Sleeping Beauty cast members, left to right, Tommy Carmichael, Jennie Dale, Robin Simpson, Aoife Kenny, Sophie Flora and Chris Morgan outside York Theatre Royal. Picture: Charlie Kirkpatrick Photography
THE York Theatre Royal pantomime cast for Sleeping Beauty has met up for the first time.
In attendance too at the costumed press launch were the regular production team of director Juliet Forster, the Theatre Royal creative director; writer Paul Hendy, artistic director of panto partners Evolution Productions, and choreographer Hayley Del Harrison.
Dressing up for the occasion were Robin Simpson, returning for his sixth year as dame, easy to spot in polka dots as Nurse Nellie; fellow returnee Tommy Carmichael, on daft lad duty as Jangles; CBeebies’ star Jennie Dale, making her very first visit to York ahead of playing Fairy Moonbeam, and Irish-Jamaican actress Aoife Kenny, likewise setting foot in York for the first time, in readiness for her title role (also known as Aurora).
Present too for the photoshoot were ensemble cast members Sophie Flora and Chris Morgan – who will be joined in the show by returnees Charlotte Wood and Christopher Morgan-Shillingford. Turning up the heat in a demonstration on stage was fire act Kris Madden, the bright spark who will be the panto’s variety turn.
He is the fire starter: Kris Madden, the specialist fire act, warms up for his variety turn in Sleeping Beauty at York Theatre Royal. Picture: Charlie Kirkpatrick Photography
Absent on the day, on account of performing commitments elsewhere, but also confirmed for their Theatre Royal pantomime debuts were West End actress Jocasta Almgill, from East Yorkshire, as wicked fairy Carabosse, and Scott Goncalves, a name familiar to York audiences from his days in York Orchard Musical Theatre Company, Pick Me Up Theatre and York Light Opera Company.
“We’re very excited that Scott will be playing our prince, Prince Michael of Moravia,” said Juliet. “He did a couple of York Light Opera shows here and was one of our young Lancelots when we did The Legend Of King Arthur [July 2013], when Anna Soden and Laura Soper, both now professionals too, were also the cast too. Scott went off to drama school and has been doing musical theatre shows.”
Jennie, from Brighton, has made a habit of playing the fairy in panto, “though I did play the Witch in Hansel & Gretel and the Sheriff of Nottingham in Robin Hood, which I absolutely loved, but other than that I’ve always been a goodie,” she said, before heading off to Bradford to rehearse and record this winter’s CBeebies’ pantomime, Cinderella.
“The fairy is a bit of a safety net for children because, when they see me, they know everything will be OK,” says Sleeping Beauty’s Fairy Moonbeam, played by CBeebies star Jennie Dale, PIcture: Charlie Kirkpatrick Photography
“Funnily enough, the character I’m known for on CBeebies is a baddie. I play Captain Captain in Swashbuckle, though I also have my own series called Jennie’s Fitness In Five, five minutes of attempting to get children to do some exercises, where it all goes wrong!
“But in panto I love how the fairy has an important thread that’s carried throughout the performance, explaining to the children what’s going on, but also with lovely humour. She’s a bit of a safety net for children because, when they see me, they know everything will be OK.”
Sleeping Beauty will run from December 2 to January 4 2026. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
The Old Paint Shop, pictured on its inaugural night on October 5 2024, returns to York Theatre Royal Studio tomorrow
THIS autumn, York Theatre Royal Studio is being transformed once again into cabaret club The Old Paint Shop for a season of comedy, live music, burlesque and more, featuring Paint Shop favourites and exciting new acts.
Seating will be cabaret club style and unreserved, offering an intimate theatrical experience where audience members are encouraged to grab a drink at the bar, sit back, relax and enjoy the show.
Evolution Of Fishermen: Opening new season tomorrow. Picture: Luke Ryan Photography
Evolution Of Fishermen, October 9, 8pm
EVOLUTION Of Fishermen are a contemporary folk band, brought together by a mutual love of storytelling, harmony and original folk songs. Since forming in 2021, they have played Green Note, O2 Academy Islington, Old Blue Last in London and The Crescent in York, plus festival appearances at Wilderness, Deershed, Gate To Southwell, LOOP fest & Sam Lee’s The NEST stage at Medicine Festival.
Nun better than Freida Nipples in the company of The Exhibitionists. Picture: Fake Trash Studio
Freida Nipples presents The Exhibitionists, October 10, 8pm
JOIN York’s international award-winning burlesque artiste Freida Nipples as she welcomes some of her favourite and most fabulous performance artists from across the UK. From burlesque to drag and beyond, be sure to expect the unexpected.
Anna Soden: Talking out of her ass in brain wave of a debut comedy show
Anna Soden: It Comes Out Your Bum, October 11, 8pm
ANNA Soden’s brain is a bum. “Come see all the nice things that come out of it,” says the York-raised, Brighton-based comedian, actor and award-nominated York Theatre Royal pantomime cow.
It Comes Out Your Bum is Anna’s madcap debut comedy hour, full of songs, revenge and talking out your ass. This 2025 Komedia New Comedian semi-finalist has featured on Absolute Radio, iHeart Radio and BBC Upload and attracted more than 11million views on TikTok/Instagram.
Fool(ish) Improv: Talking cobblers
Fool(ish) Improv: Cobbled Together, October 11, 8pm
FOOL(ISH) are delighted to deliver a new kind of improv gig as they return to York Theatre Royal. Inspired by York’s most famous street [Shambles], Cobbled Together is a show where the audience brings its own stories and memories of York to pave the way for some freshly ground comedy.
