REVIEW: Martin Dreyer’s verdict on North York Moors Chamber Music Festival, ‘Tread Softly’, W B Yeats, He Wishes For The Cloths O Heaven), Marquee, Welburn Manor, August 19

Tenor James Gilchrist

THIS was an all-English evening and the first this year to include a singer. James Gilchrist lent his eloquent tenor to songs by the first great song-writer John Dowland and by Rubbra and Leighton, alongside instrumental works by Bliss and Britten.

It was a smart idea to include the two Dowland songs upon which Britten based his Lachrymae variations. Both were given in ‘consort’ versions, with a string quartet mimicking the sound of viols. It was certainly satisfactory, although we hardly felt the dance rhythms on which they were built.

What madethem a success, however, was Gilchrist’s intensity, allied to excellent diction. A sole example was his spine-tingling sforzando twice on ‘hell’ in the final verse of ‘Flow my tears’. ‘If my complaints’ was the very essence of melancholy, Dowland’s forte.

Britten wrote his Lachrymae, subtitled ‘Reflections on a song of John Dowland’, in 1950 for viola and piano. But this was his Op 48a, that tiny ‘a’ indicating the version he wrote 26 years later for viola and small string orchestra. It was a treat to hear it in this format, which turns the work into a virtual concerto. Simone Gramaglia was the thoughtful soloist, partnered by a star-studded octet.

Essentially this is a theme and variations in reverse, with Dowland’s ‘Flow my tears’ emerging radiantly at its close after a tortuous journey. Gramaglia led from the front, invigorating his posse with his rhythmic verve and insights.

When bold low strings (built on Will Duerden’s double bass) grew urgent, he soared high above, then asserting his authority in the cadenza. His tremolo led into a rushing passage before the calm dénouement.

In a sense we had also been in the Elizabethan era with Rubbra’s Two Sonnets by William Alabaster (1567-1640). These involved the viola of Simone van der Giessen, along with Gilchrist and the piano of Anna Tilbrook.

They were intense and prayerful, with tenor and viola blending especially well. In ‘Upon the Crucifix’ the pleading was mellowed by more positive thoughts, whereas the quite deliberate tempo of ‘On the Reed of Our Lord’s Passion’, with insistently dissonant viola and piano, underlined the agitation involved in Christian belief. Gilchrist’s delivery was a model of dramatic perplexity.

Gilchrist and Tilbrook also presented two movements from Kenneth Leighton’s cantata Earth, Sweet Earth. ‘Prelude’ sets a passage from Ruskin’s autobiography as a dreamscape, finishing high on a pianissimo falsetto. Gilchrist took it in his stride.

The icy terrain of ‘Contemplation’ by Hopkins grew ever more intense, and demanded particular accuracy from Tilbrook. She delivered in spades.

This left Bliss’s Clarinet Quintet, with Matthew Hunt in the leading role. Benjamin Baker led the strings, with the support of Emma Parker, Simone van der Giessen and Rebecca Gilliver. There was a lovely flow to the dialogue at the start, contrasting strongly with the taut, staccato excitement of the Allegro molto which melted into a contemplative mood.

The Adagietto had an elegiac aroma, progressing into a sighing romanticism. The finale was a real caper, leavened by syncopation right from the start. But there was still room for Hunt’s trademark cantabile before an exciting coda. The strings had kept close order with the clarinet, making their presence felt whenever possible. Teamwork was the order the evening.

Review by Martin Dreyer

REVIEW: Martin Dreyer’s verdict on York Chamber Music Festival, various venues, September 19 to 21

Pianist Katya Apekisheva

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.

Review by Martin Dreyer

What’s On in Ryedale, York and beyond. Hutch’s List No 41, from Gazette & Herald

Joanne Shaw Taylor: Promoting new album Black & Gold at York Barbican

FROM blues guitar to saxophone solos, culinary festivities to Friends on song, Charles Hutchinson finds the ones to entertain you.

Blues guitarist of the week: Joanne Shaw Taylor, York Barbican, Thursday, 7.30pm

DISCOVERED by Eurythmics’ Dave Stewart at 16, and now 39, West Midlands blues rock guitarist, singer and songwriter Joanne Shaw Taylor showcases her tenth studio album, Black & Gold, on her return to York Barbican.

Known for her blazing guitar work and soulful voice, Shaw Taylor fuses blues, rock, soul and pop into her live set of new songs such as Hell Of A Good Time, fan favourites from past albums and nods to blues greats. Support comes from Ferris & Sylvester. Box office: yorkbarbican.co.uk.

Skosh chef-proprietor Neil Bentinck: Cookery demonstration at St Crux Hall on September 27 at 1pm at York Food & Drink Festival

Festival of the week: York Food & Drink Festival, cooking until September 28

HIGHLIGHTS of this autumn’s York Food & Drink Festival include 70 street food and produce stands in Parliament Street; the Entertainment Marquee on Parliament Street, serving a bill of Live for St Leonard’s Hospice music acts; more live music in St Sampson’s Square, and demonstrations, events, tastings, and sampling at St Crux Hall.

Further events will be two taste trails; Bedern Hall Pork Pie Competition; the Food Factory in St Crux Hall and Museum Gardens; Chocolate Bar Challenge; Jorvik Viking Centre’s activities with an historic twist and the Meet The Makers drinks fair. For the full festival programme, head to: yorkfoodfestival.com.

Katie Spencer: Introducing new album What Love Is at Kirk Theatre, Pickering. Picture: Tom Arran

Folk gig of the week: Friday Folk Night presents Katie Spencer, Kirk Theatre, Pickering, September 26, 7.30pm

RAISED in the East Yorkshire flatlands on the fringes of Hull, Katie Spencer’s music is influenced by the landscapes that shaped her. Her songwriting and guitar playing reflect a sense of space and movement, drawing inspiration from Joni Mitchell, James Taylor and Michael Chapman.

New album What Love Is will be released on October 3. Produced by Matt Ingram, known for his work with Laura Marling, its ten compositions explore themes of love, introspection and personal growth. Her live performances are peppered with humour and storytelling. Box office: 01751 474833 or kirktheatre.co.uk.

Tom Little: Headlining Hilarity Bites Comedy Club bill at Milton Rooms, Malton. Picture: Alexis Dubus

Comedy gig of the week: Hilarity Bites Comedy Club presents Tom Little, Seeta Wrightson and Kieran Lawless, Milton Rooms, Malton, Friday, 8pm

TOM Little, 2015 Leicester Mercury Comedian of the Year winner and BBC Radio New Comedy Award finalist, plays the well-read fool, taking on diverse facts but refusing to deal with them conventionally.

Bradford-born Seeta Wrightson, 2025 Female Pilot Club winner, spins engaging stories with wit, drawing on her dual Asian and British heritage. From humble beginnings, she has wandered through life wondering exactly where she fits, having adventures aplenty figuring it out.  Nothin’ Butt Funny Comedy award winner Kieran Lawless is an Irish comedian based in Manchester. Doors and bar open at 7pm.Box office: 01653 696240 or themiltonrooms.com.

Snake Davis: Sax to the max at Helmsley Arts Centre

Saxophonist of the week: Snake Davis Band, Helmsley Arts Centre, Friday, 7.30pm

STILL highly in demand as a session player, cheering up records by Olly Murs and Shania Twain lately, and playing to  crowds of up to 70,000 with Japanese rock god Eikichi Yazawa, saxophonist Snake Davis gains most joy from performing warm, friendly venues such as Helmsley Arts Centre.

Leading his four-piece band, featuring guitar, bass guitar and drums, Davis plays “the floaty to the danceable”, from soul to jazz, Northern Soul to pop and world, original material to classic sax pieces such as Baker Street and Night Train. Box office: 01439 771700 or helmsleyarts.co.uk.

Sir Alan Ayckbourn. Picture: Tony Bartholomew

Actors, Audiences And Ayckbourn, It’s All Relative, The McCarthy, Stephen Joseph Theatre, Scarborough, Friday, 7pm

AN evening of Sir Alan Ayckbourn in two halves opens with Ayckbourn archivist Simon Murgatroyd exploring the creation of Relatively Speaking on its 60th anniversary. The second half is a chance to hear stories from a group of actors with years of experience of working with the former SJT artistic director and prolific playwright. Box office: 01723 370541 or sjt.uk.com.

