 to 4 at 7.30pm plus 2.30pm matinees on July 3 and 4
TWO wild strangers roll into York for the 2026 York Mystery Plays Fringe to tell tales destined to turn the city upside down. Combining ferocious wit and fearless physical storytelling, Paul Birch’s two-hander production for York’s Riding Lights Theatre Company tears into faith, power, profit and hypocrisy by turning ancient Bible stories into urgent, humorous modern theatre with a clear spiritual heart.
Written by Nobel prize-winning playwright Dario Fo, translated by Ed Emery and performed by Yorkshire actors Thomas Frere and Cathy Sara, this 1969 take on the Mystery Plays will appeal to Fringe theatregoers with a taste for sharp, subversive and unapologetic comedy with bite. A post-show discussion with the creative team will follow the July 2 performance. Box office: www.ridinglights.org.
Guided Walks of the Original Performance Locations, departing at 10am and 2pm on various dates
The Watchers of York Sculpture Trail, June 29 to August 31
INSPIRED by an idea by York Festival Trust, Make It York has created this trail in collaboration with York Minster. Stone carvings have been silently watching over York Minster for centuries. These guardians are full of character, humour and mystery. Now, one of them is stepping off the stonework and making mischief across York. This new city-wide sculpture trail launches alongside the York Mystery Plays. Don’t miss the Doomsday version in the Mystery Plays.
The Original Stations Trail, until July 7
STEP back into the medieval city and trace the route of the original pageant waggons. This trail reveals where the plays once unfolded, bringing history vividly into the streets of today. Created by David Farrar for York Festival Trust, this trail includes a souvenir map created by York artist Jo Rodwell.
Dates and times: June 25, 7pm; June 26, 10.30am & 7pm; June 27, 10.30am; June 29, 10.30am; July 2, 10.30am & 7pm; July 3, 10.30am & 7pm; July 4, 10.30am; July 6, 10.30am, and July 7, 2pm. Bookings: https://www.ticketsource.com/york-festival-trust.
York artist Jo Rodwell: Designed souvenir map forthe Original Stations Trail
Fans can look forward to hearing songs from Thrasher, played live for the first time, alongside highlights from his British chart-topping solo albums, 2010’s Flamingo and 2015’s The Desired Effect, as well as beloved tracks from The Killers’ catalogue.
Nevada-born Flowers, 45, will be touring North America, the UK and Ireland this autumn, including a special show at London’s Royal Albert Hall on October 15, marking his first full performance there since The Killers’ 2009 shows (later released on the Live From The Royal Albert Hall album and DVD).
The Killers have never played York Barbican but did perform at Fibbers on May 30 2004, shortly before the release of debut album Hot Fuss, in their only York gig.
Artist and designer Es Devlin unveils Library of the Four Winds at the Temple of the Four Winds at Castle Howard, marking the tercentenary of architect Sir John Vanbrugh. Picture: Rick Walker/PA Media Assignment, with permission of Castle Howard
LET internationally renowned artist and designer Es Devlin introduce Library of the Four Winds, her new public sculptural installation, on show in and around the Temple of the Four Winds at Castle Howard until September 27 as part of visionary architect Sir John Vanbrugh’s tercentenary celebrations.
“It’s a very special privilege to be invited to make a new work within Vanbrugh’s exquisite Temple of the Four Winds,” she says. “The Library of the Four Winds is a luminous oval revolving bookshelf, made up of hundreds of books, reflected to double height through a mirrored base.”
Devlin’s voice can be heard in a soundscape inside and outside. “The sculpture reads aloud from 250 of the books that have most influenced me. It draws on Vanbrugh’s dedication to literature, architecture and political activism within his final architectural masterpiece,” she says.
Four curved tables and concentric benches form a circle around the pavilion in an open invitation to visitors to connect with another. “Each table is laid with a selection of my annotated books, and we invite visitors to sit and read and meet one another through the texts throughout the summer of this National Year of Reading,” says Es “We are also offering drawing workshops each Saturday [from midday], where people can encounter one another through portraiture.”
Hailed as “the Shakespeare of English architecture”, Vanbrugh had concurrent careers as self-trained architect, playwright, adventurer, soldier, spy, diplomat and garden designer. “It could only be charm,” says Nicholas Howard, when speculating why Vanbrugh received the Castle Howard commission from Charles Howard, the 3rd Earl of Carlisle, after meeting him in the confines of the Kit-Cat Club in London. “I can’t find any other explanation.”
To mark the 300th anniversary of Vanbrugh’s death, Castle Howard is celebrating his legacy with exhibitions, installations, workshops, talks and performances throughout the year.
Nicholas and Victoria Howard say:“It was Vanbrugh’s vision that brought Castle Howard to life, and now the house has the honour of celebrating its creator. There are many ways that audiences can engage with and learn about this larger-than-life character this year, and we are delighted to present this response by Es Devlin, which allows her to explore her own affinity to Vanbrugh. Her work is an innovative response to Vanbrugh’s vision and continues Castle Howard’s work with contemporary artists.”