“All things local are about to get a little bit more ludicrous” say Fool(ish). “Join us for a spontaneous and ‘shambolic’ comedy where everything is made up… apart from the bits that happen to be true!”
Kiki Deville: Amusing tales to heartfelt confessions. Picture: Veronica Vee Marx
An Evening with Kiki Deville, October 17, 8pm
COMBINING a big voice, big humour and an even bigger heart, award-winning cabaret diva Kiki DeVille presents a dazzling night of storytelling, sharp wit and unforgettable moments.
From amusing tales to heartfelt confessions, Kiki serves it all, seasoned with her signature sass and a splash of vintage glam. Expect wonderful songs, side-splitting stories and perhaps a visit from glamorous guests along the way.
The Jazzville Quartet’s singer Raquel Alvaro
The Jazzville Quartet, October 18, 8pm
JOIN York jazz combo The Jazzville Quartet for a joyful celebration of Latin favourites (some sung in the original Portuguese), swing classics and haunting jazz ballads, led fabulous Portuguese jazz songbird Raquel Alvaro.
Accompanying Raquel will be piano maestro, arranger and composer Alec Robinson, saxophone legend Jon Taylor and double bass player Tim Murgatroyd.
Queer Spaces: Imagining a better world through a queer lens
Queer Spaces: Climate Pride, October 22, 7pm
THIS one-off night of sparkling new stories imagines a better world through a queer lens. Written and performed by York LGBTQIA artists trying out new work for the first time, Queer Spaces is presented by Roots in association with York Theatre Royal and the Stephen Joseph Theatre.
Pianist Karl Mullen: Everything from Chopin to Oasis, via Led Zeppelin and Les Dawson
Karl Mullen, October 23, 8pm
KARL Mullen is a familiar sight to York visitors as the busker with an upright piano playing outside York Minster, jazz fixture at The Phoenix Inn, in George Street, and Pub Piano Champion at the Leeds Piano Competition.
Mullen has a huge repertoire and specialises in virtuosic arrangements of material from The Great American Songbook, classic pop and rock, boogie-woogie and blues. Expect a highly entertaining mix of everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, delivered with a large dose of humour and stories.
Jazz singer and pianist Nicki Allan
The Nicki Allan Quartet, October 24, 8pm
LEEDS jazz outfit The Nicki Allan Quartet are headed by jazz singer and pianist Nicki Allan, whose vocal style blends wholesome blues sound with soulful jazz and a hint of R&B. Together, the quartet plays a lively and varied set of up-tempo music with a fresh, modern sound interwoven with bold improvisation, scat and a deliciously driving feel.
The Isolation Creations: Hosting The Haunted Haus Of Games
The Haunted Haus Of Games with The Isolation Creations, October 25, 8pm
EYES down for a full Haus of spooky shenanigans as drag queen comedians The Isolation Creations return to York Theatre Royal with their Halloween show, full of ghosts and ghoulies!
Join Jamie Honeybourne and Alan Gibbons for an evening of bingo, laughter, games, surprises and cheesy prizes. “Dress in your best spooky fancy dress and you might go home with a trick and a treat,” they say.
Tickets for The Old Paint Shop are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
York musician Joshua Burnell in the woods. Picture: Frances Sladen
JOSHUA Burnell makes retro folk-pop-rock for the modern world.
Next up for the York keyboard player, guitarist, singer and songwriter – and teacher and cafe pianist to boot – is a sold-out gig with his full band at Rise@Bluebird Bakery, Acomb, on Saturday night.
Joining Joshua (piano, Hammond organ, guitar and vocals) in the bakery will be Nathan Greaves (electric guitar), Ed Simpson (drums), Olly Whitehouse (bass), Kat Hurdley (violin) and, hopefully, Frances Sladen (vocals).
Expect hooky melodies drenched in warm, retro-synth textures, reverbing guitars, lush harmonies and words that make you think. Imagine The War On Drugs meets Peter Gabriel-era Genesis as 1970s’ glam makes peace with psychedelia.
Through his intricately crafted lyrics, Joshua creates a multiverse of settings, from apocalyptic love songs to re-imagined fairy tales, and introduces otherworldly characters, such as the Glass Knight, resurrected from an old English folk tale to reflect the foibles of today.
“This one’s for fans of Stranger Things, Seventies’ art rock and everything in between,” says Joshua as he answers CharlesHutchPress’s questions ahead of Friday’s gig.
What form will the Rise gig take, Joshua?
“Full band! It’s sold out so should be a great night. We sold out over a year ago so I want to give a huge shout-out to everyone who bought a ticket.”
What is the story behind your decision to revisit your debut album Lend An Ear with an upcoming new audio and book edition?
“In 2013, I recorded an album in a student bedroom with a broken MacBook and a guitar I barely knew how to tune. The songs were strong; the execution wasn’t. I’ve been gradually correcting my mistakes ever since.
“This new album is the story of finishing unfinished business. Of doing something again for the sake of doing it properly. The album contains completely re-arranged and re-imagined versions of the songs, to the standard I’d always intended, now re-recorded partly at Young Thugs Studios [at South Bank Social Club, Ovington Terrace, York] and partly in a cottage in rural Wales.
“At one point last year, everything just got a bit too much and I found myself unable to focus properly. I always loved the mythology of Robert Plant and Jimmy Page hiding away in a cottage in Wales to write Led Zeppelin III, so I decided I should do the same. It was exactly what I needed and most of the album took shape during that time.
