Category: Festivals

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Imagine if Shakespeare’s Falstaff ruled England? Scott Bradley has in world premiere of A Kingdom Jack’d at York International Shakespeare Festival

Julia Bisby’s Doll, left, and Rosy Rowley’s Jack Falstaff rehearsing Scott Bradley’s A Kingdom’s Jack’d. Picture: Scott Bradley

IOWA playwright Scott Bradley is in York for a month, working on the world premiere of “alternative history play” A Kingdom Jack’d with his fellow American, director Tempest Wisdom.

Together they are putting the ‘international’ into the York International Shakespeare Festival while putting the most English of cult figures in the spotlight in York company 1st Zanni Theatre’s production of his uproarious black comedy twist on Henry IV Part 1 at Merchant Adventurers’ Hall on Wednesday (29/4/2026) and Thursday at 7.30pm.

Tradition has it that Queen Elizabeth I was so delighted by the character of Sir John Falstaff in Henry IV, Part 1 and Part 2, she duly commanded Shakespeare to write a play showing the old rogue in love. Cue The Merry Wives Of Windsor.  

Now, Bradley boldly, mischievously re-imagines an iconic moment in political and Shakespearean history: what if disgraced knight Jack Falstaff – played by York stage regular Rosy Rowley – somehow found his way on to the throne of England in 1399, instead of serious warrior-king Henry IV?

In a nutshell, here comes Shakespeare turned upside down, where brutal satire meets broad comedy, delivered in tightly wrought verse in an irreverent that play draws on the medieval world of Henry IV, the Elizabethan imagination that reshaped it and our own contemporary political absurdities.

“Stupid, lecherous, selfish but hilarious, Shakespeare’s most (in)famous clown must somehow fund the army, balance the budget and make foreign policy, between naps of course,” says Scott. “His government is drunk, his enemies are plotting, his allies are scheming, and even his girlfriend’s getting in on the action.  

“Falstaff is king…but for how long, as chaos ensues with all these different factions clashing and backstabbing left, right and centre?”

A Kingdom Jack’d playwright Scott Bradley: Presenting his alternate history of kings, rebellion and political chaos inside one of York’s most historic buildings

He wrote an initial version in 2016 in response to the impact on the arts and beyond of Donald Trump’s first term as President of the United States, whereupon Tempest’s mother, Robyn Calhoun, first saw a Playwrights Workshop version in 2017, performed by theatre students at the University of Iowa, where Scott was a lecturer.

Now, with Trump exercising power so erratically in his second term, A Kingdom Jack’d emerges in full bloom in York, with a brisk running time of 45 minutes each half. “I initially contacted Scott asking if I could read the play and maybe bring a staged reading to the Shakespeare festival, and he gave me an incredible amount of licence – I could take it as far as I’d like!” recalls Tempest. “I can only hope I’ve deserved the immense amount of trust he’s put in me and the team.”

After studying theatre at the University of Chicago, Tempest pursued a Masters degree in theatre-making at the University of York, making their mark on the York theatre scene as the creator and host of the bi-monthly Bard at the Bar at Micklegate Social and directing York Shakespeare Project in The Two Gentlemen Of Verona in October 2024.

“I’ve worked on many devised shows before – processes where the writing happens in the rehearsal room and the decisions are largely made through group discovery and consensus, but this is my first time having a playwright in the room, making creative decisions in response to my direction and the cast’s choices,” says Tempest.

“I’ll admit, I was intimidated by the prospect, but it’s been really cool, and Scott is too kind of a person and too good of a collaborator to be intimidating. Of course, I’m not the one who has to re-memorise the script changes, so take that with a grain of salt!”

Staggering performance: Rosy Rowley’s bibulous Jack Falstaff – King “Jack” John II – during rehearsals at Southlands Methodist Church. Picture: Scott Bradley

Scott, who studied drama at the University of Hull in 1986, and later drag with Bloo Lips in London, has worked as an actor, director and producer in a career taking in New York, Chicago and Washington DC before returning to Iowa to teach on the Playwrights Workshop course.

“But in 2016, the election went the wrong way, the way we didn’t want, with Trump winning, and that was devastating,” he says. “I knew I wanted to respond to what was happening in the country, particularly being in the middle of Iowa, which is a red-meat, conservative world: the place I ran away from as a kid.

“I wanted to respond to this crazy, populist President, who was using his presidency to make him and his cronies rich, whereas now, in his second term, he’s just authoritarian.”

Scott was studying Shakespeare’s Henriad, his History plays, at the time. “I thought, what makes Falstaff so enjoyable, and made Trump so enjoyable, as buffoonish provocateurs, was that Falstaff was a crook with no real power and Trump was just a reality TV star.

“They are just these ridiculous guys, whose immorality makes them fun, because they have no power, but what happens when you put that funny buffoon, that funny drunk [Falstaff] in charge? He becomes really terrifying. Falstaff is still very funny, but it’s just that now he has the power to have people beheaded.

“It’s that idea of taking this buffoon, this foolish man, and suddenly he’s in charge of governing the country, when before that luckily there were a few that put up guard rails, but now he has none of that and he’s much more dangerous. But Falstaff is redeemable in that he’s a fictional character.”

Rosy Rowley’s Jack Falstaff in the poster for 1st Zanni Theatre’s premiere of A Kingdom Jack’d at York International Shakespeare Festival

The influence of Charles Ludlam and the Ridiculous Theatre Company in New York can be seen in the politics in Scott’s work. “He was a ‘smarty pants’ who mined pop culture and hooked into history and drag,” he says.

Hence, for A Kingdom Jack’d, you can read A Kingdom Trump’d into the play too. “There’s a bit of Trump in my Falstaff but also some of Boris Johnson too because of how he behaved in Covid, when everyone knew he lying but people loved him anyway,” says Rosy, whose birthday coincides with the opening performance.

“I first read the play about 18 months ago – and I never thought I’d be playing Falstaff as I thought I’d be auditioning for [Mistress] Quickly. As a woman of a certain age, it gets much harder to play leading parts, so to get the chance to play this odious man is amazing.

“I’ve played a lot of male roles, but with Falstaff, the danger lies in over-caricaturing him as a ‘bloke’, so I’m trying not to do that. There’s a vulnerability to Falstaff that you don’t see in Trump.”

Julia Bisby, who is travelling from Sheffield to play the smart London harlot Doll Tearsheet, says: “Because it’s a comedy, they’re exaggerated characters and it’s larger than life, with an emphasis on clowning and physicality.

“One of my favourite things about Doll is her abundance of insults,” says A Kingdom Jack’d actress Julia Bisby. Picture: Scott Bradley

“Doll uses her body as her way of making money, but it’s her brain, her mind, that stands out. She’s super-smart. Amid the greed of all these people fighting for the crown, Doll’s not chasing power, but she has the power, wanting to avoid bloodshed for the good of the country. One of my favourite things about her is her abundance of insults.”

Scott says: “One of the things that I was interested in – and I’m still interested in – is that it’s everyday people that can make a difference, can make changes, and that’s why I was interested in Doll being that figure, the one who has a sense of direction, a sense of morality, and wants a world that’s not craven.”

“But so do all the women [in the play],” says Rosy. “They are the ones who want to make changes…”

…”What happens when you’ve killed off all the men?” ponders Scott. “Perhaps we should give women the chance to have their voice – and the female characters get to do that in this play.”

An alarming moment for Rosy Rowley’s Jack and Julia Bisby’s Doll in A Kingdom Jack’d. Picture: Scott Bradley

He was delighted that Tempest wanted to stage the play with a professional cast and crew at the Shakespeare festival after doing an initial reading with Rosy. “I was all in for that,” he says. “What a great way to present this play, in York, in the Merchant Adventurers’ Hall, in English and Welsh voices that I imagine would have been the voices of that time – making sure we are saying the Welsh words right.

“Having first workshopped the play with young American actors, it’s just such a dream to have British actors of the age of the characters – though we have a couple of Americans in the cast too!”

Scott continues: “I was so thrilled when this production was proposed that I really wanted to be here to kick the tyres. I arrived at the very top of April, so I’ve been here for a month, after I’d done a new draft of the play, where I’d cut a lot of air out of it. I’ve been at most of the rehearsals and it’s been invaluable to hear it spoken.

“I was working on the play as a political satire, where Tempest wanted to pick it up and play with it with clowns. Now I’m really excited to see the play on stage and to see some of the other plays at the festival too.”

1st Zanni Theatre in A Kingdom Jack’d, Merchant Adventurers’ Hall, York, York International Shakespeare Festival, April 29 and 30, 7.30pm. Scott Bradley will conduct a post-show Q&A with Tempest Wisdom after each performance. Box office: yorkshakes.co.uk.

Tempest Wisdom

Q&A with A Kingdom Jack’d director and 1st Zanni Theatre founder Tempest Wisdom

What attracted you to directing this new play?

“The challenges and opportunities of this play are twofold: one is a question of comedy, and one is a question of history.

“Henry IV, Part I and Love’s Labour’s Lost are my two favourite Shakespeare plays, largely because they both break the generic mold. ‘Love’s’ is a bubbly comedy that ends with an uncomfortable injection of reality, and Henry IV is characterised by a profound tension between comedy and history, with Prince Hal as the fulcrum balancing the two.

“There’s the world of the court, dominated by King Henry, where the serious Shakespearean history business of state occurs: war, treasury, public relations, diplomacy.

“And then there’s the world of the Boar’s Head Inn, the trashy Eastcheap tavern where Falstaff reigns over the comedy side of things: elaborate wordplay, plays-within-plays, wine and women and song.

“Scott has taken that push-and-pull in the source material and dialled it up to 11. The script is clever, funny, a bit mean, and moves at a breakneck pace through a catalogue of jokes that range from pure blue humour to all-too-real barely-satire.