Library of the Four Winds takes up summertime residency in the temple used originally as a place for refreshment and reading: Devlin’s starting point for creating the new artwork in an aesthetic space whose exact purpose was never specified formally.
There was even more of a buzz surrounding the installation at the press launch, on account of a swarm of bees in search of the queen bee concentrating their energies on the rear of the temple.
Library of the Four Winds artist and designer Es Devlin reading a book outside the Temple of Four Winds, Castle Howard, in a nod to the National Year of Reading. Picture: Rick Walker, PA Media Assignment, with permission of Castle Howard
“What a magical place Castle Howard is,” Es enthuses, drawn to Vanbrugh’s “flamboyant Baroque architecture”, his concern for systems in houses and architecture, his fascination with geometry. “The place is humming with it. What he found in nature was mathematics.”
In turn, mechanics come into the design of Es’s installation, built by Stage One Creative Services, a North Yorkshire manufacturing and engineering company that specialises in bespoke fabrications for the creative industries, based at Marston Business Park, Tockwith.
Central to the impact of the Library of the Four Winds on the Temple of the Four Winds itself is the mirrored base. “The temple invites you to look around you, 360 degrees, and to look up, almost putting a joke, a little riddle at the top where there are two gargoyles. The only way you are not invited to look is down, but this mirror, with the revolving bookshelf, now invites you to look down as well as up.”
Then add the steady rhythm of the rotating bookshelf with its projections of text going in and out of view, complemented at intervals by imagery of birds in flights, adding to the sense of calm, or reflection, of being at peace with books, surrounded by such beauty.
“Whenever I make something that revolves, I notice that people fall into a reverie,” says Es. “It reminds us of what we’re trained to forget, which is that we’re constantly turning.”
In creating the Library of the Four Winds, Es has a partner operating in tandem with her. “I’ve been working with the building as the co-author since the beginning,” she says. “I view the building as a protagonist, as another of the dramatis personae.”
She wants her installation to be a conversation piece. “I hope that people who don’t love the same songs, read the same books, share the same political views, go to the same church, or speak the same language, will be brought together to discuss something else, where they don’t have to keep talking about what separates us,” says Es.
Es Devlin’s installation, Library of the Four Winds, is on show in the Temple of the Four Winds, Castle Howard, near Malton, until September 27. Entry is included in Castle Howard admission.
Every Saturday until September 26, a 45-minutedrawing workshoptakes place at the installation; materials are provided. Friday Lates, an opportunity to see the Library of the Four Winds on a summer evening, will be held on July 3, August 7 and September 4. To book, go to: www.castlehoward.co.uk.
Awake Awake author Fiona Mozley, centre, with Little Apple Bookshop proprietors Tim Curtis and Philippa Morris during her book-selling shift back on familiar book turf
FIONA Mozley returns to her York roots for her first novel in five years, Awake Awake.
Now living in Edinburgh, she headed back to her home city for a promotional day earlier this month, combining face-to-face interviews with a two-hour book-selling shift at Little Apple Bookshop, in High Petergate, where she worked behind the counter from 2016 to 2019.
“It was my favourite ever part-time job, and I’m still friends with Tim Curtis and Philippa Morris, who run it,” says Fiona, settling into a window seat at Waterstones, in Coney Street, where she would give a talk and sign books later that evening.
“Elmet sold 1,000 copies at Little Apple Bookshop alone and it remains their biggest ever-selling selling book.”
After rising to Booker Prize-shortlisted acclaim with that 2017 debut novel, set in Yorkshire, and following it up in 2021 with Hot Stew, set in a Soho brothel, Fiona roots her third novel almost entirely in the York of the 2000s, where her heroine Mary’s father works at York Minster.
“In a five-year period I wrote two and a half novels, and Awake Awake was the one that gained ground,” says Fiona. “Some writers have a ‘difficult second novel’, but mine was already on the way when Elmet came out, though I did ‘um and aarrgh’ because I had a number of ideas and was pursuing them all at once.
“Again, with this new novel, it started as a tandem project, which was that I’d always wanted to write a novel set in the early 2000s, following a bunch of teenagers negotiating those personal and political times.
“I was born in 1988, so in 2002-2003, I was 14-15, when my generation grew up thinking that everything was going to get better; that ‘history’ was over; that conflict had been eradicated; the economy would go from strength to strength and jobs were plentiful. How wrong we were.”
Fiona wanted to examine that moment of optimism and how the world came crashing down as 9/11 and the invasion of Iraq led to a “readjustment of the perception of where we were going”. She would do so through the eyes of teenagers “because they bring an insight and earnestness”, leading to activism and Stop The War marches.