“In a quiet rebellion against streaming platforms who have successfully managed to devalue music, I’m releasing this one exclusively on CD. It’ll be heard by fewer people, but if it makes it sustainable, that’s enough for me.
“To make it extra special for those people who do choose to support the project and buy a copy, it will come as a hardback book with the full story behind the album and songs.”
What have you been up to in 2025?
“One of the highlights of my life: my daughter Lyra was born! I’ve become a dad, which is the most beautiful thing but also makes you ask yourself some pretty serious questions.
“I knew I couldn’t sustain teaching and music and be a dad, so I’ve taken a year away from teaching to have a go at supporting my family with music. It’s difficult, but I feel very supported by my friends, family and fans.
“This is also part of the reasoning behind ditching streaming platforms – it seems reckless to release music that way when the stakes are so high.”
Have you ever snuck one of your own songs into your piano playing at Bettys cafe?!
“I actually wrote a song about Bettys – or, rather, a love story that takes place there – so I play that one every time! It’s called The Snow On St Helen’s Square. Lucy and 59 occasionally sneak in there too.”
The long hair has gone… why?!
“I wish there was a more profound explanation… it was for a music video! The song is called 59 and is about the last second in a minute; the last minute in an hour; the moment before something new begins.
“It was released just before Lyra was born and was part of that excitement in the unknown. I wanted it to look quite sharp and Eighties-inspired, and I think the short hair suited it well. Here it is: https://www.youtube.com/watch?v=JMsziLvQ_BI .
“I’m growing it long again now. I’m an elf at heart.”
How has your songwriting changed down the years?
“I would like to think I’ve started to consider why I am writing a song more: what problem will my songs solve or who will they serve? I’ve also learned to arrange my songs better, which is a difficult skill.
“Because I write in the studio a lot of the time, the arrangement can happen simultaneously. It’s about having the foresight to hear what the finished song will sound like, and making choices accordingly. There was a time I used to throw in everything and the kitchen sink – now I only use the kitchen sink if there needs to be a kitchen sink.”
How is the Road to the Royal Albert Hall campaign progressing, as highlighted on your website?
“It’s always been my dream to perform a headline show there, so shall we try to make it happen? We’ll need at least 4,000 people to sign up, and we’ll have to prove we mean business at the venues we play along the way.
“I’ll keep updating on our progress. Emails will go out on the first day of each month. Be sure to check your junk folder!”
Joshua Burnell with full band, Rise@Bluebird Bakery, Acomb Road, Acomb, York, October 11, doors, 7.30pm. SOLD OUT. Also playing Howden Live gig at Shire Hall, Howden, with full band, October 18, 8pm. Tickets still available at howden-live.com.
The album cover artwork for Joshua Burnell’s Lend An Ear
Lend An Ear revisited: the back story
“THIS album will only be heard by a finite group of people,” says Joshua. “I’m starting a small, musical rebellion: the album will not be released on streaming platforms. Instead, this album will be limited to a small number of physical copies, beautifully packaged in a hard-back book because I believe the context and stories are as important as the songs themselves.
“To keep the music coming, this needs to be sustainable. A small number of people will own and hear this music. It will be special for them and more than rewarding enough for me.
“The album contains the re-recorded versions followed by the original versions. I hope you enjoy the depth and lived experience in the music and sense of adventure hidden in each layer of every song.”
Lend An Ear (Revisited) contains:
*Re-recorded version of Joshua Burnell’s debut album
*All tracks from the original 2013 release
*Hardback book(lette!) of extensive sleeve notes and stories behind the songs
*7x ‘deep dive’ posters, breaking down the tracks
*The warm feeling that you supported an independent artist to continue making music!
Lend An Ear can be pre-ordered at https://www.joshuaburnell.co.uk/product-page/lend-an-ear-revisited-cd-book.
Griffonage Theatre: Theatre at the intersection of the madcap and the macabre
IRISH village tales, love’s vicissitudes, folk and ceilidh nights and ghost & goblin storytelling bring autumn cheer to Charles Hutchinson.
Time to discover: Griffonage Theatre in FourTold, Theatre@41, Monkgate, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK devotees of the madcap, the macabre and making the familiar strange and the strange familiar, Griffonage Theatre transport audiences to the quirky rural town of Baile Aighneas – The Town of Dispute – for FourTold, a quartet of comedies by early 20th century Irish playwright Lady Augusta Gregory, never presented together in the UK until now under Northern Irish director Katie Leckey.
Encounter the bustling market and all its gossip in Spreading The News; the restaurant where newspaper editors wine, dine and mix up their Coats; the post office, where the splendid Hyacinth Halvey has sent word he is coming to town, and the bus stop where strangers such as The Bogie Men can quickly become friends! Box office: tickets.41monkgate.co.uk.
Joe Layton and Hannah Sinclair Robinson in Frantic Assembly’s Lost Atoms at York Theatre Royal. Picture: Scott Graham
Relationship drama of the week: Frantic Assembly in Lost Atoms, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
FRANTIC Assembly follow up York Theatre Royal visits of Othello and Metamorphosis with their 30th anniversary production, a two-hander memory play by Anna Jordan, directed by physical theatre specialist Scott Graham.
Joe Layton and Hannah Sinclair Robinson play Robbie and Jess, whose chance meeting, disastrous dates and extraordinary transformative love is the stuff of fairy tales. Or is it? Lost Atoms is a wild ride through a life-changing relationship, or Robbie and Jess’s clashing recollections as they relive the beats of connection, the moments of loss, but are their stories the same and can their memories be trusted? Box office: 01904 623568 or yorktheatreroyal.co.uk.