“So the first challenge, the comedy challenge, has been managing that tightrope walk: the cycle of warming up an audience to laughter, then bringing the humour around to a darker and darker tone until it’s difficult to laugh at…and then pushing it even further into the absurd, so we’re laughing again…and then starting the cycle all over.

“The history challenge: Picking this play apart is kind of like delving into a fossil record! Many of the characters in Henry IV, as in all of Shakespeare’s history plays, were real people, and so the first layer of ‘sediment’ we can draw from is their lived reality: the King Henry, Prince Hal, and Owain and Catrin Glyndŵr lived and breathed and died (and in the case of Harry Hotspur, their heads were occasionally mounted on Micklegate Bar!).

“They were also public figures, of course, and so the second and third layers of the fossil record are the public perception of them: the perceptions of their fellows and subjects – and how we understand them today.

“Then, naturally, there are the fictionalised, narrativised versions of them we get in Shakespeare’s plays and their various stagings and adaptations, which colour our understanding of the historical fact significantly (not as much as the case of Richard III, but that’s another story).

“Finally, there’s the script itself, Scott’s reworking of ALL of those prior layers, which brings a modern political filter and an entirely new context. So for myself and the actors, working through these semantic layers of history, narrative and cultural consciousness and using all that rich data (those beautiful fossils!) to construct something fresh and new and immediate has been so rewarding.”

Tempest Wisdom in rehearsal for role as Moth in York Shakespeare Project’s Love’s Labour’s Lost earlier this month

How would you sum up Falstaff in Shakespeare’s plays and how does he contrast with Scott’s Jack Falstaff?

“I have a pet theory that all of Shakespeare’s clowns and fools fit on a spectrum ranging from Genuinely As Stupid As They Seem (Touchstone I don’t believe that man has any idea what’s going on at any point) to Not Even Bothering To Couch Their Opinions In Jokes Anymore (Lear’s Fool).

“Falstaff is unique among his motley peers because he slides up and down that spectrum scene by scene and play by play, even line by line. It puts him in a powerful position, because it makes him unpredictable. You can’t quite tell when he’s playing dumb.

“Scott has made Falstaff not only unpredictable, but dangerous. He now has institutional power on top of his pre-existing social power, and the thrill of watching the effects of that power unfold is hilarious and sickening in equal measure.”

How exciting is it to be premiering an American-written and directed play at York International Shakespeare Festival?

“This show might as well have been written specifically for the York International Shakespeare Festival. The purpose of the festival is to celebrate Shakespeare as ‘the world’s playwright’’, and so our focus is on bringing together culturally specific understandings of and responses to Shakespeare’s work.

“Scott’s play fits that bill to a T, having been born of a particular socio-political anger that I, as an American emigrant, share. (The first draft was written in 2016…a moment of upheaval on the American and global political stage, to put it lightly).

“I hope we’re able to convey some of the rage, despair, absurdity and hope driving this production, as well as getting a few laughs out of people!”

Tempest on founding 1st Zanni Theatre in York:

““It feels like the York theatre scene is having a reckoning. All across the city there are conversations happening: how can we help each other? What do we need to build in order to succeed together? It’s because of that supportiveness that I felt capable of committing to a career as an artist, and I want to build this company based on that same ethos.”

Julia Bisby rehearsing her role as Doll Tearsheet in A Kingdom Jack’d. She first worked with director Tempest Wisdom on Shakespeare Speakeasy play-in-a-day productions of Twelfth Night and Macbeth (re-spun as a comedy) at Theatre@41, Monkgate, York. Picture: Scott Bradley

Who is in the cast for A Kingdom Jack’d?

Rosy Rowley: King “Jack” John II

Julia Bisby: Doll Tearsheet. Performed in Shakespeare’s Speakeasy, York (Twelfth Night, Macbeth)

Oliver James Parkins: Henry “Hal” Bolingbroke. Bristol Old Vic Theatre School graduate

Effie Warboys: Lord Francis/Lady Catrin “Cat” Glendower

Stuart Green: Earl of Worcester/Earl of Northumberland

Jodie Foster: Lady Quickly/Owen Glendower

Liz Bailey: Sir Bardolph/Welsh Guard

Lainey Shaw: Lord Chief Justice/Henry Bolingbroke

Lou Dunn: Ned Poins/John Bolingbroke

Jimmy Johnson: Sir Pistol/Sir Walter Blunt. Performer with Deathly Dark Tours and Wetwang Hauntings

Katie Leckey: Sir Nym/Harry “Hotspur” Percy. Founder of York company Griffonage Theatre

Ro Trimble: Edmund Mortimer/Lady “Kate” Percy

Ro Trimble, Katie Leckey and Stuart Green in A Kingdom Jack’d. Picture: John Saunders

Who is in the production team?

Tempest Wisdom: Director, founder of 1st Zanni Theatre

Scott Bradley: Writer

Pearl Mollison: Stage manager/fight choreographer

Anna Gallon: Producer, from York company Four Wheel Drive Theatre

Grae Heidi-Brookes: Hand-made costume designer

Jai Rowley: Composer, as part of final-year placement at University of Huddersfield

Helena Kerkham: Assistant producer, joining project as part of 1ZT’s on-going work to develop and champion emerging local creative talent

Tia Thompson: Assistant director

Lou Dunn, left, Julia Bisby and Oliver James Parkins in A Kingdom Jack’d. Picture: John Saunders

Scott Bradley: back story

AWARD-WINNING Iowa-born theatre-maker, director, producer and writer, whose credits span New York, Chicago and Washington DC. Works include cult musicals Alien Queen, Carpenters Halloween and We Three Lizas and solo memoir Packing. Holds fellowships and residencies across the United States. A Kingdom Jack’d marks his first full-length UK production.

The impact of Merchant Adventurers’ Hall on A Kingdom Jack’d

MERCHANT Adventurers’ Hall amplifies the play’s resonances. Completed shortly before Henry Bolingbroke’s real-life ascent to the throne, the timber-framed hall is steeped in the same history A Kingdom Jack’d rewires so gleefully. Its vast oak beams, Great Hall proportions and centuries-old mercantile heritage provide a setting where Shakespearean rebellion feels strikingly at home.

The hall offers an inspiring backdrop, its deep historical roots – medieval, Tudor and contemporary – make it an ideal home for A Kingdom Jack’d’s layered world of kings, rebels and political chaos.

Producer Anna Gallon says: “The Hall is a treasure. Bringing new theatre into such a significant space feels like a natural next step in York’s cultural growth. This show plays with three different historical periods at once, and the building meets that challenge beautifully.”

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More Things To Do in York and beyond as Shakespeare and Rocky Horror shine on. Hutch’s List No. 16, from The York Press

Collage and mixed-media artist Donna Maria Taylor: Participating in York Open Studios at South Bank Studios

FROM Rocky Horror film stars to Shakespeare in a suitcase, Bowie to Boe, Priscilla to The Psychic premiere, Charles Hutchinson is spoilt for choice again.

Art event of the week: York Open Studios, York and beyond, today and Sunday, 10am to 5pm

FOR a second weekend, 150 artists and makers within York and a ten-mile radius of the city are welcoming visitors to 107 workplaces and studios.

This annual event offers the chance to gain a sneak peek into where the artists work, their methods and inspirations, whether a regular contributor or the 27 new participants, spanning traditional and contemporary painting and print, illustration, drawing, ceramics, mixed media, glass, sculpture, jewellery, textiles and photography. For more information, visit yorkopenstudios.co.uk; access the interactive map at yorkopenstudios.co.uk/map.

Weather Balloons’ Anne Prior: Playing Navigators Art’s YO Underground #7 bill at The Basement, City Screen Picturehouse

Arts collaboration of the week: Navigators Art/Projects presents YO Underground 7, The Basement, City Screen, York, tonight, 7.30pm

CONTINUING its mission to present adventurous left-field music and words from York and the region, Navigators Art plays host to a mixed bill of uniquely styled indie song-writing from Weather Balloons’ Anne Prior, the Joe Douglas Trio’s North African-inspired free jazz and a collaboration between audiovisual projections and Ben Hopkinson’s quartet Synaefonia. Box office: bit.ly/nav-events.

Blue: In full bloom at York Barbican tonight

Limited ticket availability: Blue and special guests 911, York Barbican, tonight, 7.30pm; Alfie Boe, York Barbican, April 28, 7pm

REVITALISED boy band Blue have released the single Flowers, penned by good friend Robbie Williams and Boots Ottestad, ahead of their 25th anniversary tour date at York Barbican.

“Robbie reached out to me a while back and said ‘I’ve got a song for Blue’,” says Blue’s Antony Costa, who will be joined as ever by Duncan James, Lee Ryan and Simon Webbe. “We only got to record it recently and thought it would be perfect to release for the anniversary tour. We can’t wait for you all to hear Flowers.”

Tenor Alfie Boe plays York on Tuesday and Harrogate Royal Hall on Wednesday on his 35-date tour, combining his most iconic hits and fan-favourite classics with material from new album Face Myself. Box office: yorkbarbican.co.uk; for Boe, https://gigst.rs/AB26.

Alfie Boe: Tenor dramatics at York Barbican. Picture: Ray Burmiston

Book event of the week: Rivers, Water and Wildness, A Talk by Amy-Jane Beer, St Chad’s Church, Campleshon Road, York, April 28, 7.30pm to 9pm

THE Friends of Nun Ings invite you to Rivers, Water and Wildness, Our Rivers and Their Landscapes, a talk by biologist-turned-writer and former South Bank resident Amy-Jane Beer, author of The Flow, winner of the Wainwright Prize for Nature Writing 2023, who now lives on the Derwent.

The Flow is a book about water, and, like water, it meanders, cascades and percolates through many lives, landscapes and stories. From West Country torrents to Levels and Fens, rocky Welsh canyons and the salmon highways of Scotland to the chalk rivers of the Yorkshire Wolds, Beer follows springs, streams and rivers to explore tributary themes of wildness and wonder, loss and healing, mythology and history, cyclicity and transformation. Tickets are available via eventbrite; admission is free but donations are welcome.