“I decided to set it in a place outside the global capitals, so why not York, which made the perfect setting as I grew up here,” she says. “All my writing is rooted in long history and place – I studied History at King’s College, Cambridge – so the second strand I explored was an examination of the way we think about the past, in particular memories of the Second World War and memories of family histories.
“Awake Awake is very much fiction, but I wanted to think about the story of my grandfather, on my mother’s side, who was born in Leeds and was an officer in the Royal Amy Medical Corps.”
Her grandfather was from the Orthodox Jewish community, but hid it from his wife and his children, prompting Fiona to ponder how and why he did this.
Fiona toyed with the concept of writing in a “counter-fictional” mode – a narrative or thought process that opposes or subverts the established rules, traditions and tropes of a specific story, genre or fictional world. “I was interested in playing with the idea from Quentin Tarantino’s [2009 black comedy] Inglourious Basterds, which I thought went over the top, but I was keen to see how those ideas spoke to each other.”
In 2023, Fiona and her partner spent a month in Cambridge, Massachusetts. “While I was there, I wanted to read some big American novels, so I read some Philip Roth, who I absolutely love and absolutely hate, but he’s never boring,” she says.
“Reading his books gave me permission to go ‘wild’ in my writing, to not shy away from something that might be controversial. I was struck by how he mixed the personal with the political and the international. Reading him, although I’m a hugely different person and writer, it gave me the opportunity to push in that direction.”
Explaining its impact on Awake Awake, Fiona says: “People are often curious about the relationship between real and fictional, and my response is that I find myself unable to write things as I perceive them and write down events as they happen. I would be a terrible lawyer, an unreliable witness, because for me the process of writing is immediately creative and a new world emerges in the telling.
“I looked into this, and a lot of memory is constructed. It’s a creative act, so what I wanted to do was to exaggerate that. Put in the most stark terms, the [central] character is totally overcome by fictional memories – and the book is also about how our identities are totally informed by those memories.”
Awake Awake, by Fiona Mozley, is published in hardback, audio and ebook by John Murray Press.
The cover artwork for Fiona Mozley’s Awake Awake
Five talking points in Awake Awake
The war novel: How can contemporary novelists write about war?
2000s’ nostalgia and optimism: Anti-war movement of early 2000s was the backdrop to Fiona’s teenage years in York. How has that shaped how she and her generation think today?
Memory and mental illness: The novel’s heroine and her brother both suffer from mental ill-health as Fiona traces a “kind of intergenerational trauma”
Second World War: Fiona has Jewish heritage. Her maternal grandfather was from the Orthodox community in Leeds but hid it from his wife and children. How and why did he do so? Fiona brings family history into the novel to speculate on what might have happened to him.
Activism: Backdrop to the 2000s’ sections of the novel is the Stop The War movement and marches.
Author Fiona Mozley. Picture: Aleksandra Maciejewska
Fiona Mozley: back story
FIONA grew up in York, appearing in multiple theatrical productions before studying History at King’s College, Cambridge. Worked behind the counter at Little Apple Bookshop, in High Petergate, York, from 2016 to 2019.
Debut novel Elmet, published in August 2017 by JM Originals, was set in the claustrophobic rural West Riding of Yorkshire, exploring themes of family bonds, revenge, land rights, modern society and the ultimate price of freedom. Shortlisted for the 2017 Booker Prize, it was published in the USA in December 2017 and reissued in a JM Classics edition in 2025.
That year too, Elmet was adapted for the stage by Bradford-raised writer-director Javaad Alipoor for Bradford 2025 UK City of Culture, presented by the Javaad Alipoor Company at Loading Bay, with music by North Eastern folk luminaries The Unthanks & Adrian McNally and movement by Ad Infinitum’s Deb Pugh.
Playing like an ancient tragedy reflected in shards of memory, the world premiere ran from October 22 to November 2 2025 with its story of Cathy and Danny living apart from the world with towering bare-knuckle boxer Daddy, who has built them an idyll amid the trees on a land “made of myths”. However, a great reckoning is coming, led by all-powerful landowner Mr Price, threatening to smash apart everything the trio holds dear.
Second novel Hot Stew, published in 2021, was set in Soho, London, where sex workers Precious and Tabitha fight an eviction order from a real-estate heiress. Third novel Awake Awake was published in June 2026 by John Murray Press.
Fiona has won the Somerset Maugham Award and the Polari Prize and been shortlisted for the Booker Prize, the Ondaatje Prize and The Sunday Times Young Writer of the Year Award. She has been longlisted for the Dylan Thomas Prize and the Women’s Prize too.
She is a Fellow of the Royal Society of Literature.
Dan Wood, left, Stephen Wright, Lotty Farmer, Rosa Burns, Hannah Shaw and James Dickinson in York Light Opera Company’s production of The 25th Annual Putnam County Spelling Bee
A SNAPPY crocodile and a Man-Wulf, a spelling bee musical and the York Mystery Plays on wagon wheels keep Charles Hutchinson’s arty eye on the ball and off the football.