Lightning Seeds’ Ian Broudie: Pure entertainment at York Barbican
Oh, lucky you gig of the week: Lightning Seeds, Tomorrow’s Here Today, 35 Years Greatest Hits Tour, York Barbican, tomorrow, 8pm
NOW in his 36th year of leading Liverpool’s Lightning Seeds, Ian Broudie heads to York on his extended Tomorrow’s Here Today tour. Cue Pure, The Life Of Riley, Change, Lucky You, Sense, All I Want, Sugar Coated Iceberg, You Showed Me, Emily Smiles, Three Lions et al. Casino support. Box office: yorkbarbican.co.uk.
Jack Fry’s Quasimodo and Ayana Beatrice Poblete’s Esmerelda in Black Sheep Theatre Productions’ The Hunchback Of Notre Dame
Musical of the week: Black Sheep Theatre Productions in The Hunchback Of Notre Dame, Joseph Rowntree Theatre, York, October 10, 11 and 14 to 18, 7.30pm and 2.30pm Saturday matinees
BLACK Sheep Theatre Productions bring a cast of five leads, seven ensemble actors and a 23-strong choir to the York company’s larger-than-life staging of Alan Menken & Stephen Schwartz’s musical rooted in Disney’s 1996 musical film and Victor Hugo’s 1831 novel.
Combining powerful themes of love, acceptance and the nature of good and evil with a sweeping score, Matthew Peter Clare’s show will be “like nothing you’ve seen before”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Alex Mitchell: Headlining the Funny Fridays comedy bill at Patch at Bonding Warehouse, York
Comedy gig of the week: Funny Fridays, Patch at Bonding Warehouse, Terry Avenue, York, Friday, 7.30pm
BRITAIN’S Got Talent star Alex Mitchell headlines October’s Funny Fridays bill at Patch, hosted by promoter and comedy turn Katie Lingo. On the bill too will be Pheebs Stephenson, Jacob Kohn, Lorna Green and Jimmy Johnson.
“As this year’s event falls on World Mental Health Day, we’re raising money for Samaritans with bucket collections, ticket proceeds and a raffle. I’m a volunteer at the York branch and see first-hand the incredible work they do.” Tickets: eventbrite.co.uk or on the door.
Suthering’s Julu Irvine and and Heg Brignall: Playing Helmsley Arts Centre
Folk gig of the week: Suthering, Helmsley Arts Centre, Friday, 7.30pm
ADVOCATES for the LGBTQ+ community and for the rights of women and other marginalised people, Tavistock folk duo Suthering’s Julu Irvine and and Heg Brignall weave harmonies through their original songs, paired with gentle guitar and emotive piano arrangements.
Known for their chemistry, storytelling and humour on stage, they intertwine their messages about the state of our climate, social conscience, the importance of community and connecting with nature, while championing female characters, creating new narratives for women and unearthing the female heroines of the folk tradition, as heard on their second album, 2024’s Leave A Light On. Box office: 01439 771700 or helmsleyarts.co.uk.
Ceilidh of the week: Jackhare Ceilidh Band, Milton Rooms, Malton, Saturday, 7.30pm
RYEDALE Dog Rescue presents the Jackhare Ceilidh Band in an evening of traditional English dance music this weekend. Doors open at 7pm and the Studio Bar will be open. Tickets must be pre-booked by emailing fundraising@ryedaledogrescue.org.uk, phoning 01653 697548, texting 07843 971973 or messaging on the Ryedale Dog Rescue Facebook page.
Robin Simpson: Storyteller and York Theatre Royal pantomime dame
Spooky entertainment of the week: Robin Simpson’s Magic, Monsters And Mayhem!, Rise at Bluebird Bakery, Acomb, York, October 12, doors 4pm
YORK Theatre Royal pantomime dame Robin Simpson – soon to give his Nurse Nellie in Sleeping Beauty this winter – celebrates witches, wizards, ghosts and goblins in his storytelling show.
“The audience is in charge in this interactive performance, ideal for fans of spooky stories and silly songs,” says Robin. “The show is perfect for Years 5 and upwards, but smaller siblings and their grown-ups are very welcome too.” Tickets: bluebirdbakery.co.uk/rise.
Beverley Knight: Stories and songs at York Barbican. Picture: Lewis Shaw
Concert announcement of the week: Beverly Knight, Born To Perform, York Barbican, June 20 2026
QUEEN of British soul Beverley Knight will share stories from her life on stage, as well as performing her biggest hits, musical theatre favourites and cherished songs that have inspired her.
“I’m excited to get back on the road but with a different kind of show that folk are used to with me,” says Wolverhampton-born Beverley, 52. “Born To Perform is me taking you on a journey through my life on both music and theatre stages, using my memories and of course my songs. I’m stripping back my sound so the audience can lean in a little closer and really hear my soul.” Tickets go on sale on Friday at 10am at https://www.yorkbarbican.co.uk/whats-on/beverley-knight-2026.
York author C.M. Vassie in 1820s’ attire at the Whitby launch of his time-travelling book The Whitby TRAP. Now comes his third SCRAVIR thriller, Possession
THE third book in York author C.M. Vassie’s SCRAVIR trilogy of supernatural thrillers, SCRAVIR III – Possession, will be launched in Whitby on Halloween weekend.
Bookshops in Whitby will host book signings with Vassie, not only a writer but also the City of York councillor for Wheldrake and a music composer for the BBC, who also will appear at the Whitby Literary Festival the following week.