Nell Campbell (Columbia), Barry Bostwick (Brad Majors) and Patricia Quinn (Magenta) celebrating the 50th anniversary of The Rocky Horror Picture Show

Let’s do the Time Warp…again: The Rocky Horror Picture Show 50th Anniversary Spectacular Tour 2026, York Barbican, Sunday, 7pm

JOIN the original Brad Majors (Barry Bostwick), Magenta (Patricia Quinn) and Columbia (Nell Campbell) for this once-in-a-lifetime screening event with a live shadow cast. Jim Sharman’s 1975 film of Richard O’Brien’s musical will be shown in a 4K remastered edition, preceded by a Q&A with the movie stars. Expect a costume contest, memorabilia display with film artefacts and a participation prop bag for every ticket holder. Box office: yorkbarbican.co.uk.

Jim Henson’s Labyrinth: In Concert: David Bowie on screen at York Barbican

Fantastical film and music event of the week: Jim Henson’s Labyrinth: In Concert, York Barbican, April 27, 7.30pm

JIM Henson’s musical fantasy film Labyrinth is on tour in concert in celebration of its 40th anniversary, transporting audiences to Goblin City in a fusion of film on a large HD cinema screen and live music on stage, performed by a band playing David Bowie and Trevor Jones’s soundtrack score and songs in sync with Bowie’s original vocals.

Taking on an ever-growing cult status since its release on June 27 1986, Labyrinth stars Bowie as principal antagonist Jareth the Goblin King, who rules the goblin kingdom, kidnaps protagonist Sarah’s baby brother and presents a charming yet menacing challenge, appearing as a rock star-like figure who lures and influences her journey. Box office: yorkbarbican.co.uk.

Degrees Of Error’s poster for you-do-it whodunit Murder She Didn’t Write

Sleuthing opportunity of the week: Degrees Of Error in Murder She Didn’t Write, Grand Opera House, York, April 28, 7.30pm

DON your deerstalker, grab your magnifying glass and prepare your “finger of suspicion” as Edinburgh Fringe favourites Degrees Of Error return for your sleuthing pleasure, creating a classic murder mystery on-the-spot in this ingenious improvised comedy.

You, the audience, become the author as the cast acts out your very own Agatha Christie-inspired masterpiece live on stage. At each show, the company uses your suggestions to create an original and comical murder mystery. All you have to do is solve it. Ms Gold poisoned at a synchronised swimming gala? Dr Blue exploded by cannon during a hot air balloon race? Professor Violet crushed to death at a Love Island re-coupling? You decide – but will you guess whodunit before the killer is revealed? Box office: atgtickets.com/york.

Kristian Barley’s Adam, left, Steve Tearle’s Bernadette and Matthew Clarke’s Tick in NE Theatre York’s musical Priscilla, Queen Of The Desert

Musical of the week: NE Theatre York in Priscilla, Queen Of The Desert, Joseph Rowntree Theatre, York, April 28 to May 2, 7.30pm plus 2.30pm Saturday matinee

STEVE Tearle, creative director of NE Theatre York, plays Bernadette, joined by Matthew Clarke as Tick and Kristian Barley as Adam, in the adventure of two drag artists and a trans woman embarking on a life‑changing road trip across the Aussie outback in their battered tour bus, discovering the power of love, identity, acceptance and true friendship.

“As they head west through the Australian desert to chase a dream aboard their lavender bus, Priscilla, Queen of the Desert, our three terrific travellers come to the forefront of a comedy of errors,” says Steve, whose high-energy production also features Helen Greenley as Shirley, Ben Rich as Jimmy, Steve Perry as Bob, the mechanic, Ali Butler-Hind as his wife Cynthia, plus disco divas Perri Ann Barley, Melissa Boyd and Aileen Hall. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Eileen Walsh, left, Jaz Singh Deol, Megan Placito, Andy Nyman, Nikhita Lesler and Jeremy Dyson in rehearsal for the world premiere of The Psychic at York Theatre Royal. Picture: Manuel Harlan

World premiere of the week: The Psychic, York Theatre Royal, April 29 to May 23

“IS any of it real,” ask Jeremy Dyson and Andy Nyman in The Psychic, the latest spook-fest from the writer-director duo behind Ghost Stories. In their twisted new thriller, popular TV psychic Sheila Gold loses a high-profile court case that brands her a charlatan, costing her not only her reputation but also a fortune in legal fees.

When a wealthy couple ask Sheila to conduct a séance to attempt to make contact with their late child, she senses an opportunity to bleed them for money. What follows makes her question everything she has ever believed and leads her on a journey into the darkest corners of her life. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Pulling Shakespearean strings: Gemma Curry in Hoglets Theatre’s Spooky Shakespeare Suitcase Theatre at York International Shakespeare Festival

Children’s show of the week: Hoglets Theatre presents Spooky Shakespeare Suitcase Theatre, York International Shakespeare Festival, York St John University Creative Centre Auditorium, April 29, 6.30pm

HAGS, hauntings, hobgoblins and more emerge from the spooky suitcase owned by Lady Macbeth (Dotty to her friends). These spectres from performances past need to retell their stories before they can find peace in the literary afterlife, but are they friends or will we need to be vanquished back into the supernatural suitcase?

Written, crafted and performed by Hoglets Theatre founder, director, writer and performer Gemma Sharp, this funny, energetic children’s theatre experience presents a world of hand-made puppets, music and storytelling, all performed from a single suitcase. “No prior knowledge of Shakespeare is required,” she says. Box office: https://yorkshakes.co.uk/programme-2026/spooky-shakespeare-suitcase-theatre/.

The poster for Scott Bradley’s premiere of A Kingdom Jack’d at York International Shakespeare Festival

The poster for Scott Bradley’s premiere of A Kingdom Jack’d at York International Shakespeare Festival starring Rosy Rowley, whose birthday coincides with the opening night

Shakespeare spin-off of the week: 1st Zanni Theatre in A Kingdom Jack’d, York International Shakespeare Festival, Merchant Adventurers’ Hall, York April 29 and 30, 7.30pm

IN A Kingdom Jack’d, American playwright Scott Bradley re-imagines an iconic moment in political and Shakespearean history: what if disgraced knight Jack Falstaff (Rosy Rowley) somehow found his way onto the throne of England in 1399, instead of serious warrior-king Henry IV?

Stupid, lecherous, selfish but humorous, Shakespeare’s most (in)famous clown must somehow fund the army, balance the budget and make foreign policy between naps. His government is drunk, his enemies are plotting,his allies are scheming, and even his girlfriend wants a piece of the action. Falstaff is king but for how long? Box office: yorkshakes.co.uk.

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By ‘royal appointment’: York actress Andrea Mitchell takes on regal role at short notice in Linda Gates’s The Thistle And The Rose

Andrea Mitchell

YORK actress Andrea Mitchell will be saving the day for American scholar and theatre coach Linda Gates when her play The Thistle And The Rose is staged on Monday (27/4/2026) at the York International Shakespeare Festival.

The 7.30pm performance was under threat after when Professor Gates’s acting partner, Marion Sybil Lines, suffered an accident that left her unable to perform at Theatre@41, Monkgate.

Fortunately,  Andrea Mitchell was ready and willing to ensure the show could go on, duly receiving praise from Linda for mastering the script at such speed.

The Thistle And The Rose offers a portrait of the tense relationship between two queens: Elizabeth I of England and her cousin, Mary Queen of Scots, as revealed through their coded letters.

Playwright Linda Gates

United by kinship, these two powerful women were nevertheless divided by religion and ambition, both craving the throne of England.

Told in their own words, Gates’s play sheds light on a 27-year relationship that begins with Mary’s first letter to Elizabeth as she prepares to leave France to claim her Scottish throne and is marked subsequently by political manoeuvring, personal longing and rivalry.

Although they never met, through decades of correspondence – originally written in French and then translated by Elizabeth’s secretaries – the two monarchs reveal their hopes, fears, alliances, betrayals and ultimately the fatal conflict that ended with Mary’s execution.

Full details (and tickets) can be found at yorkshakes.co.uk, along with the full programme for a festival that will run until May 3.  

The poster artwork for The Thistle And The Rose

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What’s On in Ryedale, York and beyond. Hutch’s List No. 16, from Gazette & Herald

Jalen Ngonda: Returning to York for the first time since Futuresound’s Live At York Museum Gardens last July. Picture: Paul Rhodes

SHAKESPEARE is in the spotlight with international guests and a York nightclub rom-com while artists and makers open their studios, as Charles Hutchinson’s diary bulges with inviting opportunities aplenty.

Soul show of the week: Jalen Ngonda, York Barbican, tonight, doors 7pm

AFTER appearing on Nile Rodgers & CHIC’s bill at Futuresound’s Live At York Museum Gardens last July, willowy soul singer and pianist Jalen Ngonda opens his seven-date spring tour at York Barbican. Originally from Maryland and now based in Liverpool, Ngonda’s voice and music recall the best of the great Sixties and Seventies’ soul artists, delivered with a contemporary edge. Deptford Northern Soul Club support. Box office: yorkbarbican.co.uk.

Pink rocks: Amber Davies’s Elle Woods in Made At Curve’s Legally Blonde The Musical. Picture: Matt Crockett

Musical of the week: Made At Curve presents Legally Blonde The Musical, Grand Opera House, York, until Saturday, 7.30pm plus Wednesday, Thursday and Saturday matinees, 2.30pm

STRICTLY Come Dancing 2025 finalist Amber Davies plays Elle Woods in the 2026 tour of Legally Blonde The Musical, joined by York Theatre Royal pantomime villain Jocasta Almgill as Brooke Wyndham, after she appeared as wicked fairy Carabosse in Sleeping Beauty last winter.