Dame Imogen Cooper: Piano concert at Helmsley Arts Centre on Saturday. Picture: Sussie Ahlburg

Classical concert of the week: Dame Imogen Cooper, Helmsley Arts Centre, Saturday, 7.30pm

AFTER playing St Peter’s Church, Norton, at July’s Ryedale Festival, pianist Dame Imogen Cooper returns to Ryedale this weekend to play Bach’s Nun Freut Euch, Lieben Christen G’mein, arranged by Kempff;  Bach’s chorale-prelude Nun Komm’ der Heiden Heiland, arranged by Busoni and Schubert’s Four Impromptus, D. 899 (Op. 90). Post-interval, her programme continues with Beethoven’s Seven Bagatelles (OP. 33) and Schubert’s Four Impromptus, D. 935 (Op. posth. 142). Box office: 01439 771700 or helmsleyarts.co.uk.

Apollo Theatre Company’s merry crew in Round The Horne

Nostalgia of the week: Apollo Theatre Company in Round The Horne, Stephen Joseph Theatre, Scarborough, September 29, 7.45pm; September 30, 1.30pm and 7.45pm

FROM 1965 to 1968, no show on British radio was bigger than the ground-breaking Round The Horne. Classic comedy fans will be in their element as Apollo Theatre Company transports the audience back to the anarchic, boisterous atmosphere of the BBC’s Paris Theatre during the recordings, complete with a live band and sound effects.

Combining infamous movie spoofs with regular characters such as Julian & Sandy, Rambling Syd Rumpo and J. Peasemold Gruntfuttock, Round The Horne’s merry crew drew up to 15 million listeners per week and made stars of Kenneth Horne, Kenneth Williams, Hugh Paddick and Betty Marsden. Now take a step back in time to experience this vintage comedy live. Box office: 01723 370541 or sjt.uk.com.

Alicia Belgarde (Monica), left, Daniel Parkinson (Chandler), Enzo Benvenuti (Ross), Eva Hope (Rachel), Amelia Atherton (Phoebe) and Ronnie Burden (Joey) in Friends! The Musical Parody, on tour at Grand Opera House, York. Picture: Pamela Raith

The one where they sing: Friends! The Musical Parody, Grand Opera House, York, September 30 to October 4, Tuesday to Thursday, 7.30pm; Friday, 5.30pm and 8.30pm; Saturday, 2.30pm and 7.30pm

NEW York and Las Vegas hit Friends The Musical Parody is a musical comedy packed with iconic moments from all ten seasons of the beloved television series, complemented by an original musical score. Join Rachel, Ross, Monica, Chandler, Joey, and Phoebe, the world’s most famous group of twenty-somethings, as they navigate love, friendship and life’s ups and downs in 1990s’ New York City.

“Whether you’re in a love triangle, trying to make it as an actor, or just can’t quit your day job, you’ll be laughing, crying, and quoting your favourite lines all night long,” the show promises. Box office: atgtickets.com/york.

Sue Ryding, left, recalling her 40-year comedy partnership with the late Maggie Fox (inset) in LipService in Funny Stuff at Pocklington Arts Centre

Reflections on grief: LipService in Funny Stuff, Pocklington Arts Centre, October 2, 7.30pm

SUE Ryding is one half of legendary satirical duo LipService. In March 2022, her comedy partner, York actress and writer Maggie Fox, died and Sue was left with a shipping container full of 40 years of stage props, costumes, wigs, hats, shoes, sheep, you name it.

This show looks at all the “stuff” we accumulate, hoard and hate to let go in her humorous and creative response to grief, wherein Sue struggles to part with a life-sized stuffed sheep, a badger onesie, some ruby slippers, a sinking bog, Charlotte Bronte’s knickers and a host of soft toys. Touring anecdotes are combined with archive footage from LipService shows. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

More Things To Do in York and beyond when seeking cultural nourishment. Here’s Hutch’s List No 42, from The York Press

York oboe player Desmond Clarke: Performing on Navigators Art’s YO Underground #5 bill at The Basement, City Screen Picturehouse

FOOD for thought for heading out and about as York Food & Drink Festival opens and Inspector Morse is on the case in Charles Hutchinson’s recommendations.

Navigators Art presents YO Underground #5, The Basement, City Screen Picturehouse, York, tonight, 7.30pm

YORK arts collective Navigators Art’s regular fulcrum of left-field new music, words and performance returns this weekend with a focus on ethnic instruments, acoustic-electronic improvisation, words and guitar-based fusion, plus passionate new songwriting.

Expect bold, beautiful and adventurous sounds from flautist Carmen Troncoso, York oboe player Desmond Clarke and Osc~, No Spinoza and a new York ‘supergroup’, the NSC Sound Union, combining members of Soma Crew and Namke Communications. Admission is £6 at www.ticketsource.co.uk/navigators-art-performance) or £10 on the door.

Sam Blythe: Taking on a multitude of roles in George Orwell’s Animal Farm at Theatre@41, Monkgate

Solo show of the week: Sam Blythe in Animal Farm, Theatre@41, Monkgate, York, tonight, 7.30pm

CELEBRATING 70 years of its publication on August 17 1945 and 30 since the first performance of Guy Masterson’s solo adaptation of George’s Orwell’s satirical allegorical dystopian novella, Sam Blythe takes up Masterson’s mantle on stage.

Bringing all of Orwell’s multiple characters to vivid life, Blythe transforms into Snowball, Napoleon, Squealer, Boxer, Clover, Mollie, Benjamin, Muriel, the Sheep, Dogs, Cows, Hens and the Cat in a performance designed to shock, enchant, bewitch and bewilder, ringing out Orwell’s prescient warning that politicians through the ages, and of all creeds and colours, will often let power corrupt them. Box office: tickets.41monkgate.co.uk.

Rebecca Vaughan’s Lady Susan in Dyad Productions’ Austen’s Women: Lady Susan. Picture: Seamus Flanagan

Magnificently crafted tale of manipulation and manners of the week: Dyad Productions in Austen’s Women: Lady Susan, York Theatre Royal Studio, today, 2pm; Helmsley Arts Centre, Sunday, 7.30pm

DYAD Productions return with a new solo comedy show, Jane Austen’s 1794 tale of manipulation and manners. Directed by Andrew Margerison, company regular Rebecca Vaughan plays devil-may-care widow Lady Susan, oppressed, rebellious daughter Frederica, long-suffering sister-in-law Catherine, family matriarch Mrs De Courcy and insouciant best friend Alicia.

At the vanguard of Vaughan’s wickedly humorous adaptation is the charming, scheming and witty Lady Susan, taking on society and making it her own, but has this coquette met her match? Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk.

Skosh chef-proprietor Neil Bentinck: Cookery demonstration at St Crux Hall on September 27 at 1pm at York Food & Drink Festival

Festival of the week: York Food & Drink Festival, cooking until September 28

HIGHLIGHTS of this autumn’s York Food & Drink Festival include 70 street food and produce stands in Parliament Street; the Entertainment Marquee on Parliament Street, serving a bill of Live for St Leonard’s Hospice music acts; more live music in St Sampson’s Square, and demonstrations, events, tastings, and sampling at St Crux Hall.

Further events will be two taste trails; the Food Factory in St Crux Hall and Museum Gardens; the Pork Pie competition in Bedern Hall; Curry & Comedy at the NCEM; Yahala Mataam’s refugee pop-up restaurant night and cookery school; Tang’s festival debut; Jorvik Viking Centre’s activities with an historic twist and the Meet The Makers drinks fair. For the full festival programme, head to: yorkfoodfestival.com.

One of Simon Baxter’s photographs from All The Wood’s A Stage, his joint exhibition with Joe Cornish at Nunnington Hall. Picture: Simon Baxter

Ryedale exhibition launch of the week: All The Wood’s A Stage, Nunnington Hall, near York, from today to March 29 2026

ALL The Wood’s A Stage will continue the 2022 showcase Woodland Sanctuary, exhibited originally at the Moors Centre in Danby. This latest chapter features predominantly new photographs that celebrate the beauty and vital significance of trees, woodlands and forests across the UK.

Photographers Joe Cornish and Simon Baxter depict trees as silent performers on nature’s stage, encouraging us to observe, listen and reflect. Trees provide joy, peace and inspiration, being lungs of the Earth, guardians of biodiversity and a crucial part of our mental and physical well-being. Through changing seasons, they symbolise life, death and renewal. Tickets: nationaltrust.org.uk/visit/yorkshire/nunnington-hall.