SCRAVIR is a contemporary gothic horror story that serves up a thriller and a police detective story too. Set in Whitby and Romania, its protagonists are a London youth and a Whitby lass who works in a fish-and-chip shop. The nemesis is a Goth music star and the action takes place over Whitby Goth Weekend when emaciated bodies appear on streets in the old town.
The book cover artwork for C.M. Vassie’s SCRAVIR III – Possession
The original book, SCRAVIR – While Whitby Sleeps appeared in the summer of 2021; the second, SCRAVIR – Lacklight, published in 2023, continued the gothic horror story.
“While the SCRAVIR books are dark and nasty, they are nowhere as dark or as nasty as local politics,” says Councillor Christian Vassie/author C.M. Vassie.
He also wrote the time-travelling adventure The Whitby TRAP. SCRAVIR III – Possession will retail at £10.99.
Beverley Knight: June 2026 shows at York Barbican and Sheffield City Hall
QUEEN of British soul Beverley Knight will share stories from her life on stage, as well as performing her biggest hits, musical theatre favourites and cherished songs that have inspired her on next year’s 20-date UK tour.
“I’m excited to get back on the road but with a different kind of show that folk are used to with me,” says Wolverhampton-born Beverly, 52.
“Born To Perform is me taking you on a journey through my life on both music and theatre stages, using my memories and of course my songs. I’m stripping back my sound so the audience can lean in a little closer and really hear my soul.”
Knight’s live performances have gained her a legion of famous fans, from David Bowie to Stevie Wonder, and she has collaborated on stage and on record with Prince, Marvin Gaye, Andrea Bocelli, Jamiroquai, Take That and Joss Stone.
Knight has forged a formidable parallel career in theatre. Already a much revered leading lady of West End musicals, now she has been nominated for Best Female Lead Actor at the Black British Theatre Awards for her performance as the trailblazing “Godmother of Rock’n’Roll”, Sister Rosetta Tharpe, in Maria & Rosetta, her first professional role in a play.
The production will transfer to the West End next year, playing Soho Place Theatre from February 28 to April 11.
Her portrayal of Emmeline Pankhurst in Sylvia at The Old Vic won Knight her first Oliver Award for Best Actress in a Supporting Role in a Musical in 2023. She has starred too in The Bodyguard, Sister Act and Memphis The Musical and played Grizabella in Cats, at the request of Lord Andrew Lloyd Webber, and the formidable manager of soul group The Drifters in The Drifters Girl. In the Olivier awards, that show was nominated for Best New Musical and Knight for Best Actress.
In 2023, she marked her 50th birthday with the sold-out 50 Tour and her first studio album in seven years, The Fifth Chapter.
Knight has notched hit singles with Made It Black, Greatest Day, Get Up, Shoulda Woulda Coulda, Gold, Come As You Are, Keep This Fire Burning and Piece Of My Heart.
She has sold more than a million albums in the UK, including four gold certificates. Who I Am reached number seven in 2002; Affirmation, number 11, 2004; Music City Soul, number eight, 2007; 100%, number 17, 2009; Soul UK, number 13, 2011; Soulsville, number nine, 2016, and The Fifth Chapter, number 39, 2023. The Voice – The Best Of Beverley Knight peaked at number nine in 2006.
In 2007, Knight was awarded an MBE for services to British music and charity. She has won three MOBO Awards and been nominated for Best Female at the BRIT Awards three times, Best Actress at the Olivier Awards twice and Best Album at the Mercury Music Prize.
Miles & The Chain Gang’s artwork for the Acoustic Autumn EP
YORK band Miles and The Chain Gang are releasing the Acoustic Autumn EP on digital platforms on Friday (10/10/2025).
Five acoustic-tinged songs will be accompanied by one track not released previously. Among the tracks will be A Way Of Being Free, first released in 2007 and now resurfacing in a version recorded in London in 2018.
“When I wrote that song I was aiming for a kind of Dylan-esque universal reflection on the human condition,” says songwriter and band leader Miles Salter. “I’m not sure I succeeded, but I’ve always liked the song and the way it reflects a variety of human experience. As John Lennon said, ‘whatever gets you through the night’…”
On the EP too is Raining Cats And Dogs. “This novelty song from years ago just won’t go away,” says Miles. “A music PR person said it was the best song in our catalogue, although I sort of feel it’s like David Bowie and The Laughing Gnome.”
Further tracks will be Syd Egan’s love song Wildcats And Koalas, the cheeky Love Like A Freight Train and Hold Me Down. “If you like Bob Dylan or acoustic rock’n’roll stuff, you’ll enjoy the EP,” says Miles.
Miles and The Chain Gang’s tracks continue to travel around the world on Spotify. “We’ve been played in 25 countries from Canada to Brazil to Mexico, Argentina and New Zealand, and plays have now topped 35,000,” says Miles.
THE evening belonged to Schubert, but not altogether as you might have expected him.
With his irrepressible desire to push boundaries, baritone Roderick Williams – who is also a composer in his own right – has rewritten the piano accompaniment to Schubert’s Die schöne Müllerin, for string quartet. It was an audacious move, which opened up new angles on this much-loved song-cycle.
There is no denying that there were minuses as well as pluses in this approach. Right from the start the piano’s percussiveness was absent. The mill-wheels barely rattled, the stones did not resound and the stream was at times barely a ripple compared to Schubert’s full-blown mill race: the piano does water better than strings.
And yet. There is no decay in string sound. So whenever Schubert put a separate melody alongside the singer’s line, the two voices were generally better balanced. There is also more physical drama in watching four string players in action than one pianist can deliver: the Carduccis certainly let you know when they need to be heard. The tone quality from each instrument is more variegated and thus at times easier to discern.