Davies had been set to appear as Hollywood hooker Vivian Ward in Pretty Woman The Musical at the Grand Opera House in February 2024, but Sydnie Hocknell understudied that week. Hannah Lowther, otherwise playing Margot, will step in for Davies at the April 23 matinee. North Yorkshireman and Curve artistic director Nikolai Foster directs the uplifting, totally pink tale of Elle’s transformation from ‘It Girl’ fashionista to legal ace at Harvard Law School, all in the name of love. Box office: atgtickets.com/york.

Common Ground Theatre’s Nathan Brocklebank and Lydia Keating in rehearsals for Hamlet, bound for York International Shakespeare Festival. Picture: Magdalini Brouma

Festival of the week: York International Shakespeare Festival, until May 3

YORK plays host to two weeks of world premieres, unmissable performances, enlightening talks and world-class exhibitions, bringing together artists from Romania, Croatia, Ukraine, Poland and United States, along with British creatives and York talent, in celebration of Shakespeare’s impact across the globe.

Highlights include festival artist-in-residence Lisa Wolpe’s show Shakespeare and the Alchemy of Gender, York St John University Creative Centre, tonight, 7.30pm; Common Ground Theatre’s Hamlet, Creative Centre, April 25, 7.30pm, and April 26, 4pm; Petty Men – ShakeSphere Selection 2026, Theatre@41, Monkgate, April 29, 7.30pm, and Olga Annenko’s Codename Othello, performed in English and Ukrainian, Creative Centre, May 2, 6pm, and May 3, 2pm. Full festival programme and box office: yorkshakes.co.uk.

1812 Youth Theatre in Hadestown: Teen Edition

Folk opera of the week: 1812 Youth Theatre in Hadestown: Teen Edition, Helmsley Arts Centre, tonight until Saturday, 7.30pm plus 2.30pm Saturday matinee 

NATASHA Jones and Freya Popplewell direct 1812 Youth Theatre in Vermont singer-songwriter Anais Mitchell’s intriguing and beautiful folk opera that intertwines two love stories, young dreamers Orpheus (Mani Brown) and Eurydice (Ava Woolford) and immortal King Hades (Koen-Leigh Brown/Jay Stevens) and Persephone (Lena Chorazyk). 

Hadestown: Teen Edition invites audiences on a hell-raising journey to the underworld and back in a deeply resonant and defiantly hopeful theatrical experience. Box office:  01439 771700 or helmsleyarts.co.uk.

York Shakespeare Project’s cast on the dance floor in rehearsal for Anna Gallon’s nightclub version of Love’s Labour’s Lost

York nightlife drama of the week: York Shakespeare Project in Love’s Labours Lost, Theatre@41, Monkgate, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee

FOUR Wheel Drive co-founder and artistic director Anna Gallon directs York Shakespeare Project for the first time in Love’s Labour’s Lost as Shakespeare’s comedy of wit, wordplay, vows and romantic mischief meets the 1990s’ club scene in an immersive new take on the Bard’s early comedy, set in the heat and heighted passions of urban nightlife.

Her playful reinvention mixes verse, rhythm, dance and striking visuals to create a fresh and contemporary celebration of love, temptation and folly, wherein the King of Navarre and his three companions are DJs who once ruled York’s club scene but now have renounced the wild world of drink, dance and late nights, committing themselves instead to a retreat of abstinence: no women, no drink and definitely no dance floors. However, when the Princess of France and her entourage arrive, their solemn vows begin to unravel. Box office: tickets.41monkgate.co.uk.

Collage and mixed media artist Donna Maria Taylor: Taking part in York Open Studios at South Bank Studios this weekend

Art event of the week: York Open Studios, York and beyond, Saturday and Sunday, 10am to 5pm

AS many as 150 artists and makers within York and a ten-mile radius of the city are welcoming visitors to 107 workplaces and studios this weekend.

This annual event offers the chance to gain a sneak peek into where the artists work, their methods and inspirations, whether a regular contributor or the 27 new participants, spanning traditional and contemporary painting and print, illustration, drawing, ceramics, mixed media, glass, sculpture, jewellery, textiles and photography. For more information, visit yorkopenstudios.co.uk; access the interactive map at yorkopenstudios.co.uk/map.

The Manfreds: Sixties’ hits, jazz and blues at Milton Rooms, Malton

Ryedale gig of the week: The Manfreds, Milton Rooms, Malton, Saturday, 7.30pm

ORIGINAL Manfred Mann members Paul Jones and Tom McGuinness are joined by Marcus Cliffe, Simon Currie, Pete Riley and Mike Gorman in The Manfreds’ two-hour performance of Sixties’ hits, dynamic jazz and powerful blues. Get Your Kicks On Tour ’26  features such favourites as  5-4-3-2-1, Pretty Flamingo, Mighty Quinn and Do Wah Diddy Diddy, alongside rhythm & blues-inspired gems and solo successes. Box office: 01653 696240 or themiltonrooms.com.

The poster artwork for Labyrinth: In Concert: On tour at York Barbican

Film and music collaboration of the week: Jim Henson’s Labyrinth: In Concert, York Barbican, April 27, 7.30pm

JIM Henson’s musical fantasy film Labyrinth is on tour in concert in celebration of its 40th anniversary, transporting audiences to Goblin City in a fusion of film on a large HD cinema screen and live music on stage, performed by a band playing David Bowie and Trevor Jones’s soundtrack score and songs in sync with Bowie’s original vocals.

Taking on an ever-growing cult status since its release on June 27 1986, Labyrinth stars Bowie as principal antagonist Jareth the Goblin King, who rules the goblin kingdom, kidnaps protagonist Sarah’s baby brother and presents a charming yet menacing challenge, appearing as a rock star-like figure who lures and influences her journey. Box office: yorkbarbican.co.uk.

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Shed Seven to play 21-date Shedcember X tour, heading to Sheffield Octagon & Leeds O2 Academy. When do tickets go on sale?

Shed Seven’s Paul Banks, left, Rob “Maxi” Maxfield, Rick Witter, Tom Gladwin and Tim Wills: Heading out on tenth edition of Shedcember in November and December

SHED Seven will conclude their Shedcember X 2026 Tour at Leeds O2 Academy on December 12, but no home-city gig will be on the York band’s 21-date itinerary.

The two-time album chart toppers will play a further Yorkshire show at Sheffield Octagon on November 27. Tickets go on general sale on Friday at 10am at https://lnk.to/ShedSevenX; fans can access pre-sale tickets from today (22/4/2026) at 10am by signing up to the Sheds’ mailing list at https://www.shedseven.com/signup.

Marking this much-loved festive run, the band have unveiled a heartfelt fan-focused film,  https://www.youtube.com/watch?v=N2um2NroTZ8, celebrating the tenth Shedcember season, written and directed by guitarist Paul Banks, capturing the essence of Shed Seven’s shows and the appreciation they have for their dedicated fan base.

Shedcember X promises to be the Sheds’ biggest and most celebratory yet. Since its inception in 2007, Shedcember has grown into a cult institution for fans, becoming their definitive start to the festive season.

Shed Seven singer Rick Witter: “Expect the big hits, along with a few surprises, and the thrill of us all singing our hearts out together for a couple of hours,” he says

Lead singer Rick Witter enthuses: “We can’t wait to get out there up and down the UK and soak up what is a unique atmosphere at a Shed Seven gig. Expect the big hits, along with a few surprises, and the thrill of us all singing our hearts out together for a couple of hours. See you down the front.”

Each night the Sheds will deliver a career-spanning set packed with anthems such as Going For Gold, Chasing Rainbows, Disco Down, On Standby and Talk Of The Town. Special guests The Academic, the Irish indie band with multiple number one  albums in their home country, will join for all dates.

As the Sheds’ tour announcement puts it: “If you’ve never been…this is the one to start with. If you have…you’re already know you’re coming…because every couple of years…this is where we meet again.

“For those who’ve been there before, Shedcember needs no introduction. It’s warm beer, bright lights and songs that never left you. Familiar faces in the crowd and new ones found somewhere between the first song and the last. Arms around shoulders. Voices filling every corner of the room.”

Shed Seven’s poster artwork for Shedcember X

This year, Shed Seven are marking the 30th anniversary of their hit-filled apotheosis A Maximum High, released on Polydor on April 1 1996 with its quintet of singles, Where Have You Been Tonight?, Getting Better, Going for Gold, On Standby and Bully Boy. The landmark Britpop album will be revisited in full at The Piece Hall, Halifax, on June 6. Tickets are on sale at ticketmaster.co.uk.

The full itinerary for Shedcember X is: November 13, Nottingham Rock City; November 14, Birmingham O2 Academy; November 17, Nick Rayns LCR, University of East Anglia, Norwich; November 19, Aberdeen Music Hall; November 20, Glasgow O2 Academy; November 21, Edinburgh Usher Hall; November 23, Leicester O2 Academy; November 24, Brighton Dome; November 26, Cardiff University Great Hall; November 27, Sheffield Octagon; November 28,   Newcastle O2 City Hall, and November 30, Cambridge Corn Exchange.

In December:  December 1, Bristol Beacon; December 3, Stockton Globe; December 4, Mountford Hall, Liverpool University; December 5, Manchester O2 Apollo; December 7, Lincoln Engine Shed; December 8, Stoke-on-Trent Victoria Hall; December 10, Bournemouth O2 Academy; December 11, London O2 Academy, Brixton, and December 12,
Leeds O2 Academy.

In the Sheds’ 2026 gig diary too are: Victoria Park, Warrington, May 23 and 24; Isle of Wight Festival, Big Top Tent, June 18; Engelfield House, Theale, Berkshire, July 24; Shed Seven Live In Belfast, Mandela Hall, Belfast, October 23, and Shed Seven Live In Dublin, Vicar Street, Dublin, October 24.

NEWSFLASH 24/4/2026

SHED Seven have added a second night at Leeds O2 Academy on December 13 in response to “phenomenal demand in the pre-sale” for December 12.

In addition, Shedcember X now will open a day earlier on November 12 at Nottingham Rock City after a similar pre-sale scenario for November 13. Box office: https://lnk.to/ShedSevenX.