The poster for The Return Of The Legends, featuring Strictly Come Dancing alumni Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waites, at York Barbican

Dance show of the week: The Return Of The Legends, starring Brendan, James, Pasha, Vincent and Ian, York Barbican, today, 7.30pm

STRICTLY Come Dancing alumni Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite follow up 2024’s  Legends Of The Dancefloor with new Latin, tango, rumba and ballroom routines and more Strictly stories in The Return Of The Legends. Joined by a supporting cast, they deliver a night of dancing, camaraderie, music and laughter. Box office: yorkbarbican.co.uk.  

Robert Took, Georgina Liley, Catherine Warnock and James McLean in Mikron Theatre’s Hush Hush!, on tour at Clements Hall, York

Touring play of the week: Mikron Theatre in Hush Hush!, Clements Hall, York, Sunday, 4pm

IN a daring theatrical mission, Marsden’s Mikron Theatre Company infiltrates the clandestine world of wartime code-breaking in Lucie Raine’s Hush Hush!, exposing the vital contributions of the unsung heroes of Bletchley Park’s Hut 3, whose ingenuity and unwavering resolve helped secure victory.

Peggy Valentine arrives at Bletchley in 1940, 18 years old, headstrong and gifted. Finding herself in a world of boffins, soldiers and debutantes, Peggy must shoulder the burden of high-pressure war work while navigating a new world of feuds, friendships and growing up in a frame of absolute secrecy. Mikron’s crack team of actor-musicians, Georgina Liley, Robert Took, Catherine Warnock and familiar face James McLean, blends original songs, live music and compelling storytelling. Box office for returns only: 01484843701 or email admin@mikron.org.uk.

Tom Chambers as Detective Chief Inspector Morse in the first Inspector Morse original stage play, House Of Ghosts, at Grand Opera House, York

Murder mystery of the week: Inspector Morse: House Of Ghosts, Grand Opera House, York, September 23 to 27, 7.30pm plus 2.30pm Wednesday and Saturday matinees

BIRMINGHAM Repertory Theatre and Simon Friend Entertainment are touring the Inspector Morse franchise’s debut original stage play, House Of Ghosts, penned by Alma Cullen, directed by Anthony Banks and starring Tom Chambers.

A chilling mystery unfolds when a young actress dies suddenly on stage during a performance, prompting Detective Chief Inspector Morse to embark on a gripping investigation. What begins as a suspicious death inquiry takes a darker turn when the legendary inspector, in tandem with Detective Sergeant Lewis, uncovers a connection to sinister events in his own past, 25 years earlier. Box office: atgtickets.com/york.

Kieran Hodgson: Voicing his thoughts on the USA

Comedy gig of the week: Kieran Hodgson: Voice Of America, Theatre@41, Monkgate, York, September 26, 8pm

AMERICA. What happened, man? Ever since he was a little loser kid in a little loser country (yes, England), Holmfirth-born Kieran Hodgson has been putting on an American accent and dreaming a big American dream.

Nowadays, however, it’s not so simple. Didn’t America go completely bananas? Didn’t he get too old for dreaming? And when Hollywood comes calling, does Kieran actually sound American after all? Here he assesses how a scared world feels about the USA and impersonates a bunch of old prospectors and former Presidents. Box office for returns only: https://tickets.41monkgate.co.uk.

The horror, the horror: Dead Northern returns to City Screen Picturehouse

Film event of the week: Dead Northern presents The Festival of Horror, City Screen Picturehouse, York, September 26 to 28

IN “the world’s most haunted city”, Dead Northern hosts three days of film and live events, taking in music, social activities, food, drink and merchandise. Friday Frights opens with a 10.30am showcase of student short films and videos, followed by UK premiere of Sun at noon with a Q&A.

The 2pm short film showcase focuses on Teeth, Claws, Tentacles and Clowns. At 4pm the Dead Talks talk reveals Dracula’s mysterious connection to York under the splendid title of Who Are You Calling A Count?! A mystery Dracula classic film re-surfaces at 5pm and the UK premiere of Hellhouse LLC: Lineage is booked in for 7.30pm. The night concludes with the Welcome Social & Quiz with the Independent Horror Society.

Saturday Screams kicks off with the Flesh & Bone short film showcase at 10.30am, followed by the world premiere of A Mother’s Recall at noon and the Twisted Tales short film showcase at 1.45pm.

The 3.30pm UK film premiere will be Home Education, concluding with a Q&A, and the 5.30pm classic feature will be the 40th anniversary release of A Nightmare On Elm Street 2: Freddy’s Revenge.

7.30pm’s Signature Live Event will be Spirits By Spirits; the 8.45pm feature film will be The Beast Of Riverside Hollow, with a Q&A, and the night ends with the VIP Awards Party at 11pm.

Day three, Sunday Shock The 28th, launches with the 10.30am classic feature, 1981’s Evil Dead, followed by the UK premiere of Nightfall – A Paranormal Investigation at noon and the Spectres & Shadows short film showcase at 1.30pm.

The UK premiere of Tabula Rasa will be shown at 2.45pm; the 4.15pm screening of He Kills At Night will include a Q&A, and Inside The Mind will be the theme of the 6pm short film showcase. In Dead Talks Part II at 7.30pm, the Independent Horror Society welcomes special guests for When Horror Struck Again, a discussion on underrated sequels.

The festival concludes with a classic feature, 1987’s Evil Dead II.  For more details on Dead Northern Part VI 2025 Horror Film Festival, visit deadnorthern.co.uk/dead-northern-2025-horror-film-festival.

In Focus: York Printmakers’ 10th Anniversary Handmade Print Fair, York Cemetery, today and tomorrow

Russell Hughes discussing monoprinting. Picture: Chris Kendall Photography

THIS weekend York Printmakers celebrates a decade of creativity, collaboration and craftsmanship with its 10th Annual Print Fair, designed for lovers of original art and handmade processes.

This year’s fair reflects the group’s continuing mission: to keep traditional printmaking alive, accessible and valued.

Over the past decade, York Printmakers has grown into a vibrant collective of more than 40 artists, all committed to the authenticity of printmaking. The fair showcases a wide range of techniques — from linocut to collagraph, screen print to woodcut — all created by hand.

“People are often surprised to learn the difference between a reproduction and a handmade print,” says founding member Sally Clarke. “At our fair, you get to see the blocks, the plates, the tools — and meet the people who made them.

“In a world where everything is easily copied, our fair champions the original: prints made by hand, with care and intention.”

Bridget Hunt describing how to make a collograph plate. Picture: Chris Kendall Photography

This year’s milestone event reflects on ten years of artistic evolution, celebrating the unique voices of long-standing members while championing the newer members to the collective: artists whose fresh perspectives and experimental approaches are helping to shape the future of the craft.

“It’s always a pleasure to welcome new members, especially those just discovering printmaking or beginning their creative journey,” says long-standing member Russell Hughes. “They bring energy and new ideas that inspire even the most experienced among us. And in return, we’re able to share knowledge and techniques that have stood the test of time. That exchange is what keeps the group dynamic and evolving.”

Visitors can explore a rich variety of work, meet the makers and buy original prints directly from the artists.

York Printmakers’ 10th Anniversary Handmade Print Fair,  Chapel and Harriet Room, York Cemetery, Cemetery Road, York, September 20 and 21, 10am to 5pm. Free entry.

York Printmakers’ poster for this weekend’s print fair at York Cemetery

What’s On in Ryedale, York and beyond. Hutch’s List No. 40, from Gazette & Herald

Rebecca Vaughan’s Lady Susan in Dyad Productions’ Austen’s Women: Lady Susan. Picture: Ben Guest

JANE Austen’s Lady Susan, supreme chamber musicians, nature photography and Inspector Morse’s stage debut keep September busy for Charles Hutchinson.

Magnificently crafted tale of manipulation and manners of the week: Dyad Productions in Austen’s Women: Lady Susan, York Theatre Royal Studio, tomorrow and Friday, 7.45pm, Saturday, 2pm; Helmsley Arts Centre, Sunday, 7.30pm

DYAD Productions return with a new solo comedy show, Jane Austen’s 1794 tale of manipulation and manners. Directed by Andrew Margerison, company regular Rebecca Vaughan plays devil-may-care widow Lady Susan, oppressed, rebellious daughter Frederica, long-suffering sister-in-law Catherine, family matriarch Mrs De Courcy and insouciant best friend Alicia.

At the vanguard of Vaughan’s wickedly humorous adaptation is the charming, scheming and witty Lady Susan, taking on society and making it her own, but has she met her match? Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk.