Musical of the week: York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, today to Saturday & June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026)
NEIL Wood directs York Light in Rebecca Feldman, William Finn and Rachel Sheinkin’s musical account of six ‘mid-pubescents’ battling for the spelling championship of a lifetime. While candidly disclosing stories from their home life, the tweens spell their way through a series of words hoping to never hear the bell that signals a mistake.
Cue a heart-warming message that highlights themes of friendship, identity and perseverance, all while celebrating the awkwardness and excitement of growing up. Box office: tickets.41monkgate.co.uk.
Jordan Eskeisa, left, Marienella Phillips, Chelsea Da Silva (The Enormous Crocodile, front), Precious Abimbola and Ciara Hudson in Roald Dahl’s The Enormous Crocodile The Musical. Picture: Danny Kaan
Mischievous adaptationof the week:Roald Dahl Story Company in Roald Dahl’s The Enormous Crocodile The Musical, York Theatre Royal, tomorrow to Sunday, 10.30am and 1.30pm
ROALD Dahl’s Enormous Crocodile is weaving his way through the jungle in search of delicious little fingers and squidgy podgy knees. Only fellow jungle creatures can foil his “secret plans and clever tricks”, but they need courage aplenty to stop this greedy, grumptious, horrid brute.
Equipped with Ahmed Abdullahi Gallab’s tunes, Suhayla El-Bushra’s rib-tickling book and lyrics and Tom Brady’s additional music and lyrics, the dastardly family adventure has been developed and directed by Emily Lim, working in tandem with co-director and puppetry designer Toby Olié. Chelsea Da Silva, Precious Abimbola, Jordan Eskeisa, Ciara Hudson, Marienella Phillips and actor-musician René Francalanza star.Age guidance: Three plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stewart Lee’s illustration for Stewart Lee vs The Man-Wulf, on tour for three nights at Grand Opera House, York
Comedy gigs of the week: Stewart Lee vs The Man-Wulf, Grand Opera House, York, tomorrow to Saturday, 7.30pm
AFTER a five-night Theatre Royal run in the fledgling days of Stewart Lee vs The Man-Wulf in January 2025, the contrarian comedian returns to York for three more nights of testing whether the beast inside us all can be silenced with the silver bullet of Lee’s scalpel-sharp stand-up?
Lee will play the same material three ways: first up, telling liberal jokes in a liberal way, then, after a screaming transformation into the Man-Wulf, reactionary jokes in a reactionary way post-interval and, finally, wolf’s head removed, reactionary jokes in a liberal, left-leaning way. Box office: atgtickets.com/york.
The Moorlands Blues Band: Playing at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents The Moorlands Blues Band, Milton Rooms, Malton, tomorrow, 8pm
IN The Moorlands Blues Band, the powerhouse blues ensemble founded by seasoned musicians Giuseppe Vitale and Rod Mackay is joined by Owen Houlston on voice and guitar. In high-energy performances of soulful depth, they play everything from the rawness of Old Delta Blues to the swing of Jump Blues and the gritty soul of Chicago Blues. Box office: 01653 696240 or themiltonrooms.com.
Karl Mullen: Everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, at The Old Paint Shop
Cabaret gig of the week: The Old Paint Shop presents Karl Mullen, York Theatre Royal Studio, Friday, 8pm
AFTER two Old Paint Shop gigs last year, Karl Mullen, upright-piano busker, Phoenix Inn fixture and Leeds Piano Competition Pub Piano Champion, completes his hat-trick, serving up his energetic take on everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, packed with outrageous and heartfelt stories from decades of gigging. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Coastal gig of the week: Pete Tong, Ibiza Classics, TK Maxx presents Scarborough Open Air Theatre, Friday, gates open at 6pm
FROM the sun-soaked shores of Ibiza to the world’s biggest stages, Pete Tong has redefined live dance music over more than 30 years of pushing boundaries and supporting new talent.
After celebrating the tenth anniversary of Ibiza Classics with four sold-out nights at the Royal Albert Hall, he heads to the Yorkshire coast with The Essential Orchestra, having first visited Scarborough Open Air Theatre in 2023. Box office: scarbroughopenairtheatre.com.
Becky Hill: Performing after Saturday’s race meeting on Knavesmire
Under starter’s orders: Becky Hill, Summer Music Saturday, York Racecourse, Saturday, first race at 1.20pm
BECKY Hill, two-time BRIT Award winner for Best Dance Act, opens the summer of post-racing concerts at York Racecourse, promising a high-energy performance on the “Glastonbury-style stage” after seven races. For her set list, she can pick from such hits as Gecko; Back & Forth; Wish You Well; Lose Control; Better Off Without You; Heaven On My Mind; Remember; My Heart Goes; Run; Crazy What Love Can Do; History and Disconnect. For race-day tickets, go to: yorkracecourse.co.uk.