The updated poster for Shedcember X with new dates added at Nottingham Rock City and Leeds O2 Academy

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Common Ground Theatre to stage innovative Hamlet at York International Shakespeare Festival on April 25 and 26

Nathan Brocklebank and Lydia Keating in rehearsals for Common Ground Theatre‘s Hamlet. Picture: Magdalini Brouma

COMMON Ground Theatre’s innovative new touring production of Hamlet plays York International Shakespeare Festival at York St John University Creative Centre Auditorium on Saturday at 7.30pm and Sunday at 4pm.

Championing accessibility, inclusion and bold storytelling, Sadie Jemmett’s company is bringing Shakespeare’s most iconic tragedy to theatres, festivals and communities across the UK and internationally this spring and summer.

Known for its visually striking, music-infused, highly accessible interpretations of Shakespeare, Common Ground Theatre continues its mission to break down barriers to the arts, taking Hamlet to venues ranging from outdoor amphitheatres and rural community spaces to international festivals, including the Craiova International Shakespeare Festival in Romania, Europe’s biggest celebration of the Bard.

The company also will visit locations across Yorkshire, Sheffield, the Midlands, Suffolk, Dorset and Cornwall. At the heart of the tour is a partnership with The Mount Camphill Community in Wadhurst, East Sussex, where performances will take place in the Stage in the Woods amphitheatre.

This collaboration reflects the company’s commitment to inclusive, community-driven performance, offering audiences an immersive theatrical experience in an inspiring natural setting.

Nathan Brocklebank’s Hamlet. Picture: Magdalini Brouma

Accessibility and inclusion are central to Common Ground Theatre’s ethos. Jemmett’s production features Nathan Brocklebank, who has dyslexia, in the title role of Hamlet, highlighting the company’s dedication to creating opportunities for neurodiverse performers.

Director Jemmett and Brocklebank worked closely to develop innovative and personalised techniques for learning the role: an undertaking involving approximately 1,500 lines of text. This collaborative process not only supported the actor’s performance but also re-imagined traditional rehearsal methods, demonstrating how classic works can be approached in new and inclusive ways.

“I was very nervous about learning the text at first, as sight reading is a real challenge for me, and Shakespeare is especially difficult,” says Nathan. “But by using audio methods, deep diving into the meaning of the text, working with my body and finding the rhythm in the verse, the lines began to stick in a completely new way.”

Alongside the tour, Common Ground Theatre continues its extensive educational outreach programme. The company works with schools, community groups and aspiring performers to deliver workshops, masterclasses and vocational training opportunities, with a particular focus on supporting neurodiverse individuals.

Nathan Brocklebank’s Hamlet in a scene from Common Ground Theatre’s Hamlet. Picture: Magdalini Brouma

These initiatives are designed to demystify Shakespeare, making his work engaging, relevant and accessible for all. “We believe Shakespeare belongs to everyone,” says Sadie. “This tour is about meeting audiences where they are – geographically, culturally, and personally – and creating theatre that is open, inclusive and alive.”

Fuelled by its bold artistic vision, commitment to accessibility and passion for storytelling, Common Ground Theatre’s Hamlet promises to be a powerful and thought-provoking production that will resonate with audiences from all walks of life.

“Infused with the raw power of live music and song, our production of Hamlet shifts the focus from revenge to the emotional impact of grief, mental health and family breakdown,” says Sadie. “At the heart of the play are three young people, Hamlet, Ophelia and Laertes, each struggling to cope with profound personal loss and intense expectations.

“After his father’s death and his mother’s sudden remarriage, Hamlet is driven into a deep inner conflict by revelations of betrayal. Ophelia, wounded by distance and her father’s death, becomes overwhelmed by spiralling sorrow. Laertes, returning to a shattered home, finds his family broken and his anger rising.

“Through these characters, audiences are invited to reflect on their own experiences of love, loss and grief. This is Hamlet told with empathy, clarity and relevance – a powerful exploration of the emotional truths at the heart of Shakespeare’s work.”

For tickets, go to: yorkshakes.co.uk.

Common Ground Theatre director Sadie Jemmett. Picture: Molly Hughes

Common Ground Theatre: back story

FOUNDED by director Sadie Jemmett and Lydia Keating  out of Footsbarn Travelling Theatre Company, where Jemmett served as artistic director for three years before departing in 2025.

The company marks a new chapter in bold, visually driven and accessible touring theatre. Keating, a Lecoq-trained performer and collaborator, brings a strong physical theatre and devising background to the partnership.

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York International Shakespeare Festival to stage 40 events of the best of the Bard

York International Shakespeare Festival artist-in-residence Lisa Wolpe in Shakespeare and the Alchemy of Gender

THE eighth edition of the York International Shakespeare Festival opens tomorrow (21/4/2026), featuring performances from across Europe and beyond, all grounded in William Shakespeare’s work, until May 3.

More than 40 events will be staged at festival partners York St John University and Theatre@41, Monkgate, the Yorkshire Museum and Merchant Adventurers’ Hall.

First up, at 1.30pm and 3pm tomorrow, is a new collaboration with York Museums Trust for the premiere of Friends, Romans, Yorkshiremen. Taking place on the Roman Mosaic at the Yorkshire Museum, Museum Gardens, it draws on the four plays that Shakespeare set in Rome for an exploration of the history, memory and the seemingly insignificant. This event is free for those with tickets for the museum.

Highlights will include American performer and festival artist-in-residence Lisa Wolpe in Shakespeare and the Alchemy of Gender; With Love’s Light Wings, a theatrical experience inspired by Romeo And Juliet, from Georgia; Codename Othello, a UK/Ukraine collaboration, featuring performers from York and Ivano Frankivsk, Ukraine; Shakespeare-based improv from York company Riding Lights and the world premiere of A Kingdom Jack’d by American playwright Scott Bradley, who is in York for the festival.

Look out too for new work from York-based Ukrainian theatre company D.Space; Romanian productions of The Taming Of The Shrew and Richard III;  York composer Morag Galloway’s autobiographical piece Dog Daze; productions of Hamlet from Romania and the UK, complemented by  a day exploring David Gothard’s Hamlet archive; Timonopoly, a game-style show based on the rarely-seen play Timon Of Athens by Edinburgh Fringe award winner Emily Carding, and Petty Me, the ShakeSphere Selection 2026.

The full programme can be found at yorkshakes.co.uk, where tickets can be booked. Brochures are available at libraries across the city.

The Roman Mosaic in the Yorkshire Museum

Taking part in the festival too will be the York Shakespeare Project, directed by Anna Gallon for the first time in Love’s Labour’s Lost as Shakespeare meets the 1990s’ club scene in an immersive new take on the Bard’s early comedy.

Set in the heat and heighted passions of modern nightlife, Anna’s reinvention will run at Theatre@41, Monkgate, York, from April 22 to 25.

“We are absolutely delighted to welcome Anna as our director,” says YSP chair Tony Froud. “She emerged from an outstanding group of applicants, since when she has brought energy and excitement into the rehearsal room. This promises to translate into a totally memorable and entertaining show.

“York is very fortunate to have so many outstanding young directors. This production will show Anna as a key member of that group.”

Anna is co-founder and artistic director of York theatre company Four Wheel Drive, perhaps best known for its 2023 production of The Trial Of Margaret Clitheroe in the Guildhall. She also appeared as Lucetta in YSP’s The Two Gentlemen Of Verona, directed by Tempest Wisdom in 2024.

 “I’m thrilled to be directing Love’s Labour’s Lost for YSP,” she says. “It’s a dazzling, witty play about language, love, and self-discovery – and I can’t wait to bring it to life in a way that feels vibrant and connected to the world we live in today.”

Ben Reeves Rowley in rehearsal for his role as the King of Navarre in York Shakespeare Project’s Love’s Labour’s Lost. Picture: John Saunders

Set firmly in the here and now, Anna’s Love’s Labour’s Lost will re-imagine Shakespeare’s sparkling comedy of wit, wordplay, vows and romantic mischief in clubland. Her playful production promises to mix verse, rhythm, dance and striking visuals to create a fresh and contemporary celebration of love, temptation and folly.

The King of Navarre and his three companions are re-imagined by Anna as the DJs who once ruled York’s club scene but have now renounced the wild world of drink, dance and late nights, committing themselves instead to a retreat of abstinence: no women, no drink and definitely no dance floors.

However, when the Princess of France and her entourage arrive, their solemn vows begin to unravel, as Anna explores. “I want this comedy of discipline versus desire to play out not in a palace, but in a bar, where vows are as fragile as your morals after one too many tequila shots,” she says.

“My interpretation uses Shakespeare’s original language but finds playful, recognisable parallels for modern audiences: ageing players try to resist temptation, while nightlife culture collides with wellness culture and the irresistible force of love.”

As a key element of Anna’s production, the audience will find Theatre@41’s John Cooper Studio transformed from black box into a nightclub. “The bar setting will place Shakespeare into a familiar social space,” she says. “Instead of watching from a distance, theatregoers will find themselves inside the comedy: vows made across tables, love confessions unfolding on dance floors. It will be a shared night out for all.”

York Shakespeare Project’s poster artwork for Love’s Labour’s Lost

Anna’s cast features many faces familiar to York audiences, such as Ian Giles as Don Adriano de Armado, Tempest Wisdom as page Moth, Harry Summers as Longaville and Nick Patrick Jones as Berowne, complemented by six actors new to YSP, Nason Crone’s Dumaine, Vicky Hatt’s Katherine, Helen Clarke’s Boyet, Elizabeth Duggan’s Costard, Stephen Huws’ Holofernes and Sarah McKeagney’s Sir Nathaniel.

Tony enthuses: “We are very excited that Anna’s production has attracted so many actors who are working with us for the first time. Only three of this cast appeared in our last show, Thomas Kyd’s The Spanish Tragedy, at Theatre@41 last October. It’s a very healthy and invigorating mix.