Classical festival of the week: York Chamber Music Festival 2025, Friday to Sunday

YORK Chamber Music Festival artistic director Tim Lowe brings the cream of European string playing to York for three days. Taking part in five concerts at the National Centre for Early Music, Unitarian Chapel, St Saviourgate, Sir Jack Lyons Concert Hall, University of York, and St Olave’s Church will be Charlotte Scott and Jonathan Stone, violins; Helene Clement and Gary Pomeroy, violas; Lowe and Jonathan Aasgaard, cello, and Katya Apekisheva, piano. For the full festival programme and tickets, go to: ycmf.co.uk.

Comedy gig of the week: Russell Kane, Hyperactive, York Barbican, Friday, 8pm

WHIRLWIND physical comedian, presenter, actor and author Russell Kane is out on the road again with his latest tour carrying a safety warning: “Wear strong underwear. Pants will be spoiled”. This show will be high-energy, high-octane and hyper-active. Box office: yorkbarbican.co.uk.  

Film event of the week: Mother Vera with Q&A, City Screen Picturehouse, York, Friday, 6pm

IN a hidden Orthodox monastery in Belarus, Mother Vera weaves the inner world of an unorthodox young nun with the community that saved her life. After 20 years as a monastic, Vera faces deep inner conflict. Now, she must confront her past and trust her instincts to find the liberation she desires.

Friday’s screening of Cécile Embleton and Alys Tomlinson’s winner of Best Documentary at the 2024 BFI London Film Festival – shot in black and white – will be accompanied by a question-and-answer session with Tomlinson, conducted by Aesthetica  writer and curator Rachel Pronger. Box office: picturehouses.com/cinema/city-screen-picturehouse.

Americana gig of the week: The Coal Porters, All Saints Church, Pocklington, Friday, 7.30pm

THE Coal Porters, who claim to be the world’s first “alt-bluegrass” act, will be led as ever by Sid Griffin in Pocklington, a day after celebrating his 70th birthday.

Prominent figures in the UK Americana and bluegrass scene for 17 years, Griffin’s band are back in the saddle this autumn for eight dates. Their songs showcase the power of fiddle, mandolin, banjo, acoustic guitar and doghouse bass, all harmonised with four-part vocals and melodies. Box office: sidgriffin.com/tour; ticketsource.co.uk.

Ryedale exhibition launch of the week: All The Wood’s A Stage, Nunnington Hall, near York, from Saturday to March 29 2026

ALL The Wood’s A Stage will continue the 2022 showcase Woodland Sanctuary, exhibited originally at the Moors Centre in Danby. This latest chapter features predominantly new photographs that celebrate the beauty and vital significance of trees, woodlands and forests across the UK.

Photographers Joe Cornish and Simon Baxter depict trees as silent performers on nature’s stage, encouraging us to observe, listen and reflect. Trees provide joy, peace and inspiration, being lungs of the Earth, guardians of biodiversity and a crucial part of our mental and physical well-being. Through changing seasons, they symbolise life, death and renewal. Tickets: nationaltrust.org.uk/visit/yorkshire/nunnington-hall.

Dance show of the week: The Return Of The Legends, starring Brendan, James, Pasha, Vincent and Ian, York Barbican, Saturday, 7.30pm

STRICTLY Come Dancing alumni Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite follow up 2024’s  Legends Of The Dancefloor with new Latin, tango, rumba and ballroom routines and more Strictly stories in The Return Of The Legends. Joined by a supporting cast, they deliver a night of dancing, camaraderie, music and laughter. Box office: yorkbarbican.co.uk.  

Murder mystery of the week: Inspector Morse: House Of Ghosts, Grand Opera House, York, September 23 to 27, 7.30pm plus 2.30pm Wednesday and Saturday matinees

BIRMINGHAM Repertory Theatre and Simon Friend Entertainment are touring the Inspector Morse franchise’s debut original stage play, House Of Ghosts, penned by Alma Cullen, directed by Anthony Banks and starring Tom Chambers.

A chilling mystery unfolds when a young actress dies suddenly on stage during a performance, prompting Detective Chief Inspector Morse to embark on a gripping investigation. What begins as a suspicious death inquiry takes a darker turn when the legendary inspector, in tandem with Detective Sergeant Lewis, uncovers a connection to sinister events in his own past, 25 years earlier. Box office: atgtickets.com/york.

Blues gig of the week: Ryedale Blues Club, The Della Grants, Milton Rooms, Malton, September 25, 8pm

LEICESTER band The Della Grants’ songs seamlessly bridge the gaps between blues, rock and Americana. Since their inception in 2014, they have made a name for themselves among industry professionals and fellow musicians for their song-writing ability and performances. Box office: 01653 696240 or themiltonrooms.com.

What’s On in Ryedale, York and beyond. Hutch’s List No. 39, from Gazette & Herald

Grainne O’Hare: Discussing her debut novel, Thirst Trap, a study of friendship in Belfast, with York theatre-maker and university tutor Bridget Foreman at Helmsley Literature Festival

HELMSLEY’s book festival, musical premieres, Ayckbourn’s 91st comedy and the Yellow Brick Road are beckoning Charles Hutchinson. 

Festival of the week: Helmsley Literature Festival, Helmsley Arts Centre, Friday to Sunday.

HELMSLEY Literature Festival presents an entertaining weekend of writers, theatre and music, opening with Joanne Harris & The Storytime Band’s musical storytelling show on Friday at 7.30pm and concluding with the Studio Bar literary quiz on Sunday at 8.30pm.

Saturday presents retired clinical oncologist Grahame Howard at 2pm; Belfast-born debutant novelist Grainne O’Hare (Thirst Trap), 4.30pm; Debbie Cannon’s play The Remarkable Deliverances Of Alice Thornton, 7pm, and Poets’ Corner, hosted by Steve Harvey in the Studio Bar, 8.30pm. Sunday features Cliff Hague’s Cup Finals: Football Stories Of Great Games, Heroes And Villains, 2pm; northern authors Jenn Ashworth (The Parallel Path: Love, Grit And Walking The North) and Wendy Pratt  (The Ghost Lake), and Saltburn bookshop owner and The Hometown Bookshop novelist Jenna Warren, 7pm. Box office: 01439 771700 or helmsleyarts.co.uk.

Musical world premiere of the week: Military Wives – The Musical, York Theatre Royal, today to September 27, times vary

YORK Theatre Royal stages the world premiere of writer-director Debbie Isitt’s musical based on the 2019 film, rooted in Gareth Malone’s The Choir: Military Wives project.

Faced with husbands and partners being away at war, the women are isolated, bored and desperate to take their minds off feelings of impending doom. Enter Olive to help them form a choir. Cue a joyous celebration of female empowerment and friendship, courage and ‘unsung’ heroes. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Interdimensional journey of the week: Wharfemede Productions in Musicals Across The Multiverse, Theatre@41, Monkgate, York, today to Saturday, 7.30pm and 2.30pm Saturday matinee

DIRECTOR Helen “Bells” Spencer and musical director Matthew Clare follow up 2023’s Musicals In The Multiverse 2023 with another blend of iconic musical theatre hits reconfigured with surprising twists. 

“Think unexpected style swaps, minor to major key switches, gender reversals, era-bending reinterpretations, genre mash-ups and more,” says Bells. Box office: tickets.41monkgate.co.uk.

York premiere of the week: Pick Me Up Theatre in Fun Home, York Medical Society, Stonegate, York, today to September 19, 7.30pm plus 2.30pm Saturday and Sunday matinees

ROBERT Readman directs the York premiere of Jeanine Tesori and Lisa Krow’s five-time Tony Award winner, based on Alison Bechdel’s graphic novel. 

When her volatile father dies unexpectedly, Alison (Claire Morley) recalls how his temperament and secrets defined her family and her life. Moving between past and present, she relives her unique childhood at the family’s Bechdel Funeral Home, her growing understanding of her sexuality and the looming, unanswerable questions of her father’s hidden desires. Box office: ticketsourse.co.uk/pickmeuptheatrecom.

Exhibition of the week: Paint & Print, Beryl Braddock, Judith Ellis & Pauline Brown, Helmsley Arts Centre, until October 31

SINCE gaining a Fine Art degree at Leeds and Goldsmiths as a mature student, Beryl Braddock has enjoyed more than 40 years of drawing and painting, using watercolours, crayon, inks, charcoal and oils in still life, landscape and life drawing works, often in portraits of family and friends.