York Mystery Plays: Returning to streets of York on June 28 and July 5
Theatrical event of the week: The York Mystery Plays, streets of York, June 28 and July 5, 10.30am to 4.50pm; Sunset In The Shambles Market, June 30 and July 1, 7.45pm
THE four-yearly staging on the York Mystery Plays on pageant waggons take place at four locations across the city: free viewing at the Minster Refectory Gardens, Deansgate, (from 10.30am) King’s Square (from 11.10am), St Sampson’s Square (from 11.50am) and ticketed seats at Dean’s Park (from 12.30pm). Ten core plays will be complemented by further extracts to tell the story from The War In Heaven to Doomsday. For full details, go to: yorkmysteryplays.co.uk.
Special midsummer performances of five plays will be held in Shambles Market on June 30 and July 1, introduced by the York Waits musicians before Pageant Master Dr Alan Heaven guides the audience through each play, from the Creation sequence to the End of Days in the interactive show Doomsday. These shows begin at 7.45pm and end as the dusk is deepening before 10pm. Tickets: ticketsource.com/york-festival-trust.
The Choir Of Man: Harmony singing to the max at Grand Opera House, York. Picture: The Other Richard
Foot-stomping musical celebration of the week: The Choir Of Man, Grand Opera House, York, June 30 to July 2, 7.30pm; July 3, 4pm and 8pm; July 4, 2.30pm and 7.30pm
SET in the on-stage pub The Jungle, The Choir Of Man is billed as “the best trip to your local you’ll ever have” as a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with tap dance and soulful storytelling in an uplifting celebration of community and friendship.
The debut UK & Ireland tour cast features Gustav Melbardis as Maestro; Oluwalonimi (Nimi) Owoyemi as Poet; Levi Tyrell Johnson as Hard Man; Ben Mabberley as Joker; Rob Godfrey as Beast; Jack Skelton as Handyman; Joshua Lloyd as Barman; Sam Walter as Romantic and Aaron Pottenger as Bore performing Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns N’ Roses, Avicii and Katy Perry hits. Box office: atgtickets.com/york.
Elvis Costello: Focusing on his early songs at York Barbican. Picture: Ray Di Pietro
ELVIS Costello likes to shuffle his considerable pack.
In May 2013, at York Barbican, he wheeled out his gigantic vaudevillian contraption for his Spectacular Singing Book show, where The Imposters’ three-hour set list was decided by the spinning of a wheel with myriad song titles displayed on it.
In September 2024, he teamed up with his regular keyboards compadre, Paris-based Steve Nieve, for a two-day residency at Leeds City Varieties, playing two 75-minute concerts each night under the title of 15 Songs From 50 Years, each with a unique set list with no repetition, 60 songs in total.
What’s more, each concert concluded with a Ken Dodd cover version, in a nod to the City Varieties being renamed the Sir Ken Dodd Auditorium in honour of the Knotty Ash comedy legend. Costello had even written the tour announcement himself in the magniloquent style of Good Old Days host Leonard Sachs.
On Wednesday, Elvis was back in the Barbican building in a late addition to his Radio Soul! tour with its focus on revisiting, re-examining and reactivating “the Early Songs of Elvis Costello”. For “early”, it would not be controversial to say the “best songs”, the hit years of 1977’s My Aim Is True to 1986’s Blood & Chocolate.
The songwriting partnerships with Paul McCartney, Burt Bacharach and Allen Toussaint were still to come, and now 71, Costello has graduated to “national treasure” status, but you suspect he would prefer to be considered ‘ornery’ rather than ‘honorary’.
He arrives on stage at 8.45pm in dapper blue jacket, golden winklepickers, waistcoat, trademark glasses (blue-tinted) and a pork pie hat that he immediately discards, restless to crack on with bringing the past into the present with thrills, not frills, restless too to keep moving his players and himself around the stage.
He is playing to a seated audience, but the guitars are loud, Pete Thomas’s drums are punchy, and the sound mix is muddy and thudding, recalling his first Barbican appearance with The Attractions in November 1994, spoiled by the oppressive sound levels that night.
It is not a problem blighting only his York Barbican shows: national newspaper reports of his June 15 show at the Royal Albert Hall commented on the same scenario with its impact on being able to decipher Costello’s familiar lyrics.
Costello has added Texan guitarist Charlie Sexton to the mix – looking the spitting image of David Bowie in Station To Station guise – but at first it was difficult to hear his electricity crackle with clarity. This Year’s Girl and Mystery Dance were murky, but an extended Watching The Detectives found Costello and band – all in black – hitting their stride.