“In a very strong cast, it’s particularly pleasing to YSP to see Grace Scott and Ben Reeves Rowley in the central parts of Rosaline and the King of Navarre. Both first appeared in our annual Summer Sonnets show and it’s great to see them progressing to major parts in a full production.”

Why should you see YSP’s Love’s Labour’s Lost? Let veteran cast member Ian Giles entice you: “Off the scale for daring entertainment, one of Shakespeare’s most verbal comedies is set in King’s Night Spot in 2005 with a soundtrack of Nineties and Noughties’ belters – what could possibly go wrong (or should that be right)? Come and find out.”

York Shakespeare Project presents Love’s Labour’s Lost, Theatre@41, Monkgate, York, April 22 to 25, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

With Love’s Light Wings, a Georgian theatrical experience inspired by Romeo And Juliet, plays York International Shakespeare Festival on the opening day at York St John University Creative Centre Auditorium

Festival focus: With Love’s Light Wings, York St John University Creative Centre Auditorium, April 21 at 8.30pm

PROFESSOR Manana Anasashvili, from Georgia, Eastern Europe, participated in York International Film Festival for the first time last year with her documentary film about renowned Georgian theatre director Robert Sturua.

Now the head of the Georgian Shakespeare Association returns with her stage production of With Love’s Light Wings, her spin on Shakespeare’s Romeo And Juliet, in a co-production with the Giorgi Mikeladze State Puppet Theatre that uses minimalistic but highly transformative scenography.

“With Love’s Light Wings is a theatrical experiment inspired by Shakespeare’s Romeo And Juliet, presented as a variation on its central theme,” she says. “It draws loosely on the literary original – retaining only its artistic framework, while actively intervening in the text with a bold and playful approach.

“The result is a radically re-imagined interpretation, staged as a two-actor performance – plus two supporting roles – that challenges conventional theatrical norms. It defies genre boundaries, uniting diverse expressive tools and artistic forms to create an eclectic aesthetic.”

Manana continues: “Distinct scenes and characters are represented symbolically – often through objects – shifting focus from narrative to metaphor. This theatrical collage merges elements of dramatic theatre, puppet theatre, finger performance, pantomime, musical and vocal expression, choreographic elements, as well as other theatrical forms.

“Through the creative transformation of various items and scenic details, the performance generates unexpected artistic effects, opening possibilities for future experimentation and the development of new theatrical trends.

“In the context of the post-dramatic era, theatrical eclecticism emerges as both a cultural and aesthetic strategy, one that embraces the fusion of styles, genres, and historical periods. It is often used as a form of innovation, connecting tradition with contemporary expression.”

 In this production, eclecticism extends beyond scenographic form to resist stylistic uniformity. “The result is a bold theatrical experiment aimed at redefining performance modes and establishing a new artistic language,” she says.

What does Shakespeare mean to Manana? “Shakespeare has been in my life since childhood. My father was a theatre and Shakespeare lover,” she says. “He knew the To Be or Not To Be soliloquy from Hamlet and recited a monologue very often. Then, being the student of the Medical University of Georgia, I have seen film The Moor Of Venice: Othello (1960), the film-ballet starring Vakhtang Chabukiani.  It was unforgettable impression and I began read Shakespeare.

“Later, in 1979 when I was already studying theatre directing at the Shota Rustaveli Theatre and Film State University, I had seen Richard III staged by Robert Sturua: completely stunning and amazing impression.

“After this day I dreamed in my heart – maybe someday a miracle will happen and I can somehow make a film about this performance. Many years later I realised my dream. I made film about world- renowned Georgian theatre director Robert Sturua, who staged the most Shakespearean plays in the world.

“Shakespeare means for me, contemporary writer who helps us in our lives, who can show us the world in all its dimensions and make us think about who we are as humans, what we strive for, and what or who we live for.”

How has Shakespeare impacted upon your career, Manana? “After being a student of the University of Wisconsin in 2002/2003, taking there the course Acting Shakespeare, and also after finishing later my film about Robert Sturua, I finally decided that I can and I have to teach Shakespeare,” she says.

“Now I am professor of the American-Georgian joint undergraduate programme Liberal Arts at the Ilia State university, and from 2008 I am teaching Shakespeare for the bachelor programme students.  In 2023 I established the Georgian Shakespeare Association and I am the head of this association.”

What is the importance of festivals such as York International Shakespeare Festival, Manana? “This kind of festival helps artists to deepen meaningful cultural dialogues, to see live performances and films and to deepen our knowledge in the contemporary arts of foreign countries, as well as to create connections that help to establish new collaborations.”

Did you know?

WITH Love’s Light Wings was premiered on October 22 2025 in Beijing and Guilin, China, at the WTEA (World Education Theatre Alliance) International Theatre Showcase 2025.

Objectives of With Love’s Light Wings:

• To explore Shakespeare’s Romeo and Juliet as a thematic and emotional source, rather than a fixed narrative.

• To integrate diverse theatrical forms, including dramatic theatre, puppet theatre, finger performance, pantomime, musical and vocal expression and choreographic elements, as well as other theatrical forms.

Professor Manana Anasashvili: back story

THEATRE and film director, professor of joint undergraduate programme Liberal Arts of Michigan State University, Ilia State University and AGILE (American-Georgian Initiative for Liberal Education).

Teaching Shakespeare since 2008.

Her stage production In The Dark Room had a record run, being performed in Georgia for 23 years.

Her film Only Once was awarded at several international film festivals.

Head of International Relations of Georgian Film Academy; founder and head of Georgian Shakespeare Association.

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More Things To Do in York and beyond as the clocks go forward and arts spring up. Hutch’s List No. 12, from The York Press

James Bye, left, Shvorne Marks, Natalie Casey and Grant Kilburn in Danny Robins’ 2:22 A Ghost Story, on tour at Grand Opera House, York

THE clock is ticking to see a ghostly thriller, a madcap murder mystery, a poetic book launch and an unjust trial as Charles Hutchinson sets his arts alarm.

Supernatural thriller of the week: 2:22 A Ghost Story, Grand Opera House, York, March 30 to April 4, 7.30pm and 2.30pm Wednesday and Saturday matinees

“THERE’S something in our house. I hear it every night. At the same time,” says Jenny, who believes her new home is haunted, but her husband Sam is having none of it. Whereupon they argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening and is moving closer. Only by staying up until 2:22 will they know the answer.

James Bye, Shvorne Marks, Natalie Casey and Grant Kilburn perform Uncanny and The Battersea Poltergeist podcaster Danny Robins’s supernatural thriller, the Best New Play winner at the 2022 WhatsOnStage Awards, on its return to York. As secrets emerge and ghosts may or may not appear, dare you discover the truth? Box office: atgtickets.com/york.

What We Could Have, by Sarah Williams, from the Other Viewpoints exhibition at Pyramid Gallery

Meet The Makers event of the week: Other Viewpoints, Lesley Williams, Sarah Williams, Peter Heaton and Adele Howitt, Pyramid Gallery, Stonegate, York, today, 11.30am to 2.30pm

YORKSHIRE artists Lesley Williams, Sarah Williams and Peter Heaton and ceramicist Adele Howitt have teamed up for Other Viewpoints, on show until May 9. Today, they will be on hand to discuss their work.

Lesley, from York, makes semi-abstract oil paintings based on rural landscape and gardens; Sarah, also from York, employs colours, textural marks and shapes in blending abstract and figurative elements; Peter, from North Yorkshire, is exhibiting landscape fine art prints, and Hornsea maker Adele’s ceramics are marked by notions of the living landscape, abstraction, pollen grains and natural pattern.

Main Street Sound: In harmony with Harmonia at the NCEM

Choral concert of the week: Choirs In Harmony, Main Street Sound & Harmonia, National Centre for Early Music, York, today, 7.30pm

CHOIRS In Harmony brings together two Yorkshire vocal groups for an evening of rich, expressive choral music. York’s only ladies’ barbershop chorus, Main Street Sound, and Malton contemporary, folk, jazz, and musical theatre ladies’ choir Harmonia join forces to showcase a vibrant mix of contemporary arrangements, close harmony and uplifting ensemble singing. Expect moments of intimacy, bursts of energy and the joy of voices uniting in a space made for resonance. Box office: 01904 658338 or ncem.co.uk.

Giddy up: Country queen Twinnie rides into The Crescent tonight

Recommended but sold out already: Twinnie, The Crescent, York, tonight, 7.30pm

BORN in York and now established as the UK’s leading country-pop trailblazer on the American circuit after her West End musical theatre days and TV soap career as Porsche McQueen in Hollyoaks and ruthless boxing promoter Jade Garrick in Emmerdale, Twinnie-Lee Moore returns home on her Dirt Road Disco Tour.

Noted for her fearless honesty and storytelling truths, she blends Nashville-inspired country roots with pop hooks and her own gypsy-influenced flair in songs of empowerment, vulnerability, and unapologetic individuality. She made her Grand Ole Opry debut in November 2023 as the first British Romani Traveller to perform in the circle and featured on Rob Brydon’s Honky Tonk Road Trip documentary series on BBC Two last year.

Lucy Keirl in rehearsal for the Stephen Joseph Theatre’s madcap musical mystery Murder For Two. Picture: Tony Bartholomew

Whodunit of the week: Murder For Two, Stephen Joseph Theatre, Scarborough, today to April 18, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

JOE Kinosian and Kellen Blair’s fast-paced musical whodunit is a madcap murder mystery with a twist, performed by two actors, Tom Babbage and Lucy Keirl, who play 13 characters between them, plus the piano, as they put the laughter into manslaughter.

When famous novelist Arthur Whitney is found dead at his birthday party, it is time to call in the detectives, but they are out of town. Enter Officer Marcus Moscowicz, a neighbourhood cop who dreams of climbing the ranks. Here is his chance to prove his super sleuthing skills and solve the crime before the real detective arrives. Box office: 01723 370541 or sjt.uk.com.