A few samples must suffice to demonstrate the subtlety of Williams’s orchestration. Where the piano repeats the music for each verse, Williams often writes something different. Thus in ‘Morning Greeting’ we had a touch of tremolo illustrating the little flowers shrinking from the sun, this a song in which voice and strings combined especially well. He had largely omitted the first violin at the start of ‘Thanksgiving to the Brook’, giving a darker texture.
In ‘Curiosity’ (No 6), the pauses between phrases were telling. The word ‘Ja’ here was forceful, but led into a prayerful final verse, where the sustaining power of the strings made the mood altogether more wistful.
Carducci Quartet
The following song, ‘Impatience’ benefited from very light strings, Mendelssohn-style, but the tempo was too fast to allow quite enough breadth on ‘Dein ist mein Herz’.
In the central verses of ‘Shower Of Tears’ (No 10), the legato lines of both voice and strings intermingled delightfully. At the end of ‘Mine!’, Williams stood for effect, where otherwise he remained seated on a piano stool; the quartet had lent urgency to the song.
Staccato strings heightened the vocal anger behind ‘The Huntsman’ (No 14) and, with resentment building, the dark atmosphere of ‘The Good Colour’ made it quite clear that the game was up for our lovelorn lad.
So Williams ended ‘The Wicked Colour’ boldly as the lad said farewell, after which viola and cello pizzicato alone opened ‘Dry Flowers’, typifying the empty moment. Yet that song finished in a blaze, each of the repetitions of the last stanza more intense. The dialogue between lad and (seductive) brook ended with a lovely postlude, before the touching final ‘goodnight’.
It was a treat to hear this version, not least for the way it uncovered new vistas. It was sung in German and, of course, in lower keys than the original tenor. But Williams was immensely alive to Schubert’s nuances – and the Carduccis, to their credit, were with him every step of the way.
They had opened the evening with Schubert’s Tenth Quartet, D.87 in E flat, dating from November 1813, with pronounced shading, especially in the fast outer movements. Some of the accompaniment figures from the 16-year-old composer were a touch rudimentary, but his melodic gift was already blossoming here.
SIX distinguished string players – pairs of violinists, violists and cellists – were joined by the equally eminent pianist Katya Apekisheva in five concerts packed into three days. The highlights of the last four are covered here.
At the National Centre for Early Music (September 19), the vigorous outer movements of Haydn’s Op 76 No 5 in D sandwiched a Largo notable for its delicate shading and a minuet whose trio was eerily mysterious.
The cracking pace of the finale was typical of the sheer enjoyment that these players brought to their task, led by Jonathan Stone.
He exchanged the leader’s chair with Charlotte Scott for Shostakovich’s Eighth, Op 110 in C minor, which erupted into a fiery motor-rhythm after its studied start. There were telling little cadenzas from her and the viola player Gary Pomeroy, but there was no disguising the underlying anger, tinged with sorrow, in this supremely biographical testament.
The original, intimate sextet version of Schoenberg’s Verklärte Nacht, vibrantly led by Scott, was notable for the balance between the voices and the transparency of its textures. Richard Dehmel’s poem, on which it is based, speaks of transformation. Here one constantly sensed the ensemble straining at the harmonic leash, reflecting the composer’s enthusiasm for change. There was also special warmth in the quartet of lower voices and a lovely delicacy at the close.
Lunchtime on the Saturday (September 20) in the Unitarian Chapel brought together the viola of Hélène Clément with the piano of Katya Apekisheva. Clément’s usual instrument, once belonging to Frank Bridge, was in for repairs, so she shelved her announced Bridge pieces and Apekisheva inserted Tchaikovsky’s October between the Rebecca Clarke and Shostakovich sonatas instead.
After a forthright opening, Clément made a useful contrast between the themes of Clarke’s first movement, the second decidedly wistful. The twinkling scherzo had a satanic streak. There might have been more restraint at the start of the finale, so as to offer more contrast with the passionate material that follows, but the crescendo on an extended tremolo boiled neatly into a brilliant coda. The duo was thoroughly alive to Clarke’s freewheeling approach.
The Shostakovich sonata is his last, an initially tortured work completed barely a month before he died in August 1975. At its centre we had a catchy scherzo, but with a dark, hypnotic core. The concluding Adagio was a wonderfully calm approach to impending death, framed by very personal cadenzas and helped by the piano’s reminiscence of the ‘Moonlight’ sonata. Apekisheva’s elegiac treatment of October had paved the way ideally.
That evening, at the Lyons Concert Hall, all seven players were on duty. It opened with a beautifully balanced account of Schubert’s Notturno, D.897, written in his final year. It offered a huge contrast between its quiet frame and the dotted rhythms at its centre. Apekisheva’s arpeggios were velvety.
With Jonathan Stone still in the leader’s chair for Schumann’s Piano Quartet, also in E flat, we were swept into an infectiously joyful milieu, reflecting the composer’s recent marriage in 1842. The opening movement’s crisp rhythms, with real drama in its development section, preceded a scherzo that was almost too forceful. Yet the slow movement was milked for every drop of sentimentality (but with an ending without vibrato), until the players let their hair down in a fun-filled finale.
Tchaikovsky’s Piano Trio in A minor brought together violinist Charlotte Scott with cellist Reinoud Ford and the redoubtable, ever-present Apekisheva. Ford had stepped nobly into the shoes of Tim Lowe, the festival director, who was enjoying an introduction to fatherhood.