Without being as extreme as Bob Dylan, Costello now has a habit of playing around with his vocal delivery and rhythm, Shabby Doll taking a while to become recognisable. Motel Matches, from 1980’s Get Happy!, reasserted itself as a country song precursor to 1981’s covers album Almost Blue; Just A Memory, the B-side to the sadly absent New Amsterdam, made a rare appearance, as did No Dancing from My Aim Is True.
Lover’s Walk, from 1981’s Trust, had a strutting bounce to it, but (The Angels Wanna Wear My) Red Shoes was too ragged. The sound fared better whenever Costello took to the piano, where his characterful voice brought the blues to a slower, still soulful Everyday I Write The Book.
There was the unexpected as well as the expected, typified by A Face In The Crowd, the title track from his stage musical, but the absence of his political trilogy, Shipbuilding, Pills And Soap and Peace In Our Time, was both surprising and disappointing.
Charlie Rich’s Who Will The Next Fool Be and Heathen Town followed, the latter finding room for snippet of A Good Year For The Roses, a segue surpassed by Clubland accommodating Ghost Town, its state-of-the-nocturnal-nation marrow by The Specials.
Costello’s humour was in fine form, from saying he only came up with Early Songs concept because he could not tour as “the late Elvis Costello”, or later introducing his skiffle pastiche Lovable as a tribute to The Beverley Sisters. Correction, “the Everly Brothers,” he quipped.
Alison was rough at the edges, but Less Than Zero set in motion the irresistible pumped-up home run of (I Don’t Want To Go To) Chelsea, Pump It Up, (What ‘s So Funny ‘Bout) Peace, Love And Understanding and Oliver’s Army, riding the old New Wave with breathless exhilaration. No need for encores, Elvis left the building.
Elvis Costello & The Imposters’ set list at York Barbican, 17/6/2026
THIS Year’s Girl; Mystery Dance; Watching The Detectives/Help Me; Shabby Doll; Motel Matches; Just A Memory; No Dancing; Lover’s Walk; (The Angels Wanna Wear My) Red Shoes; Everyday I Write The Book; A Face In The Crowd; Who Will The Next Fool Be; Heathen Town/Good Year For The Roses; Lovable; Honey, Are You Straight Or Are You Blind?; Clubland/Ghost Town; Alison; High Fidelity; Less Than Zero; (I Don’t Want To Go To) Chelsea; Pump It Up; (What’s So Funny ‘Bout) Peace, Love And Understanding and Oliver’s Army.
Sharing a Moment: Elvis Costello and Emily Moment on the cover of Cruel Smile
Did you know?
ELVIS Costello’s support act at York Barbican, singer-songwriter Emily Moment, appeared alongside Elvis on the cover of Cruel Smile, his 2002 compilation album of B-sides and leftover material from his When I was Cruel sessions. “I used to go into the Virgin Megastore in New York and rearrange his albums with Cruel Smile at the front,” she told Wednesday’s audience.
Dominic Goodwin in a triptych of variety guises in Twice Nightly
DOMINIC Goodwin, one-time manager of Helmsley Arts Centre, pantomime dame and actor, returns to his old stamping ground with his first one-man comedy show in a celebration of the glory days of variety on Friday and Saturday.
Written and performed by Goodwin and directed by York director and actor Thomas Frere, Twice Nightly follows the story of struggling comedian Freddie Francis in 1956 as the final curtain hovers over variety.
Many acts of the time are highlighted, including Norman “Over The Garden Wall” Evans (said to be an influence on Les Dawson), Stockton comic Jimmy James, wartime star Robb Wilton and the iconic Max Miller.
“It’s been an honour to perform these stars’ material, and even more so to have the backing of the families,” says Dominic, who will be on tour until July 25, including further North Yorkshire performances at the Georgian Theatre Royal, Richmond, on July 10 and 11 and Friargate Theatre, York, on July 17 and 18.
Dominic Goodwin at his most colourful in Twice Nightly
Here Dominic discusses Twice Nightly, variety’s golden age and going solo with CharlesHutchPress.
Introduce the show, Dominic…
“Freddie Francis has been a second spot comic for 30 years, touring the country on every variety bill going. We find him in 1956 recalling his life spent touring the halls; the ups, the downs, the riotous, the fantastic and the downright silly!
“He recalls his days entertaining the troops during the Second World War, playing at the infamous Glasgow Empire, and we discover what really happened when a speciality act lost her snake on stage!!
“Ultimately Twice Nightly is a fading memory of the variety stage. The death of something that has been part of everyone’s life for decades is now on the decline. Where will Freddie go when he finishes this tour? Who will he go back to, and ultimately who really cares?”
What are your own memories of the golden era of variety? Did you see any of the icons on stage? “Oh how I wish I had! I’ve only ever seen them in YouTube clips. The sheer diversity of the acts on offer was extraordinary. From singers to comics, contortionists to animal acts like Rumba the man-eating lion! And even a guy who would walk on stage with a live bull!”