Stu Freestone: Launching first poetry collection at The Crescent

Book launch of the week: York Literature Festival and Say Owt present Stu Freestone, The Lights That Blur Between, The Crescent, York, March 30, 7pm to 10pm

YORK performance poet, Say Owt gobby collective associate artist and Cheese Trader cheesemonger Stu Freestone launches his debut poetry collection, The Lights That Blur Between, with two sets, one comedic, the other accompanied by guitarist Simone Focarelli, accordionist Ben Crosthwaite and drummer Joe Douglas. In support will be Grantham singer-songwriter Adam Leeson and York political satirist and performance poet Sarah Armitage.

Freestone’s poems explore the nostalgia of adolescence, relationships, loss and processing, as well as humorous themes of condiment addiction, festival trips gone wrong, cheesemonger battle raps and the perils of “after-work’ drinking in his honest portrayal of life experiences. Box office: thecrescentyork.com.

Dan Poppitt, Charlie Clarke, front, and Georgina Burt in rehearsal for Black Sheep Theatre Productions’ Parade

The other American musical of the week: Black Sheep Theatre Productions in Parade, Joseph Rowntree Theatre, York, April 1 to 4, 7.30pm plus 2.30pm Saturday matinee

PRESENTED by York company Black Sheep Theatre Productions under the direction of Matthew Peter Clare, Jason Robert Brown and Alfred Uhry’s stirring Tony Award-winning musical explores love and hope against the odds, set against a backdrop of political injustice and rising racial tension. 

Leo Frank, a Brooklyn-raised Jew, is put on trial for murder in Marietta, Georgia, but when the world seems against you, receiving a fair trial might prove impossible. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Alison Moyet: Re-visiting Yazoo’s two synth-pop albums after more than 40 years at York Barbican. Picture: Naomi Davison

Gig announcement of the week: Alison Moyet, Songs Of Yazoo, the minutes and Other Tour, York Barbican, November 18

BASILDON soul, blues and pop singer-songwriter Alison Moyet will play York in one of ten new additions to her autumn tour, when she will focus on songs from Yazoo’s 1982-1983 catalogue, recorded with Vince Clarke, and a selection from her solo electronica albums, 2013’s the minutesand 2017’s Other, both co-written with producer Guy Sigsworth.

“Many years touring the same pool of songs and I am keen for a palate refresher,” says Moyet, 64. “Specifying which years I will be fishing from too, I think, is a grand way to serve pot luck for specific tastes. No bones.” Box office: yorkbarbican.co.uk.

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More Things To Do in York and beyond a mysterious garden and abstract surrealism. Hutch’s List No. 10, from The York Press

Elizabeth Marsh in rehearsal for The Secret Garden The Musical at York Theatre Royal. Picture: Marc Brenner

A MAGICAL Yorkshire garden, an hotel comedy thriller, a surrealist wine bar exhibition and Pulp confessions exhibition stir Charles Hutchinson’s interest.  

Musical of the week: The Secret Garden The Musical, York Theatre Royal, March 17 to April 4

TONY Award-winning director John Doyle, artistic director of York Theatre Royal from 1993 to 1997, returns to pastures past in more ways than one to present his actor-musician staging of Lucy Simon and Marsha Norman’s Broadway musical account of Frances Hodgson Burnett’s story of love, loss, healing and hope, set on Yorkshire moorland in 1906.

Newly orphaned, Mary Lennox is sent to live with her widowed uncle at the secluded Misselthwaite Manor, a house in habited by memories and spirits from the past. On discovering her Aunt Lily’s neglected garden, she vows to breathe new life into its mysterious stasis as she learns the restorative magic of nature. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Leeds abstract surrealist Nicolas Dixon, front, spotted at Thursday’s launch of his RARE v WET exhibition with WET proprietors James Wall and Ella Williams and RARE Collective organiser Sharon McDonagh, right

Exhibition of the week: Nicolas Dixon, RARE v WET, at WET, Micklegate, York, until April 22

YORK  artist and event organiser Sharon McDonagh and DJ/artist Sola launch their RARE v WET series of solo exhibitions in aid of York charity SASH (Safe and Sound Homes) at WET, James Wall and Ella Williams’ indie wine bar and restaurant, with Nicolas Dixon first up.

Leeds abstract surrealist Dixon’s murals and artworks have become landmarks in Leeds, including at Kirkgate Market, Trinity Shopping Centre and the University of Leeds, as well as Leeds United tributes to the 1972 FA Cup Winners at Elland Road and the iconic Bielsa the Redeemer in Wortley. On show is a mixture of new and older work, both prints and originals.

Stephen Joseph Theatre favourite Bill Champion as American billionaire Theodore Racksole in Claybody Theatre’s The Grand Babylon Hotel, on tour at the SJT next week. Picture: Andrew Billington

Thriller of the week: Claybody Theatre in The Grand Babylon Hotel, Stephen Joseph Theatre, Scarborough, March 18 to 21, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

CONRAD Nelson directs an ensemble cast of multiple flamboyant characters in a rollicking comedy thriller of rapid-fire character changes, sharp humour and theatrical fun, presented in association with the New Vic Theatre.

In Deborah McAndrew’s  adaptation of Arnold Bennett’s novel, Nella Racksole discovers steak and beer are not on the menu for her birthday treat at the exclusive Grand Babylon Hotel, prompting  her American millionaire father to buy the chef, the kitchen, the entire hotel. Cue  kidnapping and murder. Have Theodore and Nella bitten off more than they can chew? Box office: 01723 370541 or sjt.uk.com.

Baroque Alchemy’s Lyndy Mayle and Piers Adams: Playing NCEM tonight

Classical-electronic concert of the week: Baroque Alchemy, National Centre for Early Music, York, tonight, 7.30pm

ANCIENT and modern meet in a spectacular musical fusion in Baroque Alchemy, the realisation of recorder virtuoso Piers Adams and keyboard player Lyndy Mayle’s long-held dream. Ever since the rise of synth-led bands and New Age music in the 1980s, Red Priest frontman Adams has nurtured a vision to combine the drama of baroque music with the expansive sound-world of the electronic era. Now Baroque Alchemy turn the traditional early music recital on its head for the 21st century. Box office: 01904 658338 or ncem.co.uk.

Dominic Halpin & The Hurricanes: Evoking the Grand Ole Opry in A Country Night In Nashville at the Grand Opera House

Tribute gig of the week: A Country Night In Nashville, Grand Opera House, York, Sunday, 7.30pm

A COUNTRY Night In Nashville re-creates the scene of a buzzing Honky Tonk in downtown Nashville, capturing the energy and atmosphere of a night in the home of country music in a journey through the history of its biggest stars past and present. Hits from Johnny Cash to Alan Jackson, Dolly Parton to The Chicks, Willie Nelson to Kacey Musgraves are showcased by Dominic Halpin & The Hurricanes. Box office: atgtickets.com/york.

The book cover for Mark Webber’s I’m With Pulp, Are You?, under discussion by the author and guitarist at York Literature Festival

Book event of the week: York Literature Festival, I’m With Pulp, Are You?, An Evening With Mark Webber, The Crescent, York, March 17, 7pm

PULP guitarist and avant-garde film curator Mark Webber discusses I’m With Pulp, Are You?, his visually rich chronicle of the Sheffield band’s history from the perspective of a fan-turned-manager-turned-guitarist.

In his music memoir, 40 years of archived material comes to life as Chesterfield-born Webber recalls his fascination with David Bowie, The Velvet Underground, Andy Warhol and counterculture, writing fanzines and organising concerts from the age of 15, joining Pulp in 1995 and playing on Different Class, This Is Hardcore, We Love Life and More, 2025’s recording renaissance after a 24-year hiatus. Box office: 01904 623568, yorktheatreroyal.co.uk or yorkliteraturefestival.co.uk.

Bluey’s Big Play: Australian fun and games for children at the Grand Opera House

Children’s show of the week: Windmill Theatre Co in Bluey’s Big Play, Grand Opera House, York, March 19 to 22, 10am, Thursday and Friday; 10am, 1pm and 4pm, Saturday and Sunday

COMBINING puppets and original voices from Ludo Studios’  Emmy Award-winning Australian children’s television series, including Dave McCormack and Melanie Zanetti as Dad and Mum, this theatrical adaptation is based on an original story by Bluey creator Joe Brumm, featuring music by series composer Joff Bush. When Dad wants a bean bag time-out, Bluey and Bingo have other plans as they pull out all the games and cleverness at their disposal.  Box office: atgtickets.com/york.

Scouting For Girls: Re-visiting Everybody Wants To Be On TV at York Barbican

York Barbican gigs of the week: Scouting For Girls, Everybody (Still) Wants To Be On TV Tour 2026, March 17, doors 7pm; The Brand New Heavies, March 19

AS Scouting For Girls’ vocalist, guitarist and songwriter Roy Stride puts it: “I can’t believe we’re already celebrating the 15th anniversary of our second album [Everybody Wants To Be On TV], and I’m beyond excited to get back on the road in 2026! The shows are going to be immense: a massive nostalgic Scouting singalong every night.” Expect further hits to feature too.

Ealing Acid Jazz pioneers The Brand New Heavies – Simon Bartholomew, vocals and guitar, Andrew Levy, bass and keyboards, and Angela Ricci, vocals  – mark their 35th anniversary with a 12-date tour that takes in York Barbican as their only Yorkshire destination. Expect  joy, funk, love and fancy clothes. Box office: yorkbarbican.co.uk.

The Brand New Heavies: Acid Jazz joy, funk, love and fancy clothes at York Barbican

Comedy classic of the week: Rowntree Players in The Importance Of Being Earnest, Joseph Rowntree Theatre, York, March 19 to 21, 7.30pm plus 2pm Saturday matinee

ROWNTREE Players bring Oscar Wilde’s cherished 1895 farcical comedy of manners to the York stage in the original four-act version reconstructed by Vyvyan Holland, under the direction of Hannah Shaw.