Judith Ellis’s paintings and prints utilise the process of mark making – colour, shape, form and texture – developed with elements of order and chance. Her work evolves with or without a pre-conceived idea; sometimes fragments of diaries are used to develop texture and form or a poem might provoke a colour. Artist, art therapist and theatre designer Pauline Brown paints and draws mostly outdoors in nature, following the changing seasons, using layers of colour and texture to capture the landscape’s moods and atmosphere.

Brass band gig of the week: Stape Silver Band, Brass Across The World, Kirk Theatre, Pickering, Friday, 7.30pm

STAPE Silver Band takes a musical journey around the world in the company of Pickering Musical Society members, performing works associated with myriad genres of brass band music. Box office: 01751 474833 or kirktheatre.co.uk/events/stape-silver-band/.

Tribute show of the week: Abba Sensation, Kirk Theatre, Pickering, Saturday, 7.30pm

KIRK Theatre “simply had to have them back” after Abba Sensation’s sold-out last visit. Combining costume changes, lighting effects and a faithful account of the Abba sound, the band welcomes audience participation, whether singing, clapping or dancing. Anyone “too posh” to join in can rattle jewellery instead. Box office: 01751 474833 or kirktheatre.co.uk/events/stape-silver-band/.

Ruby slippers of the week: York Stage in The Wizard Of Oz, Grand Opera House, York, Friday to September 20

UNDER Nik Briggs’s direction, York Stage skips down the Yellow Brick Road as Erin Childs’ Dorothy, Toto and her friends, the Scarecrow (Flo Poskitt), Tin Man (Stu Hutchinson), and Cowardly Lion (Finn East), journey to the Emerald City to meet the Wizard (Ian Giles).

In navigating the enchanting landscape of Oz, Dorothy is watched closely by Glinda, the Good Witch (Carly Morton) as the Wicked Witch of the West (Emily Alderson) plots to thwart Dorothy’s quest and reclaim the magical ruby slippers. Box office: atgtickets.com/york.

Theatre event of the week: Alan Ayckbourn’s 91st premiere, Earth Angel, Stephen Joseph Theatre, Scarborough, Saturday to October 11, 7.30pm plus 1.30pm, Wednesday and Thursday, and 2.30pm Saturday matinees

GERALD has lost his wife of many years. Amy was the light of his life, almost heaven-sent. Trying his best to put a brave face on things, he accepts help from fussy neighbours. Then a mysterious stranger turns up at Amy’s wake, washing the dishes and offering to do a shop for Gerald, but is he all that he appears?  

Alan Ayckbourn’s 91st play digs deep into one of life’s greatest mysteries: what makes someone a good person – and in this day and age, can you ever be sure? Box office: 01723 370541 or sjt.uk.com.

What’s On in Ryedale, York and beyond. Hutch’s List No. 38, from Gazette & Herald

Willow artist Laura Ellen Bacon at her Whispers Of The Wilderness exhibition at Beningbrough Hall. Picture Anthony Chappel-Ross

WILLOW sculptures, a riotous Shakespeare comedy, outdoor cinema and a festival of practical arts are early September attractions for Charles Hutchinson. 

Exhibition opening of the week; Whispers Of The Wilderness, Exploring Wilderness Gardens, Beningbrough Hall, near York, until April 12 2026, Tuesday to Sunday, 11am to 4pm

WHISPERS Of The Wilderness brings together contemporary large-scale willow sculptures by Laura Ellen Bacon, historic pieces from across the National Trust collection to showcase Wilderness Gardens through time, and a new drawing studio designed by artist  Tanya Raabe-Webber.

Complemented by a new soundscape, audio chair, sketches of the developing sculptures and more, the exhibition is a sensory experience across the first-floor Reddihough Galleries and Great Hall. Its opening coincides with Beningbrough’s own Wilderness Garden being the next to be developed as part of Andy Sturgeon’s long-term garden vision, from autumn this year. Tickets: nationaltrust.org.uk/visit/yorkshire/beningbrough.  

The HandleBards’ poster for Much Ado About Nothing, tonight’s Shakespeare riotous comedy performance at Merchant Adventurers’ Hall, York

Shakespeare performance of the week: The HandleBards in Much Ado About Nothing, Merchant Adventurers’ Hall Great Hall, York, tonight, 7pm

PEDEALLING from venue to venue with set, props and costumes on bikes, the HandleBards’ four-strong troupe of actors is spending the summer touring environmentally sustainable Shakespeare hither and thither in a bicycle-powered indoor production of Much Ado full of riotous energy and comedic chaos.

Soldiers return from the war to a household in Messina, kindling new love interests and re-kindling old rivalries as the parallel love stories of Beatrice, Benedick, Claudio and Hero become entangled with scheming, frivolity and melodrama. Box office for returns only: handlebards.com/show/much-ado-about-nothing-merchant-adventurers-hall.

Scarlett Johansson in Jurassic World Rebirth, Friday’s film at Picturehouse Outdoor Cinema in York Museum Gardens

Film event of the week: City Screen Picturehouse presents Picturehouse Outdoor Cinema, York Museum Gardens, York, Jurassic World Rebirth (12A), Friday, 6.30pm; Stop Making Sense (PG), Saturday, 6.30pm; 10 Things I Hate About You (12A), Sunday, 6.30pm

SCARLETT Johansson, Jonathan Bailey and Mahershala Ali star in Gareth Edwards’ new Jurassic World chapter as an intrepid team races to secure DNA samples from the three most colossal creatures across land, sea and air.

Jonathan Demme’s Stop Making Sense, capturing David Byrne’s Talking Heads in perpetual motion at Hollywood’s Panatges Theatre in December 1983, re-emerges in a 40th anniversary restoration of “the greatest concert film of all time”. Joseph Gordon-Levitt, Allison Janney, Julia Stiles and Heath Ledger star in 10 Things I Hate About You, wherein Cameron falls for Bianca on the first day of school, but not only his uncool status stops him from asking her out. 

Blankets, cushions and small camping chairs are allowed at screenings that will begin at dusk or as soon as darkness descends. Box office: picturehouses.com/outdoor-cinema/venue/york-museum-gardens.

Jason Manford is A Manford All Seasons at York Barbican, Scarborough Spa and Hull City Hall

Comedy gigs of the week; Jason Manford in A Manford All Seasons, York Barbican, Friday, 7.30pm and November 15, 7.30pm; Scarborough Spa Grand Hall, Saturday, 7.30pm; Hull City Hall, January 22 2026, 7.30pm

SALFORD comedian, writer, actor, singer and radio and television presenter is on tour in his new stand-up show. He cites Billy Connolly as the first comedian he saw aged nine and as his first inspiration and he cherishes such family friendly entertainers as Eric Morecambe, Tommy Cooper and Les Dawson. Box office: York, yorkbarbican.co.uk; Scarborough, scarboroughspa.co.uk; Hull, hulltheatres.co.uk.

Lino print art demonstration at Fangfest Festival of Practical Arts in Fangfoss

Silver anniversary of the week: Fangfest Festival of Practical Arts, Fangfoss, East Riding, Saturday and Sunday, 10am to 4pm each day

FANGFOSS is celebrating the 25th anniversary of Fangfest with the All Things Silver flower festival; veteran cars; archery; the Stamford Bridge Heritage Society; music on the village green; children’s games; the Teddy Bear Trail and artists aplenty exhibiting and demonstrating their work. 

Opportunities will be provided to try out the potter’s wheel, spoon carving and chocolate making. Some drop-in activities are free; more intensive workshops require booking in advance. Look out too for the circus skills of children’s entertainer John Cossham, alias Professor Fiddlesticks, and the Pocklington and District Heritage Trust mobile museum. Admission is free.

York Philharmonic Male Voice Choir: Performing Sounding Brass and Voices concert with York RI Golden Railway Band at Joseph Rowntree Theatre, York

Musical partnership of the week: Sounding Brass and Voices, York Philharmonic Male Voice Choir and York RI Golden Rail Band, Joseph Rowntree Theatre, York, Saturday,7.30pm

TWO well-loved York ensembles reunite for Sounding Brass and Voices to celebrate 100 years of music. York Philharmonic Male Voice Choir and York RI Golden Rail Band are performing a joint concert for the fourth time in a tender and thrilling pairing of brass and voices.

“From romantic film music to toe-tapping hits, there will be something for everyone,” says Golden Rail Band conductor Nick Eastwood. “And prepare yourselves for the finale, when the choir and the band will take the stage together for a couple of glorious and rousing numbers that will gladden your heart and send you home singing.” Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Gruff Rhys: Solo gig at The Crescent, York. Picture: Ryan Eddleston

York gig of the week: Gruff Rhys, The Crescent, York, September 10, 7.30pm

SUPER Furry Animals and Neon Neon musician Gruff Rhys plays The Crescent two days ahead of the release of his ninth solo album, Dim Probs, his fourth sung entirely in Welsh, marking his debut on Rock Action Records.