Who are your variety heroes? “It would have to be Jimmy James – he of the “box routine” fame – and Norman Evans. Norman was the forerunner of Les Dawson and Roy Barraclough with their Ada & Cissie act. Norman did his ‘over the garden wall’ sketches with his character of Fanny Fairbottom. Very funny sketches and at the time there was nothing like it.
“I suppose the ultimate variety star would be Max Miller. He had the longest stage life and was top of the bill for longer.”
What has been the gestation of Twice Nightly from idea to stage? “I originally wrote it in 2015 and performed in Scotland with a cast of eight, when [Easingwold actor, songwriter and magician] Phil Grainger was in it, but the intention was always to do it as a one-man play.”
Dominic Goodwin’s Dr Watson, left, and Julian Finnegan’s Sherlock Holmes in Kirkbymoorside company Pyramus and Thisbe Productions’ 2021 revival of Stuart Fortey’s two-hander Holmes And Watson: The Farewell Tour
What was the attraction of performing a solo show when we have often seen you in double acts previously? “My friends at The Swallow [Scotland’s smallest theatre at Ravenstone, Whithorn, Dumfries and Galloway], have asked about a return of Twice Nightly for a few years and after the success of Switcheroo last year I decided the time was right, while I was still young enough to tackle a one-man play!”
Why is the show called Twice Nightly? “In the heyday days of variety, the shows would be performed twice nightly, at 6pm and 8pm, so the title kind of fits!”
Which variety acts feature in Twice Nightly?
“The show includes routines from amongst others, Max Miller, Rob Wilton, Jimmy James and Norman Evans, and renditions of many of the popular songs of the time, such as The Man Who Broke The Bank At Monte Carlo, Happy Days Are Here Again and Goodnight Sweetheart.”
What form has the “backing of the [variety act] families” taken for Twice Nightly? “That has been amazing! Firstly, the Max Miller Appreciation Society has been very helpful. They’ve given me permission to use his gags, and on the matinee of the week I’m doing in Brighton they have booked the theatre out for a social event! So they’ll all sit and watch the show and then we’ll have a little do.
“Jimmy James’s granddaughter has given me permission to do the box routine, and she is actually coming to the show on Thursday (25/6/2026) at Grantham! I had quite an online trawl to find her.
“The Norman Evans routine was written by Ronnie Taylor, who died in the 1970s, and all his scripts and ephemera went to the V&A, but his two daughters have also given me permission to perform a Fanny Fairbottom sketch!”
Dominic Goodwin in the role of Norman Evans’s variety character Fanny Fairbottom
Why did the good old days of variety die out?
“Things changed, The Beatles, Cliff Richard etc. People wanted something different. When Johnnie Ray came to the UK in 1956, that was the beginning of the end. Then of course the introduction of television, people could see their favourite acts while sitting in their living rooms.”
Have you worked with director Thomas Frere previously and why did you pick him to direct Twice Nightly? “Thom is a dear good friend and a top-notch director. We’ve worked together a few times now, although always as co-actors, from panto in 2009 to Switcheroo in 2025. This is the first time he’s sat in the director’s seat and I wouldn’t hesitate to hook him again.
“He knows instinctively what will work and what won’t. His understanding of the relationship between actor and audience is top-notch.
“We’ve together worked to give the show its shape and form. He’s also very well aware of when it’s time to stop for the day in the rehearsal room. Doing a one-man show is pretty knackering and generally he wouldn’t let me go on after 4pm.”
What are your happiest memories of your time as manager of Helmsley Arts Centre? “Running the youth theatre for so many years and watching youngsters really get to grips with texts; meeting some top-class names, like Jonathan Miller, Nicholas Parsons and Robert Powell, and working alongside people who had a real love of the arts centre and its aims.”
Finally, Dominic, why should we see Twice Nightly? “Come along for a laugh. It doesn’t matter how young or old you are, you’ll go away having had a high old time. If you want to laugh, go! It’s not a show to be viewed as a piece of history; it’s full of fun, with an added dollop of pathos thrown in for good measure.”
Pyramus and Thisbe Productions presents Dominic Goodwin in Twice Nightly, Helmsley Arts Centre, June 26 & 27, 7.30pm; Georgian Theatre Royal, Richmond, July 10 & 11, 7.30pm; Friargate Theatre, York, July 17 & 18, 7.30pm.
Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk; Richmond, 01748 825252 or georgiantheatreroyal.co.uk; York, 01904 655317 or ridinglights.org/friargatetheatre.
Daniel Wood, left, Stephen Wright, Lotty Farmer, Rosa Burns, Hannah Shaw and James Dickinson in in York Light Opera Company’s productionof The 25th Annual Putnam County Spelling Bee
SIX awkward spelling champions learn that winning – and losing – is not everything in York Light Opera Company’s summer production, The 25th Annual Putnam County Spelling Bee.