Essentially in two movements, the trio is an extended elegy for the pianist Nikolai Rubinstein, written in 1882 a year after his death. As one might expect, it demands considerable virtuosity from the pianist. Apekisheva was more than equal to the task, if – rarely for her – a little too forceful in the insistent second theme (although, in her defence, it is marked fortissimo pesante).
The opening movement’s broad sweep was balanced by a theme and variations of extreme subtlety, based on a folk melody. Most memorable were the Chopin-like mazurka and skittish scherzo of the second and third variations.
We also had a touch of sugar-plum fairy and a flippant waltz, both demanding versatility from the ensemble. But mostly it was the bold, busy piano textures that quite properly dominated, with a respectful diminuendo into the final funeral march.
The six strings provided the festival’s afternoon finale, given at St Olave’s Church (September 21). Mozart’s String Quintet, K.515 in C preceded Brahms’s Second String Quintet, Op 111 in G. There was a strong contrast between the two works.
With Charlotte Scott leading and Reinoud Ford seated centrally as cellist, the Mozart was almost free of vibrato, no doubt in an attempt to deliver a ‘period’ sound. But none of the group is much known for early music and the effect was tight and restrained, as if the players felt shackled.
Nevertheless, the quintet’s emotional power was not obscured. The ‘Mannheim skyrocket’ of the opening, a high-rising arpeggio alternating between violin and cello, had its usual uplifting effect. The minuet was less telling and the slow movement can only be described as squeaky. But the final rondo, taken at a splendid clip, offered ample compensation, not least because it highlighted Charlotte Scott’s virtuosity.
For the Brahms, Jonathan Stone took over as leader and Jonathan Aasgaard was in the cello seat, with the admirable Hélène Clément and Gary Pomeroy continuing as violas. There was an immediate sense of abandon as a reasonable modicum of vibrato returned, with plenty of electricity and strong accents. Incidentally, the cello was now on the right-hand edge, reflecting its less pivotal role here.
The minor-key march had an intimate core, before Pomeroy’s viola took off in the pleasing cadenza-like ending. After the easy-going lilt of the scherzo and trio, the finale’s burst of exuberance made the perfect ending, with percussive accents at its centre and accelerating cross-rhythms in its coda.
This was a beautifully constructed festival and never less than stimulating.
York ghost storyteller James Swanton: Returning to York Medical Society for a second season of The Signal-Man performances. Picture: Jtu Photography
AFTER a sell-out run last Halloween, gothic York actor James Swanton is reviving his solo production of Charles Dickens’s The Signal-Man from October 16 to 28.
A familiar face from Inside No. 9 and The First Omen, he will give ten performances of his solo show at York Medical Society, Stonegate, York, before transferring to the Charles Dickens Museum in London.
Each performance will incorporate a second Dickens’s ghost story, The Trial For Murder, and the show will run as a partner event with the York Ghost Merchants, in Shambles, whose annual Ghost Week celebrations will take over the city from October 25 to November 2.
“Last year, I was shocked when every performance of The Signal-Man sold out more than a month in advance,” says James. “I think that had a lot to do with the wild popularity of the York Ghost Merchants! I’ve therefore scheduled twice as many performances this Halloween.”
All but one performance – October 21 – has sold out already, matching the popularity of his annual performances of Dickens’s Christmas ghost stories, A Christmas Carol, The Haunted Man and The Chimes since 2018.
“The Signal-Man ranks among the most famous ghost stories of all time – subtle and mysterious, but gradually building to a devastating conclusion,” says James Swanton
Here James discusses Dickens’s storytelling prowess with CharlesHutchPress
If at first you succeed, do The Signal-Man again, but what might differ from last Halloween?
“This year, I’m relieved to have had first-hand experience of the show actually working in performance! That should make everything more collected and confident, though I hope without losing the quiet mesmeric charge. It’s a strikingly different energy to most Dickens, which is where the M. R. James comparisons come in.”
What makes York Medical Society such an ideal setting?
“I enjoy a black-box theatre space, but it’s difficult to beat the immersive feel of antique wood panelling, latticed windows and an open fireplace. The room in which I’m performing puts me in mind of the tavern in Barnaby Rudge. Perfect for relating ghostly tales!”
What form does the partnership with York Ghost Merchants take?
“It’s mainly about connection and community; the Ghost Merchants are always giving back to York. Those who are in the city for Ghost Week may stumble on my storytelling thanks to the Merchants – and in turn, my shows may tip them off to things going on elsewhere.
“I feel this is one story that works far better when spoken out loud than read in private,” says James Swanton of The Signal-Man
“We’ve been collaborating since early 2020 – pre-pandemic! – when I gave a rendition of M. R. James’s Canon Alberic’s Scrap-Book at their Shambles premises. Each ticket included a tie-in yellow-eyed ghost, patterned after the demon in the story. Highly collectable now, I’d imagine.”
How does The Signal-Man differ from Dickens‘s Christmas ghost stories?
“It’s a rather darker show, ranking among the most famous ghost stories of all time – subtle and mysterious, but gradually building to a devastating conclusion.
“I’ve now performed it everywhere from Gad’s Hill – the country house at which Dickens died in 1870 – to a Category C prison. Everywhere it holds audiences riveted. I first gave The Signal-Man with the York Ghost Merchants as one of their online streams during the pandemic, so it’s fitting to be collaborating with them again.”
Without giving away the ending, what happens in The Signal-Man and why does it suit live performance?
“In short form, a wandering gentleman befriends a lonely signal-man on an isolated stretch of railway. He there hears about the signal-man’s uncanny supernatural experiences.