Over the years, Rhys has collaborated with Gorillaz, Africa Express, Mogwai, Sparklehorse, Danger Mouse, Sabrina Salerno and Imarhan and written two books, multiple cinema and video game soundtracks and an opera, created music for three stage shows and devised two feature documentaries. Box office for returns only: thecrescentyork.com/events/gruff-rhys.

Suede: Returning to York Barbican on 2026 Antidepressants tour. Picture: Dean Chalkley

Show announcement of the week: Suede, Antidepressants UK Tour 2026, York Barbican, February 7 2026

AFTER playing York Barbican for the first time in more than 25 years in March 2023, Suede will make a rather hastier return on their 17-date January and February tour. Brett Anderson’s London band will be promoting tenth studio album Antidepressants, out on September 5 on BMG.

“If [2022’s] Autofiction was our punk record, Antidepressants is our post-punk record,” says Anderson. “It’s about the tensions of modern life, the paranoia, the anxiety, the neurosis. We are all striving for connection in a disconnected world. This was the feel I wanted the songs to have. This is broken music for broken people.” Box office: yorkbarbican.co.uk/whats-on/suede26.

Theatre@41, Monkgate, lines up autumn of Edinburgh Fringe comedy and theatre hits

Hal Cruttenden: Dishing it out at Theatre@41, Monkgate, but can he take it?

THE best of the Edinburgh Fringe, from stand-up comedy to new theatre, is bound for Theatre@41, Monkgate, York, this autumn.

 Comedy performers will be led off by Have I Got News For You and Would I Lie To You panellist Hal Cruttenden in Hal Cruttenden Can Dish It Out But Can’t Take It on September 6, followed by four-time Edinburgh Award nominee Kieran Hodgson in Voice Of America on September 27, when he explores how a scared world feels about the USA and impersonates a bunch of old prospectors and former Presidents.

Creepy Boys were nominated for this year’s Edinburgh Comedy Award for their show Slugs. Now they bring their original madcap self-titled show to York on October 3. John Robertson Plays With His Audience, on November 16, is the latest show from the cult Dark Room host, packed with unpredictable improv and crowd work.

Kieran Hodgson: Voicing fears prompted by the USA

Innovative theatre comes in the form of a one-man Animal Farm, solo adaptation of Orwell’s prophetic novel, performed by Sam Blythe on September 20.

Theatre@41 chair Alan Park says: “Prior to the Edinburgh Fringe, we welcomed a number of stand-ups previewing their shows in the Halfway To Edinburgh season in July, including eventual Edinburgh Comedy Award winner Sam Nicoresti, and it’s great to see more of these artists having success at the Fringe.

“The ethos of the Edinburgh Fringe resonates with our own belief in supporting new and emerging performers, so we’re really pleased to be welcoming these brilliant shows to our theatre this autumn.”

John Robertson: Playing with his York audience on November 16 Picture: Mark Dawson

Running from July 13 to 19, Halfway To Edinburgh featured Sam Nicoresti, Josie Long, Lulu Popplewell, Molly McGuinness, Phil Ellis, Hayley Ellis, Susan Riddell, Kate Dolan, Barmby Moor surrealist Rob Auton and Chloe Petts, plus Nina Gilligan in her 2024 Fringe show
Goldfish.

“We were absolutely thrilled to bring such a fantastic calibre of comedic talent to York with Halfway To Edinburgh,” says Alan. “The festival was a unique opportunity for York audiences to experience the excitement and innovation of the Edinburgh Fringe without leaving the city. It was the perfect chance to see some incredible shows before they hit the big stage in Scotland.”

Tickets for the autumn season are on sale at tickets.41monkgate.co.uk.

More Things To Do in York and beyond as XXX exits and a cosmic piano arrives. Hutch’s List No. 38, from The York Press

Oh No! Have we missed Harland Miller’s XXX exhibition of Letter Paintings at York Art Gallery? No, this weekend is the last chance

HARLAND Miller’s XXX finale and Fangfest’s 25th anniversary, a comic convention and a cosmic piano are among Charles Hutchinson’s recommendations as August makes way for September. 

Do not miss: Harland Miller, XXX, York Art Gallery, ends on Sunday, open daily 10am to 5pm

THIS weekend is the last chance to see York-raised Pop artist and writer Harland Miller’s return to York Art Gallery with XXX, showcasing paintings and works on paper from his Letter Paintings series, including several new paintings, not least ‘York’, a floral nod to Yorkshire’s white rose and York’s daffodils. 

Inspired by his upbringing in 1970s’ Yorkshire and an itinerant lifestyle in New York, New Orleans, Berlin and Paris during the 1980s and 1990s, Miller creates colourful and graphically vernacular works that convey his love of popular language and attest to his enduring engagement with its narrative, aural and typographical possibilities. Tickets: yorkartgallery.org.uk.

 Fladam’s Flo Poskitt and Adam Sowter: Premiering their shiny new musical comedy, Astro-Norma!, at York Explore today

Intergalactic musical family adventure of the week: Fladam Theatre in Astro-Norma And The Cosmic Piano, York Explore Library and Archive, Library Square, York, today, 11am and 2pm

FROM the creators of Green Fingers and the spooky HallowBean comes Astro-Norma And The Cosmic Piano, wherein Norma dreams of going into space, like her heroes Mae Jemison and Neil Armstrong, although children can’t go into space, can they? Especially children with a very  important piano recital coming up.

But what bizarre-looking contraption has just crash-landed in the garden? Is it a bird? Or a plane? No… it’s a piano?! No ordinary piano. This is a cosmic piano! Maybe Norma’s dreams can come true? Join Fladam duo Flo Poskitt and Adam Sowter for a 45-minute show full of awesome aliens, rib-tickling robots and interplanetary puns. Box office: tickettailor.com/events/exploreyorklibrariesandarchives.

You, Me And Who We’ll Be: Josie Brookes and Tom Madge’s exhibition at Nunnington Hall

Children’s exhibition of the week: Josie Brookes and Tom Madge, You, Me And Who We’ll Be, Nunnington Hall, near York, until September 7

ENTER the colourful worlds of children’s illustrators Josie Brookes and Tom Madge. Through bold, eye-catching artwork, the Newcastle-upon-Tyne duo creates stories that explore the many ways we can help and understand each other, make friends and build relationships.  

Discover your own helpful superpower in the Big Small Nature Club or join best friends Nader and Solomiya on a journey to find home. A dress-up station lets you share in the adventures of Molly the Flower. Before you go, help the story grow by adding your own artwork to the interactive gallery. Tickets: Normal admission charges at nationaltrust.org.uk/visit/yorkshire/nunnington-hall/exhibitions.

York Unleashed Comic-Con: Special guests, stage talks, cosplay masquerade, attractions and merchandise market at York Racecourse

Convention of the week: York Unleashed Comic-Con, York Racecourse, Knavesmire, York, Sunday, 11am to 5pm

UNLEASHED Events welcomes Tom Rosenthal, Tim Blaney, Peter Davison, Phil Fletcher and special guest Atticus Finch Wobbly Cat to a comic convention featuring stage talks, cosplay masquerade and plenty more.

Comic artists and authors Jim Alexander, Elinor Taylor, Blake Books, Jessica Meats, Paolo Debernardi and Ben Sawyer are appearing too. Attractions include Doctor Bell, Bumblebee Camaro, Johnny 5, Milestone 3D, Imagination Gaming, Battle Ready Academy, Mos Eisley Misfits, Tom Daws Dimple Magician, Rexys Reviews and Iconic Movie Scenes, plus a market selling merchandise and collectables from favourite franchises. Tickets: unleashedtickets.co.uk.

SmART art: One of 100 artworks for sale at the pop-up SmART Gallery at York Racecourse

Art event of the week: SmART Gallery, Racecourse Road, York, YO23 1EU, Sunday, 11am to 2.30pm

SUNDAY’S outdoor, inclusive community art gallery, SmART Gallery, will raise money for the Christmas appeal run by Crisis, the homeless charity, and voluntary work in Sierra Leone next Easter.