Lizzie Lawton’s John Worthing and Jorja Cartwright’s Algernon Moncrieff lead double lives under the false name of “Ernest” to escape social obligations, leading to romantic entanglements and comedic misunderstandings, played out by a cast featuring Jeanette Hambridge’s Lady Bracknell, Bethan Olliver’s Gwendolen Fairfax, Katie Shaw’s Cecily Cardew, Wayne Osguthorpe’s Reverend Canon Chasuble, Rebecca Thomson’s Miss Prism and Max Palmer’s Lane/Merriman. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

A collage from the rehearsal photo-shoot for Rowntree Players’ production of The Importance Of Being Earnest

Comedy gig of the week: Rob Rouse, Funny Bones, Helmsley Arts Centre, March 20, 8pm; Stephen Joseph Theatre, Scarborough, March 21, 7.45pm

FRESH from being picked as the Comics’ Comic Best Act of the Year 2025, Rob Rouse is touring Funny Bones: a daft whirlwind of craftily spun tall tales, a bucketful of manic energy, canny stagecraft, eerily convincing characters and a barrage of one-liners.

“Warning: this show has been meticulously assembled to make you laugh as much as possible,” says Rouse. “However, you will not learn anything from it. You may even come out stupider than when you came in.” Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk; Scarborough, 01723 370541 or sjt.uk.com.

Super scooper: Funny Bones comedian Rob Rouse and his skeleton dog on tour at Helmsley and Scarborough

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What’s On in Ryedale, York and beyond. Hutch’s List No. 9, from Gazette & Herald

JAPANESE prints, a Belgian detective, a Tudor queen and a West Riding pioneer are all making waves in Charles Hutchinson’s early March recommendations. 

Exhibition of the week: Making Waves, The Art of Japanese Woodblock Print, York Art Gallery, until August 30, open Wednesday to Sunday, 10am to 5pm

MAKING Waves: The Art of Japanese Woodblock Print presents Japanese art and culture in more than 100 striking and iconic works from renowned artists such as Katsushika Hokusai, Utagawa Hiroshige and Kitagawa Utamaro, among many others.

At the epicentre of this intriguing insight into the history and development of Japanese woodblock printing is the chance to see Hokusai’s The Great Wave Off Kanagawa, one of the most recognisable and celebrated artworks in the world. Tickets: yorkartgallery.org.uk.

York Community Choir Festival 2026: Showcase for choirs aplenty at Joseph Rowntree Theatre, York

Festival of the week: York Community Choir Festival 2026, Joseph Rowntree Theatre, York, tonight to Friday, 7.30pm; Saturday, 2.30pm and 7.30pm

THE annual York Community Choir Festival brings together choirs of all ages to perform in a wide variety of singing styles on each bill. Across the week, 43 choirs are taking part in nine concerts, making the 2026 event the largest yet. Concert programmes feature well-known classical and modern popular songs, complemented by show tunes, world music, folk song, gospel, jazz and soul. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Death On The Nile: European premiere of Ken Ludwig’s new adaptation of Agatha Christie’s murder mystery at Grand Opera House, York. Picture: Manuel Harlan

Murder mystery of the week: Fiery Angel presents Agatha Christie’s Death On The Nile, Grand Opera House, York, March 3 to 7, 7.30pm plus 2.30pm Wednesday and Saturday matinees

AFTER tours of And Then There Were None and Murder On The Orient Express, Death On The Nile reunites director Lucy Bailey, writer Ken Ludwig and producers Fiery Angel for the European premiere of a new adaptation of Agatha Christie’s Death On The Nile.

On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder.  As secrets buried in the sands of time resurface, can Belgian detective Hercule Poirot (Mark Hadfield), untangle the web of lies? Box office: atgtickets.com/york.

Nick Patrick Jones’s Henry VIII and Lara Stafford’s Anne Boleyn in Black Treacle Theatre’s Anne Boleyn. Picture: John Saunders

Historical drama of the week: Black Treacle Theatre in Anne Boleyn, Theatre@41, Monkgate, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee

YORK company Black Treacle Theatre presents Howard Brenton’s account of one of England’s most important and intriguing historical figures: Tudor lover, heretic, revolutionary, queen Anne Boleyn (played by Lara Stafford).

Traditionally seen as either the pawn of an ambitious family manoeuvred into the King’s bed, or as a predator manipulating her way to power, Anne – and her ghost – re-emerges in a very different light in Brenton’s epic play, premiered by Shakespeare’s Globe Theatre in 2010. Box office: https://tickets.41monkgate.co.uk.

Poetry event of the week: York Poetry Society, Poetry Pharmacy launch celebration, Jacob’s Well, Trinity Lane, York, Friday, 7.30pm to 9.30pm 

TO mark Friday’s opening of the third Poetry Pharmacy, part bookshop, part apothecary, part reading room, and venue for readings, workshops, creative writing clubs in Coney Street, founder Deborah Alma talks about its concept of fostering the therapeutic effects of poetry.

Local poets are invited to read poems with this aim in mind in the second half. “Normally we ask of non-members a £3 entry fee, but on this occasion, if you write a poem relevant to the evening, all we will ask is that you read it to us as part of the programme,” says programme secretary Marta Hardy.

Irish dance and magic combine in Celtic Illusion, on tour at York Barbican

Magical experience of the week: Celtic Illusion, York Barbican, Friday, 7.30pm

AFTER dazzling audiences across Australia, New Zealand, Hong Kong, Canada and the USA, this thunderous Irish dance and grand-illusion magic show is making its premiere UK tour in 2026. 

Created by Anthony Street, illusionist and former lead of Lord Of The Dance, Celtic Illusion brings together dancers from Riverdance and Lord Of The Dance, who perform to a soaring original score and remastered classics by composer Angela Little. Box office: yorkbarbican.co.uk.

Annabelle Lopez Ochoa, as Anne Lister, rehearsing for Northern Ballet’s Gentleman Jack. Picture: Colleen Mair

Dance premiere of the week: Northern Ballet and Finnish National Opera and Ballet in Gentleman Jack, Leeds Grand Theatre, Saturday to March 14, except Sunday and Monday, 7.30pm, plus 2.30pm matinees on March 12 and 14

THIS groundbreaking new ballet marks a trio of ‘firsts’: the first time the story of Anne Lister has been told through ballet, the first large-scale commission for Northern Ballet since 2021 and the first under artistic director Federico Bonelli.

Yorkshirewoman Anne, the “first modern lesbian”, lived, dressed and loved as she desired, not as 19th century society expected of her. Northern Ballet’s interpretation of her life is choreographed by Annabelle Lopez Ochoa, leading a female artistic team that includes Sally Wainwright, writer of the BBC/HBO television series Gentleman Jack. Box office: 0113 243 0808 or leedsheritagetheatres.com.

The poster for the Merely Players’ Fakespeare exposé at Helmsley Arts Centre

The Great Shakespeare Fraud of the week: Merely Players, Fakespeare, Helmsley Arts Centre, Saturday, 7.30pm

THERE are two problems with deception: being found out and not being found out. In 1794, noted antiquarian Samuel Ireland is delighted when his son William brings him unknown documents in the hand of Shakespeare, obtained from an anonymous source. However, scholars question their authenticity and denounce Samuel as a forger.  The household is thrown into turmoil and family skeletons come tumbling out of cupboards.

Roll forward to  2026, when Samuel, William and their housekeeper Mrs Freeman meet again to sort out the truth of it all, if such a thing is possible. So runs Stuart Fortey’s tragicomic, scarcely believable, deceptively truthful tale of 18th century literary fraud  and family deceit. Box office:  01439 771700 or  helmsleyarts.co.uk.

Very Santana: Celebrating Carlos Santana’s songs and guitar mastery at Milton Rooms, Malton

Tribute gig of the week: Very Santana, Milton Rooms, Malton, Saturday, 8pm

VERY Santana’s musical time travel experience celebrates the beautiful guitar melodies and creatively diverse, challenging songs of Carlos Santana, performed with room for extra improvisation.

The set list spans the Santana legacy, from the Abraxas album early peaks of Black Magic Woman, Oye Como Va and Samba Pa Ti, through the late 1970s’ hits such as Europa and She’s Not There, to the modern-era Grammy winners Smooth and Maria-Maria. Box office: 01653 696240 or themiltonrooms.com.

Harry Enfield: No Chums but a cornucopia of comical characters at Grand Opera House, York

Comedy gig of the week: Harry Enfield And No Chums, Grand Opera House, York, Sunday, 2.30pm and 7.30pm

FROM the meteoric rise of Loadsamoney, a Thatcherite visionary, to the fury of Kevin the Teenager, satirical comedian and self-styled “stupid idiot” Harry Enfield  reflects on 40 years in comedy, bringing favourite characters vividly back to life on stage.

Then comes your chance to ask how it all works for the former University of York politics student (Derwent College, 1979 to 1982), discover what makes him most proud and find out what would he say to the many who ask, “You wouldn’t be allowed to do your stuff today, would you?”. Box office: atgtickets.com/york.

Elvis Costello: Revisiting his 1977-1986 back catalogue in Radio Soul! at York Barbican in June. Picture: Ray Di Pietro

Gig announcement of the week: Elvis Costello & The Imposters with Charlie Sexton, Radio Soul!: The Early Songs Of Elvis Costello, York Barbican, June 17

ELVIS Costello will return to York Barbican for the first time since May 2012’s Spectacular Singing Book tour, joined by The Imposters’ Steve Nieve, Pete Thomas and Davey Faragher and Texan guitarist Charlie Sexton.

Costello, 71, will focus on songs drawn from 1977’s My Aim Is True to 1986’s Blood & Chocolate in 1986, complemented by “other surprises”. Tickets go on sale at 10am on Friday at https://www.yorkbarbican.co.uk/whats-on/elvis-costello/.