“I feel this is one story that works far better when spoken out loud than read in private. Simon Callow agreed with me after he recorded it as an audio drama.
“Dickens is essentially the character actor’s Shakespeare,” says James
“Even so, I’d recommend that people familiarise themselves with the text in advance. The final revelation takes some digesting, not unlike the ending of Nicolas Roeg’s Don’t Look Now. But once the core idea sinks in, it’s forever burned into the memory.”
Likewise, what happens in The Trial For Murder and why does it suit live performance?
“A city gentleman does jury service at the Old Bailey and begins to catch sight of an unsettling figure whose face is ‘the colour of impure wax’. People don’t generally know this story – it also goes by the unhelpful title ‘To Be Taken With A Grain Of Salt’ – so there’s a vital element of surprise.
“After all, a courtroom is itself a type of theatre, and this narrative’s structure is deliberate, verging on procedural, which contrasts well with the shocks.
“The Trial For Murder is less well known [than The Signal-Man] – and in my opinion, something of a neglected classic. Like The Signal-Man, it feels imbued with the spirit of M. R. James. So many of Dickens’s ghosts are family-friendly – just think of A Christmas Carol and how well it lends itself to the Muppets! None of that with these tales. Keep your children away.”
The poster for James Swanton’s double bill of ghost stories for Halloween at York Medical Society
How come you performed The Signal-Man at a Category C prison?
“This came about after an approach from A. G. Smith, who’s highly regarded as a ghostly storyteller through his touring work with Weeping Bank. The prison offered that rare thing: an audience who not only wanted but needed to be told a story.
“They were among the best I’ve ever had; certainly the most attentive. I’m sure they understood the signal-man’s feelings of entrapment in ways I can’t begin to imagine.”
What keeps drawing you back to Dickens?
“His invented people are irresistible; Dickens is essentially the character actor’s Shakespeare. That said, his narration interests me more and more with the passage of time. And there’s rather a lot of that in these two pieces! The eye-catching grotesques melt away and the storyteller takes centre stage.”
James Swanton (in the mirror) and Julia Garner in the film poster for Apartment 7A
What else is coming up for you? Any filming commitments?
“There’s the odd project in the offing, though nothing nailed down. I’ve been continuing my association with Hammer Films this month. They put me back into Christopher Lee’s Creature make-up for last week’s premiere of their restored Curse Of Frankenstein, where I was honoured to shake hands with 90-year-old cast member Melvyn Hayes. Young Frankenstein himself!
“I’ll also be guesting at Manchester’s Festival of Fantastic Films closer to Halloween. But most of the year is now blocked out with stage work, including my return to York Medical Society in the last week of November with A Christmas Carol and The Haunted Man. Tickets are now on sale.”
And finally, James, why should audiences see The Signal-Man?
“Come to The Signal-Man if you want to experience old-fashioned theatrical storytelling in the pricelessly atmospheric setting of York Medical Society. Roger Clarke, esteemed author of A Natural History Of Ghosts, has been good enough to call me ‘the best interpreter of Charles Dickens’s ghost stories alive’. I’ll be doing my chilling best to live up to that praise.”
James Swanton presents The Signal-Man, York Medical Society, Stonegate, York, October 16 to 28, 7pm, except October 27 and 28 at 5.30pm and 7.30pm.Tickets are on sale too forCharles Dickens’s Ghost Stories, The Haunted Man, November 24 and 27, 7pm; A Christmas Carol, November 25 and 28, 7pm; November 30, 2pm and 6pm.Box office: 01904 623568 or yorktheatreroyal.co.uk.
James Swanton in ghost story-telling mode at York Medical Society
James Swanton on York’s history of trains and ghosts and Dickens’s railway links
“YORK is as much a city of trains as ghosts. The National Railway Museum is celebrating its 50th anniversary with the opening of its refurbished Station Hall.
“It’s also been an interesting year for Dickens’s links with the railways. 2025 marks 160 years since the Staplehurst accident – a horrifying train crash from which Dickens was lucky to escape with his life.
“It’s this trauma that inspired him to write The Signal-Man, which might also be considered the last story that Dickens completed. All that followed were collaborative works and an unfinished novel.
“Incredibly, Dickens died on the fifth anniversary of the Staplehurst crash. Given that The Signal-Man is so much about our inability to escape our fates, that feels eerily significant.
“I was pleased when the Charles Dickens Museum commissioned me to create a show based on the incident in June. We gave it a sensational title: Killing Dickens!”
James Swanton working with Mark Gatiss. Picture: Sonchia Lopez
Did you know?
JAMES Swanton often appears on film as all manner of demons and monsters. Last year, he was seen in Apartment 7A, Tarot, The First Omen and the final series of Inside No. 9.
He also has a keen interest in the history of screen horror. “Many people first encounter The Signal-Man through the 1976 Ghost Story For Christmas starring Denholm Elliott,” he says.
“In 2023, I became a part of the BBC’s modern Ghost Stories For Christmas tradition – playing the Mummy in Mark Gatiss’s Lot No. 249, chasing poor Kit Harington down those country roads at night – so I’d like to think I’m well placed to present such terrors on stage.
“Recently, I was reunited with Lot No. 249’s make-up man, the Oscar- winning Dave Elsey, to re-create Christopher Lee’s Creature from The Curse Of Frankenstein, in aid of a documentary on the new Blu-ray release. At last, I can say I’ve been employed by Hammer Films!
“I’d stop short of saying I’m now Christopher Lee’s representative on Earth, but it was certainly a singular honour.”