The event features more than 100 pieces of art work produced by the York community. Blank canvases are sold for £10, then returned once the art work has been created in any medium. Browsers can submit a secret bid on the day for anything they would like to buy. Any unsold artwork will remain on the fence opposite York Racecourse’s main entrance for five months for all to enjoy.

Austentatious: Improvising new Jane Austen novel from audience suggestions at Grand Opera House, York

Improv show of the week: Show And Tell present Austentatious: An Improvised Jane Austen Novel, Grand Opera House, York, September 5 and 6, 7.30pm

AS seen every week in the West End since 2022 and in York in a sold-out show in January, the all-star Austentatious cast will improvise a new Jane Austen novel, inspired entirely by a title from the audience. Performed in period costume with live musical accompaniment, this riotous, quick-moving comedy comes with guaranteed swooning.

The revolving Austentatious cast includes numerous award-winning television and radio performers, such as Cariad Lloyd (QI, Inside No.9, Griefcast, The Witchfinder),Joseph Morpurgo (Edinburgh Comedy Award nominee), Rachel Parris (The Mash Report), Graham Dickson (After Life, The Witchfinder) and more. Box office: atgtickets.com/york.

Pottery workshop at 25th anniversary Fangest Festival of Practical Arts in Fangfoss

Silver anniversary of the week: Fangfest Festival of Practical Arts, Fangfoss, East Riding, September 6 and 7, 10am to 4pm each day

FANGFOSS is celebrating the 25th anniversary of Fangfest with the All Things Silver flower festival; veteran cars; archery; the Stamford Bridge Heritage Society; music on the village green; children’s games; the Teddy Bear Trail and artists aplenty exhibiting and demonstrating their work. 

Opportunities will be provided to try out the potter’s wheel, spoon carving and chocolate making. Some drop-in activities are free; more intensive workshops require booking in advance. Look out too for the circus skills of children’s entertainer John Cossham, alias Professor Fiddlesticks, and the Pocklington and District Heritage Trust mobile museum. Admission is free.

Suede: Returning to York Barbican next February on Antidepressants tour. Picture: Dean Chalkley

Show announcement of the week: Suede, Antidepressants UK Tour 2026, York Barbican, February 7 2026

AFTER playing York Barbican for the first time in more than 25 years in March 2023, Suede will make a rather hastier return on their 17-date January and February tour. Brett Anderson’s London band will be promoting  tenth studio album Antidepressants, out on September 5 on BMG.

“If [2022’s] Autofiction was our punk record, Antidepressants is our post-punk record,” says Anderson. “It’s about the tensions of modern life, the paranoia, the anxiety, the neurosis. We are all striving for connection in a disconnected world. This was the feel I wanted the songs to have. This is broken music for broken people.” Box office: York, yorkbarbican.co.uk/whats-on/suede26.

REVIEW: National Theatre in War Horse, Leeds Grand Theatre, until Sept 6 *****

Tom Sturgess (Albert Narracott), left, with Diany Samba-Bandza, Jordan Paris and Eloise Beaumont-Wood (Baby Joey) in War Horse, on tour at Leeds Grand Theatre. Picture: Brinkhoff-Moegenburg

ELEVEN years since first encountering the National Theatre’s remarkable War Horse at the Alhambra, Bradford, a return visit brought out all the awe, wonderment and anger anew at Leeds Grand Theatre amid the turbulence of 21st century conflicts, conflagrations and ever more warmongering.

Michael Morpurgo’s source novel was ostensibly a tale for children, as was Michelle Magorian’s Second World War story Goodnight Mister Tom, but Marianne Elliott and Tom Morris’s theatrical tour de force is a show for everyone.

The most successful play in the history of the National Theatre, collecting more than 25 awards and playing to 8.3 million people worldwide, War Horse is a complete piece of theatre, replete with technical aplomb, extraordinary puppetry, grand design and foundation-shaking sound to complement Nick Stafford’s beautiful, powerful storytelling.

For all those theatrical tools, the story is king, told with imagination and wonder beyond even the cinematic scope of Steven Spielberg’s 2011 film version.

More remarkable still, Morpurgo’s central character is a horse, whose journey is charted from Devon farm to the fields of the Somme, in the service of first the British and then the Germans in the First World War.

Directors Elliott and Morris and designer Rae Smith had the original vision, put into flesh by South Africa’s Handspring Puppet Company’s Adrian Kohler. Not so much flesh as leather tack and a wooden see-through framework that exposed the three puppeteers, gloved and dressed to add to the sense of equine power in life-sized Joey, whose transformation from colt to magnificent beast is a coup de theatre that takes the breath away.

From the highly physical ensemble acting of revival director Katie Henry’s cast to the deafening sounds of war (by sound designer Christopher Shutt) and the omnipresent animation and projection designs of Nicol Scott and Ben Pearcy that depict war so devastatingly, every last detail counts. Anne Marie Piazza’s singing of John Tams’s affecting folk songs is even more haunting for its female interpretation.

At the core is the bond of a boy and his horse, Tom Sturgess’s stoical farm boy Albert Narracott and noble Joey, as boy becomes man all too young in the most brutal passage of rights in the trenches. War divides but it also unites, bringing out the best and worst on all sides (as Morpurgo’s equal focus on the Germans emphasises).

Co-produced with Michael Harrison, Fiery Angel and Playing Field, this “all-new tour” for 2024-2025 is a triumph once more. The National Theatre and British theatre at their best.

National Theatre in War Horse, Leeds Grand Theatre, until September 6, 7.30pm and 2.30pm Wednesday and Saturday matinees. Box office: 0113 243 0808 or leedsheritagetheatres.com.

REVIEW: Martin Dreyer’s verdict on North York Moors Chamber Music Festival, Of Music In The Silver Air (Algernon Charles Swinburne, August), Marquee, Welburn Manor, August 12

The Waldstein Trio

TWO French piano quintets dominated this programme, with solo piano bonbons introducing each.

César Franck wrote four piano trios as a teenager and then took nearly 40 years to produce his grand Piano Quintet in F minor, premiered in 1880. Another 40 years later, Gabriel Fauré wrote his Second Piano Quintet in C minor, unveiling it in 1921. They carry certain similarities but if anything the Franck sounds the more modern.

For the Franck we had the Waldstein Trio joined by Benjamin Baker as first violin and Megan Cassidy as viola. The Waldsteins were much more focused than at their earlier outing here, not striving to make an effect, and blended well with their colleagues.

It may help to remember that although Franck was born in Belgium and became French, his parents were both of German origin. This helps to explain why the principle of leitmotif, popularised by Wagner, became so important to him: one major theme recurs in various guises in all three movements of this work. It takes a while to emerge – which accounts for the urgency this ensemble brought to the opening, while searching for its raison d’être.

The start of the slow movement similarly gropes in the darkness, but it reached a nice apex here before subsiding with a sigh of relief. The tremolos in the finale lent a sense of menace, this edginess here peaking in the two heavy pizzicato passages and eventually rushing towards a highly emotional climax, where major and minor keys jostled for superiority.

The Fauré is altogether less pretentious and the now changed ensemble reflected this. The key to its success was the delicate restraint but brilliant underpinning provided by the pianist Joseph Havlat; he was never percussive. The violins of Charlotte Scott and Emma Parker were joined by the viola of Gary Pomeroy and the cello of Jamie Walton.

There was a comfortable ebb and flow right from the start before an energetic conversation between piano and strings. In the light and airy scherzo, taken at a terrific pace, the strings were like flitting fireflies.

In contrast, the richer harmonies of the slow movement spoke of a new intimacy, over the piano’s rippling flow: its main theme, heard on low strings, delivered deep emotion before vanishing into space. The viola’s opening theme was tossed around in various guises throughout a luscious finale.

Daniel Lebhardt had opened the evening with two more tasteful episodes from Janacek’s On An Overgrown Path, always sustaining their simplicity. Similarly, he applied deft brush strokes to a Debussy prelude, a thoughtful painter at his easel.

Charlotte Scott

North York Moors Chamber Music Festival, Time Present and Time Past (T S Eliot, Four Quartets), St Mary’s Church, Lastingham, August 14

THE opening line of Burnt Norton, the first of T S Eliot’s Four Quartets, was amply reflected in this stirring two-pronged matinee. A very recent string trio by Huw Watkins was followed by the last of Mozart’s six string quartets dedicated to Haydn.

There is a special aura about Lastingham church. This certainly owes much to its Saxon foundation, but equally its radiant stonework lends lightness and intimacy to an arena where none of the audience is far from the players.