Conceived by Rebecca Feldman, with music and lyrics by William Finn and book by Rachel Sheinkin, the 2004 American musical will be staged at Theatre@41, Monkgate, York, from June 24 to July 4 under the direction of Neil Wood and musical direction of Martin Lay, at the helm of a four-piece band.
Be prepared for a riotous ride as an eclectic group of six “mid-pubescents” battle for the spelling championship of a lifetime in a fast-paced, wildly humorous show replete with audience participation.
While candidly disclosing touching stories from their home life, the tweens spell their way through a series of – potentially made-up – words, each hoping to never hear the soul-crushing, pout-inducing ding of the bell that signals a spelling mistake.
Rosa Byrne’s Marcy Parkrehearsing for York Light’s The 25th Annual Putnam County Spelling Bee
Taking part will be Lotty Farmer’s Logainne SchwartzandGrubenierre; Hannah Shaw’s Olive Ostrovsky; Rosa Burns’ Marcy Park; Daniel Wood’s Leaf Coneybear; James Dickinson’s Chip Tolentino and Stephen Wright’s William Barfeé.
“The 25th Annual Putnam County Spelling Bee promises unforgettable entertainment with a heart-warming message highlighting themes of friendship, identity and perseverance, all while celebrating the awkwardness and excitement of growing up,” says Neil, as York Light looks to build on the success of Eurobeat and Annie, Martyn Knight’s final production in the director’s chair.
“I love this quirkly little show that was first done as a workshop show in 2004 and then played off-Broadway and made its Broadway debut in 2005. Spelling Bee is one of those shows that invites the audience into the world of the spellers to cheer, to laugh, to cry and just have a wonderful evening. It’s back in New York, playing off-Broadway, winning every award insight, playing in a complex with six productions going on in one building.
“It has top-quality writing and is just as relevant today from when it was first performed and we’ve upated with a reference to President Trump! With a show that has such a cult following, once you see it, you will want to come back over and over again!”
Vice-principal Douglas Panch (Neil Foster), left, watching the contestants, James Dickinson’s Chip Tolentino, front, left, Daniel Wood’s Leaf Coneybear, Lotty Farmer’s Logainne SchwartzandGrubenierre and Stephen Wright’s William Barfeé, in The 25th Annual Putnam County Spelling Bee
Part of the fun will be audience members’ opportunity to be guest spellers in each performance. “I’ll be chatting beforehand, saying, ‘do you fancy trying out your spelling’? It’s not compulsory, but I’m confident we will find people to do it,” says Neil.
The show has echoes of Dennis Potter’s Blue Remembered Hills and Willy Russell’s Blood Brothers in having adult actors play children. “The six main spellers in the competition are 12/13-year-old adolescents, and most people will be able to recognise themselves in at least one of them,” says Neil.
“There’s a geek; a zany, off-the-rails one; an alpha-male; a future businesswoman, already looking career driven; a young politician, being brought up by two dads, and a girl whose parents adore her but they’re always busy pursuing their own lives. I think the audience will end up rooting for the one they identify with the most.
“There’s a proper plot in this character-centred show, whereas there wasn’t in Eurobeat, which was more like ‘an experience’. The three adults running the event are important too: the one-time champion (Katie Brier’s Rona Lisa Piretti), the vice-principal (Neil Foster’s Douglas Panch) and the comfort counsellor (Mikhail Lim’s Mitch Mahoney), who is there to look after the children, should they not success in the spelling bee. They all have a back story, and the stories intertwine with little bits of flashback.”
The fact that the children are played by adults, “you just get transfixed by them,” suggests Neil. “It calls on a totally different skill set for the actors , and one of the things that we’ve really worked on is the consistency of the characters as they’re on stage all the time, so they have to hold those characters traits at all times.”
Should you be wondering, Neil’s research reveals there are no fewer than nine Putnam Counties in the United States. “But then there are 20 different Springfields there by the way, including the one in Missouri in The Sopranos and the town in The Simpsons!” he says.
“We’ve given it over to the company members to find their accents for our show, which is set at a regional heat before the national final in Washington,”
The setting will be a school gymnasium, where the young spellers must exercise their minds. “We’ll have a basketball hoop on the set to give a sense of a gym,” says Neil.
Looking forward to tomorrow’s opening, he enthuses: “What I love about the show is how the audience can forget about the outside world for two hours, when they’ll smile, they’ll be moved by the story, they’ll have fun – and you’ve got to have fun at the theatre!
“We giggle at rehearsals from start to finish, and you have to do that with this piece because, if we’re not having fun, nor will the audience, but I guarantee they will come out with grins on their faces.”
York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, June 24 to 27 & June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026). Box office: tickets.41monkgate.co.uk.
Katie Brier’s Rona Lisa Piretti, left, andHannah Shaw’s Olive Ostrovsky in a scene from York Light’s The 25th Annual Putnam County Spelling Bee