In Huw Watkins’s Second String Trio, these were the violinist Oliver Heath, the violist Gary Pomeroy and the cellist Jamie Walton. The intensity of their cohesion in what is by any standards a very demanding work was a privilege to experience.

The work is divided into seven short sections. It bounced straight into an electric rampage, with a marginally calmer centre. This dissolved into the total contrast of a luscious, lyrical slow movement. Like a video dissolving into new frames, it led into something darker, with upper-voice pizzicato that encouraged the cello to break free.

But one senses that Watkins does not like to stay serious for long. A flippant, frolicsome frenzy followed, suggesting Bacchic dance or even a rite of spring. A residue of anger seeped into the subsequent Adagio, although it gradually sweetened, providing a springboard into an angular free-for-all, with all threesquabbling over a four-note motif.

However,  the extraordinary finale, with supercharged cross-accents and catchy syncopation, saw the players finally coalesce in sensational style. Both the piece and its delivery were a tour de force. I would gladly hear it again any time.

After that, it hardly seemed possible that Mozart’s K.465 in C, nicknamed the ‘Dissonance’, could match the excitement of the Watkins. The violins now were Charlotte Scott and Emma Parker, with Pomeroy’s viola remaining on stage and Tim Posner taking the cello chair.

One of the special features of this festival is watching professionals go all out on a favourite piece: the thrills risk spills. But there were no spills here. After an opening as teasingly perplexing as Mozart clearly intended, there was terrific energy in the release of pent-up tension that followed and with it great transparency, so taut was the ensemble. The lovely Andante began a little forcefully but the pregnant silences in its second half were cleverly stretched.

There was even more of a surprise in the trio, which turned into a mini-drama in Sturm und Drang style, a hangover from the 1770s. The finale was brilliantly pointed. The devil was in the detail: the two-note staccato upbeat to the main theme, for example, taken in a subtle variety of ways, or the chromatic harmony, thrown out nonchalantly.

Mozart said that these six quartets were “the fruit of long and laborious effort”. This one was made to sound effortless, not least because Posner’s cello sustained the lightest of touches and allowed the spotlight to fall elsewhere: the quartet often seemed to be floating on air, a magical effect. Perhaps the secret was in the surrounding stonework.

Daniel Lebhardt

North York Moors Chamber Music Festival, Of A Dark Path Growing Longer (Angela Leighton, Cyclamen at the winter solstice), Marquee, Welburn Manor, August 16

THIS was an eclectic mix of solo piano numbers interspersed with music for horn, with a Leighton piano quartet at its centre. Many of the pieces referred to night and darkness, appropriately geared to the winter solstice of the title poem.

Such is the wealth of talent on hand at this festival that there were no less than four pianists on parade here.

There were 11 pieces throughout the evening. Joseph Havlat opened the innings with the last two of Schumann’s Night Pieces for piano Op 23, the first with intriguing inner voices, the second a moving chorale. In two more of Janáček’s cycle On An Overgrown Path (dotted through the festival), he was attentive to incidental detail, especially in the sploshy “Unutterable anguish”.

Daniel Lebhardt contributed Janáček’s lullaby Good Night! towards the end, having earlier accompanied Ben Goldscheider’s horn in Mark Simpson’s Nachtstück, which delivered a pretty forceful reaction to the time of day that inspired it.

Over the rambling bass line in a very active piano role at the start, the horn flew ever higher, before something gentler followed. The horn’s response to increasingly martial piano was a muted passage almost by way of protest. A processional passage in straight time blew into a climax, before an apologetic pianissimo that seemed to include quarter-tones. It was an odd but involving mixture.

The pianist Katya Apekisheva made two welcome appearances: first, on her own in Brahms’s B flat minor Intermezzo, Op 117 No 2, where her delicate arpeggios enhanced the work’s autumnal aura, and then partnering Goldscheider in Schumann’s Adagio & Allegro in A flat, Op 70. They blended superbly. After faultless scene-setting, Schumann’s flights of fancy were mouth-watering, the duo building on one another’s phrases rather than competing.

Goldscheider was back at once in Huw Watkins’s Lament, which he had commissioned in 2021 to celebrate the centenary of Dennis Brain’s birth. The composer himself was his partner at the piano. In mainly tonal, if mildly modal, harmony a slow cantilena built to an anguished climax, at which point both players grew more temperamental. It finally subsided into a resigned pianissimo, in true elegiac fashion, as if wondering what might have been had Brain lived longer.

The central work in this programme was Leighton’s Contrasts and Variants, Op 63 (1972), a piano quartet in one movement, which was given in the presence of his daughter (the poet quoted above).

Alongside Watkins as pianist we had violinist Benjamin Baker, violist Gary Pomeroy and cellist Tim Posner. Essentially an extended theme and variations, it rambles through a variety of moods, although always with an underlying romanticism.

There was some elegant syncopated pizzicato at its heart, and the players were able chameleons through its rapidly-changing colours. But even at the end, after the strings had been muted, we were left with a sense of yearning.

Goldscheider ended the evening in dazzling style with Messiaen’s solo horn evocation of the cosmos, Appel Interstellaire. It calls for a veritable thesaurus of brass techniques. Goldscheider not only despatched them all with panache, he also gave them compelling logic, a bravura performance.

Tenor James Gilchrist

North York Moors Chamber Music Festival, ‘Tread Softly’, W B Yeats, He Wishes For The Cloths O Heaven), Marquee, Welburn Manor, August 19

THIS was an all-English evening and the first this year to include a singer. James Gilchrist lent his eloquent tenor to songs by the first great song-writer John Dowland and by Rubbra and Leighton, alongside instrumental works by Bliss and Britten.

It was a smart idea to include the two Dowland songs upon which Britten based his Lachrymae variations. Both were given in ‘consort’ versions, with a string quartet mimicking the sound of viols. It was certainly satisfactory, although we hardly felt the dance rhythms on which they were built.

What madethem a success, however, was Gilchrist’s intensity, allied to excellent diction. A sole example was his spine-tingling sforzando twice on ‘hell’ in the final verse of ‘Flow my tears’. ‘If my complaints’ was the very essence of melancholy, Dowland’s forte.

Britten wrote his Lachrymae, subtitled ‘Reflections on a song of John Dowland’, in 1950 for viola and piano. But this was his Op 48a, that tiny ‘a’ indicating the version he wrote 26 years later for viola and small string orchestra. It was a treat to hear it in this format, which turns the work into a virtual concerto. Simone Gramaglia was the thoughtful soloist, partnered by a star-studded octet.

Essentially this is a theme and variations in reverse, with Dowland’s ‘Flow my tears’ emerging radiantly at its close after a tortuous journey. Gramaglia led from the front, invigorating his posse with his rhythmic verve and insights.

When bold low strings (built on Will Duerden’s double bass) grew urgent, he soared high above, then asserting his authority in the cadenza. His tremolo led into a rushing passage before the calm dénouement.

In a sense we had also been in the Elizabethan era with Rubbra’s Two Sonnets by William Alabaster (1567-1640). These involved the viola of Simone van der Giessen, along with Gilchrist and the piano of Anna Tilbrook.

They were intense and prayerful, with tenor and viola blending especially well. In ‘Upon the Crucifix’ the pleading was mellowed by more positive thoughts, whereas the quite deliberate tempo of ‘On the Reed of Our Lord’s Passion’, with insistently dissonant viola and piano, underlined the agitation involved in Christian belief. Gilchrist’s delivery was a model of dramatic perplexity.

Gilchrist and Tilbrook also presented two movements from Kenneth Leighton’s cantata Earth, Sweet Earth. ‘Prelude’ sets a passage from Ruskin’s autobiography as a dreamscape, finishing high on a pianissimo falsetto. Gilchrist took it in his stride.

The icy terrain of ‘Contemplation’ by Hopkins grew ever more intense, and demanded particular accuracy from Tilbrook. She delivered in spades.

This left Bliss’s Clarinet Quintet, with Matthew Hunt in the leading role. Benjamin Baker led the strings, with the support of Emma Parker, Simone van der Giessen and Rebecca Gilliver. There was a lovely flow to the dialogue at the start, contrasting strongly with the taut, staccato excitement of the Allegro molto which melted into a contemplative mood.

The Adagietto had an elegiac aroma, progressing into a sighing romanticism. The finale was a real caper, leavened by syncopation right from the start. But there was still room for Hunt’s trademark cantabile before an exciting coda. The strings had kept close order with the clarinet, making their presence felt whenever possible. Teamwork was the order the evening.

Reviews by Martin Dreyer